Arabic/Meeting people

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    <title>Arabic/Meeting people</title>
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      <text bytes="4624" sha1="352ivu89xqigglnx9rgbe0rhocne6d0" xml:space="preserve">Here is a virtual talk between two people. Imagine that there is a visitor called Mark coming from a forign country to visit his friend Ahmed. They are at the airport, and meeting for the first time. Mark has learnt Arabic (but not very well) and wants to talk to Ahmed in Arabic. This is what they say:
&lt;!-- His ''friend'' AND metting for the first time?? You can explain better ;-)
Could you also add a phonetic transcription of the conversation to plain english? It would also be convenient if it was right below each line of the conversation, ''Italicised'', for example  --&gt;
&lt;!-- Changed the 2nd sentence so that &quot; a country called&quot; is not there --&gt;
&lt;!-- Added transliteration, transliteration notes when a letter is capital it is usually written as a lower case with a dot under it when it is transliterated in Hans Wehr dictionary--&gt;

__TOC__

== Conversation with vowels indicated ==
'''Mark:''' &lt;span style=&quot;font-size:medium&quot;&gt;مارْك: أَهْلاً&lt;/span&gt;

'''Ahmed:''' &lt;span style=&quot;font-size:medium&quot;&gt;أَحْمَد: أَهْلاً مارْك, كـَيْفَ حَالـُكَ؟&lt;/span&gt;

'''Mark:''' &lt;span style=&quot;font-size:medium&quot;&gt;مارْك: أَنَا بـِخـَيـْرٍ, شـُكـْراً, وَأَنْتَ؟&lt;/span&gt;

'''Ahmed:''' &lt;span style=&quot;font-size:medium&quot;&gt;أَحْمَد:أَنَا بـِخـَيْرٍ أَيْضاً &lt;/span&gt;

'''Mark:''' &lt;span style=&quot;font-size:medium&quot;&gt;مارْك: مَنْ هؤُلاءِ؟ &lt;/span&gt;

'''Ahmed:''' &lt;span style=&quot;font-size:medium&quot;&gt;اَحْمَد:هَذِهِ عَائِلـَتـِي, هَذا أَخِيْ إِيْمن وَ هذِهِ أُخْتِيْ جـِهَاد&lt;/span&gt;,

'''Mark:''' &lt;span style=&quot;font-size:medium&quot;&gt;مارْك: تَشَرَّفْنَا &lt;/span&gt;

'''Jihad:''' &lt;span style=&quot;font-size:medium&quot;&gt;جِهاد: شـُكـْراً, وَنَحْنُ أَيْضًا ً&lt;/span&gt;

'''Ahmed:''' &lt;span style=&quot;font-size:medium&quot;&gt;أَحْمَد:هَيـّابـِنَا نَذْهَب إِلَى أَلْمَنْزِلِ&lt;/span&gt;

'''Mark:''' &lt;span style=&quot;font-size:medium&quot;&gt;مارْك: هَيـّا بـِنَا &lt;/span&gt;

== Conversation ==
'''Mark:''' &lt;span style=&quot;font-size:small&quot;&gt;مارك: اهلاً&lt;/span&gt;

'''Mark:'''mark: ah-lan

'''Mark:''' Hello.

'''Ahmed:''' &lt;span style=&quot;font-size:small&quot;&gt;احمد: أهلاً مارك, كيف حالك؟&lt;/span&gt;

''aHmad: ah-lan maark, kay-fa Haa-luk ''

'''Ahmed:''' Hi, Mark, how are you?

'''Mark:''' &lt;span style=&quot;font-size:small&quot;&gt;مارك: انا بخير, شكراً, وانت؟ &lt;/span&gt;

''maark: a-na-bi-khair-shuk-ran, wa-ant?''

'''Mark:''' I'm fine, thanks, and you?

'''Ahmed:''' &lt;span style=&quot;font-size:small&quot;&gt;احمد:انا بخير ايضاً &lt;/span&gt;

''aHmad: a-na-bi-khair-ai-Dan ''

'''Ahmed:''' I'm fine too.

'''Mark:''' &lt;span style=&quot;font-size:small&quot;&gt;مارك: من هؤلاء؟ &lt;/span&gt;

''maark: man-haa-u-laa'''

'''Mark:''' Who are these people?

'''Ahmed:''' &lt;span style=&quot;font-size:small&quot;&gt;احمد:هذه عائلتي, هذا اخي ايمن و هذه اختي جهاد&lt;/span&gt;

''aHmad: haa-dhi-hi-`aa-i-la-tee, haa-dha-a-khee-ee-maan-wa-haa-dhi-hi-ukh-tee-ji-haad ''

'''Ahmed:''' This is my family. This is my brother Ayman and my sister Jihad.

'''Mark:''' &lt;span style=&quot;font-size:small&quot;&gt;مارك: تشرفنا &lt;/span&gt;

''maark: ta-shar-raf-na''

'''Mark:''' Nice to meet you.

'''Jihad:''' &lt;span style=&quot;font-size:small&quot;&gt;جهاد: شكراً, ونحن ايضا &lt;/span&gt;

''shuk-ran-wa-naH-nu-ai-Dan''

'''Jihad:''' Thanks, nice to meet you too.

'''Ahmed:''' &lt;span style=&quot;font-size:small&quot;&gt;احمد:هيابنا نذهب الى المنزل&lt;/span&gt;

''aHmad: hay-ya bi-naa-nadh-ha-bu-i-lal-man-zil''

'''Ahmed:''' Let's go home.

'''Mark:''' &lt;span style=&quot;font-size:small&quot;&gt;مارك: هيا بنا &lt;/span&gt;

''maark: hay-ya-bi-naa''

'''Mark:''' OK, let's go.

== Translation ==

'''Mark:''' Hello.

'''Ahmed:''' Hi, Mark, how are you?

'''Mark:''' I'm fine, thanks, and you?

'''Ahmed:''' I'm fine too.

'''Mark:''' Who are these people?

'''Ahmed:''' This is my family. This is my brother Ayman and my sister Jihad.

'''Mark:''' Nice to meet you.

'''Jihad:''' Thanks, nice to meet you too.

'''Ahmed:''' Let's go home.

'''Mark:''' OK, let's go.

== Translation (literally) ==

'''Mark:''' Hello

'''Ahmed:''' Hello Mark, how (is) condition-your?

'''Mark:''' I (am) with-fine, thanks, and you?

'''Ahmed:''' I (am) fine too

'''Mark:''' Who (are) those?

'''Ahmed:''' This (is) family-my, this (is) brother-my Ayman and this (is) sister-my Jihad.

'''Mark:''' We are honored

'''Jihad:''' Thanks, and we too.

'''Ahmed:''' Let's go to the house.

'''Mark:''' come_on with-us     MEANING let's go

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    <title>Aros/Platforms/x86 support</title>
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      <text bytes="218674" sha1="e2hobwy3rsh8greve4awik7kdmdowvn" xml:space="preserve">Google translation into [http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=de&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support German], [http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=fr&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support French], [http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=nl&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Dutch], [http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=it&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Italian], [http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=es&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Spanish], [http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=hi&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Hindi], 
[http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=zh-CN&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Chinese Simplified], 
[http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=pl&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Polish], 
[http://translate.google.com/translate?hl=en&amp;sl=auto&amp;tl=ru&amp;u=http%3A%2F%2Fen.wikibooks.org%2Fwiki%2FAros%2FPlatforms%2Fx86_support Russian], 

{{ArosNav}}


[[#Audio Chipsets]]

[[#Graphic GFX Chipsets]]

[[#Future]]


==x86 Native Environment==


AROS should run on almost any i386 PC hardware so long as the CPU is newer than an i486, and has a &quot;Floating Point Unit (FPU)&quot;. Ideally around 700Mhz and above with at least 256MB of memory is recommended for desktops and around 1GHz and at least 256MB for laptops/notebooks/netbooks. For web browsing, etc above 1GB is usually needed and offers the option to run web browsers, media players and other hard disk heavy usage from RAM: disk. 


Motherboards supported 
* Most Intel mobos are supported (Skt 775 is ok but newer is better) - additional pci / pci-e cards may be needed for networking, audio, etc 
* AMD based socket 939 am2 am2+ am3+, fusion and am4 ryzen based systems work but additional pci / pci-e cards may be needed 


Supported graphics cards (gfx) 
* Nvidia 2D and 3D 2005-2017. 
64bit AROS Nouveau covers '''2D''' 8xxxgs and higher to GTX 900s and '''3D''' from . 
32bit AROS supports '''2D''' from TNT through to fermi gtx5xx and  '''3D''' acceleration fx5xxx to gtx4xx. 
* Intel GMA 2D and 3D 2006-2009. 
'''2D''' for many old netbooks and motherboards. '''3D''' for many early netbooks and motherboards 
* AMD/ATI 2D only and '''no 3D'''. 1999-2005. 
Desktop ie external monitor support only (no laptop internal support) for very early Radeon 7000 through to x600. Experimental 2D version for up to HD3xxx came later 
* VESA 2D fallback modes for all graphic cards (GPUs) and with [http://www.youtube.com/watch?v=HKCHZFYj9Kk screen dragging]. 

 It's worth noting however that support isn't guaranteed. Nor will potential power of a card reflect its performance under AROS. 


Sound wise there are 

* HDaudio support for onboard intel and AMD netbooks, ultrabooks, notebooks and motherboards (2005 to 2020) 
* some AC97 codec support for very old motherboards and laptops (ie pre 2004) 


* PCI and some PCI-E C-Media CMI8738 for desktop plugin cards 
* PCI Creative Soundblaster EMU10K1 cards [http://amigaworld.net/modules/news/article.php?storyid=2512 SBLive] 
* PCI semi professional some early VIA Envy24 desktop sound cards 
* PCI Sound Blaster 128 aka SB16 


Supported [http://en.wikibooks.org/wiki/Aros/Platforms/x86_Network_support network] which could be desktop, laptop, etc 
* PCI-E Realtek rtl8169 which also includes the rtl8111 and rtl8110 
* PCI Realtek rtl8139 and includes rtl8101 and rtl8100
* PCI intel pro100
* Broadcom 44xx 10/100 integrated in laptops around 2005 
* VIA 10/100 
* 3com Etherlink 10/100 
* Realtek rtl8029 10mbit 


Wireless wifi 
* atheros 5000 wireless 
*realtek 8187 usb 


It is very hard to recommend a completely supported motherboard because as soon as newer motherboards arrive so their features change subtly, often introducing non supported parts like ethernet and audio. It is a moving target. 

* mini-itx motherboard will only get you 1 pci or pci-e slot
* micro mATX or uATX will have more, typically 2 pci-e or pci slots which helps if any onboard features are not supported. 
* full atx will have more slots available 

'''N.B''' It is frustrating when a piece of hardware is not supported. Hardware documentation can run to over 100 pages and a lot of hardware do not have any public documentation anyway. Chips from different manufacturers for sound, graphics, SATA, etc. vary just as much, unless they follow a standard such as [https://github.com/acidanthera/AppleALC/wiki/Supported-codecs HDAudio codecs], AHCI etc. 

