text:
User talk:Hephaestix/Project Hephaistos

This Book should explain the problems of interstellar voyaging, and compare different technologies. The focus should be on a mission with two key characteristics: Problems of the rocket equation, artificial ecology, sociology and material sciences will be discussed
 * Technology must already exist (no Warp-Drive, no Cryosleep, no Antimatter, no stored conscousness)
 * Ship must establish a human colony at the target system (no fly by, no star whisp)

Intent / Outline
Inspired by the book "Aurora" (K.S. Robinson), as well as the papers on Project Orion, Project Daedalus and Project Hyperion

A description of a "small" Generation Starship, as opposed to more grand designs ("Worldships").

Using only near future (<200 years) technology, i.e. more sophisticated versions of already existing technologies (which will probably lead to a kind of "Steampunk Starship", as conceptually new technologies cant be anticipated).

Mission Outline:
 * Nuclear Pulse Propulsion (aka. Project Orion), using thermonuclear explosions
 * Average Speed of 4-5% c
 * Mission duration (flight): 250 years (9-10 generations)
 * Population: between 200 and 1000, plus frozen embryos
 * Distance: 10-12ly
 * Fleet of several ships, possible unmanned fly-by missions as a precursor
 * Goal: NOT a habitable planet or Terraforming, but to build a space-based civilization in the target system.

The discussion should be restricted to one particular mission design (as long as the two key characteristics are maintained).

Ship-Design:
 * Pusher-Plate at the aft
 * Ressources and heavy machinery directly behind the pusher plate
 * A central spire ("keel") to the bow
 * A number of habitat rings around the spire
 * The habitat rings are connected to a central node, which can slide along the keel/spire, with electro magnetic breaks (as a dampener)
 * Deceleration at the target system via magnetic sail

considered problems:
 * Why?
 * Building in space, required industrial base
 * selection of target star
 * stars within reachable radius
 * known planets, but more importantly asteroid belts and small moons
 * The propulsion system (specific impulse, g-forces)
 * magnetic sail for deceleration
 * radiation
 * genetic radiation hardening
 * micro meteorites
 * dedection and avoidance
 * active counter measures
 * passive shielding
 * genetic diversity
 * semi-closed ecology
 * available surface area
 * comparison with small ecologies on earth (Oasis, Islands, Mountain Peaks)
 * cultural stability / ethics
 * maslow's hirarchy of needs
 * comparison with isolated comunities on earth (island inhabitants, amazonas tribes, valley dwellers)
 * social and cultural flexibility
 * Development after arrival
 * replenishing ressources
 * building up an industrial base
 * adding habitat rings
 * detaching habitat rings

145.53.237.167 (discuss) 10:45, 28 August 2022 (UTC)

145.53.237.167 (discuss) 12:41, 12 August 2022 (UTC)

title: User talk:Hephaestix/Project Hephaistos


text:
Estonian/Word Formation

Each word is formed from some stem, to which are attached some combination of prefixes, suffixes, an infixes that further specify fundamental meaning. Furthermore, within the context of a phrase or sentence, each word takes on additional prefixes, infixes or suffixes that add situational meaning. The Estonian Language Institute publishes with each grammatical dictionary a list of morphological types (muuttüübid) that provide a classifiction number for these situational forms for nouns, adjectives and verbs according to a type number for words that decline or conjugate in a similar way. There are 26 types for words that decline (nouns and adjectives) and 11 types for words that conjugate (verbs).

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

title: Estonian/Word Formation


text:
Estonian/Vocabulary

Vocabulary ( Sõnavara )

Pronunciation is written according to Pronunciation respelling key

Grammatika

Väljendid

Here are some phrases that do not include verbs.

Words that are in forms that haven't been learned yet are in blue and can be hovered over to reveal their meaning and case.

 *  Mehe ja naise laps
 * The man and woman's child
 *  Lapse õun
 * The child's apple
 * Naine, laps ja õun
 * Woman, child and apple
 *  Poisi ja tüdruku toit
 * The boy's and girl's food

title: Estonian/Vocabulary


text:
Estonian/Pronouns

A pronoun (asesõna) has a long and short form. Here are the singular Estonian pronouns in the first three cases:

Pronouns & cases
Omastav kääne Here we have some tenses in genitive case.
 * Kelle oma? : Who own is?
 *  Venna õpik : The brother's textbook
 *  Minu õpik : My textbook
 *  Õe kleit : The sister's dress
 *  Tema kleit : Her dress
 * Kelle pall see on? : Who is this ball?
 * See on lapse oma : The child's own this
 * See on lapse pall : The child's this ball
 * Kelle oma see on? : Who own this is?
 * See on minu õe oma : My sister's own this
 * Kelle vihit see on? : Who notebook this is?
 * See on õpilase vihik : The student's this notebook
 * See on õpilase oma : The student's own this

Osastav kääne

title: Estonian/Pronouns


text:
User talk:Pooryorick~enwiki

Welcome!
Welcome to Wikibooks, Pooryorick~enwiki!

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

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

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

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

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

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

(Would you like to provide feedback on this message?)

Thanks for your contributions!L10nM4st3r / Roar at me 16:38, 12 August 2022 (UTC)

Estonian book
You recently removed large amounts of text from Estonian/Verbs without explaining why. Are you moving this text to another page? I have approved the edits for now but please explain in the Edit Summary if you are removing a lot of text.--Xania   talk 14:00, 13 August 2022 (UTC)

 * Will do! Pooryorick~enwiki (discuss • contribs) 14:39, 25 October 2022 (UTC)

title: User talk:Pooryorick~enwiki


text:
Category talk:Attention needed (allbooks)

Help
I can't figure out why both books I started are in here. Any way to get em out? Im a bit confused. L10nM4st3r / Roar at me 17:05, 12 August 2022 (UTC)


text:
Category:Book:Minecraft/Experiments

A list of possible experiment pages. They can be ignored or improved, as they shouldn't interrupt the book or wikibooks, but it would be nice to know how people use related minecraft templates.

__HIDDENCAT__

title: Category:Book:Minecraft/Experiments


text:
Health Sociology

Welcome
Purpose: this Wikibook sets out to create an open, free, and editable introductory e-textbook on the subject of health sociology.

Audience: ISCED level 6 (e.g. Bachelor's) or above students seeking an introduction to health sociology, although everyone is welcome to read and participate with this work.

Scope: this work sets out to provide a top-level overview of topics relating to health sociology. As such, this is not an exhaustive text, but a concise presentation of concepts, ideas, and issues related to health sociology. Efforts to include a variety of relevant materials, from case studies to videos, have been utilised throughout to enhance the project as an e-textbook. A number of sections have further readings to explore beyond this work and links to additional wiki resources.

Format: this e-textbook is a dynamic, rather than static, piece of work. Its content, layout, and direction will alter and be expanded upon as contributors come and go. As such, whilst reading and engaging with the material, if there is something you disagree with, want to flag for review, or you find an error on - you are able to contribute. As a community project, all contributions are made freely and voluntarily and decision making on any aspect will take place collectively. Fact checking, layout, and wider editorial responsibilities fall on all contributors to take part in. If there comes a point in the future where a single record of our work would be beneficial, potentially an archived copy of our contributions can be saved and a new edition can be started. Currently, this e-textbook is written in British English and further language editions may be started in the future. But, this project is a long way off from that and welcomes all interested in health sociology to contribute what they can to this in-development project for future generations to engage with.

Structure: this e-textbook is structured in nine parts. Part one focuses on providing a general overview of what health sociology means, how we "know" health, and key concepts that learners should understand before going into the material. Part two develops upon overarching themes found throughout health and society, exploring issues such as inequality to class. Part three then explores the lived experiences of humans and their health throughout various stages and experiences of living and death. Part four offers insight into the practical considerations of undertaking healthcare activities within society. Part five builds upon these practical insights and examines the social processes and phenomenon that govern these practices. Part six moves to a top-level view of our society to explore wider social influences on our health and wellbeing. Part seven considers the historical social relationships with our health and their ramifications for present and future generations. Part eight then leans on significant theoretical perspectives to frame and contextualise the various insights provided throughout. Part nine ends by discussing the future of our health and society, exploring the importance of democratic activism, technology, and societal wellbeing to the continued development and equity of everyone's health.

Contents
Introduction

Contributors

Part 1: Understanding health and society

Health and society

Theory and "knowing" health

Key concepts

Part 2: Themes of health and society

Inequality, Inequity, Injustice, and Liberation

Intersectionality

Class

Ethnicity

Sex, Sexuality, and Gender

Age

Location

Environment

Genetics

The body and the mind

Part 3: Living within a human lifespan

Sex and Reproduction

Childhood

Teenhood

Adulthood

Relationships

Bodies

Pain

Mental Health

Anxiety, scares, uncertainty, and the unknown

Drugs, usage, and addicition

Chronic Illness

Disability

Sleep

Aging

Death and Dying

Part 4: Doing health in society

Organising care

Institutionalisation

Doctoring

Nursing

Dentistry

Allied health professions

Public health

Health promotion

Lay care

Complementary and Alternative Medicine

Palliative care

Deathcare

Part 5: Negotiating health with society

Social construction of health

Medical model

The Professional and the Lay Person

Diagnosis to treatment

Cure finding

Professionalisation

Medicalisation

Pharmaceuticalisation

Geneticisation

Healthcare journeys

Natural disasters

Human disasters

Part 6: Setting the agenda in health and society

Policy

Economics

Politics

Ideology

Capitalism

Consumerism

Neoliberalism

Privatisation

Lobbying

NGOs

Think tanks and research groups

Sceptics and conspiricy theorists

Community groups

Part 7: Histories of health and society

Histories of Healing

Westerncentricism

Empiricism

Mechanical anatomy

Colonialisation

Industrialisation

Globalisation

Part 8: Perspectives of health and society

Bioethics

Feminism

Foucault

Marxism

Political economy

Social constructivism

Planetary health

Queer theory

Part 9: Bettering health and society

Activism

Democratic innovations

Citizenship

Digital information

Technology

Wellbeing

End matter

Glossary

title: Health Sociology


text:
User:Pseudoaccounto

default page for Pseudoaccounto

title: User:Pseudoaccounto


text:
Estonian/Adjectives

An adjective (omadussõna) has a positive, comparative and superlative degree.

