text:
Talk:Historical Geology/Walther's principle

what does walther's theory really entails
what does walther's theory really entails? 197.210.226.152 (discuss) 14:56, 9 January 2023 (UTC)


text: Template:Planet Earth/Mineral

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

title: Template:Planet Earth/Mineral


text:
Talk:Planet Earth

Book navigation
In a recent edit spree you added MediaWiki tables, in part replaced Nav navigation bars. What’s wrong with using any of the navigation templates? These are field-tested. E. g. your MediaWiki table implementation is missing  or does not make use of book-relative targets. ‑‑Kai Burghardt (discuss • contribs) 17:20, 10 January 2023 (UTC)

 * I had trouble linking between pages likely due to redirect issues in the coding between sections of the book. I added direct links using MediaWiki tables instead at the bottom of each. The issue was between two sections, and maybe related to an edit made to the word Effect and Affect in the sections title of page 1g, resulting in a redirect. This prevents  working beyond this section, so I had to brute force it with direct links table. Yes, I would like to use, a much simpler solution, but it was not working for the entire book. Benjamin J. Burger (discuss • contribs) 17:58, 10 January 2023 (UTC)

title: Talk:Planet Earth


text:
Circuit Idea/Introducing Sensorimotor Activities

Heuristic principles are used to build sensorimotor (kinesthetic) skills in students, in which a series of motor acts are performed on the studied circuit and its reactions to these impacts are perceived sensibly. "Live" objects are convenient for this (analogies, voltage bars and diagrams, graphic IV curves that show the state of the studied object on the screen.

To "feel" the action of more abstract electronic devices, they can be manually emulated and then their evolution to fully automatic can be "played out". Thus, for example, the role of an operational amplifier in negative feedback circuits can be performed first by a "manually controlled voltage source", then by a personal computer with analog I/O peripherals and appropriate software, and finally by a real operational amplifier. In this way, by actually "playing" the evolution of an electronic circuit from "manual" to fully automatic, the person mentally identifies with the studied object (personal analogy, empathy), imagines how it performs its functions, and thus understands even better its action.

Sensorimotor skills can even be constructed using thought experiments. So, for example, a common-emitter circuit can be studied by mentally "raising" and "lowering" the voltage of the transistor base; a common-base circuit - by "moving" the emitter voltage, and a differential amplifier - by "moving" both at the same time.


text:
User talk:99.209.10.162

Warning
—Kittycataclysm (discuss • contribs) 19:34, 10 January 2023 (UTC)

title: User talk:99.209.10.162


text:
User talk:86.9.204.36

Warning
—Kittycataclysm (discuss • contribs) 19:35, 10 January 2023 (UTC)

title: User talk:86.9.204.36


text: Talk:International Postage Meter Stamp Catalog/Ukraine


text:
Circuit Idea/Slowing Circuit Processes

The cause is delayed, albeit for a moment, relative to the effect - first the cause (input signal) appears, and then the effect (output signal) changes. Therefore, in order to introduce causality into inertialess, proportional electronic devices, they must be deliberately made slow, inertial, integral. By slowing down the action of the studied devices many times over, it becomes commensurable with the speed of human thinking and allows to "peek" into the transition process, where there is a hidden valuable information about the circuit operation.

This heuristic approach can be applied to op-amp circuits with negative feedback. How op-amp works is a key point to understanding op-amp circuits. Reading classical formsl explanations, we could not understand what and how an op-amp really does in op-amp circuits with negative feedback. We gradually realize a paradoxical fact: although an op-amp is really a proportional and, as they consider, an almost "non-inertial" device, in order to understand how op-amp circuits work, we have to think of it as of an integrating, inertial device what it actually is. Figuratively speaking, we have to think of the op-amp as of a "being" that "observes" continuously its input voltage and changes its output voltage until it manages to zero the input voltage. If we think of the op-amp in terms of Vout = A.Vin (i.e., Vin and Uout change simultaneously), we fall into a vicious circle traveling the feedback loop and we can never understand circuit operation. We have to assume that the output voltage stays late regarding the input voltage. More philosophically speaking, we have to see the causality in the op-amp operation; to think of the input voltage as of a cause and of the output voltage as of a result.

We can find this concept in the H&H The Art of Electronics, "The golden rules" section (p. 177): What the op-amp does is "look" at its input terminals and swing its output terminal around so that the external feedback network brings the input differential to zero (if possible). As you can see, Horowitz & Hill have also animated the inanimate op-amp with the sole purpose of showing what it actually does in negative feedback circuits.

title: Circuit Idea/Slowing Circuit Processes


text:
Circuit Idea/"Live" Analogies

"Live" analogies
To show the connection between an analogy and its corresponding circuit diagram, we can "live" the analogy on the monitor screenwith the help of a computer. For this purpose, we can connect the circuit under test by means of an analog-to-digital periphery to a personal computer operating under the control of an appropriate software. An analogy of the studied circuit will be displayed on the screen, which responds adequately to changes in the circuit and thus strengthens associations with it.

"Live" voltage diagram
Such an arrangement is used in another Wikibooks story to illustrate a more sophisticated version of the Ohm's experiment by a kind of a "geometric analogy". There it is stylized but it can be also thought as a kind of mechanical analogy that can be named "Archimedes double lever" (a lever operated from both its ends).

"Live" analog scale
For example, in this way we can represent the operation of an op-amp circuit with negative feedback by displaying a "live" analog scale on the screen. Input and output voltages are represented by weights of proportional size on both sides of the scale.

"Live" discrete scale
Similarly, we can illustrate the operation of an analog-to-digital converter with a discrete weight, where the output value – a digital code – is presented as a sum of reference weights. The picture below shows such a demonstration in the laboratory performed using a MICROLAB system connected to an 8-bit DAC. The PC video output is connected to a multimedia projector.

A stylized image of a mechanical scale is visible on the screen. The left pan houses the analog input weight, and the right pan houses some of the 8 binary standards with weights from 1 to 128. Shown below are the reference voltage (10 V) of the on-board DAC, the input voltage (1.928 V), the current code (49) and the DAC output voltage (1.914 V).

title: Circuit Idea/"Live" Analogies


text:
Circuit Idea/Carrying Out "Man-Controlled" Experiments

To "feel" the operation of more abstract electronic devices, they can be manually emulated and then their evolution to fully automatic can be "played out". Thus, for example, the role of an operational amplifier in negative feedback circuits can be performed:
 * first by a "manually controlled voltage source",
 * then by a personal computer with analog I/O peripherals and appropriate software,
 * finally by a real operational amplifier.

In this way, by actually "playing" the evolution of an electronic circuit from "manual" to fully automatic, the person mentally identifies with the studied object (personal analogy, empathy), imagines how it performs its functions, and thus understands even better its action.


text:
User talk:2601:C4:100:32C0:4C50:B730:F3EC:99A1

Warning
—Kittycataclysm (discuss • contribs) 22:27, 10 January 2023 (UTC)


text:
User:MDmulwa

This user is from Kenya and interested in books reading.

title: User:MDmulwa


text:
User:Michael K. Edwards

Fun with category theory.

title: User:Michael K. Edwards


text:
Thermodynamics, Electricity, and Magnetism/Gauss' Law/Closed surface

A closed surface is a surface that is compact and without boundary. It may have finite edges (cube, prism etc.) or infinite edges (sphere, torus). Examples of closed surfaces include the sphere, the torus and the Klein bottle. Examples of non-closed surfaces include an open disk (which is a sphere with a puncture), a cylinder(which is a sphere with two punctures), and the Möbius strip.

A surface embedded in three-dimensional space is closed if and only if it is the boundary of a solid. As with any closed manifold, a surface embedded in Euclidean space that is closed with respect to the inherited Euclidean topology is not necessarily a closed surface.


text:
Talk:Visual Basic for Applications/A PRNG for VBA

given value of a = 1140671485 for VBA RND function
Specifying a > m is mindless due to the rules of modular arithmetic. In XL, =MOD(1140671485,16777216) gives 67, so that the proper value for a is 1140671485 - 67 * 16777216 = 16598013 < m. I'll change that. Doc Schorsch (discuss • contribs) 09:06, 11 January 2023 (UTC)


text:
Film History/Beginnings

In the early days of cinema, films were typically short and simple, lasting only a few minutes each. They were often composed of a series of single-shot scenes depicting everyday activities, such as people at work, children playing, and street scenes. Some of the earliest films were actualities, which were non-fiction films that recorded real-life events and activities.

In the United States, Thomas Edison and William Kennedy Dickson developed the kinetoscope in the late 1880s. The kinetoscope was a motion picture viewing device that used a strip of film that moved continuously over a light source and a series of lenses, allowing viewers to look through a peephole and see the moving images. These early kinetoscope parlors were popular in America but the device was not publicly projected as it's design was not intended for it. Meanwhile, in France, the Lumière brothers, Auguste and Louis, developed the Cinematograph in 1895, a motion picture camera, projector, and printer all in one. This machine allowed for the creation of the first movie theaters and the screening of films to audiences. The Lumière brothers also invented the first film stock, which was more sensitive to light and had better definition than previous types of film.

These early motion picture technologies helped to pave the way for the development of the motion picture industry and the creation of movies as we know them today. With the advances in the technology of film, movies began to be produced on a larger scale, and their length and complexity began to increase. Storytelling became more prominent, and special effects and editing techniques were developed to enhance the visual and narrative experience of the audience.

It's also worth mentioning that the earliest forms of cinema were not exclusively developed in Europe or America, but also in other countries such as China, India and Russia where similar experiments with motion pictures were happening around the same time.

title: Film History/Beginnings


text:
Film History/Silent film

The first silent films were made in the late 19th century using the kinetoscope, an early motion picture exhibition device. These early films were usually less than a minute long and were viewed by one person at a time through a peephole viewer. However, with the invention of the motion picture projector in 1895, films could be shown to larger audiences on a screen. This led to the creation of the first movie theaters, and the film industry began to rapidly expand. As the medium developed, filmmakers began to experiment with different techniques and storytelling methods. One of the most influential silent filmmakers was D.W. Griffith, whose 1915 film "The Birth of a Nation" was a blockbuster success and helped to establish the grammar of film language. Griffith also directed "Intolerance" (1916) which is considered as ambitious epic film of the era.

During the silent film era, filmmakers developed various techniques to tell stories and convey emotions without the use of spoken dialogue. These techniques include the use of intertitles, which are text cards that appear on the screen to provide dialogue or narration, as well as the use of visual storytelling, such as close-ups, camera angles, and editing. One of the most notable technique of the era is the use of mise-en-scène, which is the arrangement of everything that appears in front of the camera, such as sets, costumes, and actors.