Coding drivers is a far cry from Hello World programs or even a port of existing software. If you do actually want to try then get a hold of documentation on the relevant hardware and start there. Alternatively you could try to find some '''BSD''', MIT or MPL licence drivers as a point of reference. Please , do not think you can just adapt strings in a driver for different strings, it does not work that way. You will '''need''' to start from scratch for each new bit of hardware. Device driver programming require '''embedded''' skills, like manipulation of bits within registers, good debugging skills, dealing with interrupts, lots of patience, etc. 


The following specific chipsets and drivers are also available - use Tools/PCITool to confirm Vendor and Product IDs - Please let us know any mistakes or any information to be added, to this General Chat list on [https://arosworld.org/ AROS World]


: Brief Timeline

: 2000-12-06 HIDD  first mouse.hidd completed ([http://msaros.blogspot.com/ Michal Schulz])
: 2001-03-31 BOOT  first boot from floppy disk with IDE device 
: 2001-10-30 BOOT  first cd bootable version
: 2002-01-27 HIDD  first pci.hidd added (Michal Schulz)
: 2002-04-13 BOOT  software HDToolBox added ()
: 2003-04-03 HIDD  vesa2.hidd graphic modes added ()
: 2004-03-08 HIDD  new pci and ata (pata) devices worked on (Michal Schulz)
: 2004-03-17 HIDD  nVidia 2D driver appears (Michal Schulz)
: 2005-01-05 AHI   AHI v6 audio system ported (Martin Blom)
: 2005-01-06 AHI   SBLive SoundBlaster Live driver ported (Georg Steger)
: 2005-02-04 AHI   AC97 playback only driver added (Michal Schulz) 
: 2005-06-27 NIC   amiTCP stack ported with 3com, NE2000, prism2 drivers (Neil Cafferkey)
: 2005-08-25 NIC   nForce2 support added (Michal Schulz)
: 2005-12-24 NIC   Intel Pro100 network driver added (Neil Cafferkey)
: 2006-03-25 HIDD  ATI radeon 2D driver added (Michal Schulz)
: 2007-03-06 HIDD  vesa 1.0 video driver added (Pavel Fedin) 
: 2007-03-08 HIDD  dospackets and FAT filesystem (Rob Norris) 
: 2007-03-21 HIDD  usb initial commit (Michal Schulz)


: 2007-10-01 BOOT  Installer added (Neil Cafferkey)
: 2007-11-29 PORT  64bit x86 added  (Michal Schulz) 
: 2008-04-12 BOOT  GRUB2 added (Alain Greppin and Nick Andrews)
: 2008-08-26 NIC   RTL8139 added ([http://kalamatee.blogspot.com/ Nick Andrews]) 
: 2008-10-22 PORT  to SAM440ep (ppc) (Michal Schulz)
: 2009-02-25 PORT  to efika (ppc) (Michal Schulz) 
: 2009-05-18 HIDD  poseidon usb2.0 stack ported to AROS (Chris Hodges) 
: 2009-11-18 NIC   RTL8169 network driver arrived (Nick Andrews and [http://pagesperso-orange.fr/franck.charlet/oldnews.html Franck Charlet])
: 2009-12-23 AHI   HDAudio based Atom CPU and netbook audio driver arrived (Davy Wentzler)
: 2010-03-09 BOOT  USB pendrive stick booting available (Neil Cafferkey)
: 2010-05-26 HIDD  Intel GMA900 2D graphics card support (Michal Schulz)
: 2010-09-03 NIC   Wireless PCI based NIC arrived (Neil Cafferkey)
: 2011-04-30 HIDD  Nvidia 2D and 3D nouveau graphics card support (Deadwood) 
: 2011-08-30 HIDD  Radeon 2D enhanced AMD driver arrives (Bearsoft)
: 2011-09-17 NIC   Wireless USB realtek arrives (Neil Cafferkey) 
: 2011-12-09 HIDD  Intel 945G 3D Gallium graphics support (Sami) 


: 2013-02-25 AHI   AC97 VIA 686 audio support (Davy Wentzler and Neil Cafferkey) 
: 2013-03-31 PORT  early Raspberry PI native support (Nik Andrews) 
: 2014-01-16 AHI   Envy24 audio chipset support (Davy Wentzler and Neil Cafferkey) 
: 2017-02-17 PORT  Symmetric MultiProcessing smp added for x86 64bit (Michal Schulz)
: 2018-10-20 PORT  Big Endian ARM 
: 2021-11-26 NIC   Broadcom 44xx ethernet (Neil Cafferkey)
: 2023-01-12 NIC   Nvidia MCP61 ethernet (Neil Cafferkey)
: 2025-11    HIDD  xHCI USB3 and isoc (Nik Andrews)


[[#top|...to the top]]


===Audio Chipsets===

'''If sound beeps in AHI prefs after Music set then some support is there. Select more than one channel for multiple audio streams, set frequency up to 44 kHz or higher and set the volume if not already set. Ensure you set the music unit 0 to 3 which allows the extra features of the audio card like microphone, line-out, etc).''' 


====1996-2000 sb128.audio aka SB16 PCI====

*2021 5.27 

as per CREATIVE's website, the model number is the first two digits on the front and first two digits on the back. my card says CT4810 and 161TK110B 995; this translates to CT4816 as the model. 

The original AudioPCI 3000 card with the ES1370 had a master clock crystal for 44.1 kHz (22.5792 MHz), used an AKM codec (AK4531, non-AC97) and had 4 channel output; Creative later modified the design with a crystal for 48 kHz (24.576 MHz) and Sigmatel AC97 codec (a CT4700 SB128 with a CT5507 chip, AK4531, 22.5792 MHz crystal and TDA7360 speaker power amp). The issue with these cards involved never quite eliminate the effects of resampling on the 64V, it also shows signs of undersized coupling caps. These Ensoniq cards automatically engaged headphone amplifier (with a 4565 opamp). 

Porting involved [http://repo.or.cz/w/AROS.git/commit/b60abd12967144a844980c422ea9e99c056eabca 40897], [http://repo.or.cz/w/AROS.git/commit/b7d6511fca6430a63fbaaa390b4f51bf0203a460 40898 configure], [http://repo.or.cz/w/AROS.git/commit/f51034cd22759a4ec3a2547bddb3a7169d956eaa 40900 bugs], [http://repo.or.cz/w/AROS.git/commit/4f43fc38e3489ea45d12b7b5ba6fff50b69c5746 40901 further bugs], [http://repo.or.cz/w/AROS.git/commit/d23c78aec75f049484b6916d27b6804ce858bb2c 40913 memory IO fixes], [http://repo.or.cz/w/AROS.git/commit/d256860fe3035016952e88d143c6f2611997f2f3 40914 irq fix]. 

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;10%&quot; |Vendor ID
! width=&quot;10%&quot; |Product ID
! width=&quot;10%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| Ensoniq AudioPCI 1000 
| 0x1274
| 0x5000
|
| {{unk}}
| {{unk}}
| untested -  es1370 (u?)   AK4531 (u?)
|-
| Ensoniq AudioPCI
| 0x1274
| 0x5000
| 0x00
| {{yes}}
| {{maybe}}
|
|-
| CT4700  Sound Blaster PCI 64 (audioPCI 3000) 
| 0x1274 
| 0x5000
| 0x7c
| {{yes}}
| {{maybe}}
| works -  opamp JRC4565(u?)  [http://en.wikipedia.org/wiki/Ensoniq_ES1370 es1370] (u?) 
|-
| CT4750 Sound Blaster 64/PCI 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested - 4565-1056W (u1)  stac9708t(u2)  [http://arstechnica.com/civis/viewtopic.php?f=6&amp;t=916891 ct5880-dcq] (u3)  24wc012 (u4) 
|-
| CT4751 (SB128PCI) 
| 0x1274
| 0x8001
| 
| {{unk}}
| {{unk}}
| untested -  [http://en.wikipedia.org/wiki/Sound_Blaster#Ensoniq_AudioPCI-based_cards es1371] (u?) 
|-
| CT4810 Creative AudioPCI64V
| 0x1274 
| 0x1371 
| 0x06
| {{yes}}
| {{maybe}}
| works 
|-
| CT4811 (SB Vibra 128) 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested 
|-
| CT4812 (Vibra 128) 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested 
|-
| CT4813 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested 
|-
| CT4815 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested 
|-
| CT4816 es1373 (vibra 128)
| 
| 
| 
| {{unk}}
| {{unk}}
| untested but this card has creative's ES1373 as the main chip(U1). it is also different from the other CT4810 (vibra128) in that it does not have a second chip in U2 position. Also there is only one jumper JP1 (2X3). 
|-
| CT5801 HP 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested - es1373 (u3)
|-
| CT5803 Gateway 
| 0x1274
| 0x1371
| 0x08
| {{yes}}
| {{maybe}}
| works  4565-0005b jrc (u1)    4297a-jq ztae0c0002  (u2)    es1373 (u3) 
|-
| CT4740
| 0x1274
| 0x1371
| 0x08
| {{yes}}
| {{yes}}
| 
|-
| CT5805 Compaq OEM Premier Sound Presario 7  
| 
| 
| 
| {{unk}}
| {{unk}}
| untested - es1373 (u3)
|-
| CT5806  (Sound Blaster AudioPCI 128D)
| 
| 
| 
| {{unk}}
| {{unk}}
| untested - 4297A-JO EP (u?)  ZTAPWC9933 (u2)   es1373 (u3) 
|-
| CT5807 Dell OEM Dimension 8100 
| 
| 
| 
| {{unk}}
| {{unk}}
| untested -  es1373 (u?) 
|-
| CT5808
| 
| 
| 
| {{unk}}
| {{unk}}
| untested 
|-
| CT4730 Sound Blaster AudioPCI 64V Ectiva EV1938
| 0x1102
| 0x8938
| 
| {{unk}}
| {{unk}}
| untested 
|-
| CT5880 on various motherboards 
| 0x1274 
| 0x5880 
| 
| {{unk}}
| {{unk}}
| untested [http://www.xbitlabs.com/articles/mainboards/display/ga-6rx.html Gigabyte GA-6RX] (VIA ApolloPro 266 2001], Gigabyte GA-6VM7-4E mobo, [http://active-hardware.com/english/reviews/mainboard/ga-7vtx.htm Gigabyte GA-7VTX] (KT266 2001), Gigabyte [http://www.amdboard.com/gigabytega7vtxh.html GA-7VTXH] (KT266A 2001), [http://www.amdboard.com/gigabytega7vrxp.html Gigabyte 7VRXP] mobo (KT333 2002), MSI MS-6309, MS-6318, MS-6337 (815E Pro), MS-6339 (850Pro) and MS-6340, PCChips Motherboard M571 TXPRO, Soltek SL-65ME+, 
|-
| VMware Virtual Workstation(TM) 
| 0x1274
| 0x1371
| 0x02
| {{Yes|but not Hi-Fi modes}}
| {{maybe}}
| works 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
|}

&lt;pre&gt;
Revision 0x04 = ES1371 REV_ES1373_A  
Revision 0x06 = ES1371 REV_ES1373_B  