 * Ma olen kurb : I am sad
 * Ma olen vihane : I am angry
 * Ma olen rõõmus : I am happy
 * Ma olen väsinud : I am tired

Asted

In singular
 * Kiire : Fast
 * Kass on kiire : The cat is fast
 * Kiirem : Faster
 * Lõvi on kiirem : The lion is faster
 * Kiireim : Fastest
 * Gepard on kiireim : The cheetah is the fastest

In Plural :
 * Nartsissid on ilusad
 * The daffodils are beautiful
 * Tulbid on ilusamad
 * The tulips are more beautiful
 * Roosid on ilusaimad
 * The roses are most beautiful

Võrdlus

 * Ma olen noorem kui mu õde
 * I am younger than my sister
 * Ta on sama noor kui tema naine
 * He is as young as his wife
 * Meie uus kolleeg on väga noor
 * Our new colleague is very young
 * Ta on liiga noor et autot juhtida
 * He is too young to drive a car

Comparison in creates adjectives with the suffix -ne
 * Poisi pikkune : As tall as the boy
 * Lille lõhnaline : Small like the flowers
 * Sambla roheline : Green as the moss

title: Estonian/Adjectives


text:
Estonian/Postpositions

A postposition (tagasõna) fills the same role as a preposition in English, but it occurs after the word it modifies.

In phrases
 * Laua peal : On the table
 * Diivani all : Under the couch
 * Karbi sees : Inside the box
 * Staadioni kõrval : Next to the stadium
 * Kapi taga : Behind the cupboard
 * kahe tooli vahel : Between two chair.

In tenses
 * Kell on seina peal
 * The clock is on the wall
 * Jari on ema kõrval
 * Jari is next to mother
 * Kruus on laua peal
 * The cup is on the table
 * Siga on akna juures
 * The pig is near the window
 * Ma panen vihiku laua peale
 * I am putting the notebook onto the table
 * Vihik on laua peal
 * The notebook is on the table
 * Ma võtan vihiku laua pealt
 * I take the notebook from the table

title: Estonian/Postpositions


text:
User:Quartae

Hello, this is my userpage. Not quite sure what to do with it yet, so have a nice time here and take a wee break.

title: User:Quartae


text:
Note Taking/REAP Strategy

The REAP strategy stands for Read, Encode, Annotate and Ponder. It is a strategy for students to understand a text (or their notes).

 * READ - To understand the basic message of the author
 * ENCODE the message by writing it in your own words
 * ANNOTATE the text by writing down the main ideas (notes, significant words, quotes) and summarise the author’s message
 * PONDER what you read by thinking and talking with others, in order to make personal connections, develop questions about the topic, and/or connect this reading to other reading you have done

title: Note Taking/REAP Strategy


title: User:Sigmanexus6


text:
User:Ted Wesley

Education
''Current Bach Exer Phys. & Rehab. at University of Canberra (UC). Anticipated Completion Sem. 2 2024.''

Employment
Australian Federal Police (AFP), April 2002 -

title: User:Ted Wesley


text:
User:Ted Wesley/sandbox

University of Canberra_2022

title: User:Ted Wesley/sandbox


text:
History of video games/Platforms/Aquaplus PIECE

Launch
The launch of the system was planned for November 30, 2001, however it is unknown if this target was met. The system did release in 2001 for 11000 Japanese Yen. However the price was also listed as 9,800 Japanese Yen. The console was distributed in retail through PC software stores.

Legacy
The official main P/ECE website was last updated on August 20th, 2004. A small homebrew scene continued developing for the system long after it was released to the market. New commercial releases for the system occurred as recently as 2021.

This console was referenced in Episode 11 of the 2020 anime Tonikawa: Over the Moon for You.

The system is was noted by the blog of GingerBreadMan for it's similarities to a later console, the Playdate.

Compute
The system was powered by a 32-bit RISC CPU, the Epson S1C33209, which was clocked at 24 megahertz. The system had 256 KB of Volatile SRAM. Storage was non-expandable, and was based on 512 KB of flash RAM, about 320 kilobytes of which was available to the user.

Audio Visual
The system included a widescreen orientation 45 mm by 31 mm monochrome FSTN LCD with a resolution of 128 pixels by 88 pixels capable of displaying 4 shades of darkness. This display was acknowledged by Aquaplus as low specification for the time, and was selected specifically for improved battery life and size.

Audio was possible by using PWM through the CPU. Audio was output using either a single onboard monaural speaker, or through a headphone jack.

Hardware
The system measured 101 mm high by 65 mm wide by 17 mm deep and weighed 67 g without any AA battery inserted.

A 1 channel 16 bit timer was used to handle interrupts.

Software
Very unusually for a console of the early 2000's, but similar to other small handhelds of the era, Aquaplus released development tools without asking for a royalty and free as in gratis, and explicitly with no license. The primary development language was a variant of the C programming language, which was fully compatible with ANSI C. An educational story based course with three characters was released to help developers learn how to write software for the system. Additionally two official games were released with source publicly available to aid developers.

A contest with a number of prizes ranging from 50,000 Japanese Yen to 1 million Japanese Yen was distributed at various times and was held to develop software for the system.

Communication
The system supported Infrared based wireless communication, sporting both a receiver and blaster on the top of the console, for communication with other consoles. The system also supported wired USB communication with an onboard USB Type B port for use with a computer. This was the intended method of uploading software to the device. Unusually for the time, the system could also be used as a controller for PC games via USB. The possibility of operation with other consoles such as the PlayStation 2 was mentioned in the official FAQ.

Power
The system used one AA battery for around 8 hours of mobile operation, and a standby mode being available for when the system was not in operation. The system was designed for use with standard alkaline AA batteries, and the use of rechargeable batteries was explicitly mentioned as a gray area. It should be noted that documentation contemporary competing game consoles such as the [[/Platforms/GameBoy|GameBoy Color}} explicitly told users to avoid using rechargeable batteries.

When available and adequately powered, USB was automatically switched to as a power source for the system, an unusual feature for the time.

Accessories
The system included a attachment point for a strap or charm.

Games
The system was powerful enough to support complex gameplay features such as 3D environments or destructible environments.

Console Versions

 * Original "Silver & Black" - Features silver and black two tone casing and silver buttons. Original models included special software built in.
 * Other versions
 * "Pearl White" - Features opaque bright white casing and matching white buttons.
 * "Clear Blue" - Features translucent blue casing and black buttons.
 * "Clear Red" - Features translucent red casing and black buttons.

Note that all models have a black bezel around the display.


text:
User:Invisiblemonki/sandbox

 invisible monki

title: User:Invisiblemonki/sandbox


text: US Income Tax/Printable version

title: US Income Tax/Printable version


text:
Module:Delink

-- This module de-links most wikitext.

require("strict")

local p = {}

local getArgs

local function delinkReversePipeTrick(s) if s:match("^%[%[|.*[|\n]") then -- Check for newlines or multiple pipes. return s	end return s:match("%[%[|(.*)%]%]")

end

local function delinkPipeTrick(s) -- We need to deal with colons, brackets, and commas, per Help:Pipe trick. -- First, remove the text before the first colon, if any. if s:match(":") then s = s:match("%[%[.-:(.*)|%]%]") -- If there are no colons, grab all of the text apart from the square brackets and the pipe. else s = s:match("%[%[(.*)|%]%]") end -- Next up, brackets and commas. if s:match("%(.-%)$") then -- Brackets trump commas. s = s:match("(.-) ?%(.-%)$") elseif s:match(",") then -- If there are no brackets, display only the text before the first comma. s = s:match("(.-),.*$") end return s end

-- Return wikilink target |wikilinks=target local function getDelinkedTarget(s) local result = s	-- Deal with the reverse pipe trick. if result:match("%[%[|") then return delinkReversePipeTrick(result) end result = mw.uri.decode(result, "PATH") -- decode percent-encoded entities. Leave underscores and plus signs. result = mw.text.decode(result, true) -- decode HTML entities. -- Check for bad titles. To do this we need to find the -- title area of the link, i.e. the part before any pipes. local target_area if result:match("|") then -- Find if we're dealing with a piped link. target_area = result:match("^%[%[(.-)|.*%]%]") else target_area = result:match("^%[%[(.-)%]%]") end

-- Check for bad characters. if mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") and mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") ~= "?" then return s	end return target_area end

local function getDelinkedLabel(s) local result = s	-- Deal with the reverse pipe trick. if result:match("%[%[|") then return delinkReversePipeTrick(result) end

result = mw.uri.decode(result, "PATH") -- decode percent-encoded entities. Leave underscores and plus signs. result = mw.text.decode(result, true) -- decode HTML entities.

