text:
User:Knihy123knihy

Zajatecký tábor ve Starém Hobzí

Krátce po osvobození zřídila Rudá armáda zajatecký tábor pro maďarské a německé vojáky i nedaleko Korolup. Tábor se nacházel po obou stranách silnice ze Starého Hobzí do Slavonic (na pravé Němci a na levé Maďaři). Podle svědků zde mělo být soustředěno až na 40 000 zajatců, které rudoarmějci postupně přepravovali z vlakového nádraží ve Slavonicích do gulagů na Sibiř. Další velký zajatecký tábor se nacházel u Českého Rudolce. Tábor ve Starém Hobzí fungoval přibližně od 12. května do 16. července 1945. V opuštěném táboře došlo během zneškodňování granátů ve středu 1. srpna 1945 k požáru, jehož následkem zde vyhořelo 20 baráků.[13] „Nedostatek zemědělských pracovních sil se odstraňuje. Na Jemnicku dostalo se pochopením příslušných vojenských činitelů značné pomoci tím, že jim byly přiděleny pracovní síly v uspokojivém množství z tábora vojenských zajatců německých ve Starém Hobzí. Upozorňovali jsme na tuto možnost a rolnictvo jí využilo. Při dobré vůli se dají i ostatní potíže překonati a letošní dobrá sklizeň bude zajištěna.” (Naše Demokracie, 29.06.1945)[14] „Jednu celkem morbidní historku mi vyprávěl pán ze Starého Hobzí, který měl s bratrem pole v blízkosti lágru. Na podzim prý zaorávali pšenici, kterou nikdo nestačil sklidit a sama vypadala. Uprostřed pole našli asi 15 mrtvých německých zajatců. Prý už byli v rozkladu. Zřejmě se prý pokusili o útěk a Rusové je tam popravili a nechali ležet. Střelba v lágru prý byla na denním pořádku. Na moji otázku, co jste s nima udělali, mi odpověděl s absolutním klidem: "No coby, brácha je zavoral". Tady na tom příkladu je vidět vztah Čechů vůči Němcům krátce po válce. Jejich život, ani důstojnost po smrti, neměli absolutně žádnou cenu”. Pracovní tábor ve Šreflové Opustili bez povolení pracovní tábor

„Ve Šreflové opustili 5. července pracovní tábor samovolně Němky 18letá Anna Schneiderová, 17letá Barbora Stolhofrová, 20letá Kateřina Futscheková a 17letá Anna Lampertová, a odešly do Bítova, vzdáleného 7 km od Šreflové. Z této "procházky" se pak vrátily po 19. hodině. Lampertová kromě toho přestupku se dopustila dalšího, když od 19. 6. každé noci přespávala u šafáře Bajgla v Bítově, ač jí i Bajglovi bylo známo, že zdržování se mimo ubikaci, zvláště pak v noci, jest zakázáno. Kromě svrchu uvedených opustila tábor týž den i 17letá Němka Anna Stagerová, která šla na schůzku s Janem Průžou a vrátila se po 22. hod. Všechny Němky i oba Češi Bajgl i Průža nemohli na své ospravedlnění nic udati a byli všichni dodáni do donucovací pracovny ve Znojmě.“ (Deník KSČ ve Znojmě, 14. 7. 1945)

Návraty vyhnaného obyvatelstva

Několik vyhnaných obyvatel z Vratěnína našlo po překročení hranice svá první přístřeší u známých v dolnorakouské příhraniční obci Luden a později v obci Kl. Meiseldorf, kde posádka Rudé armády likvidovala továrnu „Edelweiß”. Jeden z rudoarmějců si vyslechl příběh vyhnaných občanů z Vratěnína a za přítomnosti tlumočníka se rozhodl, že by si dotyční mohli dodatečně něco ze svého majetku zanechaného ve Vratěníně přivést. Tři vratěnínští občané se pak nabídli, že si společně s oběma vojáky Rudé armády nějaký ten majetek pro nutné přežití dovezou a odjeli ve vojenském „Jeepu” do Vratěnína. Hned po příjezdu je obklopil rozlícený dav již nově osídleného obyvatelstva a vojáci Rudé armády zanechali tři německé obyvatele v obci a rychle ujeli. Všichni tři byli zatknuti, přes noc internováni ve Vratěníně a na druhý den odvezeni do pracovního tábora v Moravských Budějovicích, kde byli po dobu šesti týdnů využíváni na zemědělské práce. Teprve po dokončení sklizně, byli znovu přepraveni k hranici a znovu vyhnáni do Dolního Rakouska.[17] Správa obcí

V těsném závěru války vznikl v Jemnici místní revoluční národní výbor ve složení: předseda Jan Doležal (ředitel školy), členové: František Jelínek (dělník), M. Valvoda (okres. soudce), M. Moltl (pošmistr), A. Fiala (dělník), L. Teplík (kaplan), K. Kasárník, (měst. oficiál), T. Chocholouš (dělník), J. Karban (šofér), JUDr. V. Filipský (notář), J. Vrána, J. Schlesinger (stavař), J. Nevěčný (tesař), A. Zacharník (soukromník), P. Hloušek (rolník), Jan Břečka (obchodník), S. Lojka (dělník), V. Brabenec (rolník), K. Nevrkla, J. Máca (dělník). Přibráni byli: Kverek (dělník), St. Svojsík (ředitel hlavní školy), Přívětivý (školník), Jan Knesl (penzista). Také v celém jemnickém soudním okrese docházelo po ukončení války k tzv. „lidové spravedlnosti“, která byla namířena hlavně proti zdejšímu německému obyvatelstvu, žijícímu v pohraničních obcích. Mimořádný lidový soud v Jemnici

Dne 18. května 1945 se revoluční NV v Jemnici dohodl na zřízení lidového soudu se dvěma senáty pod vedením soudního komisaře Jaroslava Schlesingera (člen Československé strany národně socialistické, Sokola a Svazu osvobozených politických vězňů) a Jana Knesla (člen Svazu osvobozených politických vězňů, Svazu přátel SSSR).[20] Revoluční národní výbor (RNV) požadoval, aby při lidových soudech rozhodovali „občané z dělnických vrstev, občané z ostatních vrstev společnosti a též občané věznění německým režimem za politické a vojenské delikty“. V květnových dnech měl revoluční národní výbor a lidový soud v Jemnici na starosti zatýkání, intervenci a trestání válečných zločinců, zrádců a kolaborantů. Podle podacího protokolu soud obdržel přes 180 podání. Fungoval asi měsíc do ukončení odsunu německého obyvatelstva. Na konci června 1945 přebral jeho agendu lidový soud ve Znojmě. Rolnické komise pro osídlení

Ve čtvrtek 21. června 1945 promluvil v rozhlase ministr zemědělství Julius Ďuriš a vyzval k okamžité konfiskaci zemědělského majetku: „Máte již zákon o okamžité konfiskaci a rozdělení německé a zrádcovské půdy. Proveďte okamžitě toto velké dílo. Utvořte ihned místní a okresní rolnické komise z oprávněných uchazečů, zabavte půdu zrádců a nepřátel, dohodněte se na podílech a úhradě a předložte okamžitě své návrhy přes zemské Národní výbory ministerstvu zemědělství.“

V obcích se zemědělskou půdou „německých provinilců a českých zrádců“ měly být z uchazečů o tento majetek okamžitě tvořeny rolnické komise, které by na podkladě „Úředního listu republiky čsl. z 21. června 1945” konfiskovaný majetek osídlovaly. O majetek v pohraničí si mohli zažádat: deputátníci a zemědělští dělníci, malozemědělci s půdou do 14 ha, výrobní zemědělská družstva, pro veřejné účely také obce a okresy, dále dělnici, veřejní a soukromí zaměstnanci, maloživnostníci pro stavbu vlastního domu nebo pro zřízení zahrady nejvýše do výměry půl ha. Přednostní právo měli občané, kteří se vyznamenali v národně osvobozovacím boji, političtí vězňové, jejich rodinní příslušníci, jejich dědici a nakonec rolníci poškození válkou.

Jako první byla ustanovena z popudu „Jednotného svazu českých zemědělců” Okresní rolnická komise (ORK) v Moravských Budějovicích, která zpracovávala přihlášky zájemců o usazení v pohraničí. Předsedou Okresní rolnické komise byl jmenován František Klimeš. Při MNV v Mor. Budějovicích vznikla zemědělská komise, která rozhodovala o parcelačním řízení zemědělské půdy v jejím katastru. Komisi předsedal Karel Římovský. Pohraniční obce na jihozápadní Moravě byly ale osídleny mnohem dříve. Valná většina německého majetku se nacházela již na konci června a začátku července 1945 pod národní správou. Opět jedna z pohraničí

Na dům čp. 31 v Bělčovicích dostal dekret svědomitý hospodář Ant. Marek. Usedlost je uvedena do náležitého pořádku a snad proto projevil o ni zájem někdo jiný a nebo proto, že A. Marek není příslušníkem komunistické strany. V úterý večer přijel k p. Markovi úředník pozemkového fondu pan L. Horák a žádal předložení dekretu. Otec A. Marka dekret na požádání předkládal, přičemž pan Horák mu dekret vytrhl z ruky a rozmačkal s po známkou: „Tak se to dělá s dekretem“. To byl nepěkný výstup, u kterého také byla matka Markova a když protestovala proti chování p. Horáka, byla tímto udeřena do obličeje, až jí tekla krev. Při tomto útoku bylo již třeba zavolati na pomoc SNB telefonicky z Chvalkovic. Odtud však přišla odpověď, že do toho nemohou zasahovat! A jako rada přišla jenom zpráva, aby MNV sepsal protokol. Tak se stalo a my máme všechny doklady po ruce, které postoupíme na patřičná místa. Nebudeme předbíhat šetření, jenom chceme našim čtenářům ukázat, jak se poctivým lidem daří v pohraničí. (Naše Demokracie, 25.12.1946)

Navigační menu

 * Knihy123knihy
 * Upozornění (0)
 * Oznámení (0)
 * Diskuse
 * Nastavení
 * Beta
 * Sledované stránky
 * Příspěvky
 * Odhlásit se

 * Uživatelská stránka
 * Diskuse

 * Číst
 * Editovat
 * Zobrazit historii
 * Nesledovat

 * Hlavní strana
 * Náhodná stránka
 * Nápověda

Komunita

 * Portál Wikiknih
 * Poslední změny
 * Podpořte nás
 * Komunikační kanál IRC

Nástroje

 * Odkazuje sem
 * Související změny
 * Příspěvky uživatele
 * Protokolovací záznamy
 * Nastavení ztlumení
 * Zobrazit uživatelské skupiny
 * Načíst soubor
 * Speciální stránky
 * Trvalý odkaz verze
 * Informace o stránce

Tisk/export

 * Vytvořit knihu
 * Stáhnout jako PDF
 * Verze k tisku

title: User:Knihy123knihy


text:
Signetics 2650 & 2636 programming/Tutorial code - score

Tutorial code - Score
This is the code for the tutorial Score

reset_vector: bcta,un	reset interrupt_vector: retc,un	       ;just in case an interrupt occurs before we disable them reset: lodi,r0 $20	;initialise program status word, just to be sure! lpsu           ;inhibit interrupts, stack pointer=0 lpsl           ;register bank 0, without carry, arithmetic compare

eorz	r0 stra,r0	effects  ;initialise the 74LS378 bsta,un InitPVI  ;initialise video chip

lodi,r0 $03 stra,r0 scoreformat lodi,r0 $98 stra,r0 score12 lodi,r0 $76 stra,r0 score34

endless: bctr,un endless

InitPVI: eorz	r0		;r0 = 0 lodi,r3	$CA		;set 1F00-1FC9 to 00 (most of PVI) loop1:			       ;sets all colours to black, turns off sound, score 1 field at top. stra,r0	shape1,r3- brnr,r3	loop1
 * subroutine - initialise PVI
 * subroutine - initialise PVI

retc,un

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


text:
User talk:41.114.88.46

I am going to tell you about my own world were you are able to feel your self and no one will ever annoy you ever again you can do whatever you want you can come with a girl there you will have your own private room so you can have sex.

title: User talk:41.114.88.46


text:
Haloo, Jonatan!/Chapta 3

Dwa-ney mey (2 mey)
Jonatan stan in Viena: urba de Viena. Jonatan dumi ke Viena es hao, e ke Viena es jamile. Jonatan bu dumi ke Viena es kurupe; lu dumi ke Viena es jamile. Lu shwo: "Viena es jamile urba! Me sal skribi om it!" E lu skribi en dey-kitaba om Viena. En dey-kitaba lu skribi: "May tri-ney dey es muy hao! Pa dwa-ney dey, yo stan-te in Munih. Bat nau me stan in Viena: Viena bu es Munih. Munih e Viena es dwa urbas; Munih bu es Viena e Viena bu es Munih. Me stan in Viena e sey urba es muy jamile. Me lubi Viena; sey urba bu es kurupe. Komo jamile es Viena! Bat me hev problema."