Silent films were also accompanied by live music in the theaters, which helped to set the mood and convey emotions to the audience. Musicians would often play pieces that matched the action on the screen, such as suspenseful music for a chase scene, or a love theme for a romantic scene. Many famous composers of the time composed music specifically for silent films, such as Carl Davis and Philip Carli.

Silent films were not only popular in the United States but also in other countries such as Europe, Russia, Japan and India. Some of the notable filmmakers outside US were F.W. Murnau, Ernst Lubitsch and Germaine Dulac, whose films were highly respected by the critics and audiences.

While it is true that many silent films are lost forever, over time the preservation efforts have become more successful and many silent films have been restored and digitized. Thanks to this, silent films have become more accessible to audiences around the world and today many of them continue to be screened at film festivals, museums and special events.

title: Film History/Silent film


text:
Film History/Soviet montage

One of the key ideas of Soviet Montage is the use of editing to create meaning and convey political messages. Soviet filmmakers of the 1920s, such as Sergei Eisenstein, Dziga Vertov, and Vsevolod Pudovkin, believed that the power of film lay in its ability to manipulate the viewer's perception of reality through the use of montage. They believed that by carefully selecting and editing together different shots, they could create a new meaning or provoke a certain emotional response in the viewer.

One of the main principles of Soviet Montage was the concept of "collision," in which seemingly unrelated shots are edited together to create a new meaning. Eisenstein's film "Battleship Potemkin" is one of the most famous examples of this technique. By intercutting shots of the ship's crew, the officers, and the ship's machinery, the film creates a sense of growing tension and inevitability of the revolution. The film used montage to convey the idea of a ship's crew rising up against their oppressive officers, making it a powerful political statement.

Soviet Montage also emphasized the importance of the audience's active participation in the film-viewing experience. Soviet filmmakers believed that audiences were not passive receivers of the film's message, but rather active participants who constructed meaning through the process of watching the film. This idea was in contrast to the dominant Hollywood mode of filmmaking, which emphasized a more linear and narrative-driven storytelling.

The theory of Soviet Montage was influential not just in Soviet cinema, but also in the development of the modern film language and style worldwide. The use of montage and the emphasis on editing as a means of creating meaning and evoking emotion have been adopted by filmmakers from many different countries and backgrounds. For example, the French New Wave and the Italian neorealist movement use montage and other techniques from Soviet montage for their own artistic and political purposes. Additionally, the montage techniques have been adopted by other art forms like music videos and advertising, which also using editing to tell a story or create a specific mood in the viewer.

In summary, Soviet Montage was a film theory and technique developed in the Soviet Union during the 1920s that revolutionized the way films were made and perceived. It emphasized the power of editing to create meaning and convey political messages, and it was influential in the development of modern film language and style.

title: Film History/Soviet montage


text:
Film History/Expressionism

German Expressionism (c. 1913 -1933)
The German Expressionist movement was a cultural movement that began in the early 1910s, and had a profound impact on the German film industry. It is characterized by the use of highly stylized sets, exaggerated lighting and shadows, and distorted and exaggerated performances. These techniques were used to create an otherworldly, dreamlike atmosphere that conveyed the anxieties and fears of the era.

One of the key features of Expressionist films was their strong visual style. Filmmakers used expressionistic techniques to create a sense of unease, such as twisted and distorted sets and architecture, and chiaroscuro lighting that created deep shadows and contrasts. The use of stylized sets and lighting helped to create a sense of unreality that was meant to reflect the inner turmoil and anxieties of the characters and society. Themes of fear, guilt, and the human psyche were also a common feature of Expressionist films. Many films dealt with the social and political upheaval that Germany experienced after World War I, as well as the anxieties and fears that arose from the war and its aftermath. This is why films like "The Cabinet of Dr. Caligari" (1920) and "Nosferatu" (1922) are considered classic examples of Expressionist films as they used these techniques and themes to create a sense of unease, isolation, and dread.

Expressionism was also a way for artist and intellectuals to express their feeling and ideas about the society and political condition of their country. The movement was made up of filmmakers who wanted to use the medium of cinema to showcase social issues of the time. Some of the key figures of the movement include Fritz Lang, F.W. Murnau, Paul Wegener, and G.W. Pabst.

However, the Expressionist movement was also suppressed and banned by the Nazi regime during the 1930s, as the regime viewed it as a form of "degenerate art" that was un-German and Jewish in nature. Many of its leading figures, including Fritz Lang, F.W. Murnau, and Paul Wegener, fled the country, and the movement ultimately came to an end with the rise of Nazism in Germany. Despite this, the influence of the Expressionist movement can still be seen in the films of today, particularly in the horror and fantasy genres. Many filmmakers, such as Tim Burton, Martin Scorsese, and David Lynch have acknowledged the debt their own work owes to the Expressionist movement.

title: Film History/Expressionism


text:
History of Ballet

= 1. An Introduction to ballet =

What is Ballet?
Ballet is a type of performance dance that originated in the Italian Renaissance courts and has since evolved into a concert dance form that is widely performed in theaters around the world. It is known for its grace, precision, and technical demands, and is typically performed to classical music. Ballet dancers typically wear tights and tutus, and perform choreographed sequences of movement that can range from simple and elegant to highly complex and athletic. Ballet is often considered an art form, and is enjoyed both for its aesthetic qualities and for the skill and athleticism of the dancers.

= 2. History of Ballet = The origins of ballet can be traced back to the 15th century in the courts of the Renaissance in Italy. At the time, it was a form of court entertainment, featuring dancing and music, performed by members of the nobility. The choreography was typically simple, consisting of orderly, formal patterns of movement, and the performances were often accompanied by musicians playing a variety of instruments. Ballet as an art form gradually developed over the next several centuries, with the first professional ballet companies being established in the late 17th century in France.

During the 15th century, ballet was known as "ballare" in Italy, which means "to dance." It was a form of court entertainment that was performed primarily by members of the nobility, and it was seen as a way to display their social status and wealth. The choreography was typically simple, featuring orderly, formal patterns of movement, and the dances were often performed in a group, rather than by individuals.

The 16th Century
As time passed, ballet began to evolve and change. By the 16th century, it had become more theatrical, with costumes, scenery, and elaborate choreography. The dances were also becoming more acrobatic, as dancers began to incorporate turns and leaps into their movements.

The 17th Century
In the late 17th century, the first professional ballet companies were established in France, and the art form began to flourish. The choreography became more complex and virtuosic, and the dances were often based on stories and myths. The development of pointe work, in which dancers perform on the tips of their toes, also became a major feature of ballet at this time.

The 18th Century
During the 18th century, ballet began to spread to other parts of Europe, and by the 19th century, it had become popular in Russia, England and throughout the world. Ballet was also evolving with new choreographers and dancers, new choreographic forms and new styles.

The 19th Century
19th century ballet, also known as Romantic ballet, was a period in the history of ballet characterized by an emphasis on dramatic expression and the portrayal of strong emotions through movement. It marked a departure from the more formal and highly technical ballet of the 18th century, and laid the foundation for the development of modern ballet as we know it today. The 19th century saw the emergence of many significant choreographers and dancers who shaped the future of ballet. Among the most notable were Jean Coralli, Jules Perrot, and Marius Petipa, who together created the first full-length ballet, "Giselle," in 1841. This ballet, which tells the story of a peasant girl who dies of a broken heart and returns as a ghost to save her lover, is considered one of the greatest ballets of all time and is still performed today.

Another important figure in the history of 19th century ballet was Italian choreographer Carlo Blasis, who introduced the five basic positions of the feet and the use of pointe work to ballet. Pointe work, which involves dancing on the tips of the toes, greatly expanded the range of movement for female dancers and helped to create the illusion of weightlessness.

During the second half of the 19th century, the Imperial Ballet in Russia, under the direction of Petipa, became the leading center for ballet in the world. Petipa created some of the most famous ballets of all time, including "Swan Lake," "The Sleeping Beauty," and "The Nutcracker." These ballets, along with many others created by Petipa and his contemporaries, continue to be performed around the world today and are considered the backbone of the classical ballet repertoire.

The 19th century also saw the emergence of the ballerina as a celebrated solo performer. One of the most famous ballerinas of the time was Marie Taglioni, whose delicate and ethereal style was a stark contrast to the more robust and athletic dancing of her male counterparts. Taglioni's performances in ballets such as "La Sylphide" and "Fantasy on the Theme of the Magic Flute" brought her international fame and helped to establish the ballerina as the principal female performer in ballet.

In addition to the key developments and figures of 19th century ballet that have already been discussed, there were several other significant contributions to the art form that helped shape the direction of ballet in this period.

One of these was the rise of national schools of ballet, each with their own distinct styles and techniques. The French school, for example, emphasized grace, elegance, and a soft, fluid style of movement, while the Russian school was known for its powerful, precise technique and its emphasis on drama and expressiveness. The Italian school also had its own unique style, with a special emphasis on virtuosity and rapid footwork, which would be an inspiration for later stylistic trends. Another important development of the 19th century was the use of historical and literary themes in ballet. This trend began with "Giselle," and continued with ballets such as "Swan Lake," which was based on a German folktale, and "The Sleeping Beauty," which was based on a fairy tale by Charles Perrault. These historical and literary themes helped to give ballets a greater sense of narrative and emotional depth, and they are still commonly used in contemporary ballet productions.

Music also played an important role in the development of 19th century ballet. Many of the most famous ballets of this period were created to specific scores, and the music was often specifically composed to enhance the emotional and narrative aspects of the choreography. Some of the most famous composers associated with 19th century ballet include Tchaikovsky, Saint-Saëns, and Delibes, and their contributions to the art form were essential to the development of ballet as we know it today.

The 19th century also saw the emergence of ballet companies as we know them today. Prior to this period, ballet companies were largely associated with the courts of Europe, and their main purpose was to entertain the royal family and the elite. However, the 19th century saw the rise of public performances and the growth of the ballet-going audience. The great ballet companies such as the Ballets Russes, the Paris Opera Ballet, and the Royal Ballet became more independent and began to travel abroad to showcase their productions, and ballet became a truly international art form.