-- Check for bad titles. To do this we need to find the -- title area of the link, i.e. the part before any pipes. local target_area if result:match("|") then -- Find if we're dealing with a piped link. target_area = result:match("^%[%[(.-)|.*%]%]") else target_area = result:match("^%[%[(.-)%]%]") end

-- Check for bad characters. if mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") and mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") ~= "?" then return s	end

-- Check for categories, interwikis, and files. local colon_prefix = result:match("%[%[(.-):.*%]%]") or "" -- Get the text before the first colon. local ns = mw.site.namespaces[colon_prefix] -- see if this is a known namespace if mw.language.isKnownLanguageTag(colon_prefix) or (ns and (ns.canonicalName == "File" or ns.canonicalName == "Category")) then return "" end

-- Remove the colon if the link is using the Help:Colon trick. if result:match("%[%[:") then result = "[[" .. result:match("%[%[:(.*%]%])")	end

-- Deal with links using the Help:Pipe trick. if mw.ustring.match(result, "^%[%[[^|]*|%]%]") then		return delinkPipeTrick(result)	end	-- Find the display area of the wikilink	if result:match("|") then -- Find if we're dealing with a piped link.		result = result:match("^%[%[.-|(.+)%]%]")		-- Remove new lines from the display of multiline piped links,		-- where the pipe is before the first new line.		result = result:gsub("\n", "")	else		result = result:match("^%[%[(.-)%]%]")	end

return result end

local function delinkURL(s) -- Assume we have already delinked internal wikilinks, and that -- we have been passed some text between two square brackets [foo]. -- If the text contains a line break it is not formatted as a URL, regardless of other content. if s:match("\n") then return s	end -- Check if the text has a valid URL prefix and at least one valid URL character. local valid_url_prefixes = {"//", "http://", "https://", "ftp://", "gopher://", "mailto:", "news:", "irc://"} local url_prefix for _ ,v in ipairs(valid_url_prefixes) do if mw.ustring.match(s, '^%[' .. v ..'[^"%s].*%]' ) then			url_prefix = v			break		end	end	-- Get display text	if not url_prefix then		return s	end	s = s:match("^%[" .. url_prefix .. "(.*)%]") -- Grab all of the text after the URL prefix and before the final square bracket.	s = s:match('^.-(["<> ].*)') or "" -- Grab all of the text after the first URL separator character ("<> ).	s = mw.ustring.match(s, "^%s*(%S.*)$") or "" -- If the separating character was a space, trim it off.	local s_decoded = mw.text.decode(s, true)	if mw.ustring.match(s_decoded, "%c") then		return s	end

return s_decoded

end

local function delinkLinkClass(text, pattern, delinkFunction) if type(text) ~= "string" then error("Attempt to de-link non-string input.", 2) end if type(pattern) ~= "string" or mw.ustring.sub(pattern, 1, 1) ~= "^" then error('Invalid pattern detected. Patterns must begin with "^".', 2) end -- Iterate over the text string, and replace any matched text. using the -- delink function. We need to iterate character by character rather -- than just use gsub, otherwise nested links aren't detected properly. local result = "" while text ~= "" do -- Replace text using one iteration of gsub. text = mw.ustring.gsub(text, pattern, delinkFunction, 1) -- Append the left-most character to the result string. result = result .. mw.ustring.sub(text, 1, 1) text = mw.ustring.sub(text, 2, -1) end return result end

function p._delink(args) local text = args[1] or "" if args.refs == "yes" then -- Remove any Help:Strip markers representing ref tags. In most situations -- this is not a good idea - only use it if you know what you are doing! text = mw.ustring.gsub(text, "UNIQ%w*%-ref%-%d*%-QINU", "") end if args.comments ~= "no" then text = text:gsub("<!%-%-.-%-%->", "") -- Remove html comments. end

if args.wikilinks ~= "no" and args.wikilinks ~= "target" then -- De-link wikilinks and return the label portion of the wikilink. text = delinkLinkClass(text, "^%[%[.-%]%]", getDelinkedLabel) elseif args.wikilinks == "target" then -- De-link wikilinks and return the target portions of the wikilink. text = delinkLinkClass(text, "^%[%[.-%]%]", getDelinkedTarget) end if args.urls ~= "no" then text = delinkLinkClass(text, "^%[.-%]", delinkURL) -- De-link URLs. end if args.whitespace ~= "no" then -- Replace single new lines with a single space, but leave double new lines -- and new lines only containing spaces or tabs before a second new line. text = mw.ustring.gsub(text, "([^\n \t][ \t]*)\n([ \t]*[^\n \t])", "%1 %2") text = text:gsub("[ \t]+", " ") -- Remove extra tabs and spaces. end return text end

function p.delink(frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end return p._delink(getArgs(frame, {wrappers = 'Template:Delink'})) end

return p

title: Module:Delink


text:
Module:Delink/doc

This module implements the Delink template. Please review the template's documentation subpage directly for details about its use.

title: Module:Delink/doc


text:
Template:Delink/doc

This template removes links from wikitext. It de-links wikilinks and URL links, removes HTML comments, and normalizes whitespace. It handles most wikitext correctly, including category links, the colon trick, the pipe trick (both normal and reverse), nested wikilinks, and invalid link characters.

Basic

Full syntax

Parameters

 * 1 the text to be de-linked
 * wikilinks
 * if set to no, n , false , or 0 , wikilinks are not de-linked
 * if set to target, wikilinks are reduced to the target portion of a wikilink instead of the label, as in  →
 * urls if set to no, n , false , or 0 , URL links (wrapped in single, not paired, square brackets) are not de-linked
 * comments if set to no, n , false , or 0 , HTML comments are not removed
 * whitespace if set to no, n , false , or 0 , whitespace is not normalized. The normalization makes the whitespace of the resulting text look as if it had been put through the MediaWiki parser. For example, single newlines are converted to a single space, but double newlines are left alone.
 * refs (experimental) if set to yes, y , true , or 1 , inline HTML references are removed. This is not recommended as only the [1], [2], etc. markers will be removed - the references themselves will still appear at the end of the page. There is no known workaround for this problem as of April 2014.

TemplateData
{	"description": "Strip link syntax from wikicode input", "format": "inline", "params": { "1": {			"label": "Input", "description": "The wikitext to strip link syntax from", "type": "unbalanced-wikitext", "required": true },		"wikilinks": { "label": "Wikilink handling", "description": "Modify the wikilink stripping style to output targets rather than labels, or no to strip them at all", "type": "line", "suggestedvalues": [ "target", "no", "n", "false", "0"			],			"default": "yes", "suggested": true },		"urls": { "label": "URL handling", "description": "Disable stripping wikilink syntax from around external links (wrapped in single square brackets rather than a pair at each end)", "type": "boolean", "default": "yes" },		"comments": { "label": "Comment handling", "description": "Disable striping wikilink syntax from around HTML comments (between )", "type": "boolean", "default": "yes" },		"whitespace": { "label": "Normalize whitespace", "description": "Disable whitespace normalization performed by default to template input", "type": "boolean", "default": "yes" },		"refs": { "label": "Strip references", "description": "Activate the stripping of HTML ref tags used for inline citations (experimental)", "example": "yes", "type": "boolean", "default": "no", "autovalue": "yes" }	} }

title: Template:Delink/doc


text:
Module:Template link general

-- This implements Template:Template link general local getArgs = require('Module:Arguments').getArgs local p = {}

-- Is a string non-empty? local function _ne(s) return s ~= nil and s ~= "" end

local nw = mw.text.nowiki

local function addTemplate(s) local i, _ = s:find(':', 1, true) if i == nil then return 'Template:' .. s	end local ns = s:sub(1, i - 1) if ns == '' or mw.site.namespaces[ns] then return s	else return 'Template:' .. s	end end

local function trimTemplate(s) local needle = 'template:' if s:sub(1, needle:len):lower == needle then return s:sub(needle:len + 1) else return s	end end

local function linkTitle(args) if _ne(args.nolink) then return args['1'] end local titleObj local titlePart =  .. textPart ..  if _ne(args.braceinside) then titlePart = nw('{') .. titlePart .. nw('}') end return titlePart end

function p.main(frame) local args = getArgs(frame, {		trim = true,		removeBlanks = false	}) return p._main(args) end

function p._main(args) local bold = _ne(args.bold) or _ne(args.boldlink) or _ne(args.boldname) local italic = _ne(args.italic) or _ne(args.italics) local dontBrace = _ne(args.brace) or _ne(args.braceinside) local code = _ne(args.code) or _ne(args.tt) local show_result = _ne(args._show_result) local expand = _ne(args._expand) -- Build the link part local titlePart = linkTitle(args) if bold then titlePart = "'''" .. titlePart .. "'''" end if _ne(args.nowrapname) then titlePart = ' ' .. titlePart .. ' ' end -- Build the arguments local textPart = "" local textPartBuffer = "|" local codeArguments = {} local codeArgumentsString = "" local i = 2 local j = 1 while args[i] do		local val = args[i] if val ~= "" then if _ne(args.nowiki) then -- Unstrip nowiki tags first because calling nw on something that already contains nowiki tags will -- mangle the nowiki strip marker and result in literal UNIQ...QINU showing up				val = nw(mw.text.unstripNoWiki(val)) end local k, v = string.match(val, "(.*)=(.*)") if not k then codeArguments[j] = val j = j + 1 else codeArguments[k] = v			end codeArgumentsString = codeArgumentsString .. textPartBuffer .. val if italic then val = ' ' .. val .. ' '			end textPart = textPart .. textPartBuffer .. val end i = i + 1 end

-- final wrap local ret = titlePart .. textPart if not dontBrace then ret = nw('') end if _ne(args.a) then ret = nw('*') .. ' ' .. ret end if _ne(args.kbd) then ret = ' ' .. ret .. ' ' end if code then ret = ' ' elseif _ne(args.plaincode) then ret = ' ' end if _ne(args.nowrap) then ret = ' ' .. ret .. ' ' end -- Wrap as html?? 	local span = mw.html.create('span')	span:wikitext(ret)	-- if _ne(args.debug) then ret = ret .. '\n ' .. mw.text.encode(mw.dumpObject(args)) .. ' ' end

if show_result then local result = mw.getCurrentFrame:expandTemplate{title = addTemplate(args[1]), args = codeArguments} ret = ret .. " → " .. result end

if expand then local query = mw.text.encode('') local url = mw.uri.fullUrl('special:ExpandTemplates', 'wpInput=' .. query) mw.log ret = ret .. " [" .. tostring(url) .. "]"	end

return ret end

return p

title: Module:Template link general


text:
Module:Template link general/doc

Implements Template link general and other templates in its family.