Kwo? Jonatan hev problema? Kwel problema? Nau lu bu vidi dey-kitaba; lu vidi urba e dumi. Lu dumi mucho om problema.

Problema de Jonathan es ke lu lubi Viena, bat lu bu hev taim.

Lu dumi: “Hmm. Nau es sem (7) oras. Pa shi (10) oras, tren departi. Shi (10) oras minus sem (7) oras es tri (3) oras. Tri oras ne es mucho taim fo jamile urba! Me bu hev taim. Tu hev taim es hao, bat me bu hev it! Tu skribi dey-kitaba es hao, bat me bu hev taim fo skribi it! Kwo me zwo in Viena?”

Lu dumi: "Me bu hev mucho taim. Kwo tu zwo - skribi dey-kitaba, o chi, o vidi urba? Kwo me ve zwo?"

Lu dumi pyu, e shwo: “Me hev hao idea! Un momenta...me dumi. May tren departi a shi (10) oras. Ob tren ye pyu tarde, a shi-un (11) oras, o shi-dwa (12), shi-tri (13), shi-char (14) o shi-pet (15) oras?"

Lu vidi… ya! Tren ye kel departi a shi-pet oras. Nau Jonatan es felise.

Jonatan shwo: “Shi-pet (15) minus sem (7) es ot (8). Nau me hev ot oras de taim! Kwo me ve zwo?”

Lu shwo: “Me jan! Me ve chi biftek. E me ve pi bir. Un momenta...bu, me ve pi dwa bires, o tri bires. Hao idea!”

Nau Jonatan pi bir in Viena, e chi biftek. Lu es felise. Lu shwo: “Komo me es felise! Me lubi urba de Viena. Komo me lubi safaras!”

title: Haloo, Jonatan!/Chapta 3


text:
Haloo, Jonatan!/Chapta 4

Kontenas - Chapta 3 - Chapta 4 - Chapta 5

Char-ney chapta
Wo es Jonatan? Ob lu stan in Viena? Non, lu stan in farka-ney urba. Lu stan in Bistritsa. Kwo es Bistritsa? It es urba in Rumania. Nau starti safara in Rumania.

Jonatan skribi in lu-ney deykitaba: “un-ney mey me bin in Munih. Dwa-ney mey me bin in Viena. Poy me bin in Budapest. Budapest bin jamile. Bat me bu hev-te taim in Budapest. Me vidi-te gata in Budapest. In Budapest me dumi-te: hir fini westa, e hir starti esta. Budapest es farke.”

Lu dumi idyen pyu om Budapest. Lu dumi: “Me es jen kel lai fon Anglia, fon Landan. Me shwo inglish, por jen in Anglia shwo pa inglish. Bat in Budapest me bu shwo-te kun jen pa inglish; me shwo-te pa doiche. Me-ney doiche bu es hao, bat jen in Budapest bu shwo inglish. Nu shwo-te pa doiche. It es interes-ney ke jen in Budapest shwo doiche.”

Nau Jonatan dumi om lu-ney safara. Lu dumi: “Me bin in musey in Landan. In musey bin kitaba om otre landa. Me lekti-te kitaba. In musey bin meil-karta om otre landa. Me vidi-te meil-kartas. Kitaba e karta shwo-te ke otre landa es dale, bat interes-ney. In otre landa es mucho jen, mucho farke jen.”

Nau Jonatan dumi pyu om lu-ney safara. Lu dumi: “Yeri me bin in Klausenburg. Me chi-te in Klausenburg. Nam chiwat bin “paprika hendl”. It es muy hao, chiwat in Klausenburg. Hotel bin hao, bat me bu somni-te hao. Bat land es muy jamile! In tren me vidi-te mucho vilaja e mucho kastela. Urba es pyu gran kem vilaja, bat vilajas es muy jamile. Kastela es pyu gran kem hotel, e pyu jamile kem hotel! Vilajas es meno gran kem urbas, bat li es jamile, e hoteles es meno gran kem kastelas.” Jonathan scri plu in su jurnale: “Bistritsa es un interessant loc. Bistritsa es un old loc, plu old quam altri locs. Anc mi hotel in Bistritsa es old, plu old quam altri hoteles. In li hotel yo dit mi nómine: “Yo es Jonathan Harker” e ili dit me: “Benevenit al hotel.” In li hotel yo videt un lettre por me. Nu yo va leer mi lettre.”

Jonathan lee su lettre. It di:

“Mi amíco. - Benevenit. Dormi bon. Yo es in Bukovina, ples venir a Bukovina. Esque li viage de Landan esset bon? Mi land es tre bell. Benevenit a mi land.

Vor amico, DRACULA.”

Jonathan lee li lettre e pensa pri su amico Comto Dracula. Qui il es? Il ne save. Ma su amico es interessant. Anc li borgo Bistritsa es interessant. Jonathan es felici, e pensa pri su amico. Poy il dormi.

farka-ney

 * urba es farka-ney = urba es farke
 * farka-ney = farke

plu quam, minu quam

 * plu quam: >
 * Jonathan es plu grand quam un jurnale. = Jonathan > jurnale (Jonathan es grand, li jurnale ne es grand)
 * Manjar un bifstec es plu bon quam ne manjar un bifstec. = Manjar un bifstec > Ne manjar un bifstec (Manjar un bifstec es bon, ne manjar un bifstec ne es bon)
 * minu quam: <
 * Un dom es minu grand quam un castelle. = dom < castelle (Un castelle es grand, un dom ne es grand)
 * Manjar un jurnale es minu bon quam manjar un bifstec. = manjar un jurnale < manjar un bifstec (Manjar un bifstec es bon; manjar un jurnale ne es bon)

plurale (-s, -es)
Li plurale es -s, anc -es.

 * -s:
 * Un libre. Du, tri, quar....libres
 * Un loc. Du, tri, quar...locs.
 * Un cité. Du, tri, quar...cités.
 * -es:
 * Un mann, un hotel, un land, un person. Du, tri, quar mannes, hoteles, landes, persones.

del
de + il = del.

su
il, it -> su
 * Jonathan lee un lettre. It es li lettre de Jonathan. It es su lettre.
 * Li cité have un muséo. It es li muséo del cité. It es su muséo.

ili

 * Un mann es il. Du, tri, quar...mannes es ili.
 * Un libre es it. Du, tri, quar...libres es ili.
 * Un mann e un libre es ili.

vu, vor

 * Jonathan manja un manjage. Un person di: "Vu manja. Esque vor manjage es bon?" (vor = de Jonathan)
 * Jonathan pensa pri Dracula. Il pensa: "Dracula, vu es un bon mann. Vor land es tre bell."

altri

 * Jonathan veni de Anglia. Il ne veni de Rumania. Rumania es un altri land. (= Rumania ne es Anglia, it es un altri land).

lontan

 * Jonathan es in li tren hodie, il esset in li tren yer, il va esser in li tren deman. Rumania es lontan.

Lexikon

 * altri
 * amíco
 * anglés, Anglia
 * angl·és
 * Angl·ia
 * benevenit
 * (bene·veni·t)
 * borgo: un ne grand cité
 * carte
 * castelle
 * ci
 * comensar
 * comto: un mann quel have un castelle
 * diferent: ≠
 * dormir
 * german, Germania
 * german
 * German·ia
 * hotel
 * ili
 * land
 * lettre
 * libre:
 * loc
 * lontan
 * muséo: un grand dom quel have old libres e cartes
 * nómine
 * ost
 * parlar: 💬
 * person
 * strade
 * su
 * un poc: ne mult (1, 2, 3 = un poc)
 * veni
 * west

Di:

 * ss = s
 * esset: eset
 * interessant: interesant
 * vocale (a, e, i, o, u) + s + vocale = z
 * muséo: muzéo
 * quaresim: quarezim

|4

title: Haloo, Jonatan!/Chapta 4


text: Talk:Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nf6/3. Nxe5


text:
User:Meilleux/sandbox

Text
"The Southern Thruway" is a short story written by Argentine author Julio Cortázar. Originally written in Spanish ("La Autopista del Sur"), it was first published in 1966 with the English version being released later in 1973.

Author Biography
Julio Cortázar was an Argentine-Belgian author, best known for his short stories, poetries, and novels. He was one of the authors at the forefront of the Latin American Boom, a literary movement from the 1960s to 1970s where Latin American works became popular throughout the world. This movement was heavily influenced by the effects of the Cold War. Many novels written during this period were defined by its unique portrayal of time and uses of magical realism, which is also what makes Cortázar's stories so appealing.

Cortázar lived in Argentina during his childhood until early adulthood, when he moved around in various parts of Europe. In Argentina, he was a professor of French literature briefly until he had to resign due to political pressure from Peronists, who were supporters of the authoritarian party at the time. They often used education as a means of propaganda to further their agenda, thus Cortázar had no place as a professor. This incident might be a source of inspiration for his seemingly anti-Peronist short story, "House Taken Over", which he wrote in the same year he lost his profession. Later, Cortázar settled in France, where he primarily stayed until his death. There, he was also an active supporter in combating the abuses of human rights in Latin America.

Summary
The Southern Thruway is about a terrible traffic jam outside of Paris. The story follows a group of stranded people who come together as a community in order to boost their chances of survival. During the months of being stuck outside, these people form relationships within their tight knit group. All of this is gone in an instant when the traffic jam finally starts to move, and the temporary communities break apart.

Analysis
Cortázar uses heavy symbolism in this short story to convey important aspects about his characters and plot. One of his strategies is to refer to his characters by the name of their car model instead of their given names.

Characters

 * Dauphine

"The girl in the Dauphine slept leaning on the steering wheel, a lock of hair in her eyes. Before climbing into the 404, the engineer amused himself by watching her shadow, diving the curve of her slightly puckered lips. On the other side, smoking silently, the man in the DKW was also watching the girl sleep."

Dauphine is a girl who captures the attention of two men at the beginning of the story. Later, she develops an intimate relationship with one of them, 404, and becomes pregnant with his child. This car model is named after the French word meaning "the female heir to the crown" (Stern). The Dauphine car garnered the attention of many people during the years between 1950s and 1960s, much like how the girl was pursued by two men at once. It also has a nice exterior, and is pretty to look at. The attributes of the car perfectly describe Dauphine's role in the story.

Porsche and Ford Mercury are two cars that provide supplies that the people at the traffic jam lacked, though at the catch of expensive prices that kept increasing with each purchase. Because resources were dwindling, the leaders of each group had no choice but to turn to them despite the outrageous costs. These two car models are known for being luxury brands, popular with wealthy folk. The people in the Porsche and Ford Mercury act as the stereotype of rich people who drive these kinds of cars: they profit off of the unfortunate situation that the stranded people are in just for more money.
 * Taunus"...at nine-thirty the food would be distributed and the sick would have to be visited, the situation would have to be examined with Taunus."Taunus is appointed as the group's leader when the stranded people decided it would be in their best interest to form an alliance of some sort to help each other. He acts as their commander in chief throughout the story, and is in charge of making important decisions for the group like providing and distributing rations and tending to those who have fallen ill. This car model is named after the Taunus mountain range from Germany (Ford Taunus). Like a mountain, Taunus is stable, dependable, and grounded. These traits make him a good leader for the small community, and he quickly gains the trust of the people in it. The Taunus car was also made to be a family car, which alludes to his capabilities of looking after the group of people who are stranded in the traffic jam with him.
 * Porsche and Ford MercuryPorsche 356 pre A coupes Classic-Gala 2021 Classic-Gala 2021 1X7A0172.jpg"The Ford Mercury and a Porsche came every night to traffic with food… Porsche kept coming and controlling the black market. Water and some preserves were never completely lacking, but the group's funds were diminishing, and Taunus and the engineer asked themselves what would happen the day when there was no more money to give Porsche."