Revision 0x07 = ES1371 REV_CT5880_A  
Revision 0x02 = CT5880 REV_CT5880_C  
Revision 0x03 = CT5880 REV_CT5880_D  
Revision 0x04 = CT5880 REV_CT5880_E  

Revision 0x09 = ES1371 REV_ES1371_B  
Revision 0x00 = EV1938 REV_EV1938_A  
Revision 0x08 = ES1371 REV_ES1373_8  
&lt;/pre&gt;


====1999-2001 via-ac97.audio====

*2021 5.10 

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;10%&quot; |Vendor ID
! width=&quot;10%&quot; |Product ID
! width=&quot;10%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| &lt;!--Description--&gt;694X with 686A KT133 PM133 or 693A with VT8231 
| &lt;!--Vendor ID--&gt;0x1106
| &lt;!--Product ID--&gt;0x3058
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes| }} redirects earphones correctly 
| &lt;!--Recording--&gt;{{Yes| }}
| &lt;!--Comments--&gt;audio controller works but depends on the underlying invisible codec used see AC97 section 
|-
| &lt;!--Description--&gt;686B KT133A with VT8231 
| &lt;!--Vendor ID--&gt;0x1106
| &lt;!--Product ID--&gt;0x3058
| &lt;!--Revision--&gt;0x50
| &lt;!--Playback--&gt;{{Yes|}} reroutes ear pieces right 
| &lt;!--Recording--&gt;{{Yes|}}
| &lt;!--Comments--&gt;audio controller works but depends on the underlying codec used see AC97 section below 
|-
| &lt;!--Description--&gt;686C 
| &lt;!--Vendor ID--&gt;0x1106
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;KM266 or KT266 with VT8233, KT266A with VT8233A, VT8233C 
| &lt;!--Vendor ID--&gt;0x1106
| &lt;!--Product ID--&gt;0x3059
| &lt;!--Revision--&gt;0x10
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;KM333 KT333 with VT8235 
| &lt;!--Vendor ID--&gt;0x1106
| &lt;!--Product ID--&gt;0x3059
| &lt;!--Revision--&gt;0x30
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;KM400 KT400 with VT8237, KT600 with VT8237R, 
| &lt;!--Vendor ID--&gt;0x1106
| &lt;!--Product ID--&gt;0x3059
| &lt;!--Revision--&gt;0x40 0x50 0x60 
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;
|-
|}


====1998-2003 emu10kx.audio - Creative Labs SoundBlaster Live! and Audigy====

*2021 6.5

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;10%&quot; |Vendor ID
! width=&quot;10%&quot; |Product ID
! width=&quot;10%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| PCI512 CT4790 (emu10k1)
| 0x1102 
| 0x0002 
| 0x0 
| &lt;!--Playback--&gt; {{unk}}
| &lt;!--Recording--&gt; {{unk}}
| untested (1st Gen)
|-
| Live CT4620 
| 0x1102 
| 0x0002
| 0x0 
| &lt;!--Playback--&gt; {{unk}}
| &lt;!--Recording--&gt; {{unk}}
| untested             
|-
| Live CT4760 
| 0x1102
| 0x0002
| 0x07
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{unk}}
| playback works
|-
| Live Value CT4670 
| 0x1102 
| 0x0002 
| 0x0 
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{unk}}
| works plays stereo (2nd Gen)
|-
| Live Value DELL CT4780 
| 0x1102 
| 0x0002 
| 0x06
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{unk}}
| plays/records stereo - untested 4.1mode
|-
| Live Value Compaq CT4830 
| 0x1102 
| 0x0002 
| 0x0 
| &lt;!--Playback--&gt; {{Maybe}}
| &lt;!--Recording--&gt; {{unk}}
| not working 
|-
| Live Value CT4831 
| 0x1102 
| 0x0002 
| 0x00
| &lt;!--Playback--&gt; {{unk}}
| &lt;!--Recording--&gt; {{unk}}
| untested
|-
| Live Value CT4832 
| 0x1102 
| 0x0002 
| 0x07
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{partial|Line-In only}}
| works
|-
| Live Value CT4832 
| 0x1102 
| 0x0002 
| 0x08
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{maybe}}
| works
|-
| Live Value HP CT4870 
| 0x1102 
| 0x0002
| 
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{maybe}}
| Works
|-
| Live Value Gateway CT4871 
| 0x1102
| 0x0002
| 
| &lt;!--Playback--&gt; {{unk}}
| &lt;!--Recording--&gt; {{unk}}
| untested
|-
| Live! Platinum 5.1 SB0060 
| 0x1102 
| 0x0002 
| 0x00 
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{yes}}
| plays audio/records, untested 5.1 (3rd Gen)
|-
| Live 5.1 SB0100 -SFF
| 0x1102 
| 0x0002 
| 0x00 
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{maybe}}
| works 
|-
| Live 5.1 Player SB0220 
| 0x1102 
| 0x0002
| 0x0a
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{yes}}
| plays audio/records stereo, untested 5.1
|-
| Live 5.1 Digital SB0228 
| 0x1102
| 0x0002
| 0x0a
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{yes}}
| working 
|-
| Audigy SB0090 (emu10k2)
| 0x1102
| 0x0004
|
| &lt;!--Playback--&gt; {{unk}}
| &lt;!--Recording--&gt; {{unk}}
| untested
|-
| &lt;!--Description--&gt;Audigy SB0230 
| &lt;!--Vendor ID--&gt;0x1102
| &lt;!--Product ID--&gt;0x0004
| &lt;!--Revision--&gt;0x03
| &lt;!--Playback--&gt;{{Yes| }}
| &lt;!--Recording--&gt;{{Yes|Mic only}}
| &lt;!--Comments--&gt;5th Dec 2012 - untested optical tos link. contains also IEEE1394/Firewire (untested)
|-
| Audigy 2 Platinum 6.1 SB0240 SB0250 EMU10K2.5
| 0x1102
| 0x0004
| 0x04
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{maybe}}
| works 
|-
| Audigy 2 PRO SB0280 EMU10K2.5
| 0x1102
| 0x0004
|
| &lt;!--Playback--&gt; {{unk}}
| &lt;!--Recording--&gt; {{unk}}
| untested
|-
| Audigy 2 ZS SB0350 
| 0x1102
| 0x0004
| 0x04
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{yes}}
| 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| Live 5.1 DELL SB0200 SB0203 emu10kx
| 0x1102 
| 0x0006 
| 0x0 
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| 
|-
| Live 24bit SB0410 
| 0x1102 
| 0x0007 
| 0x 
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver
|-
| Live 24bit DELL SB0413 
| 0x1102 
| 0x0007 
| 0x 
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver
|-
| Audigy LS SB0310 
| 0x1102 
| 0x0007 
| 0x0 
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver 
|-
| Audigy SE 7.1 SB0570
| 0x1102
| 0x0007
|
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver 
|-
| Audigy 2 ZS SB0320 SB0360 (PRO)
| 0x1102
| 0x0008
| 
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver
|-
| Audigy 2 VALUE SB0400
| 0x1102
| 0x0008
|
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver
|-
| Audigy 4 VALUE SB0610
| 0x1102
| 0x0008
|
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver
|-
| Audigy 4 PRO SB0380
| 0x1102
| 0x0008
|
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver
|-
| EMU E-MU 0404 PCI (not USB) EM8852 
| 0x1102 
| 0x000
| 0x0 
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{no}}
| no driver but linux support needs firmware 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
|}

the green jack is for the main speaker pair AND headphones, so manual switching will be required 
If your card is wired for the &quot;AC97&quot; standard, then it's up to your headphone jack to switch the green speaker output in and out 
the headphone jack has Normally-closed contacts that will open on insertion, which breaks the signal path back to the sound card (FP_RETURN) 


====2000-2010 cmi8738.audio - C-Media====

*2021 5.20 

;Read [http://amigaworld.net/modules/news/article.php?storyid=2512 more] and imported on [http://repo.or.cz/w/AROS.git/commit/aff741d60160c6a9d7d39c9e004a25ea3aa13847 20th July 2011] and [http://alsa.opensrc.org/Cmipci alsa docs]. 


{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;10%&quot; |Vendor ID
! width=&quot;10%&quot; |Product ID
! width=&quot;10%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| Audiotrak MAYA EX5 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| cmi8738-sx 4ch 
| 0x13f6
| 0x0111
| 0x10
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested
|-
| e3dx hsp56 CMedia 8738-sx 4ch 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| EDio SC3000D 6ch 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Genius SoundMaker Value PCI C3DX 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Guillemot Maxi Sound Muse
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Hercules Gamesurround Muse LT
| 0x13f6
| 0x0111
| 0x10
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{no}}
| 
|-
| Hercules Gamesurround Muse XL LT 5.1
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Inno audio extreme 5.1 cmi8738/lx pci 6ch 
| 0x13f6
| 0x0111
| 0x
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| M-Audio (Midiman) DiO 2448
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Sabrent SBT-SP6C 6ch
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| StarTech PCISOUND4CH 8738sx 4ch 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Sweex SC012 CMI8738-lx 4ch 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Terratec 5.1 PCI 
| 0x13f6
| 0x0111
| 0x10
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Terratec Aureon Fun 5.1
| 
| 
| 
| &lt;!--Playback--&gt; {{yes}}
| &lt;!--Recording--&gt; {{unk}}
| Has SPDIF
|-
| Trust Sound Expert Digital Surround 5.1 (cm8738-mx 6ch) 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Turtle Beach Riviera CMI8738-MX 6ch
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| XSonic CMI 8738 6ch 
| 
| 
| 
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision 
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;CMI8738 6ch PCI-E PCI Express version 
| &lt;!--Vendor ID--&gt;0x13f6
| &lt;!--Product ID--&gt;0x0111
| &lt;!--Revision--&gt;0x10
| &lt;!--Playback--&gt;{{Yes|}}
| &lt;!--Recording--&gt;{{Maybe|}}
| &lt;!--Comments--&gt;Chinese based card with playback tested so far 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
|}


====2001-2005 ac97.audio====

*6.4 27-12-2008 


The AC97 chips were designed to be pinout interchangeable so that the sound support could change easily and quickly without motherboard redesigns 

the green jack is for the main speaker pair AND headphones, so manual switching will be required 
If your card is wired for the &quot;AC97&quot; standard, then it's up to your headphone jack to switch the green speaker output in and out, the headphone jack has Normally-closed contacts that will open on insertion, which breaks the signal path back to the sound card (FP_RETURN) 

The ProductID and VendorID are for the audio controller only - the important additional codec is '''NOT''' so easily identified. 