Basic usage
This module is used by Template link general and related templates to display links to templates. It is similar to Tl but with additional formatting options and the ability to include parameters in the display. See the Parameters section of the Template documentation subpage for the full list, which can be enabled by passing any value to them (such as "on", "yes", etc.).

title: Module:Template link general/doc


text:
History of video games/Platforms/Playpulse One

History
Development started in 2017, with a company being formally setup in 2018.

The Playpulse One was announced in 2021 as an exercise bicycle with an integral game console. 2 million dollars were raised to fund the system by September of 2021. On November 17, 2022 it was announced that an undiscolsed amount had been invested in PlayPulse by NetEase.

Preorders first opened on April 13, 2021 for $1,199 USD. Preorders in late 2022 cost $1,600 USD.

Compute
An Intel i5-9400F CPU powered the system. The system featured a dedicated GPU. The system included 8 gigabytes of RAM, and 2 gigabytes of dedicated video RAM, as well as a 64 gigabyte solid state disk.

Hardware
The exercise bike includes a touchscreen measuring 24 in, as well as handlebars that integrate typical gamepad features.

Software
Unity 3D was used as the game engine for launch games.

Pedaltanks
A MOBA based around tank combat.

Helios
A mashup of the running game and rougelite genres.

Heatstreet
Vehicle based game.

Bumpercars
An outer space themed bumper car game.


text:
Cookbook:Cottonseed

Cottonseed or cotton seed refers to the seed of the cotton plant separated from the bulk of the fiber.

Characteristics
The seeds are small and brown in color, sometimes covered in residual white fiber. The flavor is described as nutty and chickpea-like. Cottonseed is nutritionally dense, but its use as food is complicated by its content of gossypol, a compound toxic to humans. The seeds can be processed to lower the gossypol content—however, when cooking with cotton seed it is best to use a cultivar bred for low to no gossypol content.

The seeds can also be processed to extract cottonseed oil, which is refined to remove the toxic gossypol and then used in cooking.

Use
To use cottonseed in cooking, it may be soaked and ground to produce a plant milk, analogous to soy milk, almond milk, and others. Cottonseed is also used to make a Nigerian cottonseed soup and an Indian beverage called paruthi paal. Cottonseed oil is used like other vegetable oils for frying, dressings, and more.

title: Cookbook:Cottonseed


text:
Minecraft/Sand

Found in deserts and beaches.

Use
Can hold cacti, be turned to glass and sandstone and suffocate enemies in a single-use trap. That is about it.

title: Minecraft/Sand


text: Template:Template link general

title: Template:Template link general


text:
Minecraft/Red Sand

Found in the badlands.

Use
Can hold cacti, be turned to glass and red sandstone and suffocate enemies in a single-use trap. That is about it.

title: Minecraft/Red Sand


text:
How to create gaming video/Editing game video using Avidemux

Editing game video using Avidemux
In this section we'll talk about how to do basic editing with Avidemux. There are more versatile video editing programs available, but Avidemux is low cost (free) and easy to learn and use. There is virtually so setup needed after installation, so we can dive right into the editing process. These instructions are specific to Windows, but the process is similar for other operating systems.

Opening a file
First open the video you want to edit, presumably a video fresh from your recording software or device. Just click the open folder icon in the toolbar and select the file. If you haven't given the file a meaningful filename yet then this is a good time to do so. Avidemux will keep track of the last place you opened a file from, so after opening one for the first time, you usually won't have to tell it which folder to look in. It takes a few seconds to process the file into memory. (Keep in mine that video is not text, and you're dealing with gigabytes of data, not megabytes.

Navigating through a video
Most of the screen shows the current frame, so you'll start off with whatever was on the screen at the instant you started recording. On the left are Codec Options, but those should already be set properly out of the box. The real action will be taking place with the controls below the frame display. On the bottom left are navigation controls, including:
 * A slider bar:
 * Drag this to move to any point in the video. It's not usually accurate enough to find an exact frame, but you can get to the approximate area and use the more detailed controls from there.

Below the slider are navigation buttons. Ignore the square buttons marked A and B for now since they are used for editing. Other than those two, from left to right they are:
 * Play/Stop:
 * This starts playing the video at normal speed starting with the current frame. This plays the audio as well, so it will be the main way to find a location where a specific audio event occurs. While the video is playing, this turns into a pause button, to stop at the current frame.
 * Previous and Next frames
 * This step forward or backward a singe frame at a time. These are usually too precise, since at 30 frame per second a 30 min. video has 54,000 frames, but they have their uses. One use is to select a single frame to export as an image file.
 * Previous and Next keyframes
 * Recall from the section on video compression that video files are organized into short sections, and the boundaries of the sections are called keyframes. These buttons allow you to go between keyframes, or go from an intermediate frame to the next or previous keyframe. It's important to be able to locate these frames if you're only going to make edits at the keyframe boundaries. There are some good reasons for doing this when possible.
 * Previous and Next cut point
 * When you first open a file and haven't done any edits yet, these take you to the first and last frame of the video. As you start editing, you may notice that a vertical red lines appear in the slider at each edit point. These are useful for navigating to an edit so you can review the transition.
 * Previous and Next black frame
 * These seek out the previous and next black frames. These occur more often in traditional video sources, so you may not use these for game video editing.
 * First and Last frame
 * The beginning and end of the video. You will probably trim the beginning and end of almost every video you edit, and it's important to check the start and end to make sure that the cuts are well placed.
 * Backward and Forward one minute
 * This is slightly finer control than the slider bar.

In addition, there are several hot-key combinations you can use for navigation.
 * Space: Same as the Play/Stop button.
 * Left/Right: Same as the Previous and Next frame buttons.
 * Down/Up: Same as the Previous and Next keyframe buttons.
 * Shift + Down/Up: Same as the Previous and Next cut point buttons.
 * Home, End: Same as the First and Last frame buttons.
 * Ctrl+T: Go to a specific time index.
 * Shift + Left/Right: Go backward or forward one second.
 * Ctrl + Left/Right: Go backward or forward two seconds.
 * Ctrl + Shift + Left/Right: Go backward or forward four seconds.
 * Ctrl + Down/Up: Same as Backward and Forward one minute.

These are also available under Go in the main menu.

To the right of the main slider is an variable speed slider. Drag the line in the center to the right to move forward, and move it farther to the right to go faster. Similarly, dragging the line to the left will move backward at a speed you can control.

Below this are buttons with time indexes of the A and B markers which we'll talk about next. Click on either of these to go to that marker. The duration of the current selection is show below these.

Making edits
Editing with Avidemux is a lot like editing a text file in that you can highlight a section, then delete it or cut and paste it somewhere else. The main difference is you can't create new video; that's what your recording device or software is for. Highlighting a section is a bit more cumbersome than in a text file, but that's mainly because it's more difficult to navigate to a precise frame. In text you can just click on the spot where you want to make an edit.

To select a section, find the first frame of section using the navigation tools above, then press the square button marked A to set the start of the selection. Now find the last frame of the section, and press the square button marked B to set the end of the selection. You can also set the end of the section first if that's more convenient. As soon as you mark one end of a section, a box appears around the slider bar showing what is currently selected. The default for A is the start of the video and the default for B is the end. So, for example, if you just set B then everything from the start to that point will be selected. At any time you can reset the A and B markers to their default positions using Ctrl + Home or looking under Edit in the main menu.

For example, to have the edited video start just before you start playing, first locate that that point and set the B marker there. Actually, it's better to you go to the first keyframe before that point. If you're doing narration then it wouldn't be where you start playing but the point where you start talking, so play the video until you hear the first word, the back up a second or two, and then preferably to the previous keyframe, and set the B marker there. That sets the selection from the start of the recording to where you want the video to start.

Once you made a selection, you delete it (Delete), Cut it to move to another location (Ctrl+X) or Copy it to copy it to another locations (Ctrl+C). If you use Cut or Copy, then that section of the video is in the clipboard, and you can insert it into the video again by first navigating to the location, and then Pasting (Ctrl+V).

That's all you need to know for the basic mechanics. You should check each edit to make sure, for example, that no words got cut off and nothing was removed that you wanted to keep in. If necessary, you can Undo edits using Ctrl-Z. All editing commands are available under Edit in the main menu. Once you have the basics it's a matter of practice to make edits cleanly and efficiently.

Whenever you try to make an edit that's not on a keyframe, the program will display a warning message. Pay attention to these since saving the edited file after non-keyframe edits have been made will result in a corrupt video. The saved file will be playable, but there will be sections where colors are distorted. If you need to make edits not on keyframes, we'll discuss how to do that at the end.

Saving the editing video
There are several very important points here:
 * AVIDEMUX DOES NOT ASK TO SAVE CHANGES BEFORE CLOSING
 * So it's very easy after a hour long editing session, to close without saving and lose all that work. Make it a habit to make sure the edits have been saved before closing the file. Fortunately, Avidemux has a "Restore previous session" menu option (under Recent) so you can get back to where you were, but it's best not to rely on it since you may start on another file before you realize what happened.
 * AVIDEMUX SAVES ONLY THE CURRENT SELECTION
 * So if you save when there are only three seconds selected of a half-hour video, only the three seconds will be saved, not the half hour video. Again, the "Restore previous session" option can come to the rescue, but it's not a good idea to rely on it. We recommend that after you've saved the edited file, you open it and do a quick review in a different video player before closing Avidemux. It's probably a good idea to do a final review of the edited version in any case. To be fair, there are times when you want to only salve the selected section, say to grab a short clip from a long video.
 * NEVER SAVE OVER THE ORIGINAL RECORDING
 * With all the things that can go wrong in the editing process, be it human, software or hardware error, it's a good idea to keep your original recording in case you need to go back and start over with editing. Video files are large and disk space is finite, so you probably shouldn't keep these files forever, but at least until you're sure that the video has been uploaded and there are no issues that need to be fixed. By default, Avidemux appends "_edit" to the file name for the saved file, and it's a good way to keep track of which is the edited version. You may also want to keep all your edited files in a different folder from the original recording; this will help avoid confusion when you're selecting which file to upload.