 "On one of those freezing nights the engineer heard the girl in the Dauphine sobbing softly… she let herself be drawn to the 404; the engineer helped her lie down on the back seat, covered her with his only blanket, and then with his overcoat."404 is an engineer that wins the heart of the Dauphine girl in the story. Throughout the duration of the traffic jam, he's level headed and offers help to other people or comforts Dauphine when needed. This car model is known for being durable and flexible, which corresponds to his ability to stay calm and adapt to the situation he's in despite the obstacles that arise. The 404 is also a family car, alluding to this character's desire to stay as a tight knit group at the end of the story and his affinity for the people he's stayed with during the traffic jam.
 * 404

"The engineer, who had followed with ironical benevolence the efforts the boys in the Simca had been making to be forgiven, thought it was time to give them their chance. With the pieces of a tent the boys covered the windows of the 404, and the 'sleeping car' became an ambulance where the old lady could sleep in relative darkness."The boys in the Simca are some of the youngest drivers of all the characters. In the beginning of the story, one of them is sent to scout food and water for the stranded group. He acts selfishly, and hides the fact that he brought back water in hopes of not having to share it, only to be discovered by 404. For the rest of the story, the boys try to make up for this offense by doing countless deeds to help their group, from aiding the sick to looking for extra rations. In this aspect, they are very versatile people, like the car model that they drive. Simca cars are known for being roundabout cars and hot hatches. This means that they are good for short errand runs, but are also high performance and practical. The car was also fun to drive, alluding to the boys' way of finding entertainment in the smallest of things, and being the moodmakers of the group as a way of improving the atmosphere given their situation. It is a good fit for the Simca boys' role in the community. The Simca car was also made for the working class; it is inexpensive and affordable. In the story, the boys are college students which would make this car model a fitting choice vehicle for them.
 * Simca

"The two little nuns in the 2CV wanted so much to get to Milly-la-Forêt before eight because they were bringing a basket of greens for the cook… it had been decided that the farmer’s Ariane should be the general warehouse and the nun's 2CV a supplementary depot."The two nuns assume the role of nursing and providing food for others throughout the story until one of them falls into madness. 2CV's French name is "deux chevaux", meaning two steam horsepowers. Hence, this car represents the two nuns to match the name. The 2CV car was originally made for the purpose of allowing French farmers a better mode of transport for their goods. This matches with the nuns' initial goal of delivering food to someone in Paris, before the traffic jam occurred. Gradually, the 2CV became an immensely popular model, earning the reputation of a "cult" car, with a following that seemed almost religious. Cortázar might have used the car's recognition as inspiration for characterizing the drivers in the 2CV as nuns.
 * 2CV

Items
"A big white butterfly landed on the Dauphine's windshield, and the girl and the engineer admired its wings, spread in brief and perfect suspension while it rested; then with acute nostalgia, they watched it fly away… where a hunter's hand tried vainly to catch it… and finally disappear to the right."The butterfly in this scene represents the fleeting moments in life like the traffic jam in this story. 404 starts to see how temporary his small group was when the cars start to move again, and the different acceleration rates in each lane breaks apart the life as he knew it in the past few months. In just a few seconds, everything a person knows can be changed forever. The butterfly serves as a reminder that life is short. Like the hunter in the quote, humans try to grab onto these quick moments in life without knowing how quickly it will pass. A valuable lesson to learn from 404 is to always live in the present and enjoy every day to its fullest instead of worrying about the future before it's too late.
 * White Butterfly

"In any case, Taunus decided that the 404 would be the official ambulance; for fun the boys made a banner with a red cross and put it on the antenna."The boys in the Simca try to make up for their selfish past actions of hiding resources from the group. In this instance, they assist the people who have fallen ill by revamping the 404 car interior into a more comfortable location for the sick to rest. The sense of community is truly solidified with the boys' efforts of seeking forgiveness and offering aid to those who need it. This moment is marked by them making the red cross flag to use, as flags are also a symbol of a union or allegiance. A red cross specifically is a sign of humanitarianism, which shows how everyone in the group has truly grown to care for each other.
 * Red Cross Flag

Ending
By the end of the story, the traffic jam starts to move again. Everyone scrambles into their cars, and slowly the groups of communities that formed during the months of being stuck on the road together start to break apart. 404 clings desperately to the remnants of what his group once was, and to the hopes that everything will stay the same. This desire contrasts how the characters wanted nothing more than to reach Paris throughout the story; they were miserable being stuck outside in their cars for months. It is at this moment that the realization that every interaction in those passing months, no matter how mundane, mattered. In that time, everyone in 404's group truly formed a genuine connection with each other. They comforted each other, took care of one another, and now everything is gone within a matter of seconds.

Additional Readings by Julio Cortázar
Along with heavy uses of symbolism, Julio Cortázar's writing has a unique flow to them in terms of chronology when unraveling the plot. Here are some of his works that might be of interest:

 * "House Taken Over" ("Casa Tomada"), 1946. A short story about a brother and sister's home and lives being invaded by forces unknown to the reader.
 * Hopscotch (Rayuela), 1963. A novel with unconventional storytelling; readers can choose which version of the story to read through with multiple endings.
 * "The Continuity of Parks" ("La Continuidad de los Parques"), 1964. A murder mystery story with two realities that merges into one at the end, leaving the true ending up to the interpretation of the reader.

title: User:Meilleux/sandbox


text:
History of wireless telegraphy and broadcasting in Australia/Topical/Biographies/John Campbell Fitchett

John Campbell Fitchett
Potted biography: John Campbell Fitchett - 1900(Vic)-1939(Vic) - Licences: XJDM Melbourne (Balwyn, 1913-1914); 3BL Melbourne (Balwyn, 1922-1925; Brighton, 1926-1939) - Qualifications: cc; CPRT 609, 1921 - early wireless experimenter; amateur operator; amateur broadcaster - Electoral Rolls: journalist (Brighton, 1928-1937) - TroveTag: "XJDM-3BL - John Campbell Fitchett"

John Campbell Fitchett was a son of Thomas Shaw Fitchett, a principal of Fitchett Bros. publishers, most notable as publisher of "New Idea" magazine. John was interested in wireless from an early age, being licensed from at least 1913 at the age of 13 years, though all wireless activity in Australia ceased soon after the commencement of WW1 in 1914. He passed his examination for Certificate of Proficiency in Radio Telephony on 7 February 1921 and was one of only a handful of wireless experimenters to be licensed for transmission before commencement of the Wireless Regulations on 1 December 1922 (callsign: XJDM). He was a prominent amateur broadcaster from 1922 through the mid 1920s and held the licence for 3BL until his untimely passing in 1939. He commenced employment with his father's firm and stayed with the family business throughout his short life. He published prose of his own as well as contributing to the successful publishing of numerous well-known titles in the family stable.

Resources
A comprehensive biography of John Campbell Fitchett has not yet been prepared for this Wikibook, however the following resources have been assembled in preparation:

 * Research - John Campbell Fitchett - Summary of research to date

 * Transcriptions and Notes - John Campbell Fitchett - More than 10 transcriptions and notes

 * Photos, QSL cards and other graphics - John Campbell Fitchett - Nothing identified or uploaded as yet

 * Incubator of Wikipedia Article on John Campbell Fitchett - Coming real soon now!

Internet Material
A lovely detailed description of Fitchett's station at Canterbury in 1922, sadly little personal detail "RADIO. . . . Radio Station 3 B.L. 3 B.L. is the call number of the experimental radio station owned and operated by Mr. J. C. Fitchett, of Sailsbury-street, Canterbury. This station is fitted with a complete radiophone transmitting and receiving set, which although limited as to the distance over which the voice may be transmitted, on account of the low power employed, is capable of receiving messages from stations many thousands of miles distant. The receiving set consists of a sensitive amplifier of three-valve radio frequency type, which is used in conjunction with a special radio frequency amplifier for the reception of both spark and continuous wave signals. For the latter purpose a separate heterodyne is used, which serves the purpose of making the otherwise inaudible continuous waves audible. A standard cascade circuit is used, the output from each valve being impressed upon the succeeding valve amplifying the received current in turn, until in he last valve it gains sufficient strength to operate the head telephones. Honeycomb coils are used for tuning in place of single layer inductances, and are very efficient. They provide a ready and excellent method of changing the wave length of the receiver over a range of from 600 — 25,000 metres. For the reception of signals from Australian coastal radio stations a short wave tuner has been designed; and for wave lengths of 600 metres is more efficient than honeycomb coils. A change over switch enables the operator to change from one to the other very quickly. By means of this tuner, which is Mr. Fitchett's own design, all coast stations are clearly heard, as are also ship stations within a range of 1000 miles. Most of the high power American stations are clearly received on the longwave length in the neighbourhood of from 12 — 25,000 metres. They can be distinctly heard with the headphones lying on the table. Mr. Fitchett's only difficulty so far has been that which is the cause of interference at all radio stations, namely static. The radiophone, which is also of his own design and construction, has been in operation for only a short time, and, has not yet been tested out over any considerable distance, although several operators have reported having heard him speak very clearly. At present the power employed is only low but it is Mr. Fitchett's intention to install a power transformer which will increase the transmitting range of the station very considerably. The power at present is supplied from a small direct current generator driven by a ¼ h.p. motor. The motor serves the dual purpose of charging the accumulators used. The aerial antennae is of the two wire inverted L type, 140 feet in length, approximately 50 feet in height at one end, and 30 feet at the other. It is Mr. Fitchett's intention to carry out some tests with a station at Portsea in a month or so's time in order to determine the maximum range of a radiophone using power not exceeding 10 watts. At present he is transmitting speech every Sunday evening on a wave length of 440 metres, at 7.30 for a period of 20 minutes. When the higher power is installed music is to be transmitted at the same time also. Mr. Fitchett would greatly appreciate any reports from experimenters receiving his telephonic messages."


text: User talk:41.114.218.29

title: User talk:41.114.218.29


text: Talk:Powhatan/Lesson 13

title: Talk:Powhatan/Lesson 13


text: Talk:Welsh/Sylfaen/Gwers 4

title: Talk:Welsh/Sylfaen/Gwers 4


text: Talk:Welsh/Sylfaen/Gwers 5

title: Talk:Welsh/Sylfaen/Gwers 5


text:
User talk:JackPotte/2021

JackBot on book main page
Book main pages should get shelves rather than BookCat. Noticed this:. --Pi zero (discuss • contribs) 19:42, 2 January 2021 (UTC) Topological String Theory Methods of Computer-aided Drug Design Top Tips For Chess Organisers Tokelauan The wave of a photon The war against drugs The evolution of evidence in football The Story of The Integration of The Indian States The Azure Guide SEWTHA2.0 Primitive Technology Primary Care Occupational Therapy Annotated Bibliography Praat Podophyllum Photophysics Perspectives of Aquatic Toxicology NETSquirrel - guidelines NEC PC Programmers Reference Mathematics K-12 Manual for Obtention of Driving licence: Signals and Lights Malayalam List of MicroWorlds Logo commands Learn Philippine Languages LLVM Compiler Introduction to Human Geography Internal Improvements of the State of Ohio ICT4 Elderly History of Grand-Popo High-Level Strategy Governance issues and challenges Formulations Data Science and Artificial Intelligence with Julia Cytokine therapy Coveillance.org Chinese (Classical Mandarin) Child Psychology and Digital Technology Cabinet Vision: The Last Mile
 * Using a regex on https://sigma.toolforge.org/summary.py?name=JackBot&search=Special%3AUncategorizedPages&max=500&server=enwikibooks&ns=, one can get the list of book main pages on which the change was made:
 * I replaced "BookCat" by "shelves" in all of them and added shelves to most of them; however, I did not know the right shelf for a couple of them. 𝟙𝟤𝟯𝟺𝐪𝑤𝒆𝓇𝟷𝟮𝟥𝟜𝓺𝔴𝕖𝖗𝟰 (𝗍𝗮𝘭𝙠) 21:19, 2 January 2021 (UTC)
 * Thanks a lot. I'll update the bot too. JackPotte (discuss • contribs) 21:28, 2 January 2021 (UTC)

Help Required to restructure "Konkani Numbers" Page
Hello i am new to wikibooks. i created a page called "Konkani Numbers" few months ago. Now i have created new Page Called Konkani and then i have added table of contents. one of the content is numbers. now there are two links for numbers page. i want the first page to be deleted. could you guide me on this issue ?
 * Hello, I've deleted the page, but to make it done more quickly you could just have added delete on it. JackPotte (discuss • contribs) 20:43, 1 April 2021 (UTC)

Please give me my content that you deleted
Hi Jack,

I was going to update the content of a page I recently started.