{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;10%&quot; |Vendor ID
! width=&quot;10%&quot; |Product ID
! width=&quot;10%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| &lt;!--Description--&gt;Avance Logic (now Realtek) ALC100 and ALC101 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;ALC200 and ALC201 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested
|-
| &lt;!--Description--&gt;ALC201A and ALC202  and ALC202A codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested
|-
| &lt;!--Description--&gt;ALC650 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;most Nforce2 boards plays audio only - Abit NF7, Asus A7N8X, MSI K7N2, Epox 8RDA+, DFI 
|-
| &lt;!--Description--&gt;ALC850 codec
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;no support for via P4P800 chipset on ASUS A8V-E SE Deluxe mobo - ICaros 1.3 
|-
| &lt;!--Description--&gt;Realtek ALC653 codec and ALC655 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested Acorp 7NFU400 
|-
| &lt;!--Description--&gt;Realtek ALC658 codec ALC658D 
| &lt;!--Vendor ID--&gt;0x8080
| &lt;!--Product ID--&gt;0x24c5
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{Yes|Prefs Music and Units 0-3 set volume control - playback}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;MSI Motherboard on NB 22-09-2012 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;AD1881 SoundMAX 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;Analog Devices first AC97 
|-
| &lt;!--Description--&gt;AD1881A 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{Yes}}
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;works with VIA Controller - untested Intel etc 
|-
| &lt;!--Description--&gt;AD1881B 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;AD1885 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Maybe}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;Playback only with issues on D845HV but not working on MS-6367 because Units 0-3 have masked volume control 
|-
| &lt;!--Description--&gt;AD1886 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;AD1887 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ADI AD1888 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{no}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt; Icaros 1.51
|-
| &lt;!--Description--&gt;AD1980 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;AD1981A codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested IBM X30 
|-
| &lt;!--Description--&gt;Analog Devices SoundMax(TM) AD1981B codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;plays back only on IBM T41 Thinkpad 
|-
| &lt;!--Description--&gt;AD1985 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Maybe}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;not working ahi prefs freezes on D865GLC mobo ([http://www.xbitlabs.com/articles/multimedia/display/int-sound2_3.html ] 
|-
| &lt;!--Description--&gt;AD1986 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Maybe}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested [http://uk.ts.fujitsu.com/rl/servicesupport/techsupport/Boards/Motherboards/Fujitsu/D1931/D1931.htm D1931] but works (Acer Aspire 3610 laptop) 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;Crystal Semiconductors CS4205, CS4202 codecs 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Cirrus Logic CrystalWare 4236 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Cirrus Logic CrystalClear SoundFusion CS4297 CS4299 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested IBM T23
|-
| &lt;!--Description--&gt;conexant Cx20468-31 codec (id 30)
| &lt;!--Vendor ID--&gt;0x103c
| &lt;!--Product ID--&gt;0x3085 
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No|AC97 appears in AHI Prefs}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;Tested AspireOS 1.8 on Gateway W322 
|-
| &lt;!--Description--&gt;ESS Technology ES1921 AC'97 2.1 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;CMI 6501 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested on ASROCK SKT-AM2 AM2NF3-VSTA
|-
| &lt;!--Description--&gt;codec CMI9738
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested
|-
| &lt;!--Description--&gt;codec CMI9739
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested
|-
| &lt;!--Description--&gt;C-Media CMI 9739A 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt; untested on EPoX 8RDA3+ 
|-
| &lt;!--Description--&gt;CMedia CMI 9761A codec
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested ASRocK K7NF2-RAID 
|-
| &lt;!--Description--&gt;C-Media CMI9880
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;National Semi conductor (now TI) LM4540, LM4543, LM4545, LM4546, LM4548, LM4549, LM4550 LM4560 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;STAC9708T codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested
|-
| &lt;!--Description--&gt;SigmaTel (now IDT) C-Major STAC 9460 (D/A only), 9461, 9462, 9463, 9200, 9202, 9250, 9251, 9220, 9221, 9223, 9750 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;AKM (Asahi Kasei Microsystems) AK 4540, 4543, 4544A, 4545 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;codec VT1616 (VIA Six-TRAC Vinyl Audio)  
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No}} 
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested
|-
| &lt;!--Description--&gt;VIA VT1612, VT82C686
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ESStech ESS ES1968 maestro-2
| &lt;!--Vendor ID--&gt;0x125d
| &lt;!--Product ID--&gt;0x1968
| &lt;!--Revision--&gt;0x
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ESStech ESS ES1978 maestro2e
| &lt;!--Vendor ID--&gt;0x125d
| &lt;!--Product ID--&gt;0x1978
| &lt;!--Revision--&gt;0x
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ESStech ESS ES1988 maestro3 allegro-1 codec 
| &lt;!--Vendor ID--&gt;0x125d
| &lt;!--Product ID--&gt;0x1988
| &lt;!--Revision--&gt;0x12
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Yamaha AC97 ymf-743 YMF752 YMF753 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested ymf-753 
|-
| &lt;!--Description--&gt;YMF724 YMF744 YMF-754 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| SIS 7018 / Trident 4dwave DX/NX / ALi 5451
| 0x1039 (0x1023 Trident) 
| 0x7018 (0x2000 Trident DX) (0x2001 Trident NX)
| 0x02
| &lt;!--Playback--&gt;{{No}}
| &lt;!--Recording--&gt;{{No}}
| no support - introduced early 2000s
|-
| SIS 7012 
| 0x1039
| 0x7012
| 
| &lt;!--Playback--&gt;{{Yes}} 
| &lt;!--Recording--&gt;{{No}}
| working through 1 speaker only took over from SIS7018 (2002 onwards) 
|-
| &lt;!--Description--&gt;Wolfson (now Cirrus Logic) WM9701, WM9701A (AC'97 1.03 spec), WM9703, WM9704 (AC'97 2.1), WM9705, WM9706, WM9707, WM9708 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;WM9709, WM9710, WM9711, WM9712, WM971 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;first Microsoft(TM) Xbox DAC sound chip (AC Link compliant D/A converter) 
|-
| &lt;!--Description--&gt;Wolfson WM9717 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| Parallels 
| 
| 
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| untested 
|-
| VirtualBox
| 
| 
| 
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{No}}
| working
|-
| VirtualPC
| 
| 
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| untested 
|-
| &lt;!--Description--&gt;Intel 82801AA Proxmox 
| &lt;!--Vendor ID--&gt;0x8086
| &lt;!--Product ID--&gt;0x
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk| }}
| &lt;!--Recording--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
|}


====2005-20xx HDAUDIO.audio====

*6.36 2025 [https://github.com/aros-development-team/AROS/commit/43b33a9280b10963ca659de2cc3d1cf289b43a87 reset handler] 
*6.35 202  [] 
*6.34 2019 AROS One 1.5 upwards 
*6.29 2018 
*6.27 2017 update
*6.25 2014 used for most Icaros 2.x 
*6.20 July 2012 
*6.17 Nov 2011 
*6.15 Jun 2011
*[http://www.clusteruk.com/SitePortalPage.aspx?siteid=1&amp;did=109 6.13] Sep 2010