So to save you edited file, first make sure the selection markers have been cleared, and only then click the save icon in the tool bar. Note that "Save" is always "Save as" in Avidemux since you're encouraged to keep the original. As an added precaution, review the edited version before closing Avidemux, and if all else fails, there is the "Restore previous session" option.

Non-keyframe edits
Being able to make edits at any frame instead of just on keyframes gives you much more flexibility. But to do this, you have to change the settings slightly. First, locate the "Video Output" part of Codec Options; these should be shown to the left of current frame. (If not, then select View→Toolbars from the main menu and make sure Codec Options is checked.) Change "Copy" to "Mpeg Encode". You'll notice that the "Configure" and "Filters" options are now activated. You shouldn't need to worry about the "Configure" button, so we won't cover that here, but you may want to press the "Filters" button to peruse the additional editing options that are not available. There are too many to list here in detail, but among other things you can do various fade transitions, add subtitles, and adjust the colors.

At this point you can edit normally, except now you don't have to worry about making changes at keyframes all the time. When you're done, press save as described above, but in this case instead of taking a few seconds to copy, the video has to be reprocessed and this will take much longer, using a great deal of computer power.


text:
User talk:Tizizi

Pascal Programming
Hi Tizizi, thank you for recently proofreading Pascal Programming a bit. I just wanted to note that the other way round is not a spelling mistake (as you indicated by the edit summary), but can be considered chiefly British. I prefer AE for the book, so thank you. ‑‑Kai Burghardt (discuss • contribs) 12:05, 15 August 2022 (UTC)

 * Hi Kai,
 * I'm trying to learn Pascal these days, so I printed out the book and am currently trying to figure out the difference between procedures and functions. Thanks a lot for all your work on this book. I change things only when I'm fairly certain that there's a typo, but this case shows you should keep an eye on my edits. Tizizi (discuss • contribs) 18:31, 15 August 2022 (UTC)
 * That’s great! How’s it going, learning Pascal? I’d appreciate it if you could provide feedback regarding the materials, the WikiBook, what’s confusing, what could use some more explanation, you know, stuff like that. I just revamped the page no Files. ‑‑ Kai Burghardt (discuss • contribs) 00:00, 3 October 2022 (UTC)
 * Hey Kai, sorry for the delay, I was a bit busy the last couple of months so I had to put the study of the book on hold. I'm planning to get back to it in a few days. So far, I can say that I'm using Free Pascal and IMHO the overwhelming majority of readers will do the same, so references to the (unmaintained) GNU Pascal and maybe Delphi seem unnecessary except a short presentation.
 * Also, in the future I hope to be able to write a GUI program with network access and l10n support. Another thing I would like to do is to be able offer both a CLI and GUI access to the program. These are probably beyond the scope of the book, but I'm hoping they may be useful as hints for future expansion. Gérard Swinnen's "Apprendre à programmer avec Python" (Learning to program with Python, CC By-NC-SA) tackles the GUI and network access fairly early to give show readers what they can do and motivate them. If you speak French, it can be a nice resource for inspiration.
 * As soon as I get back to Pascal, I'll make sure to share my thoughts on the book. Tizizi (discuss • contribs) 18:47, 19 October 2022 (UTC)

title: User talk:Tizizi


text:
User:Yaw tuba

I'm a Ghanaian editor and an IT expert

title: User:Yaw tuba


text:
Create Vampires/Why Create Vampires

Why Create Vampires?
What would happen if you woke-up one day with a horrible craving for blood? What if you woke up, then slowly realized that you were invisible, would you get dressed out of habit? What if you woke-up one day both hungry and invisible? What would you do? These are questions writers may consider when approaching fictional narratives. Stories about ghosts, angels, zombies and vampires are popular with modern readers, yet why do people write about vampires? Should you? Perhaps writing creatively about a fascinating subject is a bit of a dream. In order to first figure out what to write, some people may choose to gather together with other writing students to consider and experiment with ideas and techniques of use to other Writers. Classes that encourage creative writing, may encourage exploration of fascinating subjects, such as vampires. Exploration of unusual subjects can be rewarding to the creative spirit! Creative writing is a self-developmental process involving your creativity, using established techniques of the Writer’s craft, shaped by your level of honesty. In creative writing classes, your story is not just your creative expression, each story you take time to write is similar to a window allowing people to share in the communication process. You don’t just share common norms about spelling, grammar, or idiomatic expressions used by normal people, your story can share information about how a group of people reacted to life-altering events, meaning your stories can in a general sense, reflect the society and times you observe and write about. Because every writer is advised to “write what you know,” you may willingly look for safe ways to write what you know, creatively, in a non-factual manner that may not share factual information, yet will express your emotions, or will reflect the feelings of everyone. Creative writing is about telling a story, in a expressive, original manner. Techniques like tone, meaning how to express the right mood, emotional intensity, or level of humor, meaning how we tell the story using the right tone to a reader who is unable to hear you, or hear the people your story will reflect, may become easier after we have developed better writing skills. Creative writing is a subject about developing better writing skills, and allowing honest expression, often in non-factual, creative ways. Writers who write about the vampires from their imagination maybe following their own personal creative spirit.

'''WARNING: Vampires of the imagination in action! '''

Giving warnings against vampires of the imagination maybe a useful device writers could explore.

Typical vampires of the imagination are not friendly characters, they seem to possess unusual traits and characteristics, they are not popular,

almost un-loveable, and very problematic.

Vampires of the imagination that seem to be re-animated, walking corpses, some with dominate alpha-male behaviors and sharp cuspids, could be a terror, a monster,

or a walking nightmare to a town, or neighborhood. It is easy for Writers to warn their readers against such a vampire [...of the imagination], yet what about vampires with

subtle negative energy influences? What of Energy vampires and other less monster-ish vampires of the imagination?

Vampire stories found in Eastern European Folklore often warn people against evil characters, or of a evil character [the antagonist]

who in a malicious manner seeks to harm innocent people. Regardless of the motive, the methods are of drugging [poisoning] the victim,

which often leads to the innocent person getting buried alive, and / or having their graves robbed by grave-robbers interested

in robbing the rich. Many Eastern European folk stories have warnings against grave-robbers! Some traits for vampires of the imagination are obviously supernatural, yet other vampires of the imagination possess normal traits, yet are described as displaying unusual behaviors. In 1819, John Polidore wrote The Vampyre, a fictional piece that is noted as having introduced vampires of modern Fiction. The Poet Rudyard Kipling wrote in his The Vampire in 1897 "To a rag and a bone and a hank of hair," it is implied that Kipling's vampire is realistic, thus mostly made up. Tip: Typically, humans have four cuspids in their mouth. Two on the bottom, and two on the top left and right side of the mouth.

These are the sharpest, longest teeth, they have a pointed edge and have been called "vampire teeth" by some Writers.

Perhaps Juliet in William Shakespeare's play: Romeo and Juliet could be described by some people as a vampire of the imagination. Does William Shakespeare describe physical traits that would support this claim or unusual interpretation? Do the characters act in ways that may influence, or inspire, future imaginative vampire stories?

Sources:

[] wordpress.com Reviewed: 8/19/2022

[] theconversation.com

[] www.dictionary.com

Link: Create Vampires /Vam-Pai-Yer "How do you spell vampire?" Link: Create Vampires/Alternative Spelling Link: Create Vampires/Dracula Behind Vlad-The Impaler

title: Create Vampires/Why Create Vampires


text:
Module:Aligned table

-- This module implements local p = {}

local function isnotempty(s) return s and s:match( '^%s*(.-)%s*$' ) ~= '' end

function p.table(frame) local args = (frame.args[3] ~= nil) and frame.args or frame:getParent.args local entries = {} local colclass = {} local colstyle = {} local cols = tonumber(args['cols']) or 2

-- create the root table local root = mw.html.create('table')

-- add table style for fullwidth if isnotempty(args['fullwidth']) then root :css('width', '100%') :css('border-collapse', 'collapse') :css('border-spacing', '0px 0px') :css('border', 'none') end

-- add table classes if isnotempty(args['class']) then root:addClass(args['class']) end

-- add table style if isnotempty(args['style']) then root:cssText(args['style']) end