Finally, the 19th century also saw the growth of ballet as an educational discipline. Important ballet schools, such as the Imperial Ballet School in Russia and the Paris Opera Ballet School, were established to train young dancers and provide them with the technical and artistic skills they would need to become professional ballet dancers. The establishment of these schools helped to ensure the survival of ballet as an art form by providing a steady supply of talented dancers and choreographers who could continue to push the boundaries of the art form.

In conclusion, the 19th century was a time of great artistic innovation and experimentation in ballet. It marked a departure from the more formal and technical ballet of the past and laid the foundation for the more expressive and emotional ballet of the 20th century. It was marked by the emergence of new styles, themes, and techniques and it was a period of important contributions and innovations by choreographers, dancers, composers, and ballet companies. The ballets and choreographers of this era continue to be celebrated and performed around the world, making 19th century ballet a vital and enduring part of the world's cultural heritage.

The 20th Century
In the 20th century, ballet continued to evolve and change, as new choreographers and dancers began to experiment with new styles and movements. The modern era of ballet was characterized by a focus on innovation and experimentation, and the use of more contemporary music and choreography. Today, ballet is still a popular and important form of entertainment and art, and it continues to evolve and change to this day.

title: History of Ballet


text:
Cookbook:Rendering

Rendering is the process of extracting pure fat from animal tissues such as beef, chicken, duck, pork, and more. Animals store fat in fatty tissue, where the fat is mixed with water, protein, and other substances. In this form, the fat is perishable and not accessible, and it needs to be separated out by rendering.

Tissue preparation
Before rendering, the fatty tissue should be separated from the meat and chopped into small pieces. Freezing the fatty tissue will help with the chopping, and frozen fatty tissue can be carefully chopped in a food processor.

Dry vs wet
Rendering can take place using a dry or wet method. In dry rendering, the prepared fatty tissue is gently and slowly heated all on its own until the fat melts out. Wet rendering is very similar, but a small amount of water is added to the fatty tissue to help prevent burning. The clarified fat is then strained to remove the remaining solids, which can be eaten. When water is included, the finished fat is left to solidify and separate from the water. It should be noted that the wet method may not produce crispy crackling solids.

Heat source
Any slow and gentle source of heat can be used to render fat. This includes a slow cooker on low, a stove on low heat, or an oven at around 250°F (120°C). The heat should be high enough to boil off water but low enough to avoid burning the solids. No matter the heat source, the rendering tissue should be stirred every so often to distribute everything and prevent burning.

Storage
Rendered fat is technically shelf-stable at room temperature, but it can go rancid if exposed to air or light. Storing the fat in a sealed container in a cool, low-light place like a pantry, fridge, or freezer will prolong the shelf-life.

title: Cookbook:Rendering


text:
Cookbook:Kansui

Kansui is an alkaline solution containing potassium carbonate and sodium bicarbonate. It is similar to limewater, and it is often used in doughs to create elasticity and add a yellow color. It is a traditional component of ramen noodles.

title: Cookbook:Kansui


text:
Cookbook:Huckleberry

Huckleberries are a large group of berries that grow in the United States and Canada. They are closely related to blueberries.

Characteristics
Huckleberries are very similar to blueberries in many respects. They are small and round, and their color varies from red to blue and purple. They can range from tart to sweet in flavor, and some describe them as having a mealy texture.

Procurement and storage
Huckleberries have not been domesticated and are not cultivated on a commercial level. As such, they are very rarely available at grocery stores. Look for them instead at local farmer's markets, or try foraging for them in the wild.

They can be stored in the refrigerator for up to a week, and they will last for months when frozen.

Use
Much like other berries, huckleberries are good for use in preserves, cakes, pancakes, pies, and more.

title: Cookbook:Huckleberry


text:
User:Vinyasi/sandbox/Free Energy does not Exist/Energy versus Power

 Energy versus Power

Free Energy is the presumption that Energy is infinitely available due to a potentially limitless supply of Reactance (both, Magnetic and Electric) versus Power is the method of regulating the rate at which Energy is used per unit of Time. Consequently, Free Energy has more to do with the non-accountability of Power than it has to do with Energy since Reactant Energy is assumed to be extremely variable when it is stolen from its surrounding environment by the eminent domain of the electric utility grid or by perpetual motion machines. This charade makes the byproduct of Reactance, namely: Energy, appear to be limitless for all intents and purposes so long as there is always sufficient Reactance which can be stolen from somewhere. This is what makes Energy: “Free”.

The reversal of current, which is brought about by various reactances of one kind or another, is the method by which energy may be shuffled around the Universe against voltage gradients and effectively uphill. This overrides the diffusion of energy which would have resulted in entropy and the elimination of voltage differences between any two points in space. Without these voltage differences, we are powerless to make use of energy no matter how much energy may reside within our Universe. Thus, the negation of current allows us to supersede the side-effects of the natural order of Cosmic Law as our Universe winds down from exhaustion (as described by physics) and safeguard our material existence despite its natural tendency and because of this safeguard.

What Free Energy is Not ...

Free Energy is not a high Quality factor, nor is it an infinite Quality factor. In fact, it possesses an undefined or an indeterminate Q factor in most situations! Why? Because the net power loss, after adding whatever overunity was effectively gained, is zero.

When $$\text{net power loss} = 0$$, then ...

 * $$Q \mathrel\stackrel{\text{def}}{=} 2\pi \times \frac{\text{energy stored}}{\text{energy dissipated per cycle}} = 2\pi f_r \times \frac{\text{energy stored}}{\text{net power loss}} = \text{Undefined, Indeterminate}$$

... because, zero in the denominator of any fraction is, at worst, not-a-number! At best, zero in the denominator might render as infinity within real or complex projective geometry if the numerator is not also zero. But, this latter possibility is not the case.

A normal graph of Q factor (shown on the left) cannot occur with Free Energy, because damping (shown on the right) is impossible (by the rules of multiplication and division) whenever the net power loss is zero!

An Example of What Free Energy Is ...
Here is an example (on the left) of what Free Energy is: negative damping ...

"... during certain disturbances involving generation loss in the Northern region of India's power grid . – Excerpted from: Low Frequency Oscillations in Indian Grid; VII. Conclusion. Figure #2 on PDF page 3, and Figures #6 and #7 on PDF page 4."

I suspect that the reason why the electric utility grid of Northern India generated power (seemingly, from within itself) when some its generators were offline was due to negative damping of its reactive storage elements, such as: within its capacitors, its inductors, and its conductive transmission lines. The capacitance of its grid performed the actual generation of reactive negative damping while its inductance converted this reactive format into real power which could be measured and taken notice of its eruption by those people who were, and are, responsible for managing that grid.

Empty space, and the areas of space which are filled with matter, acts as a dielectric medium with access to all of the electrical energy of all of the matter within the entire universe. All of matter functionally serves as a collective set of conductive plates comprising a Cosmic Capacitor while the dielectric of empty space stores energy within this Cosmic Capacitance. Unlike an inductor, acting as a conductor, a capacitor does not transmit energy from the plate on one side of its dielectric to the plate on the other side. A capacitor merely stores energy in its dielectric medium which is sandwiched between its conductive plates. This storage is evenly distributed throughout its dielectric material. In the case of the Universe, every particle of matter collectively contributes to the multiple plates of our Cosmic Capacitance. And the entirety of empty space within the whole Universe has direct access to the energy which is conducted to empty space by all of the matter which resides within empty space.

So, ...     Where does Free Energy come from? If a free energy circuit is producing overunity, where does it get its extra energy from?

Simulators don't give us the answer. Simulations of free energy circuits suggest that free energy circuits will either steal energy from out of nearby power lines, or else will miraculously manufacture free energy (over time) from out of themselves as if they had an unlimited, ‘secret’ supply.

If you wish to play this virtual mind game in a conservative fashion, then I would suggest that all free energy is stolen from the environment via empty space. In other words, like it or not, all of material existence supplies energy for each and every free energy circuit whether or not we, or anyone else, wants to share our energy for free with anyone else is a moot point since all energy, spread across the entire Universe, is available for use by anyone who is willing and able to steal it in this fashion.

This does not violate the Conservation of Energy since the Conservation of Energy is a fictional concept which describes an ideal case of the presumed isolation of an energetic system from its surrounding environment. This presumption is, actually, less than ideal since it presupposes an extreme lack of efficiency in which that system is purposely engineered to be so deficient as to totally ignore its environment at the cost of that system demanding, from us, a perpetual subservience to keeping that energetic system alive with additional energy continuously provided by us if we want that energetic system to function at all!

This stinks, to me, of being the result of the mass institution of a policy than it being the byproduct of some law of physics, for it reinforces slavery to our machines.

But if we consider that all electrical circuits are open to their environment to some extent, then Newton's Third Law fails to predict the Lorentz force and overlooks free energy.

Thief or Victim of Theft?
is.gd/thieforvictim

As mortals, we are either a thief, or else we are the victim of theft. There is no liberty for choosing neither case unless we are immortal – in which case, our immortality precludes us from having any liability imposed upon us which we do not choose to partake of.

Mortals have no choice of any kind except the choice of whether: “to do or not to do” whenever opportunity arrives and knocks on our door of conscientious attention-span. Immortals have an infinite range of choices to choose from. Predestiny is a consequence of mortality. Free-will is exclusively available to immortals. Everything else is a fiction.

As mortals, we are either sinners, or else we are the victim of someone else's sin.

It is a piece of fiction for a physicist to claim that an electrical circuit can exist in isolation and be subject to entropy ...

An isolated system obeys the conservation law that its total energy–mass stays constant. Most often, in thermodynamics, mass and energy are treated as separately conserved.

Because of the requirement of enclosure, and the near ubiquity of gravity, strictly and ideally isolated systems do not actually occur in experiments or in nature. Though very useful, they are strictly hypothetical.

Classical thermodynamics is usually presented as postulating the existence of isolated systems. It is also usually presented as the fruit of experience. Obviously, no experience has been reported of an ideally isolated system.

It is a consequential lie to claim that Current, can be (or, must be) Conserved. These are fictions born of the mind of man.

Perpetual motion of machines is a fiction born and sustained by the imagination of physicists. This, along with the idea of the Conservation of Energy, plus its root cause emanating from the imaginary fiction of an isolated system of energy, are all lies we tell ourselves.

It is, however, the fruit of experience that some physical systems, including isolated ones, do seem to reach their own states of internal thermodynamic equilibrium. Classical thermodynamics postulates the existence of systems in their own states of internal thermodynamic equilibrium. This postulate is a very useful idealization. [Editor's note: In other words, “a very useful idealization” becomes a self-fulfilling proposition born of a circular argument which makes it acceptable to choose theft over honest toil – see, next quotation, below.]