12:28, 1 August 2021 JackPotte discuss contribs deleted page Simultaneous learning and perception (Abandoned material with intent and no development after 7 days: content was: "query == Introduction == We introduce a new concept of machine learning method, Simultaneous Learning And Perception (SLAP), which continuously updates the internal representation of a perception model while observing the environment without external communication. SLAP is a specific form of self-supervised learning and it focuses on the system providing autonomous behavior while interacting between...) (thank)

I am not able to see my content and I do not have a copy of it. Please give me the content that you deleted. My email address is jongmoochoi@acm.org.

Thanks, Jongmoo
 * Hello, I've restored and moved it in User:Jongmoochoi/Simultaneous learning and perception, as it shouldn't be indexed as is. JackPotte (discuss • contribs) 10:50, 8 August 2021 (UTC)

 * Got it, thanks! Jongmoochoi (discuss • contribs) 21:12, 9 August 2021 (UTC)

Deleted Mechanics of Materials
Hello, Please restore this page. I am planning to work on it. Thank you. Admazzeo (discuss • contribs) 18:03, 26 August 2021 (UTC)

12:29, 1 August 2021 JackPotte discuss contribs deleted page Mechanics of Materials (Abandoned material with intent and no development after 7 days: content was: "query == Background == This Wikibook is to provide living content for course(s) in mechanics of materials, strength of materials, or statics. The material here will eventually be of sufficient quality and interest for self-learning or prescribed study by instructors/faculty members. One objective is that the material here would facilitate in-class discussions, group projects, or problem-solving that...)
 * hello, I've moved the restored page to User:Admazzeo/Mechanics of Materials, as it shouldn't be indexed in the searched engines in this state. But once valuable, you'll be invited to move it back. JackPotte (discuss • contribs) 18:45, 26 August 2021 (UTC)

Am I using Template Printable right?
Recently I tried to add the printable template to a book, and noticed it didn't quite work. Am I using it wrong?

Thanks --Mbrickn (discuss • contribs) 05:49, 17 September 2021 (UTC)
 * PS: I really like the template! It's very handy compared to doing manual transclusions, plus it makes maintaining books much easier. --Mbrickn (discuss • contribs) 05:50, 17 September 2021 (UTC)
 * Update - I failed when I tried to use it on Phabricator Administrator's Handbook/Printable version, but I failed differently? --Mbrickn (discuss • contribs) 06:38, 17 September 2021 (UTC)

Hello, thanks for your support, I'll have a look at this this week-end. JackPotte (discuss • contribs) 06:43, 17 September 2021 (UTC)
 * No rush, Thank you again for your help! --Mbrickn (discuss • contribs) 09:23, 17 September 2021 (UTC)

JackPotte (discuss • contribs) 14:55, 18 September 2021 (UTC)
 * For 360 Assembly/Printable version, it looks like we've reached the MediaWiki limit, as the hidden category Category:Pages where template include size is exceeded appears.
 * One solution is to add around the unneeded templates in print mode, but in this case it wasn't enough, probably because of the many 360 Item left.
 * Another one to would be to split it in two tomes.
 * For Phabricator Administrator's Handbook/Printable version, it's more the symptoms of an unfound or unreadable TOC. I'm going to test something about it...
 * That makes sense! Thank you for your help! --Mbrickn (discuss • contribs) 00:17, 19 September 2021 (UTC)

Template { { Nav } }
I'm using this template to navigate to next/previous pages in the wikibook PostgreSQL. After I removed the sub-page PostgreSQL/Introduction_to_PostgreSQL from the main page, the navigation does not automatically adapt itself to this situation. In the navigation the page still occurs. How can I 'recreate' the list of pages to navigate over? --Kelti (discuss • contribs) 20:00, 12 November 2021 (UTC)
 * hello, I can see that PostgreSQL/Print version still includes the old page too. That's just because the Lua script doesn't take comments into account.
 * So I advise you to remove at least the brackets of /Introduction to PostgreSQL/ from PostgreSQL. JackPotte (discuss • contribs) 13:02, 13 November 2021 (UTC)
 * Thank's a lot. Kelti (discuss • contribs) 18:06, 13 November 2021 (UTC)

Please add Reference_Tooltips
Hi I like the Reference Tooltips gadget. Can you activate it for the wikibooks project?
 * Hello, this is a good idea but it must be submitted on Reading room/Technical Assistance to get a consensus. JackPotte (discuss • contribs) 18:26, 18 December 2021 (UTC)

title: User talk:JackPotte/2021


text:
Signetics 2650 & 2636 programming/Background grid

=Tutorial — Background grid=

Programming the background grid is easy enough once it is understood, but its' design is somewhat convoluted and explaining it and a comprehending it is not easy. Refer back to the link above for the details, then follow along with this tutorial and play with the settings to test you understanding. Visualising what can and cannot be designed with it can be tricky though, so a worksheet is included that can be printed and doodled on.

It is really just an array of dots and vertical lines one pixel wide. The dot is two lines tall and immediately underneath it the vertical line is 18 lines tall. This pair of elements is repeated 16 times across the screen, and 10 times down, and all 320 individual parts can individually be turned on or off.

They can also be extended horizontally to 1, 2 4 or 8 pixels wide. By extending just the dots, a grid can be constructed. It is easy to see how something like a maze could be constructed from this by turning some of the parts off:

This pattern is generated by Tutorial code - background grid. Go ahead and assemble it with WinArcadia. Notice how there are lines sticking out the right side and the bottom. This is a consequence of the structure of the grid. To remove the lines on the right hand side, use the memory editor to change $1F81 from $FF to $FE, and repeat at every fourth byte. To remove the lines at the bottom, change $1FA6 and $1FA7 from $FF to $00. You should now have a nice 9 x 15 array of cells. There is no fix however for the small gaps down the right hand edge.

Now change $1F82 and $1F86 both to $9F, and $1F84 to $5F. You can probably see now how this could easily become a maze or some other similar structure.

So far this has been reasonably straightforward, but the horizontal extensions add significant complexity. The most important things to recall are that extensions apply to whole rows, and that 8x extensions can be applied to each individual row but x2 and x4 extensions are applied to groups of four rows. As a reminder, here is the table showing extension assignments:

Currently all extension registers are set to $09, which only extends the odd numbered rows (the 2 line bars) to 8 pixels. Change extension register $1FA8 to $0B. This adds a x8 extension to all the active vertical bars in the top half of row 2. Now change $1FA9 to $C9. This extends all the active bars in the second group to 4 pixels. Likewise, all active bars in the bottom group can extended to 2 pixels by setting register $1FAC to $49. You should now see this in the emulator screen:

Quiz
There was a bug in the program when it was first run and the top part of the grid is corrupted. Can you tell which lines of code had to be added to the tutorial code to fix this?

What we are seeing here are the score digits 00 00 in black placed over the background grid. To remove them, the score digits needed to be programmed to $FF and $FF. lodi,r0 $FF stra,r0 score12 stra,r0 score34

Grid design
This worksheet should help with the design and programming of background grids.

Remember these constraints:
 * Extensions apply to all cells in a row.
 * Extension to eight pixels may be applied individually to any of the 20 rows.
 * Extensions to two or four pixels apply to all 6 rows in a group.

Don't forget that the 18-line vertical bars can be extended in two part, top and bottom.


text:
Aymara/Alphabet

Aymaran Alphabet or Aymaran Transliteration is an variant of Latin alphabet. Aymaran alphabet are composed with 32 letters, that is:

title: Aymara/Alphabet


text:
User talk:জয়শ্রীরাম সরকার

translate

title: User talk:জয়শ্রীরাম সরকার


text:
Signetics 2650 & 2636 programming/Contributions

Welcome
As a Wikibook, anyone can contribute to it. It will be a work-in-progress for a long time. Your contributions might be anything from fixing a typo to creating a new page, or using a page's Discussion tab to raise questions or point out things that need a better explanation. If you are new to Wikibooks you can find help at Help:Contents.

Local manual of style
There are few rules, but it is nice to have a consistent style throughout the book. There is an overiding Manual of style for Wikibooks, otherwise please try to follow the style used on similar pages or in these guidelines. But don't worry about breaking the rules as errors are easily fixed.

 * Use British English.
 * Use a single layer of subpages, Book_Title/Page_name — Do not nest them,  Book_Title/Section/Page_name .
 * Add new pages to the |Contents page and to the printable version.
 * Most pages should only be marked 100% complete once they have been independently reviewed and tested, and when most of the other pages are in place and everything is fully integrated with appropriate links.

Wikicode snippets
Some common wikicode used throughout the book:
 * Template for a new page:

...page contents go here

 * Template for a new tutorial code page:

Tutorial code - XXXXX
This is the code for the tutorial XXXXX

<pre> YOUR 2650 CODE GOES HERE </pre>

 * See Also hatnote:

For more general help with editing these links may help:

Contributors
The following editors have made contributions to this Wikibook. New editors, please add yourself to the list.

 * Derek Andrews - started the book


text:
User:Kittycataclysm

Hello! Welcome to my Wikibooks user page. I can also be found on Wikicommons and en.Wikipedia.

As admin
I have administrative rights here at Wikibooks, which I use primarily for the following:

 * Controlling vandalism, including blocking and deleting pages.
 * Helping clean up the project by deleting pages per consensus or speedy deletion criteria.

I have only very basic technical wiki competence—if you need help with technical issues, post at the technical assistance page.

As editor
I am primarily active in the Cookbook, which I am currently in the process of overhauling and improving. I also keep tabs on the following books:

 * Lentis
 * Autistic Survival Guide
 * Culinary Arts
 * Principles of Biochemistry
 * Costume History
 * Relationships
 * Popular Music
 * Arabic

As community member
I believe in fostering active community discussion. Wikibooks is a small project, but I think it's important to solicit community input on things.