-- build arrays with the column styles and classes if isnotempty(args['leftright']) then colstyle[1] = 'text-align:left;' colstyle[2] = 'text-align:right;' end if isnotempty(args['rightleft']) then colstyle[1] = 'text-align:right;' colstyle[2] = 'text-align:left;' end for i = 1,cols do		colclass[ i ] = colclass[ i ] or '' colstyle[ i ] = colstyle[ i ] or '' if isnotempty(args['colstyle']) then colstyle[ i ] = args['colstyle'] .. ';' .. colstyle[ i ] end if isnotempty(args['colalign' .. tostring(i)]) then colstyle[ i ] = 'text-align:' .. args['colalign' .. tostring(i)] .. ';' .. colstyle[ i ] elseif isnotempty(args['col' .. tostring(i) .. 'align']) then colstyle[ i ] = 'text-align:' .. args['col' .. tostring(i) .. 'align'] .. ';' .. colstyle[ i ] elseif isnotempty(args['align' .. tostring(i)]) then colstyle[ i ] = 'text-align:' .. args['align' .. tostring(i)] .. ';' .. colstyle[ i ] end if isnotempty(args['colnowrap' .. tostring(i)]) then colstyle[ i ] = 'white-space:nowrap;' .. colstyle[ i ] elseif isnotempty(args['col' .. tostring(i) .. 'nowrap']) then colstyle[ i ] = 'white-space:nowrap;' .. colstyle[ i ] elseif isnotempty(args['nowrap' .. tostring(i)]) then colstyle[ i ] = 'white-space:nowrap;' .. colstyle[ i ] end if isnotempty(args['colwidth' .. tostring(i)]) then colstyle[ i ] = 'width:' .. args['colwidth' .. tostring(i)] .. ';' .. colstyle[ i ] elseif isnotempty(args['col' .. tostring(i) .. 'width']) then colstyle[ i ] = 'width:' .. args['col' .. tostring(i) .. 'width'] .. ';' .. colstyle[ i ] elseif isnotempty(args['colwidth']) then colstyle[ i ] = 'width:' .. args['colwidth'] .. ';' .. colstyle[ i ] end if isnotempty(args['colstyle' .. tostring(i)]) then colstyle[ i ] = colstyle[ i ] .. args['colstyle' .. tostring(i)] elseif isnotempty(args['col' .. tostring(i) .. 'style']) then colstyle[ i ] = colstyle[ i ] .. args['col' .. tostring(i) .. 'style'] elseif isnotempty(args['style' .. tostring(i)]) then colstyle[ i ] = colstyle[ i ] .. args['style' .. tostring(i)] end if isnotempty(args['colclass' .. tostring(i)]) then colclass[ i ] = args['colclass' .. tostring(i)] elseif isnotempty(args['col' .. tostring(i) .. 'class']) then colclass[ i ] = args['col' .. tostring(i) .. 'class'] elseif isnotempty(args['class' .. tostring(i)]) then colclass[ i ] = args['class' .. tostring(i)] end end -- compute the maximum cell index local cellcount = 0 for k, v in pairs( args ) do		if type( k ) == 'number' then cellcount = math.max(cellcount, k)		end end -- compute the number of rows local rows = math.ceil(cellcount / cols)

-- build the table content if isnotempty(args['title']) then local caption = root:tag('caption') caption:cssText(args['titlestyle']) caption:wikitext(args['title']) end if isnotempty(args['above']) then local row = root:tag('tr') local cell = row:tag('th') cell:attr('colspan', cols) cell:cssText(args['abovestyle']) cell:wikitext(args['above']) end for j=1,rows do		-- start a new row local row = root:tag('tr') if isnotempty(args['rowstyle']) then row:cssText(args['rowstyle']) else row:css('vertical-align', 'top') end if isnotempty(args['rowclass']) then row:addClass(args['rowclass']) end -- loop over the cells in the row for i=1,cols do			local cell if isnotempty(args['row' .. tostring(j) .. 'header']) then cell = row:tag('th'):attr('scope','col') elseif isnotempty(args['col' .. tostring(i) .. 'header']) then cell = row:tag('th'):attr('scope','row') else cell = row:tag('td') end if args['class' .. tostring(j) .. '.' .. tostring(i)] then cell:addClass(args['class' .. tostring(j) .. '.' .. tostring(i)]) else if args['rowclass' .. tostring(j)] then cell:addClass(args['rowclass' .. tostring(j)]) elseif args['row' .. tostring(j) .. 'class'] then cell:addClass(args['row' .. tostring(j) .. 'class']) elseif args['rowevenclass'] and math.fmod(j,2) == 0 then cell:addClass(args['rowevenclass']) elseif args['rowoddclass'] and math.fmod(j,2) == 1 then cell:addClass(args['rowoddclass']) end if colclass[i] ~= '' then cell:addClass(colclass[i]) end end if args['style' .. tostring(j) .. '.' .. tostring(i)] then cell:cssText(args['style' .. tostring(j) .. '.' .. tostring(i)]) else if args['rowstyle' .. tostring(j)] then cell:cssText(args['rowstyle' .. tostring(j)]) elseif args['rowevenstyle'] and math.fmod(j,2) == 0 then cell:cssText(args['rowevenstyle']) elseif args['rowoddstyle'] and math.fmod(j,2) == 1 then cell:cssText(args['rowoddstyle']) elseif args['row' .. tostring(j) .. 'style'] then cell:cssText(args['row' .. tostring(j) .. 'style']) end if isnotempty(colstyle[i]) then cell:cssText(colstyle[i]) end end cell:wikitext(mw.ustring.gsub(args[cols*(j - 1) + i] or , '^(.-)%s*$', '%1') or ) end end -- return the root table return tostring(root) end

return p

title: Module:Aligned table


text:
Module:Aligned table/doc

Implements.

title: Module:Aligned table/doc


text: Template:Aligned table

title: Template:Aligned table


text: Category:Book:Health Sociology

title: Category:Book:Health Sociology


text:
Template:Template link general/doc

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title: Template:Template link general/doc


text:
User:Jamzze/sandbox

Recipes by meal
{| style="width:100%; border:2px solid #8db361; border-spacing:0px; text-align:center; background:#f5faff;" class="plainlinks" |- | |  |- | width="35%" valign="top" |

Cooking Techniques

 * Baking
 * Blanching
 * Boiling
 * Braising
 * Broiling
 * Canning
 * Creaming
 * Deep-fry
 * Fermenting
 * Freezing
 * Frying
 * Grilling
 * Microwaving
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 * Outdoor Cooking
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 * Poaching
 * Pressure Cooking
 * Roasting
 * Salting
 * Sautéing
 * Scalding
 * Simmering
 * Smoking
 * Steaming
 * Stir-frying
 * Tempering

| valign="top" style="border-left:1px solid #cee0f2;" |

Recipes

 * Appetizers
 * Beverages
 * Bread
 * Breakfast
 * Chicken
 * Confections
 * Desserts
 * Fish
 * Meats
 * Microwave
 * Pasta
 * Rice
 * Salads
 * Sandwiches
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 * Stocks
 * Sushi
 * Vegetables
 * Easy Dinners
 * Camping Recipes
 * Holiday Recipes
 * Menus

Random Recipe
| width="30%" valign="top" rowspan="5" align="center" style="border-left:1px solid #cee0f2;" |

Recipes by Category
Select [►] to view subcategories | valign="top" |

Ingredients

 * Dairy Products
 * Cereals & Grains
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| valign="top" style="border-left:1px solid #cee0f2;" |

Equipment

 * Bakeware
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|- | valign="top" |

Special Diets

 * Low-carb
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| valign="top" style="border-left:1px solid #cee0f2;" |

National and Ethnic Cuisines
|- | valign="top" |
 * African
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Cookbook Resources
| valign="top" style="border-left:1px solid #cee0f2;" |
 * Aesthetics
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Help out!

 * Cookbook pages needing work
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Get help contributing

|}
 * Cookbook help page
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 * Recipe Template

title: User:Jamzze/sandbox


text:
User:Sudoshare/Collections/IT Cert Box

COMPTIA

 * CCNA Voice Certification
 * CCNA Voice Certification/Analog Versus Digital
 * Security+ Certification/Network Security
 * Security+ Certification/Threats and Vulnerabilities
 * Security+ Certification/Access Control
 * Security+ Certification/Assessments & Audits
 * Security+ Certification/Network Infrastructure

title: User:Sudoshare/Collections/IT Cert Box


text:
Exercise as it relates to Disease/The importance of physical activity in improving mental health outcomes in older adults during the COVID-19 pandemic

What is the background to this research?
The research literature titled, "The Mental Health Benefits of Physical Activity in Older Adults Survive the COVID-19 Pandemic", looks to analyse the importance of physical activity among older adults and how it can improve their mental health outcomes while in COVID-19 isolation. Due to the relatively limited knowledge of the COVID-19 Pandemic and how it impacts the life of the aging population, this literature helps to fill this gap and show how physical activity may help to improve the depressive and anxiety symptoms experienced by those in isolation. This article looks at the negative effects of social isolation as a result of the COVID-19 pandemic and how it increases the prevalence of depressive and anxiety symptoms. It is important to understand the relationship between physical activity and how it can improve the psychological state of those who have been both emotionally and socially deprived. Recent literature has shown that those in the geriatric population are more susceptible to serve disease and even death caused by the SARS-CoV-2 virus. Therefore other means of psychological stimulation are required to combat the symptoms of depression and anxiety.

Where is the research from?
The authors of this study Daniel D. Callow et al. work out of the University of Maryland. All of the authors on this article have several research papers published in multiple peer reviewed journals. The authors have conducted research in the areas of the COVID-19 pandemic, the effects of exercise on the brains plasticity and function , and exercise related changes in those with mild cognitive impairment. These research articles suggest all authors on this article have previous experience in this field.

This research article was published by the Department of Kinesiology and School of Public Health at the University of Maryland with no additional sponsorships or funding from any other organisation. No conflict of interest was reported for any of the authors who worked on this research project.

What kind of research was this?
The research design was a descriptive cross-sectional study which used and online survey during the COVID-19 Pandemic. The findings in this article suggest that higher levels of physical activity correlate with reduced symptoms of depression and anxiety in older adults during the COVID-19 pandemic. Similar literature also shows that increased levels of physical activity shows a correlation with reduced levels of depression and anxiety as well as boost the body's immune system function. Additionally, the literature suggest that whilst self-isolation and quarantine rules are a vital tool in the fight against COVID-19, it is important to maintain regular levels of physical activity to help boost resilience, reduce excessive weight gain, and promote a positive psychological well-being. There is very little literature to suggest that maintaining regular levels of physical activity; whilst in self-isolation and currently not experience symptoms of COVID-19; is harmful if performed in a safe manner.