{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;5%&quot; |Vendor ID
! width=&quot;5%&quot; |Product ID
! width=&quot;5%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| &lt;!--Description--&gt;ALC260 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC262 
* ALC262-VD2-GR
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;LQFP-48 
|-
| ALC268 codec
| 0x 
| 0x
| 0x
| &lt;!--Playback--&gt;{{Yes|Version 6.17 Acer AOA110 and AOA150 netbooks), works (Dell Mini Inspiron 9 and 10v, }}
| &lt;!--Recording--&gt;{{Yes|Version 6.17 remove QUERY and select 'Mic 1' as input. Tested with 6.15 as well using QuickRecord and AE 4.0.23 under Icaros 1.4.}}
| &lt;!--Comments--&gt;AHI UNITS and Music are set to: hdaudio:HiFi 16 bit stereo++ / Frequency 48000 Hz, Volume +0.0 dB. The hdaudio.config in SYS:Prefs/Env-Archive is WITHOUT the QUERY-line. After changing and saving the config-file turn off and start again the computer. Switch from internal loudspeaker to headphone you must turn off the music before plug in the headphone-cable, otherwise there is no output on the socket. Back from line-out to internal speakers it is the same. 
|-
| [http://blog.foool.net/wp-content/uploads/linuxdocs/sound.pdf Linux docs ALC269] 
* ALC269Q-GR
* ALC269QSRS-GR
* ALC269W-GR 
| 0x 
| 0x
| 0x
| &lt;!--Playback--&gt;{{Maybe| }}
| &lt;!--Recording--&gt;{{Unk| }}
| &lt;!--Comments--&gt;TQFP 48 pin Power IC Chip From [https://patchwork.kernel.org/project/alsa-devel/patch/1408118123-15849-1-git-send-email-tiwai@suse.de/ ALC269 &amp; co have many vendor-specific setups with COEF verbs, result in the codec stalling] 
|-
| [http://www.alsa-project.org/db/?f=0321f8479fd670cd510f9912b1120fe7edcf2e07 ALC269VB] 
* ALC269Q-VB5-GR 
* ALC269Q-VB6-CG 
* ALC269Q-VB6-GR 
| 0x10ec
| 0x0269
| 0x100004, 0x100100, 0x100202
| &lt;!--Playback--&gt;{{Maybe|some versions work}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
* v1 works Asus eee PC netbook 901/1000HA 1005HA/1008HA, 1001P, 
* v2 maybe working Lenovo S9 S10 S10-2 S10-3 under HDAudio version 6.13
* v3 maybe dell wyse 7010 
|-
| [http://alsa-project.org/db/?f=9c1746c5957b0ce72ff9cfffa312e97d14baf785 ALC269VC aka ALC3202]
* ALC269Q-VC2-GR
* ALC269Q-VC3-GR
| 0x10ec
| 0x0269
| 0x100203, 
| &lt;!--Playback--&gt;{{Maybe|some versions work}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;SMT SMD QFN-48 - 
* v1 unknown
* v2 unknown
* v3 x230, dell wyse, 
|-
| ALC272 
* ALC272-VA4-GR
| 0x10ec
| 0x0272
| 0x0
| &lt;!--Playback--&gt;{{Yes| }} 
| &lt;!--Recording--&gt;{{Unk}}
| 
* works Acer AOD150 and Acer AOD250 works [http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=33755&amp;forum=28#616910 Samsung NP-NC10], works Samsung NF210-A02] netbooks, 
|-
| &lt;!--Description--&gt;ALC273 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC270 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC282 
| &lt;!--Vendor ID--&gt;0x1002
| &lt;!--Product ID--&gt;0x
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No|Version 6.17}}
| &lt;!--Recording--&gt;{{No|Version 6.17}}
| &lt;!--Comments--&gt;needs retest 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC660 ALC660-VD 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes| }}
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
* works asus F9s, F9e 
* untested asus w7j, M51SN, A6Tc, A8Sr, 
|-
| &lt;!--Description--&gt;ALC661-GR (2011) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| ALC662 
| 0x1043
| 0x82a1
| 0x0
| &lt;!--Playback--&gt;{{Yes|Version 6.17 if QUERY added to top of hdaudio.config}}
| &lt;!--Recording--&gt;{{No|Version 6.17 not working for eee pc 900}}
| 
* works Asus eee PC netbook 700/701/900, Atom 270 and 330 mobos, odd clicks (D410 NM10 PineTrail), 
|-
| &lt;!--Description--&gt;[http://outpost.fr/rmaa/ALC663.htm ALC663]  
| &lt;!--Vendor ID--&gt;0x10ec
| &lt;!--Product ID--&gt;0x0861
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No|Version 6.13}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;not bad output like headphone amp part of the codec actually works well but messed up by undersized coupling capacitors to actually support such a low impedance 
* not working Asus n50vn x71vn, 
|-
| &lt;!--Description--&gt;ALC665 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC666 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC667
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC668 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC670 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;ALC880 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;some 915 and 925 chipset mobos 
|-
| &lt;!--Description--&gt;ALC882M 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes| }}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
|-
| Realtek ALC883 ALC883-GR ALC883D-GR ALC883DTS-GR ALC883DD-GR codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Maybe|some early versions work }}
| &lt;!--Recording--&gt;{{Unk| }}
| 2005 to 2007 HD Audio codec untested (Asus ), 
|-
| Codec ALC885 
| 0x10ec
| 0x0885
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No}}
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| ALC888 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| ALC888s
* ALC888S-VD2-GR
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}} MSI Wind U90/U100, 
| &lt;!--Recording--&gt;{{Unk}}
| LQFP-48 
|-
| ALC888b
| 0x8086
| 0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| untested (D510 NM10 Dual Core PineTrail mobo),  
|-
| ALC888-VD
| 0x8086
| 0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| untested 
|-
| ALC889A 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes|works if QUERY added to the top of hdaudio.config in Prefs drawer/directory}} 
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| ALC889 Gr
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}} with crackles 
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| ALC889 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}} 
| &lt;!--Recording--&gt;{{Unk}}
| Tested with MSI H55 board 
|-
| ALC887 ALC887-GR 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{Unk}}
| 
* working on ASUS P5KPL/EPU and Gigabyte GA-E350N-Win8 Rev1.0 
|-
| ALC887-VD-CG
| &lt;!--Vendor ID--&gt;0x10ec 
| &lt;!--Product ID--&gt;0x0887
| &lt;!--Revision--&gt;0x100302
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk}} Subsystem Id: 0x1458a002 
| 
|-
| ALC887-VD 
| &lt;!--Vendor ID--&gt;0x10ec 
| &lt;!--Product ID--&gt;0x0887 0x1458
| &lt;!--Revision--&gt;0xa002
| &lt;!--Playback--&gt;{{Maybe}}
| &lt;!--Recording--&gt;{{Unk}} index = 2 
| ALC887 does not have any volume control ability on the mixer NIDs, so put the volume controls on the dac NIDs instead 
* working with intermittent corrupting pop popping skipping stuttering sound issues MSI 760GM-P23 (FX), 
* not working Gigabyte H61MA-D3V, AT3IONT-I Deluxe, 
|-
| ALC887-VD2
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk}}
| 3jacks 
|-
| ALC887-VD2-GR 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No}}
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| ALC887-
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| ALC892-CG rev
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk| }}
| 2011 48-pin LQFP Green package - 
|-
| ALC892 ALC892-DTS-CG rev 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk}}
| 2009 introduced 
* works 
* not working 
* untested 
|-
| ALC892 rev 
| &lt;!--Vendor ID--&gt;0x0x10ec
| &lt;!--Product ID--&gt;0x0892
| &lt;!--Revision--&gt;0x100302
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk| }}
| 2014 
|-
| Realtek ALC886-GR
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk| }}
| LQFP-48 
|-
| Codec ALC861 ALC861-VD 
| 0x10ec
| &lt;!--Product ID--&gt;0x0663
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk}}
|  
* not working Toshiba Tecra A7 
|-
| &lt;!--Description--&gt;ALC1200 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
|-
| ALC898 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk}}
| not working 
|-
| &lt;!--Description--&gt;ALC1500 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC aka ALC
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC3232 (aka ALC292) 
| &lt;!--Vendor ID--&gt;0x10ec
| &lt;!--Product ID--&gt;0x0292
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC aka ALC
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC3234 aka ALC255 
| &lt;!--Vendor ID--&gt;0x10ec
| &lt;!--Product ID--&gt;0x0255 
| &lt;!--Revision--&gt;003
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC aka ALC
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC3287 aka ALC257
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{yes| }}
| &lt;!--Recording--&gt;{{no| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC aka ALC
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;ALC aka ALC
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;AD1882 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;AD1883 HD Codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;AD1884 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
| Analog Devices SoundMAX AD1981 
| &lt;!--Vendor ID--&gt;0x0
| &lt;!--Product ID--&gt;0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| IBM Thinkpad T60, 
|-
| AD1984 hp-m4 codec
| &lt;!--Vendor ID--&gt;0x0
| &lt;!--Product ID--&gt;0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{No}} 
| &lt;!--Recording--&gt;{{Unk}}
| 
* audio not working on Lenovo X61, Thinkpad T61, 
|-
| AD1986 
| &lt;!--Vendor ID--&gt;0x0
| &lt;!--Product ID--&gt;0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
|  
|-
| AD1988
| &lt;!--Vendor ID--&gt;0x0
| &lt;!--Product ID--&gt;0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;{{No}} 
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| &lt;!--Description--&gt;AD1988A 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;Cirrus Logic CS4207
| &lt;!--Vendor ID--&gt;0x0
| &lt;!--Product ID--&gt;0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| 
|-
| &lt;!--Description--&gt;Cirrus Logic CS4208 
| &lt;!--Vendor ID--&gt;0x0
| &lt;!--Product ID--&gt;0x0
| &lt;!--Revision--&gt;0x0
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| 
|-
| &lt;!--Description--&gt;Conexant CX20549 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Maybe|very very very low volume}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested Fujitsu Amilo SI 1510 1520 no datasheet for the general public 
|-
| &lt;!--Description--&gt;Conexant CX20549-12Z codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested HP 530 
|-
| &lt;!--Description--&gt;Conexant CX20561 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{yes}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
* working lenovo x200s
* untested Lenovo Essential G555 Notebook, HP Pavilion dv6700, 
|-
| &lt;!--Description--&gt;Conexant CX20582 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Conexant CX2059x CX20590 CX20594-21Z codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Conexant CX20585 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{yes}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
* working Lenovo Thinkpad T410, 
|-
| &lt;!--Description--&gt;Conexant CX20672 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Conexant CX20671 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Conexant CX20751-21Z codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{yes| }}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;Conexant CX11852 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Conexant CX11880 codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Conexant after 2015 up to 2018 CX7501 codec
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{no|no driver codec}}
| &lt;!--Recording--&gt;{{no|no driver codec}}
| &lt;!--Comments--&gt;Conexant bought by synaptics 2019 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;C-Media CMI9880 codec
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;Gigabyte GA-8GPNXP
|-
| &lt;!--Description--&gt;Silicon Labs 3054 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| VIA 1708A
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| untested, 
|-
| VIA VT1708B
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| 0x0010
| &lt;!--Playback--&gt;{{No|VIA PicoITX}} 
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| VIA 1708S
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}}  
| &lt;!--Recording--&gt;{{Unk}}
| 
|-
| &lt;!--Description--&gt;VT2021 10ch
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;Gigabyte Z77MX-D3H, GA-H61M-S2H‎ S2P, 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Creative CA0110-IBG
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;SigmaTel STAC 9220 9221 9223 8ch (7+1) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Unk| }}
| &lt;!--Recording--&gt;{{Unk| }}
| &lt;!--Comments--&gt;ECS 945GCT/M-1333 (version 3.0), 
|-
| IDT SigmaTec [http://explorer.cekli.com/articles/pdf/hd-audio STAC9227] /28/29/30 codec
| &lt;!--Vendor ID--&gt;0x8384
| &lt;!--Product ID--&gt;0x7626
| &lt;!--Revision--&gt;0x0002
| &lt;!--Playback--&gt;{{Yes| }} 
| &lt;!--Recording--&gt;{{Unk}}
| 
* works HP Compaq mini 110
* untested HP Pavilion HDX9000 CTO Notebook, Intel DG33TL mobo, Dell E520, Intel DP35DP mobo, Dell E6410 Laptop, 
|-
| IDT (formerly SigmaTel) IDC STAC 9271/71D 
| &lt;!--Vendor ID--&gt;0x8384
| &lt;!--Product ID--&gt;0x7626
| &lt;!--Revision--&gt;0x0002
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
|  
|-
| &lt;!--Description--&gt;IDC STAC 9272 9273 9274 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;Intel D5400XS, 
|-
| &lt;!--Description--&gt;IDT 92HD73C
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{yes}}
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;headphones only Asus AT4NM10 mobo 
|-
| &lt;!--Description--&gt;IDT 92HD75B
| &lt;!--Vendor ID--&gt;0x111d
| &lt;!--Product ID--&gt;0x7608
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{Unk}}
| &lt;!--Comments--&gt;
* working [http://koti.kapsi.fi/jvaltane/aros/hdaudio/ HP Compaq Mini 700 Netbook - feedback required]
* untested HP Mini 5103 and 5102, HP Compaq 610, HP ProBook Laptop 4520s 4525s 6450b 6550b 6555b, HP EliteBook 2540p 2740p 8440p, Mobile Workstation 8540w 8740w, Pavilion NoteBook DV8, 
|-
| &lt;!--Description--&gt;IDC 92HD81XX
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;IDC 92HD83XX
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;IDC STAC 92HD89XX
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;IDC 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;IDC 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;IDC 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;IDC 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt;Wolfson (now Cirrus Logic) WM8850 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Wolfson WM8860 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;Intel High Definition Audio Revision 1.0. - 4-Channel DAC, 4-channel ADC. - DAC sampling 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
|}


Using Prefs/AHI ensure you set the music unit and at least Units 0 (where most audio comes from) in top left drop down menu to HDaudio - HIFI in the section below. Set Units 1 or 2 to microphone or other outputs. Plus allow more than one channel for multiple audio streams and set frequency up to 44 kHz or higher on the right hand side of the ahi prefs. If sound beeps when you press the test button then all should be OK. 

 Output &lt;- Codec &lt;- Audio Controller (HDA) &lt;-&gt; Computer 

codecs and exact hardware identifier. As mentioned above, HDA is only part of the work here, it gets the audio out of the main chipset in digital format (on a bus called I2S). This is not enough, there is another step needed which is routing that I2S signal to the output, converting it to actual audio, amplifying it, etc. This is handled by a separate chip called a &quot;codec&quot;. Sometimes it is initialized by the BIOS, but this is not always the case. 

Most audio drivers are made up of two parts a [http://www.kernel.org/doc/Documentation/sound/alsa/HD-Audio.txt Controller + a Codec]. The ProductID and VendorID are for the audio controller only - the important additional codec is '''NOT''' so easily identified. 

 Some newer versions of codecs are missing at the moment. 