To glamorize this particular flavor of the “fruit of experience,” and to elevate this fictional ability for some isolated systems to reach their own state of equilibrium, we impose standards based on these lies in order to transform these lies into self-fulfilling errors of judgment. These standards require that we add the amount of energy which will run our appliance to its losses and supply this total assessment of energy to our appliance for it to sustain itself. This is a presumption; this is not a truth. The only reason it is a law is to ensure the continuation of this presumption as a self-fulfilling proposition born of a circular argument ...

... as Bertrand Russell observed, “The method of ‘postulating’ what we want has many advantages ; they are the same as the advantages of theft over honest toil.”

In reality, circuits steal energy from every other circuit in existence or else circuits supply all of their energy requirements from sources of energy which exist outside of themselves. Either way, we get away with assuming that energy is  fictionally conserved whether or not we  actually account for all of it.

Don't get me wrong; please don't misunderstand me. I'm not against theft, for theft is practically a requirement imposed upon the impoverished intended for their short-term survival in lieu of any long-range plan of extrication. What I am against are the lies which are used by the thief to hide his/her theft from any scrutiny. For with these lies, we become idiots.

If we lie about our sin, then we throw away our integrity. But, if we're honest about our sin, then we must have a very good reason for engaging in something that we know ahead of time is wrong.

Thus, I must beg to differ whenever the United States Patent Office, or any other patent office of foreign countries, claims they don't want to look at an inventor's submission if it purports to generate more output than its input since (they claim) that this violates the laws of physics (namely, the first and/or second law of thermodynamics plus the conservation laws of current and charge). I must protest their gross violation of logic because they are misrepresenting the inventor's device by implying that it is an isolated universe, for only an isolated universe (complete unto itself) could be an isolated system of energy, and only an isolated system of energy could possibly support the first and second laws of thermodynamics plus the conservation laws of current and charge. Anything, and I mean anything, inside of any universe (and, thus, comprising a mere portion of that universe) cannot possibly support these so-called laws of physics because this would be a violation of the definitions of these laws (predicated, such as they are, upon isolated systems of energy).

No scientist has ever managed to completely isolate an experiment.  Never ! It has never happened.

Yet, the patent office expects from the inventor what they, the patent office, has never accomplished, themselves! '''    Bogus! '''

The Lies We Keep Telling Ourselves Become Truths
It may not be possible to create an isolated system. The universe, this universe in which we reside, may not be an isolated system for the following two examples ...

Tat Wale Baba, an Indian Yogi, was considered by his peers to be indisputably accomplished in the artistry of Vedanta in which: “I am That (Immutable, Eternal Being), thou art That, [and] all [of] this [universe] is That.”

While India was still under British rule (not too long ago), a British dude came to visit with Tat Wale for the purpose of becoming Tat Wale's devotee. So, to test Tat Wale's state of accomplishment, this British dude asked Tat Wale to perform a miracle to demonstrate Tat Wale's state of consciousness. So, Tat Wale put his two hands together as if he were making namaste, and then he drew his two hands apart. And in the space between his two hands had formed a galaxy swirling around and hanging there in the space between his two hands.

Well, ...     The British dude freaked out and ran away!

Another example, ...     When Eric Dollard was a teenager, he'd meet with his friends in the garage of his parent's home for the purpose of performing their latest experiments in electricity. They had decided, on this one series of occasions, to take burnt out bulbs (which the city of San Francisco had removed from its streetlamps) and subject them to high intensity electrical oscillations while the bulb was held in the null space between the opposing poles of two coils. There, in that neutral zone, appeared within the bulb a swirling galaxy for a few seconds until the bulb couldn't take the buildup of pressure anymore and burst. And for a fraction of a second after the bulb had burst, this galaxy continued to swirl around without any boundaries of glass or whatever to hold it there before it eventually winked out.

In both of these examples, someone is pumping electromagnetic and/or electrostatic energy into each of these two galaxies to keep them alive and form them in the first place. They are not isolated systems. Consequently, I have to doubt that our Creator does any differently with our Universe. I seriously doubt that our universe is an isolated system of energy. So, on this basis, I have to say that the dreamy-eyed imagination of the physicist's fantasy that our universe is isolated from everything (and everyone) else is a lie which we have been telling to ourselves for so many years that we have forgotten that it was just an hypothesis when it first began within the mind of the physicist.

The Aura of a Yogi
The aura of a yogi is an indication of how much life force he has focused and accumulated, by way of extraction, from his environment into his body.

Upon the death of a yogi's body, this aura disperses back into the environment from which it was extracted. Hence, it could be said that a yogi has dispossessed the environment from some of its life force during that yogi's lifetime and the yogi allows the environment to repossess all of his life force upon his death.

What composes the environment of a yogi? All of the living creatures who exist within the biosphere of a yogi's environment including the Earth Spirit, Herself.

Hence, a yogi temporarily steals (borrows) energy, in the format of life force, from his environment until he is done using it upon his death.

And if a single, or several, devotees of this yogi are lucky enough to garner the attention of this accomplished yogi, then during that yogi's lifetime, all of these devotees will enjoy the benefit of that tremendous life force while the yogi is alive. This is called: the grace of the yogi, or in the Sanskrit it is rendered as: 'darshan'. Once that yogi passes away, all of that beneficial life force which each and every devotee of that yogi had enjoyed while their master was alive, will return to the yogi's environment and each of his devotees will suddenly become devoid of the 'grace of their master.'

If you wish, you may substitute the term of: 'parent' or 'teacher' in place of 'yogi' and replace: 'devotee' with 'child' or 'student'. They all amount to the same set of relationships.

I merely wish to point out how similar is our life by comparison to the lifespan of a 'free energy' circuit. It is not necessary to exclusively understand engineering without recourse to everyday commonplace experience if we truly understand our topic.


text:
User:Vinyasi/sandbox/Free Energy does not Exist/Opening Statement

I have to concede that so-called Free Energy is merely the unaccountable theft of energy from outside of any system of so-called free energy, such as: a circuit which purports to possess an output which is greater than its input, is actually failing to account for the energy which it is stealing from its surroundings.

This admission leads to a conclusion that science is Godless, namely: that science refuses to admit that its precious Conservation of Energy is not a Law due to the non-isolation of systems of energy conceded in the Wikipedian article, entitled: Isolated system. Consequently, thermodynamic entropy is a lie due to the presumption which physics imposes upon our Universe that this Universe is probably isolated from everything else other than itself when science already concedes that  nothing has been found to be isolated  and thermodynamics depends upon isolation of energy systems in order to be useful for their analysis.

Just because an idea is useful doesn't make it a fact!

This makes our presumption of the probable isolation of our Universe a hypocritical lie.

So, ...     We're worse than Godless! We're hypocrites!

Here's another example of our Godlessness, ...

Mathematics officially refuses to admit that unity (the number one) is the first and simplest prime number. In other words, mathematicians refuse to admit that the smallest number which cannot be divided by anything other than itself and the number one is also the number one! I found merely one book, forty years ago, in the mathematics section of the Powell Library at UCLA which admitted to sharing my perspective that unity is the first prime number.

The whole problem with our definition of primality is how we word it due to worrying about whether our definition is also suitable for all higher orders of the complexity and breadth of the broad topic of number theory. These higher orders of number theory have no relevance to the simple definition of primality which should restrict itself to itself and extend itself no further. Because primality is a mathematical statement of a number which has no relation to any other number, ie. no equivalence to any other number, other than possessing a relationship towards itself. Hence, primality is merely a byproduct of a self-relevant number whose first and smallest element (of the set of self-relevant numbers) is the number 1. Divisibility, or any other beneficial property, is not relevant to the definition of primality. Again, utilization is not a fact; it is merely a beneficial property (aka, a useful byproduct) of a fact. We have lost sight of the root-causation of primality and of the root-causation of systems of energy and probably for a lot of other topics within various fields of science as well!

Thus, ...     The divisors of the number 5 are 5 and 1 making both 5 and 1 prime by association of two equivalent types of numbers both of which belong to the same set of a pair of numbers which are the smallest divisors of the number 5. To say that the number 1 is somehow different than the number 5 is to suggest its exclusion from the divisor test for primality and further suggests that the number 5 could be excluded as well by some trickery of logic (aka, hypocrisy) ...

A prime number (or a prime) is a natural number greater than 1 that is not a product of two smaller natural numbers. A natural number greater than 1 that is not prime is called a composite number. For example, 5 is prime because the only ways of writing it as a product, 1 × 5 or 5 × 1, involve 5 itself [and the number 1].

To exclude the number 1 from a definition of primality (in the quotation, above, from its Wikipedian article on primes) and then (in the same sentence) include the number 1 as participating in the only possible factorization of a prime number is nothing less than a self-contradiction amounting to, yet, another example of the Godlessness of science occurring in our modern world!

How much more sinfully complicated need this become?

Only when we lie do we spin complicated webs of intrigue when we should be keeping everything as simple as can be.

Unity is also the first of an infinite series of Golden Ratios found by dividing the length of the side of the smallest odd-sided equilateral polygon, namely: a triangle, by the length of its base yielding the number one.

This refusal, on the part of mathematicians, that unity is the first and smallest prime number is like saying that the Universe does not exist as the result of the act of creation of a singular Supreme Being making mathematics another Godless branch of science.

In other words, I must do what science refuses to do. In order to accurately account for the energy of a so-called: free energy circuit, I must admit to our dependency upon something else which is outside of our self, namely: not equal to our self.

Hence, my overall assessment of so-called: Free Energy is pseudoscience since science demands hypocrisy of itself which makes me non-scientific by exclusion from the act of hypocrisy!

You know what I think? Empty space is the closest thing we'll ever get to concede as being the singular, first-cause of our Universe.

I am finished!


text:
User:Vinyasi/sandbox/Free Energy does not Exist/How much Energy Does it Take to Operate Reactance (also known as Reactive Power)

Answer ...     It takes an indeterminate quantity of energy to operate reactance. It takes some energy, but the actual required amount may vary or be irrelevant due to the parametric property of certain types of reactance.

But just because the quantity of reactance may not matter does not make it possible to do away with it altogether unless we make up the difference with an unlimited supply of energy (and money to pay for that energy) to operate a non-reactive, or semi-reactive, appliance.

If we make an analogy between energetic water flowing within a reactive medium such as through a conduit (pipe) representing current flowing through a conductor (possessing inductance), then either an infinite amount of time or an infinitely large pipe will single-handedly be capable of conducting an unlimited quantity of water through that pipe.