What did the research involve?
This study used an online survey to record the responses of 1046 older adults over the age of 50 who reside in North America. An online Qualtrics survey consisting of 136 questions was used to collect data from the participants. It was designed to take about 15 minutes. The survey included questions which sort to identify the participants demographic information, geographical location, current health status, whether they worked as a first responder, and a subjective view on how the current social distancing guideline have impacted their physical state and social isolation. The Physical Activity Scale for the Elderly (PASE), Geriatric Depression Scale (GDS), Geriatric Anxiety Scale (GAS), and social media advertising were used as the primary method in recruiting the required population for the study.

Due to the circumstances of the pandemic the methodology used appears to be the only appropriate method. The researchers and participants remained in self-isolation due to the pandemic and therefore an online survey was the only viable means of collecting the data used in the research. However it can be said that this research method is limited in is validity and reliability as the participants responses may be subjected to biases, over or under representation of the depressive and anxiety symptoms experienced, and falsifications into how much physical activity was actually undertaken. The data collected in this study may not accurately reflect reality.

What were the basic results?
The article suggest that a greater total amount of physical activity helped to reduce depressive symptoms but not anxiety like symptoms. The research also suggest that either light intensity or vigorous intensity exercise was effective at reducing the depression scores in the participants, and that those who did not engage in any physical activity during social distancing guideline were twice as likely to experience symptoms of depression and anxiety. The researchers suggest that their findings are inline with similar studies conducted during the COVID-19 pandemic. However it is suggested that the efficacy of exercise interventions in treating depression in older adults is still up for debate.

What conclusions can we take from this research?
After analysing the findings of this research it can be concluded that any amount of physical activity during self-isolation if helpful in alleviating depressive symptoms. It is not apparent as to whether or not exercise during self-isolation also helps with reducing the symptoms of anxiety. However it can be said that the methodology used in this research is limited in its scope and reliability. The outcomes of this research are representative of similar studies conducted during the COVID-19 pandemic.

Practical advice
This research article is limited in its offerings of practical advice. There is no suggestion of what kind of exercise was undertaken by the participants and or how it could be monitored or encouraged. It should be taken into consideration that this study used an online survey and all responses provided by the participants were subjective. This research does not mention whether any participants had symptoms of COVID-19 at the time of exercising. It is not mentioned in this article if it is safe or not to engage in physical activity while experiencing symptoms of COVID-19. It is best to seek further medical advise on this matter and not rely solely on the findings of this article.

Further information/resources
As the world continues to progress through the COVID-19 pandemic more literature and research on this matter is continuing to appear. There are many other studies that have looked at the health outcomes of participating in regular physical activity while in self-isolation. Some helpful resources have been listed below:

https://www.blackdoginstitute.org.au/news/during-covid-19-you-can-exercise-your-way-to-better-mental-health/

https://www.healthdirect.gov.au/covid-19/recovery-and-returning-to-normal-activities#exercise

https://www.mdpi.com/2079-7737/9/9/245/htm


text:
How to create gaming video/Recording game video using OBS

Recording game video using OBS
In this section we'll talk about setting up and using OBS (Open Broadcaster Software) to record your gameplay. OBS is by no means the only option available, but it has a low cost (free) and is very versatile. The versatility has a price though, getting all the different settings correct for your computer and the game you're playing can be challenging.

About OBS
OBS is an open-source and mult-platform program created by OBS Studio, and designed to capture and record video content. It's funded though small donations (their Patreon page), but they receive larger contributions from companies which indirectly benefit from its existence, such as YouTube, Logitech, Twitch and Facebook.

Basic concepts
There are three sets of configuration settings to learn. Right out of the box most of these are set to default values, or just have placeholders. When you start the program for the first time, an Auto-configuration Wizard starts. The purpose of the wizard to to detect what hardware you have installed and configure OBS to deliver the best performance for your computer. You can skip the wizard, but we strongly recommend that you run it; you can always adjust the settings later. You can also run the wizard any time by selecting Tools→Auto-configuration Wizard from the main menu, or as an option when you create a new profile (see below). In addition to this guide, you should go through the OBS Studio Quickstart guide, and note the links for additional information such as troubleshooting.

Profiles
Profiles contain all the nuts and bolts settings having to do with the recording and output of your video. So it includes everything from the mechanism which actually captures the video to the folder where the video file is saved. The details can be technical, very technical, but the fortunately the Auto-configuration Wizard will set things up fairly well except possibly for a few tweaks.

The point of multiple profiles is that you can customize OBS for different types of games or other types of video, and save these settings to be re-used over and over. For example, suppose you have games which produce realistic high resolution graphics, and other games that use low resolution pixel graphics, and you also want to record non-game related content, say the contents of a spreadsheet you've been working on. You then might want one profile to record at high resolution, a second profile to record at low resolution, and a third profile to record at high resolution but at a lower frame rate. It's wasteful to record a low resolution game high resolution, since a high resolution recording will not increase the resolution of the original source. Similarly, it's wasteful to record a spreadsheet at high frame rate, since there's little movement or action where people would notice the difference between high and low frame rates. (There is a practical reason for limiting recording resolution and frame rate to only what is needed. The more information you records, the larger the video file size, and the longer it will take to upload to the internet. It could make the difference between an upload taking hours or just twenty minutes. Not only that, but your computer has limited resources, and since your game may already be stretching these limits, it's not a good idea to place any unnecessary burdens on it.) You might also have different profiles for streaming vs. recording. Give each profile a meaningful name, for example "HighRes", "LowRes" and "HighResLowFR", or "Record" and "Stream".

Once you have a profile that works well on your computer, you should usually only create a new one by duplicating it instead of starting from scratch. You can do this by selecting Profile→Duplicate from the main menu; this will create a copy of the currently selected profile.

When you run the Auto-configuration Wizard, it asks for usage information: streaming, recording, or virtual camera. Since you're reading the guide for recording video, we'll assume recording. You can then set the resolution and frame rate. It's probably best to record at the current screen resolution to start with and use a frame rate of 30 FPS. It's possible to record at 60 FPS, but it's probably not necessary except the most fast-paced action games. As mentioned above, you can always tweak these values and create new profiles which use different values.

At this point, the Auto-configuration Wizard will finish and produce a report of the setting it has chosen. It's a good idea to make note of these in case you want to set up a profile from scratch for some reason. Then click "Apply Settings" to save them as your default profile.

The default profile is called "Untitled" by default, but again, you should give this a meaningful name. Note that you must have at least one profile in OBS. At this point you may want to make any tweaks that don't affect video quality, for example you can change folder where video files will be saved by selecting File→Settings from the main menu, and entering the desired folder name in the Output tab. Note that these changes are only saved for the current profile; other profiles won't be affected.

Scenes
Scenes allow you to combine different video sources for recording. With scenes, you can, for example, record the game and a video camera image of yourself as you play. You won't see yourself while you're playing, but it will be recorded in the video. As with profiles, you must have at least one scene in OBS. Out of the box, the only scene is "Scene", but you may want to rename it "Blank" and keep it. The Scenes tab is a dockable tab in the lower left corner by default. The +, -, ∧ and ∨ symbols allow you to add, delete and rearrange the scenes you've created.

We recommend you create a separate scene for each game, since scenes often contain game specific information such as the window name. To create a scene for a game, first create a new scene, you might give the scene the same name as the game or some abbreviated version of it. Then start filling in the video sources you'll be recording. For a simple setup, the only source will be the game itself.

If you have many scenes collected, you can organize them into scene collections. You might have one collection just for games, and another for non-game scenes. The current collection is displayed with the current profile in the OBS window title. The default collection, out of the box, is "Untitled".

Testing
Once you have a profile created, a scene for a game created, and the game added as a source, it's time to test the setup. First, you should be able to see the game display (along with any other sources you've added) in the OBS preview. But this is only the first part of the test. Close any programs besides the game and OBS, then press the "Start Recording" button in the lower right Controls tab. Switch to the game, and start playing for a few minutes. The main thing is to test whether camera movement and moving objects record smoothly. So move the camera around if possible, and try to get a person or other moving object on screen before stopping the recording. At this point exit the game and exit OBS. Locate the newly create video file and open it with a video player; your video editor should be fine for this but having another option is nice as well. Play the video and look for choppiness in camera movement and in the moving object. Choppiness is an indication that OBS isn't recording all the frames and you'll need to tweak the settings to try to resolve the issue. You should also open the file in your video editor to make sure there are no issues there.

Performance issues
Unfortunately, using the default settings for everything may not produce the best, or even acceptable, results. The first possible issue is that your computer simply does not have the processing power to handle both the game and OBS running separately. However, the OBS footprint is relatively small, so if the game runs acceptably without OBS then problems are most likely because the game and OBS aren't working well together. Note that it may be the case that the game appears to be running well while you're recording it, but when you review the recording you can tell there are issues. A typical symptom is jumpy movements signalling that OBS not recording changes to the screen as fast as the game is making them, so the effective frame rate is dropping below the the threshold needed for your eyes to see motion rather than a series of still images. Much of the following discussion applies only to Windows, though the concepts involved may be useful for other operating systems.

There are two types of resources you need to consider. First the CPU does most of the ordinary calculations needed for the game. The GPU performs the graphics processing, so it does the work of laying out the landscape on the screen, applying textures, etc. Most modern games rely heavily on the GPU, and this is needed by OBS as well. (OBS uses the GPU to process the scene and encode the result into the selected file format.) So if there is a conflict then the bottleneck is probably in the GPU. Besides the game and OBS, your operating system also uses resources, so there are actually three entities competing for the same resources, and unless they share nicely, problems are inevitable. Fortunately the operating system's load on the GPU is small, and it would normally not be the source of the problem unless the CPU is the bottleneck. We're assuming here that you don't have any other programs running other than your game and OBS; if you have a browser or a second game running then obviously the performance of OBS will be impacted.