Things to try if sound not working 

* try to connect something to the audio jack, maybe it is not playing on internal speakers or vice versa 
* make sure you try and select all music units e.g. unit0, unit1.... 
* even if PCI ID's are in Prefs/Env-Archive/HDaudio.config, this doesn't mean it is working, it is the codec that matters 
* it might be internally muted 


&lt;pre&gt;
add debug=memory to grub boot line - continue booting with F10 
Open a shell 
Tools/Debug/Bifteck &gt; RAM:audio.txt
&lt;/pre&gt;

or 

&lt;pre&gt;
Open a shell 
Tools/Debug/Sashimi &gt; RAM:audio.txt
Run ahi prefs
Click test tone button 
Stop sashimi with Ctrl-C 
&lt;/pre&gt;

If the boot sound is enabled, you have to use Bifteck to capture AHI debug output. In the GRUB menu, press E on your selected entry, then add &quot;debug=memory&quot; to the options (alongside ATA=, vesa= etc.). Then F10 or Ctrl-X to boot. Once booted, run Tools/Debug/Bifteck again. 

or 

* try adding QUERYD to the start of ENVARC:hdaudio.config file (also known as Prefs/Env-Archive/) ie. on the first line 
* '''OR''' try removing QUERY and QUERYD from the start of the hdaudio.config file 
* Reboot
* open a shell
* type: sys:tools/debug/sashimi &gt; ram:debug.txt
* open ahi prefs
* select one of the audio modes - HIFI or otherwise 
* press the 'test sound' button
* press ctrl-c in the shell
* post the results to Aros-World


The HD Audio standard was designed to be hardware pinout interchangeable so that the sound support could change easily and quickly. HDA is a standard around particular chips. Each kind of chip has a certain number of DACs and pins, and even the same chip could be hooked up in different ways on different motherboards. The chips are programmable and the operating system can adjust how things are routed. Some pins aren’t even hooked up, so it makes no sense to route sound to them. Also some pins have sensors that can tell when something is plugged in, so that for example the speakers in a laptop can be muted when headphones are plugged in. Pins are also grouped, so for example all the outputs for a 5.1 sound system are grouped. Generally the HDA driver in the operating system is supposed to read the pin set up and figure out a reasonable way to set things up, and disconnected pins should be ignored, etc. 

HDAudio standard has headphones on a separate DAC, and it's up to the driver.. it can even send different audio to the headphones without interrupting the main (green) outputs 


====Envy24 series ====

A little history. VIA bought the ICE created Envy chipsets [http://www.via.com.tw/en/products/audio/controllers/comparison_controller.jsp VT1712] first. A few years later, they created several cheaper variants VT1724 (mixer missing), VT1721 (low end cut down), VT1720 (embedded on motherboard) and lastly the VT1723 (no support apart from Windows Envy24DT like SYBA SD-PEX63034). 

There are PCI Express versions appearing. 

The Envy24 is the base product that was originally designed by ICEnsemble, and it supports multi-channel hardware mixing, which is great for professional use. The HT version removes the hardware mixer (unimportant for non-professional uses). The [http://www.avsforum.com/t/364771/envy24ht-s-the-definitive-source HT-S] version is almost exactly the same as the HT, it just uses cheaper DACs. The PT version is exactly the same as the HT-S version, it is just the edition used for on-board audio on motherboards.

N.B. [http://www.soundonsound.com/sos/dec04/articles/pcnotes.htm PCI slot identification] and [http://hsi.web.cern.ch/HSI/s-link/devices/s32pci64/slottypes.html 3.3v PCI]. 


=====[http://www.opensound.com/readme/README.Envy24.html envy24.audio] - [http://www.anime.net/~goemon/alsa/ VT1712] =====

{| class=&quot;wikitable&quot;
! Description
! Vendor ID
! Product ID
! Revision 
! Playback
! Recording
! Comments
|-
| M-Audio Delta 66 - Rev B 1999 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested AK4524VF CS8404A-CS - needs Delta Series break out box with D-sub lead - 
|-
| [http://ixbtlabs.com/articles/maudioaudiophile/index.html Audiophile 2496] Rev A 2000
| 0x14
| 0x
| 
| &lt;!--Playback--&gt;{{unk| }}
| &lt;!--Recording--&gt;{{unk| }}
| works audio out on   - I2S stereo codec AKM AK4528VF with the 24bit/96kHz DAC and ADC; CS8427 digital transceiver 
|-
| [http://ixbtlabs.com/articles/maudioaudiophile/index.html Audiophile 2496] Rev B 2003
| 0x14
| 0x
| 
| &lt;!--Playback--&gt;{{Yes }}
| &lt;!--Recording--&gt;
| works well - I2S stereo codec AKM AK4528VF with the 24bit/96kHz DAC and ADC; CS8427 digital transceiver 
|-
| M-Audio Delta 410 - 2001  2001 REV-B 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested  for D-A AK4529VQ converters with CS8427-CS 5532 1158B  or Event Echo Gina 20-Bit Multitrack Interface Breakout Box - 
|-
| M-Audio Delta 1010 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested  AK5383 and AK4393 - 25 pin dsub - 
|-
| M-Audio Delta 1010LT 1010E 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested for D-A AK4529 converters with 2 XLR Microphone inputs with pre amps 
* be aware of redesign in 2007 - possible issues 
|-
| M Audio Delta 44 - Rev A 2002 - Rev B 2003 - Rev D 2003 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested ICE1712G AK4524VF needs breakout box with 15 pin D-sub lead - 
|-
| M-Audio Delta 66 Rev E 2006 - Omni Studio 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested needs break out box with 15 pin D-sub lead - 
|-
| &lt;!--Description--&gt;M-Audio Delta DiO 2496
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| Terratec EWX24/96
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| [http://ixbtlabs.com/articles2/terratecdmx6fire/index.html TerraTec 6fire DMX 24/96] 
| &lt;!--Vendor ID--&gt;0x1412
| &lt;!--Product ID--&gt;0x1712
| &lt;!--Revision--&gt;0x02
| &lt;!--Playback--&gt;{{No|tried line 1-2 3-4 5-6 7-8 }}
| &lt;!--Recording--&gt;{{No| }}
| untested  - AKM  and codec
|-
| &lt;!--Description--&gt;Terratec EWSA88MT 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| [http://lists.freebsd.org/pipermail/freebsd-multimedia/2007-March/006087.html Audiotrak Prodigy HD2] 24/96
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| Audiotrak (ESI) Maya 1010 1010L
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| EMU 1212M
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| EMU 1616M
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| untested 
|-
| &lt;!--Description--&gt;Terratec EWS 88MT EWS 88D
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Hoontech Soundtrack DSP 24
    Soundtrack DSP 24 Value
    Soundtrack DSP 24 Media 7.1
    Event Electronics EZ8
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Digigram VX442
    Lionstracs
    Mediastation
    Terrasoniq TS 88
    Roland/Edirol DA-2496
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
|}


=====envy24ht.audio - VIA VT1724=====

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot; |Description
! width=&quot;10%&quot; |Vendor ID
! width=&quot;10%&quot; |Product ID
! width=&quot;10%&quot; |Revision 
! width=&quot;10%&quot; |Playback
! width=&quot;10%&quot; |Recording
! width=&quot;35%&quot; |Comments
|-
| ESI Juli@
| 0x3031
| 0x4553
| 0x0
| &lt;!--Playback--&gt;{{Yes}}
| &lt;!--Recording--&gt;{{Yes}}
| reported working years ago [http://envy24.svobodno.com/ Envy24HT-S] - AKM 4358 DAC - AKM 4114/4112 DIT 
|-
| ESI Juli@ Ego Igo rev K 
| 0x3031
| 0x
| 0x0
| &lt;!--Playback--&gt;{{Unk}}
| &lt;!--Recording--&gt;{{Unk}}
| AK4358? DAC - AK4114 AK4112 DIT 
|-
| [http://ixbtlabs.com/articles2/multimedia/m-audio-revolution51.html M-Audio Revolution 5.1] 
| 0x1412
| 0x3631
| 0x0
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| reported working years ago but discontinued - (Envy24GT) - 3ch AKM 4358 DAC - ADC AKM 5365 - 
|-
| [http://ixbtlabs.com/articles2/m-audio-revolution71/index.html M-Audio Revolution 7.1] 24/192
| 0x1412
| 0x3630 0x1724 
| 0x0
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| not working - illegal semaphore - 6ch ADC AKM AK4355 24-bit 192 kHz - 2ch DAC AKM AK4381 24-bit 192 kHz - ADC AKM AK5380 
|-
| Terratec Aureon Sky 5.1
| 0x153b
| 0x1147
| 0x
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| untested - discontinued 
|-
| [http://ixbtlabs.com/articles2/terratec-aureon71/index.html Terratec Aureon Space 7.1] 
| 0x153b
| 0x1145
| 0x0
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| untested - Wolfson WM8770 DAC, AC'97 codec SigmaTel STAC9744 
|-
| Terratec Aureon Universe 7.1
| 0x153b
| 0x1153 (rev x) 0x1724 (rev3)
| 0x0
| &lt;!--Playback--&gt;{{No| }}
| &lt;!--Recording--&gt;{{No| }}
| not working - semaphore error on rev 3 -  DAC    ADC  
|-
| Terratec Phase 22
| 0x153b
| 0x1150
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| untested - Envy24HT-S - AK4524
|-
| Terratec Phase 28
| 0x153b
| 0x1149 
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| untested - Envy24HT-S - AK4524
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Playback 
| Recording
| Revision 
| Comments
|-
| Audiotrak (ESI) Prodigy 7.1
| 0x4933
| 0x4553
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| no driver - Wolfson WM8770 and AC'97 SigmaTel STAC9744 codec 
|-
| Audiotrak (ESI) Prodigy 7.1 LT
| 0x3132
| 0x4154
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| no driver - 
|-
| [http://ixbtlabs.com/articles2/sound/audiotrak-prodigy192.html Audiotrak (ESI) Prodigy 192] 24/96
| 
| 
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| no driver - STAC9460S codec 
|-
| &lt;!--Description--&gt;Echo Layla 24/96 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;
|-
| [http://www.bit-tech.net/custompc/labs/80752/hercules-gamesurround-fortissimo-4.html Hercules Gamesurround Fortissimo 4] 
| 
| 
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| no driver - Wolfson WM8776 Codec and WM8766 DAC
|-
| [http://ixbtlabs.com/articles2/multimedia/m-audio-audiophile192.html M-Audio Audiophile Delta AP 192k] 
| 0x1412
| 0x3632
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| no driver - Stereo ADC AKM AK5385A 24-bit 192 kHZ - 8-channel DAC AKM AK4358 24-bit 192 kHz - AKM 4114/4112 DIT 
|-
| ONKYO SE-150PCI
| 0x160b
| 0x0001
| 
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| no driver
|-
| &lt;!--Description--&gt;ESI Waveterminal 192x
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Quartet 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt; - AKM 4114/4112 DIT 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{unk}}
| &lt;!--Recording--&gt;{{unk}}
| &lt;!--Comments--&gt;
|-
|}


====hdmiaudio.audio - hdmi no support====

{| class=&quot;wikitable&quot;
! Description
! Vendor ID
! Product ID
! Revision 
! Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| Playback
| Recording
| Comments
|-
| &lt;!--Description--&gt;ATI R6xx HDMI Audio codec support output 
| &lt;!--Vendor ID--&gt;0x1002 
| &lt;!--Product ID--&gt;0x9840 
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;{{No| }} 
| &lt;!--Recording--&gt;{{No| }} 
| &lt;!--Comments--&gt;Not detected 
|-
| &lt;!--Description--&gt;NVidia HDMI 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Intel Series 6 CougarPoint HDMI codec 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Intel HDMI 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Playback--&gt;
| &lt;!--Recording--&gt;
| &lt;!--Comments--&gt;
|}


[[#top|...to the top]]


===Graphic GFX Chipsets===

PCIe is defacto on 64bit AROS and recommended on 32bit. 