Equipment

 * make Cookbook:Offset Spatula
 * make Cookbook:Spice Grinder
 * make Cookbook:Coffee Grinder
 * make Cookbook:Microplane?
 * Cookbook:Smoker
 * make Cookbook:Peel
 * make Cookbook:Paellera
 * make Cookbook:Butter Churn
 * Cookbook:Pyrex
 * Cookbook:Tamis
 * make Cookbook:Waxed Paper
 * make Cookbook:Tagine
 * make Cookbook:Dehydrator
 * Cookbook:Cocktail Shaker
 * Cookbook:Cast Iron
 * Cookbook:Silicone Baking Mat
 * Cookbook:Couscoussier
 * make Cookbook:Non-reactive
 * make Cookbook:Steamer
 * Cookbook:Twine
 * make Cookbook:Broiler
 * make Cookbook:Smoker
 * make Cookbook:Roasting Pan
 * make Cookbook:Butter Paddle
 * Cookbook:Masher
 * make Cookbook:Steamer
 * make Cookbook:Crock
 * make Cookbook:Casserole Dish ? or merge with baking dish

Techniques

 * make Cookbook:Calculations
 * make Cookbook:Curing
 * make Cookbook:Convection Baking
 * make Cookbook:Pasteurization
 * make Cookbook:Maillard Reaction
 * make Cookbook:Searing
 * make Cookbook:Shredding
 * make Cookbook:Blooming
 * make Cookbook:Piping
 * Cookbook:Blooming Gelatin
 * Cookbook:Ricing
 * Cookbook:Trussing
 * Cookbook:Presentation
 * Cookbook:Skimming
 * Cookbook:Steeping
 * Cookbook:Carving
 * Cookbook:Searing
 * Cookbook:Macerating
 * make Cookbook:Autolyse
 * Cookbook:Grating
 * Cookbook:Straining
 * Cookbook:Piping
 * make Cookbook:Scaling Fish
 * make Cookbook:Peeling
 * make Cookbook:Proofing
 * make Cookbook:Jointing
 * make Cookbook:Mashing
 * make Cookbook:Baker's Percentage
 * make Cookbook:Scaling
 * work on Cookbook:Tips to Great Pork Ribs
 * Cookbook:Preparing Yeast
 * Pre-ferment
 * work on Cookbook:Dough
 * Cookbook:Mise en Place

Primary

 * make Cookbook:Flaxseed
 * make Cookbook:Onion Salt
 * make Cookbook:Whiskey
 * make Cookbook:Hops
 * make Cookbook:Extract
 * make Cookbook:Wafer Paper
 * make Cookbook:White Chocolate
 * Cookbook:Tortilla Chip
 * make Cookbook:Wheat Bran
 * Cookbook:Quark
 * Cookbook:Lavender
 * Cookbook:Asiago
 * Cookbook:Whey (powder)
 * make Cookbook:Date Syrup
 * Cookbook:Brazil Nut
 * make Cookbook:Cajun Seasoning
 * Cookbook:Dubliner Cheese
 * Cookbook:Amaretto
 * Cookbook:Colby Cheese
 * Cookbook:Queso Fresco
 * Cookbook:Aji Limo
 * Cookbook:Niter Kibbeh
 * Cookbook:Homi
 * make Cookbook:Fishball
 * Cookbook:Njangsa
 * Cookbook:Psyllium
 * Cookbook:Split Pea
 * Cookbook:Kenaf
 * make Cookbook:Lotus Seed
 * Cookbook:Alligator Pepper
 * Cookbook:Kataifi Pastry
 * Cookbook:Mitmita
 * Cookbook:Gin
 * Cookbook:Fromage Frais
 * Cookbook:Berry
 * Cookbook:Triple Sec
 * Cookbook:Grits
 * Cookbook:Khoa
 * make Cookbook:Coconut Water
 * Cookbook:Spam
 * make Cookbook:Wafer Paper
 * Make Cookbook:Cashew Butter
 * Cookbook:Gammon
 * Cookbook:Doenjang
 * Cookbook:Sweetfish
 * Cookbook:Fontina
 * work on Cookbook:Insects
 * Cookbook:Coffee Bean
 * make Cookbook:Marrow Bone?
 * make Cookbook:Epazote
 * make Cookbook:Halibut
 * Cookbook:Filé
 * make Cookbook:Arborio Rice?
 * make Citron (Citrus medica)
 * make Cookbook:Starch
 * Cookbook:Sarsaparilla
 * make Cookbook:Tortellini
 * Cookbook:Almond Gum
 * make Guarana (Paullinia cupana))
 * make Key Lime (Citrus × aurantiifolia)
 * Cookbook:Pepper Jack Cheese
 * make Cookbook:Fruit Salt
 * Cookbook:Edam Cheese
 * Cookbook:Pot Cheese
 * Cookbook:Cajun Seasoning
 * Cookbook:Bryndza
 * Cookbook:Gouda Cheese
 * Make Cookbook:Crown Daisy
 * make Cookbook:Smelt
 * make Cookbook:Apple Brandy
 * make Cookbook:Cocoa Butter
 * Cookbook:Espresso
 * make Cookbook:Soy Flour ?
 * Cookbook:Apple Juice
 * make Cookbook:Soy Milk
 * make Cookbook:Kecap Manis
 * Cookbook:Sodium Citrate
 * Make Cookbook:Water Celery
 * make Cookbook:Curry Paste
 * Cookbook:Phyllo Dough
 * Cookbook:Chenna
 * Cookbook:Kashkaval
 * Make Cookbook:Blue Cheese
 * Make Cookbook:Gizzard
 * Cookbook:Milkfish
 * Make Cookbook:Ginseng
 * make Cookbook:Cubanelle Pepper
 * make Cookbook:Squid Ink
 * fix Cookbook:Lemon extract
 * Cookbook:Loroco
 * Make Cookbook:Tsaki
 * Make Cookbook:Chinese Yam
 * make Cookbook:Lotus Root
 * make Cookbook:Burdock
 * make Cookbook:Celery Salt
 * make Cookbook:Halibut
 * make Cookbook:Tea Leaf
 * make Cookbook:Almond Oil
 * make Cookbook:Blue Cheese
 * Cookbook:Sazón
 * make Cookbook:Roquefort
 * make Cookbook:Scorpionfish
 * make Cookbook:Sea Urchin
 * make Cookbook:John Dory
 * make Cookbook:Liquid Aminos
 * Cookbook:Ackawi
 * make Cookbook:Sea Robin
 * make Cookbook:Orange Liqueur
 * Cookbook:Ginger Ale
 * make Cookbook:Monkfish
 * Cookbook:Lecithin
 * Cookbook:Cream of Wheat
 * make Cookbook:Vegeta
 * Cookbook:Havarti Cheese
 * make Cookbook:Black Bean Sauce
 * make Cookbook:Coconut Cream its own page?
 * make Cookbook:Seasoning Salt
 * make Cookbook:Crackling
 * make Cookbook:Turtle
 * Make Cookbook:Mandarin Orange
 * Make Cookbook:Kabocha
 * Cookbook:Gai Lan
 * make Cookbook:Dragées
 * make Cookbook:Chocolate Syrup
 * Make Japanese plums
 * make Cookbook:Enoki Mushroom
 * Cookbook:Melinjo
 * make Cookbook:Cowitch
 * make Cookbook:Milk Thistle
 * Cookbook:Bilimbi
 * Cookbook:Cinnamon Sugar
 * make Cookbook:Jarlsberg
 * Cookbook:Kipper
 * make Cookbook:Bologna
 * Make Chinese licorice
 * work on Cookbook:Charcuterie
 * make Cookbook:Barbecue Sauce ingredient page
 * make Cookbook:Liqueur?
 * make Cookbook:Pollock
 * fix Cookbook:Basmati rice
 * attend to Cookbook:Risotto (Basic)?
 * Cookbook:Fondant
 * Cookbook:Eulachon
 * make Cookbook:Forcemeat
 * make Cookbook:Brunost
 * Cookbook:Red Snapper
 * make Cookbook:Deli Meat / Cookbook:Cold Cut

Secondary

 * Cookbook:Langoustine
 * Cookbook:Brain
 * Cookbook:Runner Beans
 * make Cookbook:Miracle Whip
 * make Cookbook:Bellflower
 * make Mulberry (Morus alba)
 * make Crowberry (Empetrum nigrum)
 * make Elderberry (Sambucus spp.)
 * make Mamoncillo (Melicoccus bijugatus), also known as the quenepa or genip
 * make Langsat (Lansium domesticum), also called longkong or duku
 * make Cempedak (Artocarpus champeden)
 * make Loquat (Eriobotrya japonica)
 * make Bitter Orange (Citrus × aurantium)
 * make Goji berry (Lycium barbarum or chinense)
 * make Goumi (Elaeagnus multiflora)
 * make Jujube (Ziziphus jujuba)
 * Cookbook:Vacherin Cheese
 * make Sunberry or wonderberry (Solanum spp.)
 * make Tayberry (Rubus fruticosus x R. idaeus), a cross between Raspberry and Blackberries
 * make Wineberry (Rubus phoenicolasius)
 * make Wolfberry (Lycium barbarum, Lycium spp.)
 * make CamuCamu (Myrciaria dubia))
 * make Nannyberry or sheepberry (Viburnum spp.)
 * make Rowan or mountain ash (Sorbus aucuparia)
 * make Saguaro (Carnegiea spp.)
 * make Seaberry or sea buckthorn (Hippophae spp.)
 * make Sorb or sorb apple (Sorbus domestica), the fruit of the service tree
 * make Tangelo (Citrus × tangelo)
 * make Acerola cherry (Malpighia glabra)
 * make Akee (Blighia sapida)
 * make Mangosteen (Garcinia mangostana)
 * make Salak (Salacca edulis), also called snakefruit
 * make Sapodilla (Achras/Manilkara zapota), also called chiku
 * make Soursop (Annona muricata)
 * make Tarap or marang (Artocarpus odoratissimus)
 * make Clementine (Citrus × clementina)
 * make Cookbook:Bracken
 * make Cookbook:Pudding Mix
 * Cookbook:Magnolia Berry
 * make Cookbook:Tatsoi
 * Modeling Chocolate

Other

 * Cookbook:Navigation
 * Move instructions for cooked pumpkin at the bottom of Cookbook:Pumpkin Bread III to its own page
 * Move Cookbook:Butter Chicken to a new name w/o redirect and make its prev page into a disambiguation

 * Cookbook:Beurre Manié
 * Make Cookbook:Focaccia (disambiguation)
 * Deal with condensed and evaporated milk pages
 * Cookbook:Coulis
 * make Cookbook:Dressing
 * Cookbook:Condiment
 * Cookbook:Polenta
 * make Cookbook:Mandarin Pancake
 * make Cookbook:Toffee
 * Work on Cookbook:Sourdough Starter
 * make Cookbook:Jello
 * Cookbook:Cast Iron
 * Cookbook:Enamel
 * make Cookbook:Drippings
 * make Cookbook:Cuisine of Croatia

 * change Cookbook:Cake
 * make Cookbook:Nougat
 * make Cookbook:Quick Bread
 * make Cookbook:Croissant?
 * make Cookbook:Pastry Cream
 * make Cookbook:Lavash
 * Continue working on Cookbook:Caramel
 * Create Cookbook:Tart
 * Cookbook:Pastry Cream
 * Work on Cookbook:Pizza
 * Work on Cookbook:Pie Crust
 * make Cookbook:Rice Pudding a disambig page
 * break Cookbook:Panna Cotta into disambig and recipes
 * work on Cookbook:Dumpling
 * work on Cookbook:Custard
 * make Cookbook:Cobbler into disambig and recipes
 * Cookbook:Pita
 * Cookbook:Bread
 * Cookbook:Ganache
 * Royal Icing
 * Expand Cookbook:Phở
 * Cookbook:Soufflé
 * Cookbook:Mousse
 * Whipped cream
 * Sabayon
 * Pie
 * Tart/tartlet
 * Muffin
 * Donut

Editing Resources
Some handy resources include:

 * Wikibooks Deletion Policy
 * Wikibooks Naming policy
 * Cookbook Policies
 * Cookbook Recipe template
 * Cookbook pages with pending changes that need to be reviewed
 * Category:Incomplete recipes
 * Help:Categories
 * Broken Redirects
 * Double Redirects
 * Maintenance
 * Policies and guidelines
 * Steward requests/Global
 * Special:LonelyPages - Orphaned pages to be found a home for, placed in main page indexes or deleted
 * Guidelines for class projects
 * Extension:InputBox
 * Templates
 * What links here?