And, since time is regulated by the frequency of oscillations and also regulates the phase relations between voltage and current, time is another factor of reactance besides capacitance and inductance. Thus, we have four factors to regulate the pumping of energy against a gradient of impedance – not by fighting that gradient, but – by effortlessly reversing current under certain conditions.

And, since the size of a pipe can be enlarged, its equivalency of inductance within a conductive medium may also be enlarged to any size desired, to accommodate any quantity of water which is carried within a pipe or any quantity of current within a conductor in any shortness of transit-time.

Think of a heat pump. It pumps water against a gradient of greater heat to increase that heat. Thus, it should (theoretically at least) get harder and harder to pump against an ever-increasing gradient of escalating heat, yes?

That's what happens if we ignore the power of reactance and focus all of our effort upon energetically pumping energy against a gradient, namely: against impedance.

But with the reversal of current, the opposite happens. It gets easier and easier to reactively pump energy against an ever-increasing voltage due to the constant acceleration of pumping action brought about by escalating reactances.

There are four reactances that we may manipulate to achieve these results. They are: mutual inductance, self-inductance, mutual capacitance and self-capacitance.

The mutual varieties of inductance and capacitance are an interesting pair of reactances, for they are inverses of each other. In other words, whenever mutual inductance is high, mutual capacitance is low. And, whenever mutual capacitance is high, mutual inductance is low.

If mutual reactances appear at all (and they, usually, always do), then they always appear together at the same time. They are never capable of entirely excluding each other. It is impossible for a circuit to possess mutual inductance without also possessing mutual capacitance.

In other words, ...     An elevated magnetic coupling will possess an elevated mutual inductance while, at the same time, (it may be inferred that) a depressed mutual capacitance is also taking place. Likewise, whenever a very weak coupling among inductors takes place, mutual capacitance becomes elevated. Since the interactions among inductors is complex, it is an over-simplification to ignore their mutual capacitances varying over time along with variations of their mutual inductances. And it is impossible for mutual reactance to have no impact upon self-reactance. So, the mutuality of reactance guides the outcome of self-reactance.

This is analogous to how messenger RNA can affect the outcome of gene expression despite the physicality of the DNA due to an endless list of factors, not the least of which are: stress, the weather, poor nutrition, lack of sleep, etc.

These two properties of mutual reactance trump the self-referral versions in that, for some uncanny reason, mutual reactance may escalate, or diminish, over time even though self-reactance cannot. Mutual reactances are, thus: parametric.

Go, figure!


text:
Cookbook:Frangipane

Frangipane, sometimes also called almond cream, is a sweet filling typically based on almonds and enriched with butter and eggs.

Composition
All frangipanes are based on sweetened enriched ground nuts, usually almonds. There are, however, two main styles. The first style creams ground nuts or nut paste with eggs and butter, and it is sometimes supplemented with a small amount of flour—this style contains raw eggs and must be cooked, usually by baking. The second style enriches the nuts with pastry cream, and it does not need to be cooked. Both styles may be further flavored with liqueurs, extracts, and other flavorings.

Almonds are the most traditional nut to use, but walnuts, hazelnuts, and pistachios can be used as well.

Use
Frangipane has a variety of uses in pastry. It is commonly used to fill tart shells and flaky pastries like pithiviers, croissants, and galette des rois. It is also served with French toast to make the dish bostock.

title: Cookbook:Frangipane


text:
User talk:Happygirl444

--Xania   talk 03:13, 12 January 2023 (UTC)

title: User talk:Happygirl444


text: Category:Book:History of Ballet

title: Category:Book:History of Ballet


text:
User talk:194.74.241.226

Recent edits
—Kittycataclysm (discuss • contribs) 13:03, 12 January 2023 (UTC)

title: User talk:194.74.241.226


text:
User talk:2405:201:C00F:C87F:29A8:D7D4:B3F:5903

Recent edits
—Kittycataclysm (discuss • contribs) 13:08, 12 January 2023 (UTC)


text:
Cookbook:Potato Snow

Ingredients

 * White potatoes

Procedure

 * 1) Put the potatoes in a pot, and cover them with cold water.
 * 2) Put the pot on the stove, and bring to a boil.
 * 3) Cook the potatoes until they begin to crack.
 * 4) Drain the potatoes, and place them in a pan by a fire or in the oven until they are quite dry and fall to pieces.
 * 5) Rub the potatoes through a wire sieve onto a serving dish.
 * 6) Serve immediately.

title: Cookbook:Potato Snow


text:
Cookbook:Potato Pie

Ingredients

 * 1 lb potatoes
 * ¾ ounce chopped onion
 * Salt
 * Pepper
 * 2 ounces butter, chopped
 * Puff pastry, rolled out ⅛ inch thick

Procedure

 * 1) Peel and slice your potatoes very thin.
 * 2) Layer the potatoes in a pie dish, adding some onion, salt, and pepper between each layer.
 * 3) Add a dash of water to the potatoes, and scatter the chopped butter over top.
 * 4) Cover the filling with the rolled-out puff pastry.
 * 5) Bake at 375°F until golden and cooked through (about 1½ hours).

title: Cookbook:Potato Pie


text:
Cookbook:Roasted Potatoes

Ingredients

 * Potatoes, all the same size

Procedure

 * 1) Wash and dry the potatoes.
 * 2) Place the potatoes in a Dutch oven.
 * 3) Place the Dutch oven near an open fire or in a hot oven.
 * 4) Roast until cooked through.

title: Cookbook:Roasted Potatoes


text:
Cookbook:Boiled Potatoes

Ingredients

 * Potatoes

Procedure

 * 1) Wash the potatoes.
 * 2) Fill a saucepan half full of potatoes of equal size—larger potatoes can be halved or otherwise cut up.
 * 3) Add enough cold water to cover the potatoes by 1 inch.
 * 4) Bring the pot to a boil, then let simmer slowly until they are soft enough to be gently pierced by a fork.
 * 5) Drain away the water, uncover the saucepan, and place them over very low heat or in the oven to let the excess moisture evaporate.

Notes, tips, and variations

 * You can cover the potatoes with a folded napkin to keep them hot.
 * Moderate-sized potatoes will generally be done in 15 or 20 minutes.
 * Potatoes are often spoiled by too much water; they must merely be covered, with a little allowed for waste in boiling.
 * Potatoes boiled and broiled: after boiling the potatoes, broil them or cook them over a grill until brown all over. Serve with melted butter.

title: Cookbook:Boiled Potatoes


text:
Cookbook:Fried Potato Slices

Ingredients

 * Large potatoes, peeled
 * Lard
 * Salt

Procedure

 * 1) Slice the potatoes about ¼ inch thick, or cut them in shavings round and round like you would peel a lemon.
 * 2) Dry potato well in a clean cloth.
 * 3) Heat a good amount lard in a clean pan over medium-high heat.
 * 4) Add the potatoes to the hot lard, and shallow-fry them until crisp, stirring continuously.
 * 5) Remove the potatoes, and drain any excess oil off using a sieve.
 * 6) Season with salt to taste, and serve hot.

title: Cookbook:Fried Potato Slices


text:
Cookbook:Potato Balls

Ingredients

 * Mashed potatoes
 * Egg yolk
 * Egg, beaten
 * Flour
 * Breadcrumbs
 * Drippings or other fat/oil

Procedure

 * 1) Combine the mashed potatoes and egg yolk.
 * 2) Roll the potato mixture into balls.
 * 3) Dip the balls in the beaten egg, then coat with flour or breadcrumbs.
 * 4) Fry the balls in the drippings until golden.

title: Cookbook:Potato Balls


text: User talk:James3141592

title: User talk:James3141592


text:
Category:Pages that use a deprecated format of the chem tags

__HIDDENCAT__


text:
Category:TemplateStyles stylesheets with errors

__HIDDENCAT__


text:
Category:Documentation subpages without corresponding pages

__HIDDENCAT__


text:
Category:Pages using div col with small parameter

__HIDDENCAT__


text:
Category:Pages containing cite templates with deprecated parameters

__HIDDENCAT__


text:
Category:Pages which use score

__HIDDENCAT__

title: Category:Pages which use score


text:
Category:Module documentation pages

__HIDDENCAT__

title: Category:Module documentation pages


text:
Category:Pages with maps

__HIDDENCAT__

title: Category:Pages with maps


text: Category:Templates using TemplateStyles

title: Category:Templates using TemplateStyles


text:
Category:Test cases using output parameter

__HIDDENCAT__


text:
Category:Pages using sidebar with the child parameter

__HIDDENCAT__


text:
Cookbook:Apple-Pear Crumble

Filling

 * 2–4 apples
 * 2 pears
 * 1 pinch of sugar (optional)
 * 1 pinch of ground cinnamon (optional)

Topping

 * ¼ cup all-purpose flour
 * ¾ cup brown sugar
 * ¼ cup margarine or butter
 * ½ cup rolled oats
 * Dash of salt

Procedure

 * 1) Preheat oven to 375 °F.
 * 2) Grease bottom of large casserole dish with some margarine.
 * 3) Combine filling ingredients together and pour into casserole dish.
 * 4) Combine topping ingredients together.
 * 5) Layer topping on top of apple/pear mixture.
 * 6) Bake uncovered in the middle of the preheated oven for 35–40 minutes, until bubbling and lightly brown on top.

Notes, tips, and variations

 * Topping amount may be doubled if desired.
 * You may substitute more apples for the pears if desired.

title: Cookbook:Apple-Pear Crumble


text:
Cookbook:Quick Risotto

When really pressed for time, the following recipe will produce a reasonable semblance of risotto within ten minutes.