AGP works but faster transfers through the AGP slot are only available on a few supported motherboard chipsets 
* Faster AGP Working = SIS 650 board, Intel 865pe AGP slot on MSI 6788-050, 
* Not Supported = NForce2 chipsets, most Intel 815/820 chipsets, VIA chipsets, ALi chipsets, 

The fallback for all graphics modes is vesa if any native support does not work. There is a choice of very low resolution vga as the last resort 


2D tests performed with [http://download.aros3d.org/software/gfxbench.zip gfxbench] in the shell type gfxbench &gt; out.txt (40 seconds blank screen is part of the test), via FreeDoom via limit-removing engine like odamex, chocolate or vanilla doom -timedemo demo1 or doom2 -timedemo demo1, doom.exe -iwad doom2 -file mymap.wad, Duke DNRATE 640x480 windowed 


3D tests performed with Demos/Mesa/ , Cube 1080p, Cube 2 windowed not fullscreen 1920 x 1025, Quake3 ~ cl_drawFPS 1, Xonotic , [http://shinh.skr.jp/sdlbench/showtestgl.cgi test gl], 


HDMI, DVI and DisplayPort monitors have a native resolution of 480p, 720p, 1080i, 1080p and up 

* HDMI 1.2 720p res. 
* HDMI 1.3 1080 resolution 
* HDMI 1.4 above 1080 res. 
* HDMI 2.0 
* HDMI 2.1 
* HDMI 2.2 ultra96 

* GPMI 


====vga.hidd====
{| class=&quot;wikitable&quot;
! Description
! Vendor ID
! Product ID
! Revision 
! Comments
|-
| 
| 0x
| 0x
| 0x0
| Generic VGA Driver, limited to 640x480 in 16 colours - no 3D support 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
|}


====vesa.hidd====
{| class=&quot;wikitable&quot;
! Description
! Vendor ID
! Product ID
! Revision 
! Comments
|-
| 
| 0x
| 0x
| 0x0
| 2D support for VBE1, VBE2 and VBE3 (most cards) - various resolutions and 24bit colour -  no 3D support 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--Comments--&gt;
|-
|}


[[#top|...to the top]]


====[[w:en:Intel GMA|Intel GMA]]====

DVI output is not supported at the moment. 

If having problems:

* Ensure the latest version is being used. 
* Set GMA_MEM to 128 or 256 to test 
* Try the FORCEGMA ToolType for 2D, and try the FORCEGALLIUM ToolType for 3D acceleration after 2D is verified to work. ToolTypes should be applied to the Devs/Monitors/IntelGMA monitor icon.

If still having problems:

* At GRUB boot screen edit boot line and add option: debug=memory
* Boot.
* Use shell command: tools/debug/bifteck &gt; RAM:debug.txt
* And post [GMA MONITOR DETECTION] and other related debug lines 


{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; |Description
! width=&quot;5%&quot; |Vendor ID
! width=&quot;5%&quot; |Product ID
! width=&quot;3%&quot; |Rev
! width=&quot;5%&quot; |2D
! width=&quot;5%&quot; |3D
! width=&quot;5%&quot; |Analog Output
! width=&quot;5%&quot; |Digital Output
! width=&quot;5%&quot; |Laptop LCD
! width=&quot;30%&quot; |Comments
|-
| 910GL 82910GL GMCH + ICH6 
| 0x8086
| 0x2582 0x2592
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| 910GML 82910 GML GMCH + ICH6 Mobile 
| 0x8086
| 0x2582 0x2592
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| may need to add forceGMA to grub boot line to work 
|-
| 915G 82915G GMCH + ICH6-M
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt;{{Unk}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| 
|-
| 915GL 82915GL GMCH 
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt;{{Unk}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| 
|-
| 915GV 82915GV GMCH
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| HP DC5100 small form factor 
|-
| 915GM GMA900
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt; {{Yes| }}
| &lt;!--3D--&gt; {{Unk|  tunnel  gearbox  }}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;{{Yes}}
| asus eee pc 900 
|-
| 915GMS 
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt; {{Yes| }}
| &lt;!--3D--&gt; {{Unk|  tunnel   }}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;{{Yes| }}
| 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| [http://www.notebookcheck.net/Intel-Graphics-Media-Accelerator-950.2177.0.html 945GU] - 133 MHz (Lake port for Intel A100 and A110) 
| 0x8086
| 0x2772
| 0x0
| &lt;!--2D--&gt; {{Yes| }}
| &lt;!--3D--&gt; {{Unk| }}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| Fujitsu LifeBook U1010, 
|-
| 945GMS - 166 MHz / 250 MHz (1.05V) 
| 0x8086
| 0x27a2
| 0x0
| &lt;!--2D--&gt; {{Yes| }}
| &lt;!--3D--&gt; {{Unk| }}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;{{Yes}}
| Dell D430 
|-
| 945GSE - 166 MHz (for Atom) 
| 0x8086
| 0x27ae
| 0x0
| &lt;!--2D--&gt; {{Yes| }}
| &lt;!--3D--&gt; {{Yes|[http://www.x.org/wiki/GalliumStatus]}}
| {{Yes}}
| {{No|dvi port}}
| {{Yes| }}
| for atom motherboards and most 2008/2009 netbooks
* 3D Works - AOA110 AOA150, Dell Mini 9, Samsung NC10, Toshiba NB100, 
|-
| 945G 82945G GMCH + ICH7
| 0x8086
| 0x27a6
| 0x0
| &lt;!--2D--&gt;{{Unk}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| untested 2D and 3D 
|-
| 945GC 82945GC MCH
| 0x8086
| 0x27a6
| 0x0
| &lt;!--2D--&gt;{{Unk}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| untested 2D and 3D 
|-
| 945PM 
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| Dell D420, Compaq nc6400, 
|-
| 945GMS - 250 MHz Calistoga
| 0x8086
| 0x
| 0x0
| &lt;!--2D--&gt; {{Yes}}
| &lt;!--3D--&gt; {{Yes|most models}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;{{Yes}} 
| 
* 3D Works Dell Latitude 2100, HP Compaq nc6320, Lenovo 3000, Lenovo T60, Samsung Q35, Dell D620, Dell D820, 
* 3D untested Toshiba Satellite L100-120, Toshiba Portege M400,  
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Unk}}
| &lt;!--3D--&gt;{{Unk}}
| &lt;!--Analogue Output--&gt;
| &lt;!--Digital Output--&gt;
| &lt;!--Laptop LCD--&gt;
| 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| GMA 3100 G31 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| works 2D but no 3D 
|-
| GMA 3100 G33 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| works 2D but no 3D 
|-
| [http://en.wikipedia.org/wiki/Intel_GMA GMA 3150] netbooks and nettops 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| works 2D but no 3D. no vga, dvi or hdmi output for nettops 
|-
| &lt;!--Description--&gt; G965
| &lt;!--Vendor ID--&gt; 0x8086
| &lt;!--Product ID--&gt; 0x
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| &lt;!--Comments--&gt; 
|-
| &lt;!--Description--&gt; Q965 
| &lt;!--Vendor ID--&gt; 0x8086
| &lt;!--Product ID--&gt; 0x2992
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{No}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| &lt;!--Comments--&gt; Only tested with VGA output.
|-
| 965GM X3100 (500 MHz) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| some support 2D but no hardware 3D - could not get it to work with VGA or dvi output 
* untested Apple MacBook Air, Lenovo Thinkpad X300, Dell Inspiron 1525, Toshiba M9, 
|-
| 960GM X3100 (400 MHz)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| 
|-
| 965M X3100 (400 MHz) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| Dell D830, 
|-
| 965PM ??
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| Toshiba A9 works with limited 2D acceleration but no hardware 3D 
|-
| GL965
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| works with limited 2D acceleration but no hardware 3D 
|-
| GM965
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| works with limited 2D acceleration but no hardware 3D 
|-
| GMA X3500 G35 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| works with limited 2D acceleration but no hardware 3D 
|-
| &lt;!--Description--&gt;X4500M G41 G43 G45 (400Mhz) Mobile 4 Series 
| &lt;!--Vendor ID--&gt; 0x8086
| &lt;!--Product ID--&gt; 0x2a42 0x2a43
| &lt;!--Revision--&gt;0x07
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt; {{No|}}
| &lt;!--Digital--&gt; {{No|}}
| &lt;!--Laptop LCD--&gt; {{Yes| VESA}}
| &lt;!--Comments--&gt;works with limited 2D acceleration but no hardware 3D 
|-
| &lt;!--Description--&gt;GMA 4500M HD (533 MHz)
| &lt;!--Vendor ID--&gt; 0x8086
| &lt;!--Product ID--&gt; 0x
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| &lt;!--Comments--&gt;works with limited 2D acceleration but no hardware 3D 
|-
| &lt;!--Description--&gt;GMA 4700M HD (640MHZ)
| &lt;!--Vendor ID--&gt; 0x8086
| &lt;!--Product ID--&gt; 0x2a42
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|}}
| &lt;!--3D--&gt;{{No|}}
| &lt;!--Analogue--&gt;{{Unk}}
| &lt;!--Digital--&gt;{{Unk}}
| &lt;!--Laptop LCD--&gt;{{Unk}}
| &lt;!--Comments--&gt;works with limited 2D acceleration but no hardware 3D 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
|}


====[http://nouveau.freedesktop.org/wiki/FeatureMatrix nouveau].hidd ([http://web.aros3d.org/index.php/projects nvidia pci, agp, pci-e desktop])====

 PCIe based nvidia graphics (gfx 8xxx) are the base level for 64bit AROS but earlier models still has some support on 32bit AROS 

*Desktop, more likely hit rather than miss on '''very''' early nvidia 
*Laptop, limited support for '''very''' early non-optimus (i.e. just Nvidia gfx only so no Intel and nvidia gfx combinations) 

Please note that the nouveau project is reverse engineering a graphics driver due to nVidia's limited information and design decisions (closed firmware, etc) 

* 2026-06 - DEVS  
* 2011-10 - DEVS  6.11 Nouveau.hidd  7.4 Gallium.hidd  9.4 Softpipe - LIBS  2.3 Gallium  1.3 GLU  19.0 Mesa OpenCL 1.x 
* 2011-04 - DEVS  5.31 Nouveau.hidd  7.3 Gallium.hidd  9.3 Softpipe - LIBS  2.2 Gallium  1.1 GLU  18.0 Mesa OpenCL n/a


[https://comparisoncpu.com/gpu/list Nouveau support for AROS] is limited to OpenGL 2.1 compliance even for modern GL4 capable GPUs - OpenCL supports the older NV50 (8000 9000) cards, less support in newer NVC0 cards (300 upwards) 