Administrator stuff

 * Profanity
 * Be civil
 * Protected page
 * Etiquette
 * No personal attacks
 * Help:Pages
 * Administrators
 * Deletion policy
 * Edit/abuse filtering
 * Block log
 * Mass delete

Random cookbook page generators

 * Random recipe
 * Random cuisine
 * Random ingredient
 * Random technique
 * Random disambiguation page
 * Random cookbook page

Box/Banner
Category:Pages needing sources

=== Inline ===

 * Citation needed:

Shortcuts to Cookbook references
http://www.foodbycountry.com/index.html

title: User:Kittycataclysm


text:
Signetics 2650 & 2636 programming/Tutorial code - background grid

Tutorial code - Background grid
This is the code for the tutorial Background grid

reset_vector: bcta,un	reset interrupt_vector: retc,un	       ;just in case an interrupt occurs before we disable them reset: lodi,r0 $20	;initialise program status word, just to be sure! lpsu           ;inhibit interrupts, stack pointer=0 lpsl           ;register bank 0, without carry, arithmetic compare

eorz	r0 stra,r0	effects  ;initialise the 74LS378 bsta,un InitPVI  ;initialise video chip

endless: bctr,un endless

InitPVI: eorz	r0		;r0 = 0 lodi,r3	$CA		;set 1F00-1FC9 to 00 (most of PVI) loop1:			       ;sets all colours to black, turns off sound, score 1 field at top. stra,r0	shape1,r3- brnr,r3	loop1
 * subroutine - initialise PVI
 * subroutine - initialise PVI

lodi,r0 $78 stra,r0 coloursback

lodi,r0 $FF stra,r0 score12 stra,r0 score34

lodi,r3 $2D loopIS:			;load sprite shape and coords loda,r0 one,r3- stra,r0 grid,r3 brnr,r3 loopIS

retc,un

one: dw	$FFFF	; 1 dw	$FFFF	; 2 dw	$FFFF	; 3 dw	$FFFF	; 4 dw	$FFFF	; 5 dw	$FFFF	; 6 dw	$FFFF	; 7 dw	$FFFF	; 8 dw	$FFFF	; 9 dw	$FFFF	; 10 dw	$FFFF	; 11 dw	$FFFF	; 12 dw	$FFFF	; 13 dw	$FFFF	; 14 dw	$FFFF	; 15 dw	$FFFF	; 16 dw	$FFFF	; 17 dw	$FFFF	; 18 dw	$FFFF	; 19 dw	$FFFF	; 20

; EXTEND x1,2,4          EXTEND x8                        ; -    --- db	$09    ; Rows 1-4	   4B	4A   3	2B  2A	1 db	$09    ; Rows 5-8	   8B	8A   7	6B  6A	5 db	$09    ; Rows 9-12	   12B	12A  11	10B 10A	9 db	$09    ; Rows 13-16	   16B	16A  15	14B 14A	13 db	$09    ; Rows 17-20	   20B	20A  19	18B 18A	17


text:
User:MelissaDP/sandbox

"Insanity is relative.

It depends on who has who locked in what cage.

 * -Ray Bradbury, “The Meadow”"

Biography of Emily Dickinson
Emily Dickinson was a 19th-century American poet whose distinctive writing style made her stand out from the other poets in her era. She is known for her notably unconventional writing style that was unique at the time, where she often made use of dashes and unusual capitalization, and frequently used slant rhyme, which is a type of rhyme with words that have similar but not identical sounds. She ignored the typical rules of versification and grammar, making her work brave and completely original. Dickinson was highly educated and was raised in a Calvinist household, which emphasized the sovereignty of God and the authority of the Bible. This religious influence permeates throughout her work. She had a complicated relationship with her religious beliefs and God; while her friends and family proclaimed their love of Christ, she was reluctant to join the church and ultimately stopped attending services altogether.

Dickinson’s family was well known in the Massachusetts community where they lived. Her grandfather was a trustee of Amherst College, while her father had served in both state and federal Congresses. Although Dickinson herself was more socially active at a younger age, she became more reclusive later in the later years of her life. Scholars believe she was troubled from a young age by the "deepening menace" of death; throughout her lifetime she would suffer tremendous loss of friends and family, while later living through the time of the American Civil war that began in 1861 and ended in 1865. She began to isolate herself in her room in her family’s homestead and did not leave unless it was absolutely necessary. She began to talk to her visitors from the other side of her door instead of speaking to them face to face. Only the few people who knew her personally and had exchanged written correspondence with her during the last years of her life had ever seen her in person. Her writing was said to be an outlet for her to express herself verbally rather than socially. Her works reflect this, as they are full of religious imagery and nuance, conversations about death, the ironies of life, her love of nature, and criticisms of societal behaviors.

Dickinson died of heart failure at her home on May 15th, 1886. Only a handful of poems and a single letter were published during her life. After her death, her younger sister discovered Dickinson’s vast collection of nearly 1,800 poems and letters, and she had Dickinson's first volume published almost four years after her death. Literary scholar Thomas H. Johnson would eventually publish Dickinson's Complete Poems in 1955, and her poems have been in print continuously since.

Divine madness and poetry
Divine madness, which is also referred to as “crazy wisdom,” is usually described as a manifestation of enlightened behavior by an individual who has transcended societal norms. The behaviors that the individual will act out may seem to other individuals in their society as symptoms of mental illness, but they are said to really be a form of religious ecstasy. According to scholars like June McDaniel, David M. DiValerio, Georg Feuerstein, and others, the discussion of divine madness is found throughout history and across many cultures. It is said to reflect an expression of a divine, or godly, love. In some religions such as western Christianity, Hinduism, Judaism, Buddhism, and others, divine madness is described as an unordinary form of madness; it is behavior that is “consistent with the structure of a spiritual path or a form of complete assimilation of God”.

The Athenian philosopher Plato discussed his ideas of divine madness in his text Phaedrus. He described “Theia mania,” a Greek phrase for divine madness, as being a “gift of the gods.” In Phaedrus, Plato’s main protagonist Socrates declares, "In fact the best things we have comes from madness”. Plato discusses the topic of divine madness once more in his text Ion. In the text, Ion is a professional reciter of poetry, and he argues with Socrates about the nature of the art. They argue that art is a divine inspiration, and that “divine madness is like the prophet being overtaken by God,” where God then speaks through the artist.

In the Pentecostal religion, which is a sect of Protestant Christianity, the practice of divine madness is encouraged among its followers. In Judaism, the Holy Spirit, also known as the Holy Ghost, is the “divine force, quality, and influence of God over the universe or over his creatures, while in Islam, the Holy Spirit acts as an agent of divine action or communication.” The activities, behaviors, and alleged healing power of the possessed is said to be the “Holy Spirit” in action. This phenomenon is known as charism, which in Christian theology is defined as a "power or authority of a spiritual nature, believed to be a freely given gift by the grace of God." To the people who do not believe or who are untouched by the by the Holy Spirit, the phenomenon of "hearing spiritual voices" may appear to be a symptom of mental illness. The followers of the Pentecostal religion believe there has long been evidence of the Holy Spirit being deeply rooted within Christian spirituality. It is believed that Saint Augustine had “similar experiences of deliberate hallucinations and madness.”

Text and background of text
The poem “Much Madness is Divinest Sense” by Emily Dickinson is thought to have been written in 1862, but because much of her work was not published until well after her death in 1886 it cannot be said for certain. Religious tones are present in the poem, as well as a sense of wit and rebellion that reveals frustration at the societal norms of the time.

 The Text

Much Madness is divinest Sense - (1)

To a discerning Eye - (2)

Much Sense - the starkest Madness - (3)

’Tis the Majority (4)

In this, as all, prevail - (5)

Assent - and you are sane - (6)

Demur - you’re straightway dangerous - (7)

And handled with a Chain - (8)

A Helpful Glossary
The American vocabulary in the 19th Century was very different from what it is now. Dickinson’s poetry is also notorious for the use of certain words with a variety of connotations so understanding the definitions of certain words gives new meaning to her writing. The Emily Dickinson Lexicon was created to help translate these words to allow the reader a clearer understanding of her poetry. Here are some definitions of words used in “Much madness…”

Madness, n:

A.) Distraction; preoccupation; absent-mindedness; [fig.] artistic genius; intellectual brilliance; poetic creativity.

B.) Disorder; craziness; passion; frivolity; erratic behavior; lack of caution; [fig.] windiness; unpredictable weather.

C.) Ecstasy; rapture; jubilee; exhilaration.

Divine (-st), adj.

A.) Heavenly; godlike; ecclesiastical; (see Hebrews 9:1).

B.) Godly; higher; sacred; increase of heavenly state; (see 2 Peter 1:3).

C.) Best; greatest; sublime; (see Proverbs 16:10).

D.) Supernatural; immortal significance; (see Ezekiel 13:23).

Stark (-est), adj. [OE 'to grow rigid, strength, strong, become frozen'.]

A.) Bleak; desolate.

B.) Gross; mere; absolute.

Sense (-s), n.

A.) Reason; mind; mental stability; ability to feel; faculties of sight, sound, smell, taste, touch, and so forth.

B.) Sanity; lucidity; order; rationality; [fig.] insight; inspiration.

C.) Significance; meaning; intimation; definition; [word play] sensory perception from the physical world.

D.) One's body; physical being; perception of the material world.

Being; consciousness; identity.

Assent, v.

Agree; yield; concede; concur; give in; conform in practice; [possible word play on “ascent”.]

Demur (-ed), v.

A.) Refuse; decline; dissent; hesitate; back away.

B.) Object; protest; resist; contest.

C.) Pause; hesitate; linger; wait; stop.

D.) Relent; repent; soften; yield; change mind; make a concession.

The poem opens with a paradox with the first line, where the speaker states that “madness” is actually “sense.” In poetry, a paradox is a figure of speech that is a self-contradictory phrase or concept that illuminates a truth. The speaker declares that what is considered to be sane or insane based on the opinion of the majority should be rejected by any intelligent person. The speaker may also be implying that an individual whom society considers to be “mad” or insane might be touched by God; it can be suggested that the “divine madness” the speaker is referring to is the sometimes erratic and unconventional behavior that a person displays when they are receiving a divine message. The poem suggests that the experiences or ideas of individuals whom the majority considers to be mad says much more about society itself than the individual who is being called crazy. The speaker argues that who society considers to be “mad” or who’s behavior goes against acceptable societal norms should be seen to a person with a “discerning Eye” (2) or a “perceiving eye” as expressing intelligence and commonsense. The “Eye” is capitalized, however, and could be a reference to God’s gaze. Furthermore, those who are untouched by divinity will not be able to understand the reason for the behaviors of those they consider mad. Only God and the individual would know the true meaning behind their behavior. The speaker then states that “Much Sense” is the “starkest madness,” (3) implying that what the majority decides is sensible and acceptable societal behavior is what should truthfully be considered insanity. A person who adheres to societal rules and plays their part without question or hesitation like “the Majority” (4) is deemed compliant and accepted as a member of that majority, as suggested in the line “Assent- and you are sane-.” (6) On the other hand, someone who questions societal rules or rejects them is seen as dangerous or insane, as expressed in the lines “Demur- you’re straightway dangerous- and handled with a Chain” (7-8).

Although the attitude and approach towards fully understanding mental illness and its symptoms are different today than they were during Dickinson’s lifetime, there are still many similarities in the way the mentally ill are perceived by society. Those who suffer from extreme cases of mental illness are often shunned from society or kept locked away in hospitals and prisons, with unequal or limited access to proper care. In the time when the poem is said to have been written, women’s behavior was often heavily scrutinized and their main role in society was seen as the caretakers of a household or to entertain their husbands. They had limited freedom or say in what they could do unless given strict permission from a man, be it father, husband, or any other male member of their household. A man had the power to have his wife or daughter committed if they believed they were suffering from “hysteria,” which was a term used to describe emotional excess. Today, hysteria no longer exists as a medical diagnosis in Western culture, but the aftermath of hysteria as a diagnosable illness in the 18th and 19th centuries has had a lasting impact on the medical treatment of women's health. The term hysterical, applied to an individual, can mean that they are emotional, irrationally upset, or frenzied. It was a common medical diagnosis during that time, used to describe a woman who was exhibiting emotionally charged behavior that someone else decided was too excessive or out of control. Being called hysterical by a man and being put away because of it was a very real threat at that time, and one can only assume that Dickinson would have had strong opinions about this hypocritical aspect of society.