Using Task Manager
One way to get a peek into how your computer's resources are being used is to open Task Manager. Start the game, then press Ctrl-Alt-Del to open Task Manager. Task Manager lists resource usage in five categories: CPU, Memory, Disk, Network, GPU. One thing to keep in mind here is that Task Manager uses its own share of resources when it's running, but we're going to assume that that share is relatively small compared to everything else. If GPU is the bottleneck, then the total GPU usage will be near 100%. Click the top of the column to sort tasks according to GPU use, and the game will probably be at the top. The GPU itself generally has different engines within it specialized for different tasks, and your computer may actually have more than one GPU, so it may not be a matter of overall usage but how the various tasks are being shared.

(more to be filled in)


text:
User talk:119.160.2.188

--Xania   talk 07:25, 16 August 2022 (UTC)

title: User talk:119.160.2.188


text:
User talk:Antek1705

--Xania   talk 07:27, 16 August 2022 (UTC)

title: User talk:Antek1705


text:
User talk:200.87.91.78

You cannot edit for 7 days due to disruptive editing. You are welcome to contribute constructively when editing privileges are restored. You may appeal this action with a reasonable argument by adding the text below.

--Xania   talk 11:15, 16 August 2022 (UTC)

title: User talk:200.87.91.78


text:
User talk:197.234.221.168

You cannot edit for 7 days due to disruptive editing. You are welcome to contribute constructively when editing privileges are restored. You may appeal this action with a reasonable argument by adding the text below.

Xania   talk 11:17, 16 August 2022 (UTC)

title: User talk:197.234.221.168


text:
Exercise as it relates to Disease/Response to vigorous exercise in a PTSD diagnosed military and first responder population

This Wikipage is a critique of the research article "Acute Physiological Responses Following a Bout of Vigorous Exercise in Military Soldiers and First Responders with PTSD: An Exploratory Pilot Study" by Kathryn E Speer, Stuart Semple and Andrew J McKune. This Wikipage was prepared as an assessment for the unit Health, Disease and Exercise at the University of Canberra, Semester 2, 2022.

What is the background to the research?
Post-Traumatic Stress Disorder (PTSD) is a mental illness, classified in the Diagnostic and Statistical Manual of Mental Disorders 5-TR (DSM-5-TR) with the following criteria:

 * The person was exposed to death, threatened death, actual or threatened serious injury, or actual or threatened sexual violence.
 * The traumatic event is persistently re-experienced.
 * Avoidance of trauma-related stimuli after the trauma.
 * Negative thoughts or feelings that began or worsened after the trauma.
 * Trauma-related arousal and reactivity that began/worsened after the trauma.
 * Symptoms last more than 1 month.
 * Symptoms create distress or functional impairment.
 * Symptoms are not due to medication, substance use, or other illness.

Additionally, PTSD sufferers often experience isolation, distrust, relationship difficulties, and communication issues. A cadre at a higher risk of developing PTSD during their lifetime are past and present members of the armed services, police, paramedics, firefighters and other first responders. Persistent exposure to traumatic events is an unfortunate and unavoidable result of these roles. Cumulatively these factors limit the ability or likelihood of sufferers engaging in suitable levels of physical activity; increasing the risk of co-morbidities such as cardiovascular disease, type II diabetes, metabolic syndrome, concurrent mental illnesses, substance abuse, and self-harm/suicide. This study was a pre-cursor to larger studies aimed at determining the effect exercise has on these and other physiological and inflammatory responses to PTSD.

Where is this research from?
The authors, Kathryn Speer, Stuart Semple and Andrew J McCune, are from the Discipline of Sport and Exercise Science at the University of Canberra (UC). All authors have a significant library of published literature in the field of sport and exercise science in relation to mental health issues.

What kind of research was this?
This research project was a pilot study. The aim of a pilot study is to test criteria such as designs, strategies, methodology, measures and participant compliance, whilst also fine-tuning hypotheses and identifying problem areas. The study may also obtain information to guide calculation of sample size for the main project, as well as statistical measures including mean and standard deviation (SD).

A sample of 8 males, aged 20 to 75 years, either currently serving/retired armed forces personnel or first responders were recruited for this study. The sample consisted of a control group without PTSD and a group with a PTSD diagnosis, both consisting of equal participants (n=4).

What did the research involve?
Researchers recruited through local advertising and flyers at hospitals, clinics, and mental health support services. Candidates were compared against exclusion criteria and completed the Exercise and Support Science Australia (ESSA) adult pre-exercise screening tool and the Depression, Anxiety and Stress Scale (DASS). Cardiorespiratory fitness was measured and physiological and saliva samples were obtained. On the day of testing participants completed a DASS questionnaire prior to a vigorous boxing session. Additional samples and DASS questionnaires were undertaken 30 minutes post exercise, and again at 24- and 48-hours post-exercise.

The goal of this study, in comparison to others in the field, was to identify physiological changes, such as heart rate and inflammatory markers. Whilst psychological changes were measured, they received less attention. This study focused on qualitative data over quantitative, a common theme in pilot/feasibility studies, whereby the researchers seek further information to enhance research quality, validity, and reliability. Transition from pilot studies to full research projects may involve adjustment of participants, and recruitment, to increase retention rate particularly in the control sample.

One question in relation to data collection in this study relates to group diversity. The participants were all male, with varying exposures either resulting in a PTSD diagnosis or no official diagnosis. Participants fell across a broad age group of 55 years, which may increase potential for a variance in exposed trauma type and length of time symptoms have been displayed. It is unknown if this related to a poor participant recruitment response, or whether breadth of age will be adjusted in the full trial. Additionally, the researchers do not provide insight to pre-existing treatment for participants, either psychologically or pharmacologically, whether diagnosed with PTSD or otherwise. Current medications and psychological co-morbidities are mentioned however there is no explanation for the non-consideration of these variables.

What were the basic results?
Vagal activity, a branch of the parasympathetic nervous system (PNS), is responsible for regulating various internal organs, including heart and respiratory rate. One of the prominent findings from this study was that vagal activity had not returned to pre-exercise levels 48 hours post-exercise in the PTSD group, whereas healthy/athletic individuals almost immediately saw a rise in vagal activity at cessation of exercise.

DASS questionnaire responses were relatively consistent across the control group at all stages, however the PTSD group showed a decline from pre-exercise results at the 24 hr. mark, with results returning to pre-exercise levels for the most part.

What conclusions can we take from this research?
The outcome of this study is consistent with similar studies investigating the effect of exercise on PTSD. The researchers surmise the lower vagal recovery/response observed in PTSD sufferers may be an indicator of cardiovascular morbidity and mortality risk. Proposed future research identified in this study relates to the binding of hormones to the vagus nerve and the subsequent response.

This study was insular, in that all exercise was conducted under supervision, in a purpose-built facility without external stressors. Other studies had participants continue exercise programs as part of their normal routine to gauge not only the psychological and physiological outcomes, but also the practicality and adaptability of those programs.

Although the results of this and other studies are promising and appear to confirm the inverse relationship between PTSD and exercise, additional research, including a subsequent trial based on this pilot study, would offer additional validation. Both the PTSD and control groups were very small and nondiverse, but significantly different in terms of age, trauma, and other variables. Additional studies should aim to diversify the sample of the population; in both control and testing group; duration, location, and intensities.

Practical advice
Research conducted indicates that exercise at moderate to high-intensity may have the best results in symptom reduction. It is important to note that the trials conducted in this study were undertaken under the supervision of professionals at a purpose-built laboratory. Given this, it is important that anyone considering an exercise program seek medical advice prior to commencement. The study provides no practical advice on commencement or implementation of any specific or generic exercise program, due to the nature and purpose of the study.

Further information/resource
The following websites provide additional information on PTSD:

Beyond Blue Australia https://www.beyondblue.org.au/the-facts/anxiety/types-of-anxiety/ptsd

Phoenix Australia https://www.phoenixaustralia.org/your-recovery/

Black Dog Institute https://www.blackdoginstitute.org.au/resources-support/post-traumatic-stress-disorder/


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Health Sociology/Introduction

Health sociology, also known as the sociology of health and illness or the sociology of health and wellness, is an interdisciplinary field of study that seeks to explore the relations that we have as humans with our health and vice versa. More specifically, it seeks to inquire into the relationships that influence our health from societal culture, attitudes, and knowledge that redefines health as a social product as much as a natural state of being.

Across its pedagogy, disciplines, and research, academia is a highly dynamic community and the development of health sociology is no different. As this area of academic research has evolved, so has its focuses and criticisms. As such, you will find the very name of health sociology in flux - its meaning appraised and contested by various groups. For example, sociology of health and illness might suggest a more sociologically-focused study on the aspects of our health and subsequent illness, whereas health sociology can highlight a more interdisciplinary conversation both in terms of the interrelations of health and society as well as joint investigations by interacting health and sociological perspectives.

Throughout health sociology, further sub-disciplines, fields of study, and related disciplines are referenced, used, and fused within health sociological work in order to understand the complex relations that exist between our society and health. From work within medical sociology, epidemiology, to history, the bounds of health sociology are highly flexible to respond to a complicated fields of study. These complex and complicated variables include:

Scale: examining issues at the microsocial level (e.g. individual health), mesosocial level (e.g. community health), to the macrosocial level (e.g. planetary health)

Scope:

Conceptualisations:

Resources
Blogs

 * Cost of Living

Journals

 * Body & Society
 * Journal of health and social behavior
 * Sociology of health & illness
 * Sociology of science and medicine
 * Health: an interdisciplinary journal for the social study of health, illness and medicine

Journal articles

 * Armstrong, D. 1995. The rise of surveillance medicine. Sociology of health and illness 17(3) 393-404.

title: Health Sociology/Introduction


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User:KaitBingle/sandbox

Research:
hello

title: User:KaitBingle/sandbox


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User:K Kompanichenko

I am a student completing the Bachelor of Exercise Physiology and Rehabilitation at the University of Canberra, with an estimated completion date of November 2024.

title: User:K Kompanichenko