Ingredients

 * Stock
 * Butter
 * Arborio or other risotto rice
 * Seasonings, as desired

Procedure

 * 1) Place a pot over strong heat and pour in the stock to boil. You will need twice as much stock as the rice to be cooked (e.g. 2 cups of stock for 1 cup of dry rice).
 * 2) Place a second pot over strong heat and drop in some butter.
 * 3) Once the butter in the first pot has melted, pour in the rice and start sautéing it, stirring continuously with a wooden spoon. The butter will soon start to froth. Extra seasonings can also be added at this point.
 * 4) By this time, the stock will have started boiling. Pour it into the pot with the rice (caution: this produces hot steam suddenly), stir well to make sure that no rice has stuck on the inside of the pot, cover the pot, and switch off the heat.
 * 5) Leave alone for 5–7 minutes, then serve.

title: Cookbook:Quick Risotto


text:
Talk:Antiracist Activism for Teachers and Students/White Activists/Nationally Known

Tim Wise, Paula Rothenberg, and Barbara Beckwith are not white, they're jewish
Title. One should not be able to claim an ethnicity just because it's politically convenient to do so to try to shame that ethnicity. This is not a canard either they all say they're jewish, not white. Sources: https://www.wbur.org/cognoscenti/2015/04/28/unphased-by-jewish-prejudice-barbara-beckwith https://paulamich.blogspot.com/2007/03/rothenberg-ch-4-how-jews-became-white.html https://en.wikipedia.org/wiki/Tim_Wise#cite_note-18

so like what do you guys mean by this

what am I supposed to derive from this as a white person (actually white person) because these people again say they are not white unless they're trying to make some kind of point

you can go ahead and delete this and revert the miniscule edits I made but I think that kind of would call into question why there's such a push to call these jewish people white

why does it matter so much that they are considered something they aren't by people who are, is there some sort of political reasoning for that maybe?

also do be aware I'm going to upload this discussion page to the internet archive periodically, that a factual history may be maintained of it in the event of memory holing, I have done this before with farces like this https://web.archive.org/web/20221110204458/https://en.m.wikipedia.org/wiki/Anti-white_racism

why can't I even get an article about racism against me but other people can claim to be me to put me down? 97.94.230.26 (discuss) 07:31, 15 January 2023 (UTC)


text:
User:MathXplore/common.js

mw.loader.load('https://en.wikipedia.org/w/index.php?action=raw&ctype=text/javascript&title=User:MusikAnimal/nightpedia.js'); mw.loader.load('https://commons.wikimedia.org/w/index.php?title=User:Jack_who_built_the_house/convenientDiscussions.js&action=raw&ctype=text/javascript'); mw.loader.load( '//ja.wikipedia.org/w/index.php?title=User:Waiesu/Clock.js&action=raw&ctype=text/javascript' ); mw.loader.load('https://en.wikibooks.org/w/index.php?title=User:Uziel302/typo.js&action=raw&ctype=text/javascript'); mw.loader.load('//en.wikibooks.org/w/index.php?title=User:L10nM4st3r/ReportUser.js&action=raw&ctype=text/javascript'); mw.loader.load('//en.wikibooks.org/w/index.php?title=User:1234qwer1234qwer4/warnings.js&action=raw&ctype=text/javascript'); mw.loader.load('//en.wikibooks.org/w/index.php?title=User:1234qwer1234qwer4/BookCat.js&action=raw&ctype=text/javascript'); var bookCatAJAX = true; // /* Cat-a-lot - changes category of multiple files */ mw.loader.using(['jquery.ui', 'mediawiki.util'], function{	mw.loader.load('//commons.wikimedia.org/w/load.php?modules=ext.gadget.Cat-a-lot'); }); ////////// Cat-a-lot user preferences ////////// window.catALotPrefs = {"watchlist":"preferences","minor":true,"editpages":true,"docleanup":false,"subcatcount":10}; ////////////////////////////////////catALotEnd// //

title: User:MathXplore/common.js


text:
JavaScript/Exercises

You can solidify your JavaScript knowledge with some additional exercises and games. The pages don't offer additional information; they use the already shown language aspects plus access to the DOM tree.

To keep everything manageable within a WikiBook, we put the source code always into one file. You may divide it into different files on your computer, e.g., separate HTML-, CSS-, JS-, and image-files. For the same reason, the examples don't use any games engine, framework, library, or server access. They are standalone scripts that need nothing but a browser.

The examples are divided into two groups. The first group doesn't use a graphical context. They rely purely on events and pure HTML elements like text, buttons, links, or colors. The second group additionally contains a. Within such a, you can use graphical elements like circles, rectangles, lines, ...

Non-graphical examples

 * Guess a number
 * Check your reaction time
 * TicTacToe

Examples with graphic

 * Introduction
 * Speed; Detect collisions
 * Moving Walls

title: JavaScript/Exercises


text:
JavaScript/Exercises/GuessNumber

Guess a hidden number

The app chooses a random number and asks the user to guess it. The user has a limited number of attempts.

First, we need an HTML file plus CSS to realize the user interface. It shall contain:
 * A caption
 * A short description of the game
 * A text area to read the user's attempts plus a button to send the user's input to the app
 * Another text area where the app gives a response to the user, e.g.:
 * * The hidden number is smaller
 * * The hidden number is greater
 * * Bingo! That's the hidden number

 * A button to 'reset' the game
 * A button to unfold the random number

 * At this stage, the HTML doesn't contain any event definition or JavaScript.

The HTML might look like this:

Next, you develop the app's logic by adding events to buttons and functions within the  element.
 * To generate a random number you can use.
 * The HTML  element shall contain an   event whose event handler initializes the game. The same function is called when 'reset' is pressed.
 * To get access to the two text areas, they must have an  attribute.
 * Read from and write to the text areas via 'value':.

All in all, the app might look like this:

Hint: The user can find the number with a maximum of 6 questions if he uses the strategy of BinarySearch: he always has to answer with the average of the current known lower and upper limit, which is 30 in the beginning. If the hidden number is greater, he shall answer 45. If it's smaller 15, ... .

title: JavaScript/Exercises/GuessNumber


text:
JavaScript/Exercises/TicTacToe

TicTacToe

TicTacToe is a game for two players. They choose fields out of a 3 x 3 chessboard.

First, we need an HTML file plus CSS to realize the user interface. It shall contain:

 * A caption
 * A container with nine buttons arranged in a 3 x 3 chessboard
 * Two button  and a button   to decide which user starts
 * A  button
 * A textfield to give the users feedbacks about the status of the game

The HTML might look like this:

Next, you develop the app's logic by adding events to buttons and functions within the script element.
 * When the game starts or will be reset, the nine X/O buttons and the feedback area must be cleared.
 * It is helpful when the nine X/O buttons call the same event handler.  delivers the ID of the button and via   this button is reachable.
 * Whenever one of the nine X/O buttons is clicked, this button must be protected against further clicks.
 * We need a function that decides whether a line, a row, or a diagonal (8 possibilities) contains 3 'X's respectively 3 'O's.
 * Consider the case that no one wins.

All in all, the app might look like this:

title: JavaScript/Exercises/TicTacToe


text:
Oberon/ETH Oberon/2.3.7/Compiler.Tool

The Oberon compiler Compiler.Compile *	Compiler.Compile *\f Compiler.Compile *\s	Compiler.Compile ^ Compiler.Compile @	Compiler.Compile ~ Compiler Options: (default values in parenthesis) f	 find error position (select PC line in Trap viewer) s 	allow generation of new symbol file (off) e	 allow extension of symbol file (off) x 	index check (on) v 	overflow check (off) t 	type check (on) a 	ASSERT evaluation (on) p 	initialize local pointer variables (on) z 	also initialize other local variables (on) w	 show warnings (off) 1	 compile only Oberon-1 with dyn. arrays (off) 2	 compile Oberon-2 extensions (off) S	 allow importing of SYSTEM (on) Px	 prefix input & output .Obj files with x 	Ox	 prefix output .Obj file with x The Oberon Definition Browser Browser.ShowDef ^ Browser.ShowDef \e ^ Browser.ShowDef \d ^ Browser Options: \e: expand types \d : show detailed information (entry numbers, offsets, keys, etc)

title: Oberon/ETH Oberon/2.3.7/Compiler.Tool


text: Oberon/ETH Oberon/2.3.7/FTP.Tool

title: Oberon/ETH Oberon/2.3.7/FTP.Tool


text:
Piano Solo Music: An Encyclopedia/Composers born in the 19th century/Polovinkin, Leonid

Compositions for piano solo by Leonid Polovinkin

 * Chansons-Mazurkas 1 - 3
 * Children's Pieces 1 - 5
 * Dances 1 - 5
 * Dances of the Puzzles
 * Dernière sonate
 * Divertimento no. 1
 * Divertimento no. 2
 * Dzuba [YouTube]
 * Elegia e Allegro Fugato
 * Événements 1 - 2, op. 5 [YouTube]
 * Événements 1 - 2, op. 12
 * Événement no. 3, op. 10
 * Événement no. 7 [YouTube] [YouTube ] [YouTube]
 * Foxtrot [YouTube]
 * Humoresque no. 1 [YouTube]
 * Humoresque no. 2 [YouTube]
 * Les Attraits [YouTube]
 * Lyrical Dance, op. 21 no. 2 [YouTube]
 * Novelle ironique
 * Mazurka [YouTube]
 * Mazurka, op. 2 no. 3
 * Mazurka in F sharp major
 * Nocturnes 1 - 2
 * Piano sonata no. 1, op. 1
 * Piano sonata no. 2, op. 13
 * Piano sonata no. 3, op. 15
 * Piano sonata no. 4, op. 18 [YouTube]
 * Pieces 1 - 3, op. 9 [YouTube]
 * Pieces 1 - 4, op. 20
 * Pieces 1 - 6, op. 30 [YouTube] [YouTube] [YouTube]
 * Postludes 1 - 24 [YouTube] [YouTube] [YouTube] [YouTube] [YouTube] [YouTube] [YouTube] [YouTube]
 * Rhapsody
 * Seventh Event [YouTube]
 * Toccata [YouTube]
 * Waltzes 1 - 4


text: Category:Cross-browser compatibility templates


text:
Category:Pages with graphs

__HIDDENCAT__

title: Category:Pages with graphs


text: Category:Templates with coordinates fields


text: Category:Succession templates

title: Category:Succession templates


text:
User:Shushmaster25

hello my name is tyler

title: User:Shushmaster25


text:
Cookbook:20-Ingredient Brownies

20-ingredient brownies is a dessert containing 20 ingredients. It is adapted from recipe from the YouTube channel Tasty.