Dickinson herself was a well-educated and creatively gifted individual. She never married and spent much of her time secluded while she wrote. It is agreed by many literary critics and historians that Dickinson was influenced by Ralph Waldo Emerson, who was an essayist, philosopher, poet, and was the founder of the transcendentalist movement. Transcendentalists believe in the inherent goodness of people and nature, and that society and its institutions have the power to corrupt the purity of a person. It is a core belief of transcendentalists that people are at their best when they are self-reliant and independent. Emerson also encouraged all individuals, and especially writers, to live a hermit’s life and to withdraw from society to prevent being contaminated with materialism. Emerson’s influence on Dickinson can be felt in the poem, as its overall tone comes off as condescending and rebellious, with the sense that the speaker views themselves as an outcast of society for expressing commonsense and rejecting societal roles and norms.

title: User:MelissaDP/sandbox


text:
Signetics 2650 & 2636 programming/Sync to VRST

So far our programs have largely been static — the PVI has been set up once and left alone. In this tutorial you will learn how to synchronise to the vertical reset signal and change what is on the screen every frame.

What is VRST?
VRST is a signal generated by the sync generator chip. It goes high for about 2.7ms in every 20ms frame of the video signal, and during this time the CRT's electron beam is turned off and is being moved back to point to the top of the screen.

This signal is connected to the Sense input of the microprocessor and its state is indicated by bit 7 of the PSU register. The leading edge of VRST also sets bit 6 (VRLE) of register $1FCB in the PVI, though this is not such a convenient place to check.

VRST is significant for two reasons. First, it gives our program a regular clock tick every 20ms that we can use to determine how fast things are moving on the screen. Second, the PVI requires that we set the vertical coordinate of all the primary objects before the trailing edge of VRST. Related to the latter, we also need to start handling other real-time events related to changing PVI registers during the scan, and that will be discussed in the next chapter.

Tutorial code
The code for this tutorial can be found at Tutorial code - sync to VRST.

These two subroutines are responsible for detecting the state of the VRST signal: :;=================================================================             :; subroutine - wait for VRST to clear :Vsync0: 0058 B480    :        tpsu    sense 005A 187C    :        bctr,eq Vsync0          ; wait for Sense bit to clear 005C 17      :        retc,un :;=================================================================             :; subroutine - wait for VRST to set :Vsync1: 005D B480    :        tpsu    sense           ; wait for Sense bit to be set 005F 1A7C    :        bctr,lt Vsync1 0061 17      :        retc,un :;================================================================= The instruction TPSU tests individual bits in the upper byte of the program status word. The constant sense has been equated to the value $80 by the statement sense equ $80, so we are testing bit 7 of PSU, the sense input of the processor, which in turn is fed by the VRST signal.

In subroutine Vsync0 the program keeps looping while sense is high, or in other words it waits until sense is low. Conversely, subroutine Vsync1 loops while sense is low, or in other words it waits until sense is high.

This is the main loop of the program: :endless: 002D 3F0058  :        bsta,un Vsync0          ; make sure VRST hasn't started 0030 3F005D  :        bsta,un Vsync1          ; wait for VRST to start

0033 0C1F0C  :        loda,r0 vc1		; increment vertical position of object 1 0036 8401    :        addi,r0 1 0038 CC1F0C  :        stra,r0 vc1

003B 0C1F0A  :        loda,r0 hc1		; decrement horizontal position of object 1 003E A401    :        subi,r0 1 0040 CC1F0A  :        stra,r0 hc1

0043 1B68    :        bctr,un endless The two subroutines Vsync0 and Vsync1 work together and are effectively waiting for the transition of the VRST signal from low to high. When that happens, the vertical coordinate of object 1 is incremented by one and its horizontal coordinate is decremented by one. The object therefore moves diagonally across the screen, one pixel per 20ms frame and therefore taking about 5 seconds per sweep.

Don't forget that the vertical coordinate must be set up before the end of the VRST period. This is because at that time the value in the register is transferred to a counter which is decremented on every horizontal line until it reaches zero, and then the first line of the object is displayed. So it is a good idea to set the vertical coordinate soon after the start of VRST. The WinArcadia debugger lets us see where this is occurring: You should see that both coordinates are set during the first few horizontal lines during the vertical blanking period. The X and Y coordinates are also shown in the WInArcadia output window.
 * Turn on the blanking display:  Options > VDU > Blanking areas?
 * Set a breakpoint at 0033:  bp $0033
 * Turn on the guide ray:     gr
 * Step through the program:  s

It is also important that this is done only once per frame, which is why we sync to the transition of VRST. Without that first subroutine call, Vsync0, the display gets erratic. Try patching it out, either by reassembling the code with a comment at the start of the line,  ;bsta,un Vsync0 , or by using the WinArcadia memory editor to replace the code with NOP's, 002D  C0 C0 C0.

Exercises

 * Alter the amount the coordinate is changed by every frame.


text:
User:Billymac00

Recreation
I recreated this page when I noticed it was absent (signature in "red" on edits). Billymac00 (discuss • contribs) 23:40, 19 December 2021 (UTC)

I am a retired control systems engineer among other things.

title: User:Billymac00


text: How to Think Like a Computer Scientist: Learning with Python 2nd Edition/Print version


text:
User:Viviannafbn/sandbox

A White Mask?: Double Consciousness Displayed in The Hate U Give
The Hate U Give is the story of Starr Carter and her struggle with her identity as a black woman and what it means to her. The way Starr presents herself to different groups of people is a perfect example of W.E.B. DuBois’ theory of double-consciousness. Throughout this film, we see a lot of examples of xenophobia-related topics. These include racism, the idea of code-switching, microaggressions, white-washing and examples of white privilege. There are different layers to xenophobia within the film and the concept of double consciousness is one worth discussing deeper.

From the beginning of the film, we’re introduced very quickly to the stark contrast of Starr’s home life and how she acts at home versus her social life at school. This is a big factor for the rest of the film, which gradually begins to pick up more and more. Her character development is a result of the trauma of witnessing her childhood friend, Khalil, be killed by a white cop. She’s later faced with the challenge of deciding to speak out about what she saw when the news went public or continuing to keep a low radar. However, if she chooses to speak out about it, she’d risk her safety in the process. This need for decision causes her to begin a battle within herself, questioning if what she’s doing is right or not. In the process, she becomes complacent to a lot of behavior from her private school friends that continues to frustrate her. This ranges from small comments, known as microaggressions, to the complete erasure of how devastating the incident of the shooting was for her. All of this buildup then allows her to start breaking down the walls between both worlds, as she realizes Khalil’s murder is something she cannot stay silent about. Richard Brody, a writer at The New Yorker recognizes that this is an extremely powerful movie that highlights the importance of so many topics that at times are not spoken about enough in American society: “[i]t’s an explicitly political movie that advocates a manifestly progressive view of its subjects, but it does so with a varied emotional energy, a set of complex characters in uncertain situations, and a perspective that emphasizes the drama’s open-ended, trouble-filled engagement with society at large." The film does an amazing job at capturing every smaller plot within the movie that just ends up tying it all together in a way that truly moves the watcher.

As I stated earlier, I think Starr’s case is an accurate depiction of double-consciousness and there’s various scenes within the movie that further support this. It was first introduced to us by W.E.B. DuBois after mentioning it in his book, The Souls of Black Folk (1903). The idea behind it is that black people feel the need to alter parts of themselves to be better accepted by society. Based on their experience, they feel as if there’s a line between being a black person and being an American, and that the two can’t coexist in America’s society. It’s better explained by a paper, titled “Double Consciousness,” written by John P. Pittman. He explains DuBois’ concept by saying, “[d]ouble-consciousness is identified here as a ‘sensation’, one which falls short of ‘true’ self-consciousness, but is a consciousness of one’s self, nonetheless. It is also part of a more complex feeling of ‘two-ness’, of disparate and competing ‘thoughts’, ‘strivings’, and ‘ideals’. This is not an episodic or occasional sensation, but a fixed and persistent form of consciousness” (8). This feeling of double consciousness is something black Americans are constantly aware of and must actively monitor which version of themselves they’re putting forth.

There are different ways that double consciousness was displayed in The Hate U Give. Some were more straightforward, and others were a bit more subtle. There was one recurring example of color tones at the beginning of the movie. The first time we see it used is when Starr is speaking as a voice over as she walks us through her morning. It starts during her drive to school; the mood is very cheerful, and it gives off a very comforting “home” vibe. Then it changes when we see a camera shot of her high school. The tones which had previously been warm are now noticeably colder. Different color temperatures show us further how drastic her two worlds are and invoke moods within us while watching. Warm tones usually imply a feeling of comfort, whereas cool tones are exactly that; cold. In an article written by Samantha Dillard, titled “The Hate U Give: Meticulously Crafted Authenticity,” she explains another reason why these differences in tones were so important: “Starr’s skin, which is rich and vibrant in Garden Heights, looks almost pallid at the private school and more closely matches that of her white peers than her family” (25). This was one detail that I hadn’t even noticed when taking note of the color tone, but it did have a noticeable effect on the scenes at her high school. When watching the film, it’s almost hard to tell just how much darker her skin is compared to her other classmates because they look similar. It tells us a lot and makes an even bigger point to how well she works to actively blend in with the people at her school. This is an example of white-washing, which is another topic that the film covers. She actively white-washes herself throughout the movie with her attitude and mannerisms around her classmates, much like the film does to her using color tones.

There are a couple of things that happen as a result of double consciousness. One of these is the concept of code-switching, something that’s common within the black community. Code-switching stems from the idea that only certain language is “appropriate” to use in different scenarios. The black community feels the need to alter the way they speak in public or in a professional setting to be more socially acceptable. Otherwise, they run the risk of appearing “ghetto”which is something Starr acknowledges very early on. Her use of slang, or rather, her lack of it at school allows her to keep up the appearance she puts forth for everyone. In her words, “Williamson Starr doesn’t use slang. If a rapper would say it, she doesn’t. Even if her white friends do. Slang makes them look cool. Slang makes me ‘hood’.” When she says “Williamson Starr”, she’s referring to the version of herself that she puts forth when she’s at school. There’s also plenty of times within her own community that she doesn’t completely fit in with her peers because they have different interests and perspectives. Roosa Tornikoski explains the idea of code switching in more depth: “[a] black person trying to find their place may have to constantly be proving themselves to the white majority and their own community. They are both black and American, but the struggle of finding the perfect balance for each individual is the essence of double consciousness” (5). It appeared like Starr was in between both worlds, leaning more towards the one she grew up in but still felt slightly out of place because of the school she attended. It influenced the way people from her childhood community viewed her.

Starr’s high school classmates also play a big part in her development. They become even more fuel for her to do what she thinks is right. Witnessing it all and staying silent is her just being complacent to what she sees, much like the incident she witnessed. In order for her to feel like she’s doing the right thing, she has to stand up for everything that she’s been previously letting slide. She had previously allowed her best friend to get away with small microaggressions and held herself back from confronting them because she didn’t want to break character from the role she usually plays while she’s in school. An example of a microaggression in the film happens halfway into the film. When Starr slips up and doesn’t pass the ball when playing basketball and allows the other team to score a point, her friend, Hayley, tells her to “pretend the ball is some fried chicken”. As the film continues these microaggressions become less and less subtle to the point where they’re just completely racist.

Throughout the film, we see two different examples of white privilege being displayed. Those two are Starr’s best friend, Hayley, and her boyfriend, Chris. They both fall on opposite ends of the white privilege spectrum in the way they choose to use it. Chris’ character acknowledges that he has this privilege and chooses to use it the best way he can, in this case helping Starr. In one of the last scenes during a protest that was quickly formed after the police officer who shot Khalil was set free with no charges, there’s a short clip of Chris looking around at his surroundings. He’s right in the middle of it all and he realizes just how important the case is for Starr and it’s not something he’d ever know firsthand what it’s like to deal with. He asks her if there’s anything he can do because he wants to help. How Chris manages his white privilege is further explained by Sarah Mohamed and Siobhan Englefield: “Chris’ response, agreeing to protest, is an agreed alliance; he knows he is not disconnected from the injustice and affirms his responsibility to use his position in society to raise the voices of others” (Mohamed, Englefield, 2).