Brownie

 * 1½ cups (275 g / 10 oz) brown sugar
 * 1 cup (200 g / 7 oz) white granulated sugar
 * 3 sticks (375 g / 13 oz) butter, melted
 * 4 ea. (200 g) eggs
 * 2 teaspoons salt
 * 1 tablespoon vanilla extract
 * 8 oz (227 g) dark chocolate
 * 1½ cups (200 g / 7 oz) all-purpose flour
 * ½ cup (60 g / 2 oz) dutch processed cocoa powder
 * 8 oz (227 g) semisweet chocolate, chopped

Topping

 * 16 oz (450 g) cream cheese
 * 1 cup (300 g / 10.5 oz) mascarpone cheese
 * ½ cup (110 g / 4 oz) white granulated sugar
 * 1 teaspoon vanilla extract
 * 1 ea. (50 g) egg
 * 2 tablespoons milk

Frosting

 * 11 oz (310 g) chocolate
 * 11 oz (330 ml / 1⅓ cups) heavy cream, heated
 * 1 teaspoon salt
 * Flaky salt to garnish

Brownie

 * 1) Preheat the oven to 180°C (356°F). Line a 33 x 23 cm (13 x 9-inch) baking pan with parchment.
 * 2) Melt dark chocolate in microwave using 30-second bursts. Leave it to cool.
 * 3) Beat the butter and sugars in a large bowl until combined.
 * 4) Beat in the eggs, salt and vanilla, then beat in the melted chocolate.
 * 5) Fold in the flour and cocoa, then the chopped chocolate.
 * 6) Pour the mixture into the lined baking pan.
 * 7) Bake for 25 minutes.

Topping

 * 1) Meanwhile, make the topping by beating the cheeses in a medium-sized bowl until soft.
 * 2) Beat in the sugar and vanilla, then beat in the egg and milk.
 * 3) Take the brownie out of the oven after the 25 minutes of baking.
 * 4) Pour the mixture over the brownie and bake for a further 30 minutes.
 * 5) Take the brownie out of the oven and leave it to cool.

Frosting

 * 1) Make the ganache by mixing together the chocolate, hot cream and salt in a bowl until melted.
 * 2) Pour the ganache over the brownie and chill in the fridge for at least a few hours until set.
 * 3) Sprinkle the brownie with a light sprinkle of salt.
 * 4) Trim the brownie and cut into 15 squares.

title: Cookbook:20-Ingredient Brownies


text:
User talk:181.176.108.48

Jan 2023
Xeverything11 (discuss • contribs) 15:30, 16 January 2023 (UTC)

title: User talk:181.176.108.48


text:
User:Slaythe

I am Slaythe, the One who maths. I known by multiple towns and cities such as Englishton (English Wikipedia) and Lessgood-atenglish (Simple English Wikipedia).

title: User:Slaythe


text:
User:Wikialdenn

Hey guys, i'm Alden

title: User:Wikialdenn


text:
User talk:Bashstash01

Welcome
Welcome to Wikibooks, Bashstash01!

 First steps tutorial Wikibooks is for collaborative development of free textbooks.

You do not need technical skills to contribute. You can easily change most books. Please introduce yourself, and let us know what interests you.

If you already contribute at other Wikimedia projects, our Wikimedia Orientation should quickly get you started.

  Getting help
 * Read the Using Wikibooks book for a friendly introduction to the project, or our help pages for more information.
 * You can get friendly help from the community in the user assistance room or our IRC channel.
 * Upload freely licensed files to Wikimedia Commons. You may request permission to upload fair use files locally. Please include author and source information and a non-free use rationale for non-free files.

  Made a mistake?
 * You can restore a previously saved version.
 * Pages should follow the  naming convention.
 * Need to rename a page? Use the move tab (is available once your account is 4 days old - until then, ask for help).
 * To request a page be deleted, add to the top of the page.
 * Was a page you made deleted? Please read the deletion policy, and check the deletion log to find out why. Also check the RFD archives if applicable. You can request undeletion at WB:RFU, or ask the administrator who deleted the page.

  Goodies, tips and tricks
 * Please fill in the edit summary and preview your edits before saving.
 * Sign your name on discussion pages by typing ~~~~
 * User scripts can make many tasks easier. Look at the Gadgets tab of my preferences; check off the boxes for the scripts you want, and hit save!

(Would you like to provide feedback on this message?) Thanks for the edits on Stardew Valley! 20:27, 16 January 2023 (UTC)

title: User talk:Bashstash01


text:
Talk:Stardew Valley/Secret Notes

Gaps in info

 * 1) 10 hasn't been added in. It is the one after completing "Qi's Challenge", and it says that someone (Mr. Qi) is on the 100th floor of Skull Cavern. The unknown location on #20 is the center of the town square. The time on #21 is actually 12:40 AM. #22 is from Qi, and is about the Battery Pack needed in the tunnel. I am putting this here as I can't figure out how to edit the table. Bashstash01 (discuss • contribs) 20:27, 16 January 2023 (UTC)
 * I will take a look a bit later if nobody else does before me. 21:08, 16 January 2023 (UTC)
 * ✅ much faster than I thought it would be. 21:32, 16 January 2023 (UTC)

title: Talk:Stardew Valley/Secret Notes


text:
Circuit Idea/Try to invent!

= The secret of invention =

Firmly convinced that creative thinking is not cultivated by giving ready-made recipes, we start here a discussion about the highest manifestations of technical creativity - invention, as a series of eight articles under the name The Secret of Invention. It is also open to all young innovators who want to share their inventive experience.

Try to invent!
The new idea! The ways of its emergence are unknown, the difficulties associated with its implementation are countless. And this is not accidental. Every invention essentially negates something that has existed before. The fragile structure, which embodied the new idea, opposes the glamorous and completely perfect machine at first glance, and the unknown eccentric who dared to express the idea - against the famous specialist enjoying recognition. And this struggle has accompanied the development of humanity since its inception until today. Every moment in some corner of the globe, the healing "Eureka!" sounds, followed by the skeptical "No!" Indescribable is the joy of the inventor whose idea overcame the fierce resistance of the old and stood the test of practice. It is also the only reward - the source of one of the greatest human pleasures.

Do you also want to taste the romance of inventive creativity? If you have not tried it yet, don't blame yourself. Many and various are the obstacles in the way of an invention. How to overcome them? That is what you wll learn in this series on invention.

What is an invention anyway? Here we will not interpret the definition given in the Law of Inventions but will try to disprove a widespread misconception.

Many people understand the concept of "invention" as a "pioneering invention", that is, something completely new that marks the beginning of a new field of technology. Thus, the wrong impression is created that an inventor can be, for example, one person in a thousand. This suppresses the desire for creativity, creates self-doubt and prevents the emergence of "small but useful" inventions. In fact, an invention is any new technical solution that satisfies some human needs in a previously unknown way. Inventors can be, for example, the handyman if he invents an original tool or gadget; the radio amateur who solders a circuit with previously unknown properties; the photo enthusiast if he invents an original trick photo device; the housewife who has made a hitherto unknown device to relieve her labor in the kitchen, etc.

Therefore, inventions are not only the radio, the gramophone, the laser, etc., but also quite elementary objects at first glance, in which some trick is embedded. So, an inventor can be anyone in whom even a spark of originality burns and the qualities of an inventive intellect are present. It should be noted that the terms "intelligence" and "inventive intelligence" do not mean the same thing, although in some cases they overlap.

Intelligence, understood in the usual sense, presupposes the ability to think logically, which is of secondary importance when solving inventive tasks. The world of science is known to be full of hard-working, highly intelligent scientists who are nevertheless not "generators" of new ideas.

Inventive intelligence is a special organization of the thought process, which is not so much related to the person's own development as to the ability to take a new look at known things, imaginative thinking, etc. How else can we explain the fact that Edison, who was considered mentally retarded at school, managed to make more than 1000 inventions, several of them pioneering?

Therefore, in order to become an inventor, you do not necessarily have to be a "great" specialist, nor is it required that you have completed a university or secondary education. A large number of inventions (especially so-called "physical inventions") are within the power of a high school or even elementary school student. Time has proven that education does not actually develop inventive intelligence. Its main task is for the student to obtain a certain system of knowledge.

And what happens in practice? You are born with the qualities needed for invention but you lack the knowledge and experience to use them. Later in school you get knowledge but in return the ability to think original has disappeared. This would not happen if teachers more often began their lessons with the question "How can this be done?" instead of "This is how it is done."

With all this in mind, in the next few articles we will tell you about the secrets of invention.

Web resources
Try to Invent! (the original source - motivating the reader to become an inventor)

title: Circuit Idea/Try to invent!


text:
User:Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

Gonna get autoconfirmed in 4 days

title: User:Gonna get autoconfirmed in 4 days


text:
User talk:Getroadgoing2000

Blocked
—Kittycataclysm (discuss • contribs) 03:50, 17 January 2023 (UTC)

title: User talk:Getroadgoing2000


text:
JavaScript/Exercises/ReactionTime

Check your reation time

HTML + CSS
The app shows a grid of 16 green areas. When the game starts, two of these fields change their color to red. Try to click them as fast as possible. Your reaction time is shown at the bottom.

First, we need an HTML file plus CSS to realize the user interface. It shall contain:
 * A caption.
 * A 4 x 4 grid with 16 areas.
 * A button to start the game.
 * A feedback area where the reaction time is shown.

The HTML might look like this:

JavaScript
Next, we have to implement the game's functionality within JavaScript. We need:
 * Variables to store the start and end timestamp.
 * Event handler(s) to react on 'click' events to the areas. It's helpful if all areas use the same event handler instead of having 16 individual event handlers.
 * An event handler to react to the 'Start' button.
 * A function that randomly selects an area and changes its color to red.
 * A function that counts how many areas are red.

The JavaScript part may look like this:

Extensions
You can extend the app in different ways.
 * Make it more complicated by using more areas, smaller areas, or more than two red areas.
 * Show a list of all attempts, possibly sorted by the reaction time.

title: JavaScript/Exercises/ReactionTime


text: Category:Wikidata templates

title: Category:Wikidata templates


text:
User:Designermadsen/books/programming/php

Books about PHP programming.

 * PHP_getting_started_with_OOP


text:
User talk:Designermadsen

Welcome
Welcome to Wikibooks, Designermadsen!

 First steps tutorial Wikibooks is for collaborative development of free textbooks.

You do not need technical skills to contribute. You can easily change most books. Please introduce yourself, and let us know what interests you.

If you already contribute at other Wikimedia projects, our Wikimedia Orientation should quickly get you started.

  Getting help
 * Read the Using Wikibooks book for a friendly introduction to the project, or our help pages for more information.
 * You can get friendly help from the community in the user assistance room or our IRC channel.
 * Upload freely licensed files to Wikimedia Commons. You may request permission to upload fair use files locally. Please include author and source information and a non-free use rationale for non-free files.