On the opposite end, there’s Hayley, whose role is completely different. Her character is there to show how white privilege manifests itself in more negative ways. She does this probably without even meaning to in the beginning because these ideas may just be ingrained in her brain, so she doesn’t think they are inherently racist. There’re condescending undertones in the things she says. While she may not be actively racist, she’s still complacent with racism and doesn’t understand the severity of the situation at hand because it’s not something that could ever directly impact her. She can’t even bring herself to sympathize with her “best friend” because she’s blind to the privilege that’s being so obviously shown. Rather, she’s defending the guilty party and actively trying to paint Khalil like the one at fault, even going as far as to say, “[s]omeone was probably going to kill him eventually” after referring to him as a drug dealer. Mohamed and Englefield observe how “Hailey does not use her whiteness as an attribute to positively help others, such as minorities, but instead she, (maybe unknowingly as someone born into the already existing system), continues to perpetuate the cycle of systematic racism and oppression” (3). She doesn’t care to stop and think about what she says and how what she says could be directly offensive to the person she’s saying these comments to, especially since in Starr’s case, she has much more firsthand knowledge of the situation. Hayley symbolizes the white people that continue to enforce the systematic oppression of this country, while acting like it’s nonexistent.

To conclude, there are various levels of xenophobia that end up manifesting in a variety of ways within this film, and double consciousness was just one of the few topics that were covered. It does an amazing job of highlighting the importance of the issues presented and drawing attention to all the other topics. It gave us a new and deeper perspective on it all.

title: User:Viviannafbn/sandbox


text:
Primary Mathematics/Prime numbers

Prime numbers are positive numbers greater than one that cannot be divided evenly by any positive whole numbers other than one and themselves. For example, 7 is a prime number because the only numbers that divide it evenly are 1 and 7, but 8 is not a prime number because, in addition to 1 and 8, the numbers 2 and 4 also divide it. An equivalent definition is that a prime number is a number greater than one that cannot be written as the product of two smaller positive integers.

The first 10 prime numbers are 2, 3, 5, 7, 11, 13, 17, 19, 23, and 29.

Numbers greater than one that are not prime are called composite numbers. Note that the number 1 is neither prime nor composite, but is instead classified as a unit.

title: Primary Mathematics/Prime numbers


text:
User:PokemonTrainerGold

LOL I am a noob and a newcomer

title: User:PokemonTrainerGold


text:
HSK Guide

HSK 1

 * Vocabulary
 * Grammar Points

HSK 2

 * Vocabulary
 * Grammar Points

HSK 3

 * Vocabulary
 * Grammar Points

HSK 4

 * Vocabulary
 * Grammar Points

HSK 5

 * Vocabulary
 * Grammar Points

HSK 6

 * Vocabulary
 * Grammar Points

title: HSK Guide


text: HSK Guide/HSK 1 Vocab

title: HSK Guide/HSK 1 Vocab


text:
HSK Guide/HSK 1 Grammar

Parts of Speech
These following grammar points fit pretty neatly into one part of speech category.

Grammatical Structures
These are grammatical structures that do not correspond to one particular part of speech.

Comparisons of Similar Grammar Points
What's the difference between this grammar point and that grammar point? Check here.

title: HSK Guide/HSK 1 Grammar


text: HSK Guide/HSK 2 Vocab

title: HSK Guide/HSK 2 Vocab


text:
HSK Guide/HSK 2 Grammar

Parts of Speech
These following grammar points fit pretty neatly into one part of speech category.

Grammatical Structures
These are grammatical structures that do not correspond to one particular part of speech.

Comparisons of Similar Grammar Points
What's the difference between this grammar point and that grammar point? Check here.

title: HSK Guide/HSK 2 Grammar


text:
HSK Guide/HSK 3 Vocab

 * A-G
 * H-M
 * N-T
 * W-Z

title: HSK Guide/HSK 3 Vocab


text: HSK Guide/HSK 3 Vocab/A G

title: HSK Guide/HSK 3 Vocab/A G


text: HSK Guide/HSK 3 Vocab/H M

title: HSK Guide/HSK 3 Vocab/H M


text: HSK Guide/HSK 3 Vocab/N T

title: HSK Guide/HSK 3 Vocab/N T


text: HSK Guide/HSK 3 Vocab/W Z

title: HSK Guide/HSK 3 Vocab/W Z


text:
HSK Guide/HSK 3 Grammar

Parts of Speech
These following grammar points fit pretty neatly into one part of speech category.

Grammatical Structures
These are grammatical structures that do not correspond to one particular part of speech.

Comparisons of Similar Grammar Points
What's the difference between this grammar point and that grammar point? Check here.

title: HSK Guide/HSK 3 Grammar


text:
HSK Guide/HSK 4 Vocab

 * A-G
 * H-M
 * N-T
 * W-Z

title: HSK Guide/HSK 4 Vocab


text: HSK Guide/HSK 4 Vocab/A G

title: HSK Guide/HSK 4 Vocab/A G


text: HSK Guide/HSK 4 Vocab/H M

title: HSK Guide/HSK 4 Vocab/H M


text: HSK Guide/HSK 4 Vocab/N T

title: HSK Guide/HSK 4 Vocab/N T


text: HSK Guide/HSK 4 Vocab/W Z

title: HSK Guide/HSK 4 Vocab/W Z


text:
HSK Guide/HSK 4 Grammar

 * Parts of speech
 * Grammatical structures
 * Comparisons of Similar Grammar Points

title: HSK Guide/HSK 4 Grammar


text:
HSK Guide/HSK 4 Grammar/Parts of Speech

These following grammar points fit pretty neatly into one part of speech category.

title: HSK Guide/HSK 4 Grammar/Parts of Speech


text:
HSK Guide/HSK 4 Grammar/Structures

These are grammatical structures that do not correspond to one particular part of speech.

title: HSK Guide/HSK 4 Grammar/Structures


text:
HSK Guide/HSK 4 Grammar/Comparisons Points

What's the difference between this grammar point and that grammar point? Check here.


text:
HSK Guide/HSK 5 Vocab

Vocabulary of HSK 5 Guide:
 * A-G
 * H-M
 * N-T
 * W-Z

title: HSK Guide/HSK 5 Vocab


text:
HSK Guide/HSK 5 Vocab/A G

 * A
 * B
 * C
 * D
 * E
 * F
 * G

title: HSK Guide/HSK 5 Vocab/A G


text: HSK Guide/HSK 5 Vocab/A G/A

title: HSK Guide/HSK 5 Vocab/A G/A


text: HSK Guide/HSK 5 Vocab/A G/B

title: HSK Guide/HSK 5 Vocab/A G/B


text: HSK Guide/HSK 5 Vocab/A G/C

title: HSK Guide/HSK 5 Vocab/A G/C


text: HSK Guide/HSK 5 Vocab/A G/D

title: HSK Guide/HSK 5 Vocab/A G/D


text: HSK Guide/HSK 5 Vocab/A G/E

title: HSK Guide/HSK 5 Vocab/A G/E


text: HSK Guide/HSK 5 Vocab/A G/F

title: HSK Guide/HSK 5 Vocab/A G/F


text: HSK Guide/HSK 5 Vocab/A G/G

title: HSK Guide/HSK 5 Vocab/A G/G


text:
HSK Guide/HSK 5 Vocab/A-G

 * A
 * B
 * C
 * D
 * E
 * F
 * G

title: HSK Guide/HSK 5 Vocab/A-G


text:
HSK Guide/HSK 5 Vocab/H-M

 * H
 * J
 * K
 * L
 * M

title: HSK Guide/HSK 5 Vocab/H-M


text: HSK Guide/HSK 5 Vocab/H M/H

title: HSK Guide/HSK 5 Vocab/H M/H


text: HSK Guide/HSK 5 Vocab/H M/J

title: HSK Guide/HSK 5 Vocab/H M/J


text: HSK Guide/HSK 5 Vocab/H M/K

title: HSK Guide/HSK 5 Vocab/H M/K


text: HSK Guide/HSK 5 Vocab/H M/L

title: HSK Guide/HSK 5 Vocab/H M/L


text: HSK Guide/HSK 5 Vocab/H M/M

title: HSK Guide/HSK 5 Vocab/H M/M


text:
HSK Guide/HSK 5 Vocab/N-T

 * N
 * O
 * P
 * Q
 * R
 * S
 * T

title: HSK Guide/HSK 5 Vocab/N-T


text:
HSK Guide/HSK 5 Vocab/W-Z

 * W
 * X
 * Y
 * Z

title: HSK Guide/HSK 5 Vocab/W-Z


text:
User:İfelsee

Just

title: User:İfelsee


text:
Wikijunior:Visual Math/see more than up to 5

See numbers above 5.

Numbers above 5: are:6,7,8,9,10,11,12,13,14,15,16,17,18,19,20 and so on and so forth.


text:
Signetics 2650 & 2636 programming/Tutorial code - sync to VRST

Tutorial code - Sync to VRST
This is the code for the tutorial Sync to VRST

org    0 reset_vector:                  ; the microprocessor starts here when the reset button is pressed bcta,un reset org    3 interrupt_vector:              ; interrupts shouldn't happen, but we set this just in case retc,un reset: lodi,r0 $20	       ; initialise program status word, just to be sure! lpsu                   ; inhibit interrupts, stack pointer=0 lpsl                   ; register bank 0, without carry, arithmetic compare
 * Tutorial SyncVRST

eorz   r0        stra,r0 effects         ;initialise the 74LS378 stra,r0 objectsize     ;all objects size 0 bsta,un DefineObjects  ;define all objects lodi,r0 $AA stra,r0 score12 stra,r0 score34

eorz   r0        stra,r0 effects         ; !invert = 0

lodi,r0 0              ;  X / 000              /   0     / 000 stra,r0 backgnd        ;    / black background / disabled / yellow screen

lodi,r0 %00011101      ; XX  /  011        /   101 stra,r0 colours12      ;     / obj1 red / obj2 green lodi,r0 %00110000      ; XX  /  110        /   000 stra,r0 colours34      ;     / obj 3 blue / 4 white endless: bsta,un Vsync0         ; make sure VRST hasn't started bsta,un Vsync1         ; wait for VRST to start

loda,r0 vc1		; increment vertical position of object 1 addi,r0 1 stra,r0 vc1

loda,r0 hc1		; decrement horizontal position of object 1 subi,r0 1 stra,r0 hc1

bctr,un endless

DefineObjects: lodi,r3 $0E lodi,r0 $FF loopDS: stra,r0 shape1,r3-     ; create rectangular shapes stra,r0 shape2,r3 stra,r0 shape3,r3 stra,r0 shape4,r3 brnr,r3 loopDS
 * subroutine -  define shapes and position of all objects
 * subroutine -  define shapes and position of all objects

retc,un

Vsync0: tpsu   sense bctr,eq Vsync0         ; wait for Sense bit to clear retc,un Vsync1: tpsu   sense           ; wait for Sense bit to be set bctr,lt Vsync1 retc,un
 * subroutine - wait for VRST to clear
 * subroutine - wait for VRST to clear
 * subroutine - wait for VRST to set
 * subroutine - wait for VRST to set


text:
User talk:166.216.158.90

But dinosaurus are big, scaly monsters that have pronated wrists, like how Jurassic Park taught me. 166.216.158.90 (discuss) 23:33, 21 December 2021 (UTC)

title: User talk:166.216.158.90


text: Scratch/Block Reference Guide

title: Scratch/Block Reference Guide


text: Confederate States Government/Printable version


text:
User:Adamsmithstech

Adam is a writer of Latest technology news.

He is a tech-enthusiast having 10+ years of experience in Web Developing. He is also a blogger and write.

title: User:Adamsmithstech


text:
Wikijunior:Visual Math/identify circle and square

Identify a circle and a square.

A circle is round while a square is not round, that is it has four (4) sides.

□

That's a square.

○

That's a circle.

Class-work:

{Which is the circle? } - □ + ○
 * type=""

{Which is the square? } - ○ + □
 * type=""

{A circle is ____. } { round|Round }
 * type="{}"

{A square has how many sides? } - 2 - 3 + 4 - 5
 * type=""


text:
User:Platonykiss/sandbox/Intro

Introduction

title: User:Platonykiss/sandbox/Intro