  Made a mistake?
 * You can restore a previously saved version.
 * Pages should follow the  naming convention.
 * Need to rename a page? Use the move tab (is available once your account is 4 days old - until then, ask for help).
 * To request a page be deleted, add to the top of the page.
 * Was a page you made deleted? Please read the deletion policy, and check the deletion log to find out why. Also check the RFD archives if applicable. You can request undeletion at WB:RFU, or ask the administrator who deleted the page.

  Goodies, tips and tricks
 * Please fill in the edit summary and preview your edits before saving.
 * Sign your name on discussion pages by typing ~~~~
 * User scripts can make many tasks easier. Look at the Gadgets tab of my preferences; check off the boxes for the scripts you want, and hit save!

(Would you like to provide feedback on this message?) Thanks for your contributions. 10:17, 17 January 2023 (UTC)

title: User talk:Designermadsen


text:
User talk:Vtricia1

Welcome
Welcome to Wikibooks, Vtricia1!

 First steps tutorial Wikibooks is for collaborative development of free textbooks.

You do not need technical skills to contribute. You can easily change most books. Please introduce yourself, and let us know what interests you.

If you already contribute at other Wikimedia projects, our Wikimedia Orientation should quickly get you started.

  Getting help
 * Read the Using Wikibooks book for a friendly introduction to the project, or our help pages for more information.
 * You can get friendly help from the community in the user assistance room or our IRC channel.
 * Upload freely licensed files to Wikimedia Commons. You may request permission to upload fair use files locally. Please include author and source information and a non-free use rationale for non-free files.

  Made a mistake?
 * You can restore a previously saved version.
 * Pages should follow the  naming convention.
 * Need to rename a page? Use the move tab (is available once your account is 4 days old - until then, ask for help).
 * To request a page be deleted, add to the top of the page.
 * Was a page you made deleted? Please read the deletion policy, and check the deletion log to find out why. Also check the RFD archives if applicable. You can request undeletion at WB:RFU, or ask the administrator who deleted the page.

  Goodies, tips and tricks
 * Please fill in the edit summary and preview your edits before saving.
 * Sign your name on discussion pages by typing ~~~~
 * User scripts can make many tasks easier. Look at the Gadgets tab of my preferences; check off the boxes for the scripts you want, and hit save!

(Would you like to provide feedback on this message?) Thanks for your contributions. 10:26, 17 January 2023 (UTC)

title: User talk:Vtricia1


text:
AI Art Generation Handbook/Negative Prompts

Negative prompts work by telling the AI algorithm what NOT to include in the generated image.

Negative prompts in Stable Diffusion can be compared to a painter’s palette of colors. Just as a painter selects colors from their palette to create a painting, when using Stable Diffusion's negative prompts to exclude certain elements from the final image.

Note: As of 2024, in order to generate anatomically realistic people, the prompts are no longer needed or anywhere useful. You can just straight up use the ControlNet

As seen below, if the prompt crafter wants to create a portrait without any green color in it, they can give a negative prompt that instructs the AI model not to use any green color, therefore the AI Art generator will try their best not to use any green colors in generated art.

How to ensure negative prompts work in Fooocus (or other local web UI)
If the negative prompts does not produced reliable results, try the followings: (i) Click Advance checkbox on the bottom of text input area to reveal the hidden settings (ii) In tab Advance Options, recommended increase Guidance Scale to 6 and Image Sharpness to 8 (Generally keep the Image Sharpness within +1 -> +3 max from Guidance Scales for aesthetic, Refer to chapter: SD Settings  . Too high values will either "destroy" the images or waste of computer resources) (iii) In tab Styles, select as few style as possible (In example below is I chooses only Fooocus V2 and Fooocus Photography only for realism photo)

(iv) Try to include as much as possible of the related / synonyms to the keyword you tried to remove. Find online dictionary may help.

Success
Prompt 1 : [1]  [2]    [3]

Partial Success
Prompt 2:

[4]

[5]

[6]

At times, even with negative prompts, they are not considered as successful ( See negative prompt [4]&[5] ) to remove unwanted elements due to the way the dataset of training is curated , which is explained below

Post Mortem Negative Prompts [4]
For example [4], even if the negative prompts explicitly mentions to take out the coral out of image generations, it is still unable to generate an image similiar to the image on right side which is the real images taken in the the diving spots where there is a shoal. AI image models are probably trained on the dataset  which are comprised of corals with the underwater image shots but there are at times where the underwater shots consists nothing but the shoal only or rocks. As the AI model have not yet properly understood the negations , it is better for dataset training to be curated and proper captioning to include underwater shots which have no corals,  coral bleaching  dataset for next round of AI model training that may uses this type of images. For this case, it is better to finetune the AI model  to get what you wanted.

Post Mortem Negative Prompts [5]
As for examples[5], the negative prompt just "painted" above the water shots with corals above the water surface which seems weird and this maybe can be remedied by adding a stronger token / keyword to the positive prompt.

In this case, the prompt were added a special keyword in bold:

Which with the keyword "deep" together with the negative prompts of [5] is able to generate the whole image underwater without the island at the background


text: Talk:AI Art Generation Handbook/Negative Prompts


text:
Circuit Idea/Where to Start

From the previous story of the series The Secret of Invention, it became clear that:
 * Invention is not a supernatural phenomenon.
 * An inventor can be anyone who comes up with an interesting and new idea, no matter how small it may seem.
 * The knowledge gained at school does not automatically lead to inventions but only prepares the ground for its emergence.

We will now consider successively the stages through which an invention passes.

Setting the problem
This stage initiates the creative process, which should ideally lead to the creation of an invention. It can occur in two ways:

In the first way, inventors, figuratively speaking, "wait with folded hands" for the task to come to them. For example, your friend John has an old model car. It lacks a device to signal when the fuel runs out. For this reason, John often stayed on the road and decided to make such a device himself. However, he lacks knowledge and experience, so he turns to you (assuming you are an experienced radio amateur): "Make me an electronic device that will signal when the fuel runs out!"

Attention! You are facing the first danger!

Do not trust problems set by others! They are almost always poorly worded or contain unnecessarily strict restrictions. Usually the goal is rightly chosen but the means to achieve it are wrong. Why should the "electronic" restriction be imposed from the beginning? Are not we used too often to reach for the "tool" of electronics and use it to compensate for the lack of original thinking? The task should be cleared of unnecessary restrictions and take, for example, the following form: "It is necessary, upon reaching a certain level of fuel, to signal to the driver". Note - this is not even a device.

In the second way of setting the problem, the inventor is dissatisfied with "something" and wants to improve it. And really, is not it better to "take aim" at a known device and "expose" its flaws before they even show up? In practice, however, this is very difficult for a number of reasons. First - usually the device is well polished by time and apparently has no flaws (simply because there is nothing better than it). Second, there is a widespread opinion that no one has the right to criticize something if they do not propose a better one. This is one of the most dangerous "brakes" for the emergence of new ideas. Therefore, everyone has the right to doubt the perfection of anything, even if it is the well-known wheel.

Once the problem is correctly formulated, the inventor must imagine the "ideal solution". This is a rather abstract concept that is constructed using the following two rules:
 * 1) Do not think in advance whether it is possible to reach the "ideal solution".
 * 2) Do not think in advance how and in what way the "ideal solution" will be implemented.

In the example we looked at, the "ideal solution" could be phrased like this: "The fuel is just signaling its overrun." In our minds, we imagine the surface of the fuel, which at a given level should emit, for example, an audible signal. Later it may be determined that it is unable to do so, and then we will help it with something, trying to deviate as little as possible from the "ideal solution". This is what an US inventor did, who proposed to drop into the tank 1 (see the figure below) the ball 4, made of light plastic (USA, patent # 3244138). When the fuel level 2 falls below that of the unexpired supply, the ball begins to hit the bottom of the tank and the driver hears an annoying knock. In order not to knock on the side walls, the ball is wrapped along the "equator" with a rubber ring 5, and so that it does not swing, a recess 3 is made at one "pole". A simple, elegant and safe solution.

Waiting for the idea
This second stage of the inventive process (stage "Emergence of the idea"), passes painfully. What is needed to successfully solve it? Above all, a huge store of emotional energy. It will allow you to look at things optimistically and will save you from the skepticism of others and your inner self. Confidence in one's own strength, reaching arrogance, is the first feeling without which success is unthinkable. It should not leave you in the beginning, when those around you laugh at you or convince you that you have taken on an overwhelming task. Don't be surprised if you are thrown remarks like "Are you the smartest..." or "How many people have butted their heads before you and failed, so you..." You will need complete self-confidence and later, after the idea has arisen, when you will hear stories like "It won't work", "It is no use", etc. Persistence and perseverance are the other qualities that inventors must cultivate in themselves. They help to overcome temporary failures and difficulties, do not allow despair to destroy faith in success. These qualities are supported by a deep inner conviction that the work on the particular task is justified and that the invention is useful to society.

Naturally, these feelings cannot control you all the time. The human being is not an automaton, feelings of oppression and despair are also inherent in him. Therefore, you should know your character well, know when and under what circumstances the tone of your creative activity is raised. It is characteristic of these moments that you are overcome with enthusiasm, many ideas come to your head, and all negative phenomena (fatigue, unwillingness to work) give way under the pressure of enthusiasm. Remember well under what circumstances you fall into this "abnormal" state and strive in every possible way to stimulate its emergence. Whether it occurs in the middle of the night or during the day when you are completely alone or in a crowded crowd is immaterial. It is important to "catch" the moment of inspiration and use it to the maximum.

Web resources
Where to Start (the original source - setting the problem and waiting for the solution)

title: Circuit Idea/Where to Start


text:
Chess Opening Theory/1. e4/1...d5/2. exd5/2...Qxd5/3. Nc3/3...Qd8

= Scandinavian Defense: Valencian Variation = The retreat with 3...Qd8 was depicted in Castellvi–Vinyoles: the Valencian Variation, the oldest of all Scandinavian lines. Prior to the 20th century, it was often considered the main line, and was characterized as "best" by Howard Staunton. In the 1960s, 3...Qd8 experienced something of a revival after the move was played in a game by Bronstein against GM Andrija Fuderer in 1959. Bronstein's game featured the older line 4.d4 Nf6, while other grandmasters, including Karl Robatsch, explored fianchetto systems with 4.d4 g6 and a later ...Ng8–h6.

The 3...Qd8 variation as a whole remains playable, although it is now considered somewhat passive. It is played particularly by IMs John Bartholomew and Daniel Lowinger, and by the GMs David Garcia Ilundain and Nikola Djukic.

Theory table
.

1. e4 d5 2. exd5 Qxd5 3.Nc3 Qd8