ADoom3 graphic details ultra, benchmark while playing press the &quot;`&quot; key and type &quot;Timedemo demo1&quot; in the console 

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; | Graphic Card
! width=&quot;5%&quot; | 1024 x 768
! width=&quot;5%&quot; | 800 x 600
! width=&quot;2%&quot; | 640 x 480
|-
| Asus EN8400GS SILENT/P/512M PCIe (G98) ||  ||  ||  
|-
| 8400gs ||  ||  ||  
|-
| Gigabyte 8500 GT 256M || 42,6 || 57,2 || 68,6 
|-
| Geforce 9500GT 512M || 43 || 53 || 57 
|-
| gt210 ||  ||  ||  
|-
| Palit GT220 Sonic 512M || 39,7 || 55,8 || 63,7 
|-
| gt218 ||  ||  ||  
|-
| GT 240 ||  ||  ||  
|-
| GTX 550Ti ||  ||  ||  
|-
| GT 630 ||  ||  ||  
|-
| GTX 750 ||  ||  ||  
|-
|  ||  ||  ||  
|-
| HostGL Ryzen 5 4600H - Nvidia 1650 - Linux mint 21.1 || 150fps || 154fps || 155fps 
|-
|  ||  ||  ||  
|-
|  ||  ||  ||  
|-
|}

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; | Description
! width=&quot;5%&quot; | Vendor ID
! width=&quot;5%&quot; | Product ID
! width=&quot;2%&quot; | Rev 
! width=&quot;5%&quot; | 2D
! width=&quot;5%&quot; | 3D
! width=&quot;5%&quot; | Analog Output
! width=&quot;5%&quot; | Digital Output
! width=&quot;5%&quot; | Laptop LCD
! width=40%&quot; | Comments
|-
| &lt;!--Description--&gt;tnt1 (nv04) tnt2 (nv05) m64 value (1998)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe| }}
| &lt;!--3D--&gt;{{No|very slow}} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| NV04 Riva TNT TNT2 Fahrenheit freezes on via motherboard chipset so rename agp.hidd in SYS:Devs/Drivers or Monitors 
|-
| &lt;!--Description--&gt;tnt vanta lt (nv06)  1998 /9
| 0x10de
| 0x002c
| 0x15
| &lt;!--2D--&gt;{{Maybe| }}  
| &lt;!--3D--&gt;{{No|slow}} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
|  
|-
| &lt;!--Description--&gt;Geforce 256 (nv10) (2000)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe| }} 
| &lt;!--3D--&gt;{{No|slow }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| untested Geforce256 
|-
| &lt;!--Description--&gt;Geforce 2 Geforce 3 Geforce 4 (nv20) 2000 / 2
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe| }} 
| &lt;!--3D--&gt;{{No|slow }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| works for some PCI and AGP Geforce2 Geforce3 Geforce4  
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| Geforce FX5200 nv34 (2003)
| 0x10DE
| 0x0322 0x
| 0xA1
| &lt;!--2D--&gt;{{Maybe|  }} 
| &lt;!--3D--&gt;{{Maybe| }}
| &lt;!--Analogue--&gt;{{Maybe|VGA15 }} 
| &lt;!--Digital--&gt;{{Maybe|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| NV30 GeForce 5 FX Rankine Hardware OpenGL 1.5 - slower than GF MX 4000 for 2D - max 1024 x768 
* not working [https://eab.abime.net/showthread.php?t=92328&amp;page=8 mobos with VIA chipsets 2018] 
* working (MSI 0x9174) the previous nouveau 5.x driver 
* Others work with 6.x series XFX PV-T34K-NA, ASUS V9520-X/TD 
|-
| Geforce FX5500 (nv34) (2003)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes| }} 
| &lt;!--3D--&gt;{{Yes| }} 
| &lt;!--Analogue--&gt;{{Maybe| }} 
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| works 
|-
| Geforce 5100 (NV34)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| Geforce FX 5200LE (NV34)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5200 Ultra
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| Geforce FX5600 (nv31) (2004)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes| }} 
| &lt;!--3D--&gt;{{Yes}} 
| &lt;!--Analogue--&gt;{{Maybe| }} 
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| works 
|-
| GeForce FX 5600 Ultra
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5600SE
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5600XT 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| Geforce FX5700 (nv36) (2004)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes|some}} 
| &lt;!--3D--&gt;{{Yes| }} 
| &lt;!--Analogue--&gt;{{Maybe| }} 
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5700VE 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5700 Ultra 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5700LE 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5800 (NV30)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5800 Ultra (NV30) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5900 (NV35) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5900 Ultra 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5900XT 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5900ZT 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce FX 5950 Ultra 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| Geforce 5xxx 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| Geforce 6200 (nv44) (2005)
| 0x
| 0x00F3 0x014F 
| 0x0
| &lt;!--2D--&gt;{{Yes|5.28 Pixel Text}}
| &lt;!--3D--&gt;{{Maybe| use 5.28}}
| &lt;!--Analogue--&gt;{{Yes|VGA15 and s-video - plain 4pin cable lead will work with 7pin}}
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| NV40 GeForce 6 GeForce 7 Curie AGP Hardware OpenGL 2.1  needing previous 5.x version as regression arose 2011-10 
|-
| Geforce 6200 (nv44a) (2006)
| 0x
| 0x0221
| 0x0
| &lt;!--2D--&gt;{{Yes|5.28 Pixel Text }}
| &lt;!--3D--&gt;{{Yes|}}
| &lt;!--Analogue--&gt;{{Yes|VGA15}}
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| Hardware OpenGL 2.1, PCI version tested OK in 2014-01-02 - Icaros 1.5.2
* not working 
*working
|-
| GeForce 6200 with Turbo Cache (NV43) 
| 0x
| 0x0161
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes|DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| GeForce 6200SE with Turbo Cache (NV44) 
| 0x
| 0x0162
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| Geforce 6200 LE 
| 0x10de
| 0x0163
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| PCI-E 
|-
| GeForce 6600 LE
| 0x
| 0x00F4 0x0142 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6600 
| 0x
| 0x00F2 0x0141
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 2006 PureVideo HD 1 or VP1 re-used the MPEG-1/MPEG-2 decoding pipeline from FX
|-
| Geforce 6600gt (nv4x) (2005)
| 0x
| 0x00F1 0x0140
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;{{Yes| }}
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
|  OpenGL tests - 
|-
| Geforce 6800 (nv40) (2005)
| 0x
| 0x0041 0x00C1 0x00F0 0x0211 
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;{{Yes| }}
| &lt;!--Digital--&gt;{{Yes|DVI}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6800 XE (NV4x)
| 0x
| 0x0043 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6800 LE 
| 0x
| 0x0042 0x00C2 0x0212 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6800 GT (quadro fx 1400)
| 0x
| 0x0045 0x0046 0x0215
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 6800 GS
| 0x
| 0x0047 0x00C0 0x00F6
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6800 GTS NV40 
| 0x
| 0x0040 0x0F9 
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes|DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 6800XT
| 0x
| 0x0044 0x0048 0x00C3 0x0218
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{No| }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6600 VE  
| 0x
| 0x0143
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6500 NV44 
| 0x
| 0x0160 
| 0x0
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6250 
| 0x
| 0x0169 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 6xxx 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| GeForce 7800 GTX 
| 0x
| 0x0090 0x0091 
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Yes| tunnel  gearbox  cube  cube2 25}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; 256MB DDR3 - 1 6pin psu connector - 
* not working asus en7800gtx/2dhtv/256m/osp/a - 
* Works XFX PV-T70F-UDD7 Works in steve jones' scrap pc aros build 2010 2 DVI-I ports 
* Untested 
|-
| GeForce 7800 GT  
| 0x
| 0x0092
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 7600gt (G8 ) (nv4 ) (2006) 
| 0x
| 0x02E0 0x0391
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Yes| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; OpenGL 2.1 
* not working 
* working 
|-
| GeForce 7800 SLI  
| 0x
| 0x0095 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7900 GTX  
| 0x
| 0x0290
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7900 GT GTO  
| 0x
| 0x0291
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7900 GS  
| 0x10de
| 0x0292
| 0x0a1 
| &lt;!--2D--&gt;{{Yes|Pixel  Text}}
| &lt;!--3D--&gt;{{Yes}} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
* not working 
* Works with a few glitches with XFX Pine 0x2218 
|-
| GeForce 7950 GX2  
| 0x10de
| 0x0293 0x0294
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| GeForce 7950 GT  
| 0x
| 0x0295 0x02E4
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7900 GS  
| 0x
| 0x02E3
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7600 GS 
| 0x
| 0x02E1 0x0392
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7650 GS  
| 0x
| 0x0390
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7600 LE  
| 0x
| 0x0394 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 7800GS (G8 ) (nv4 ) (2006) 
| 0x
| 0x0093 0x00F5 
| 0x0
| &lt;!--2D--&gt;{{Yes|Pixel  Text}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
* not working 
* works if AGP motherboard chipset is supported - Hardware OpenGL 2.1 
|-
| GeForce 7100 GS  
| 0x
| 0x016A
| 0x0
| &lt;!--2D--&gt;{{Yes|Pixel  Text}}
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7350 LE 
| 0x
| 0x01D0
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 7300le (G8 ) (nv4 ) (2006) 
| 0x
| 0x01D1 
| 0x0
| &lt;!--2D--&gt;{{Yes|Pixel  Text}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7300SE 7200GSGF-7200GS-N-B1 variant (G72) 
| 0x10de 
| 0x01D3
| 0x0a1
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;{{Unk|1x DVI, 1x VGA, 1x S-Video}}
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2007 40W pci-e 1.0 VP1 no unified shaders - 
* not working Asus on via chipset (2015), 
* works Asus on intel chipset (2015), 
|-
| Geforce 7300gt (G8 ) (nv4 ) (2006) 
| 0x
| 0x0395 0x0393
| 0x0
| &lt;!--2D--&gt;{{Yes|Pixel  Text}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
* not working 
* works 
|-
| GeForce 7300 GS  
| 0x
| 0x01DF 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 7500 LE  
| 0x
| 0x01DD
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| Geforce 7xxx 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| GeForce 8800 Ultra (NV50 family) 
| 0x
| 0x0194
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;NV50 GeForce 8 to GeForce 200s opengl 3.x - max res - 80nm technology - PureVideo HD 2 or VP2 Nvidia VDPAU Feature Set A (absent from ultra and some 8800gt?) added a dedicated bitstream processor (BSP) and enhanced video processor for H.264, VC-1 acceleration 
|-
| Geforce 8800gts (nv50) (G8x) (2007) 
| 0x
| 0x0400 0x0600 0x0193 
| 0x0
| &lt;!--2D--&gt;{{Yes|  }}
| &lt;!--3D--&gt;{{Yes|  }} 
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2007 200w openGL3  openCL - 2x6pin psu 
* not working 0x0193 models (2015) on via chipsets, 
* works 
|-
| Geforce 8800gtx (nv5 ) (G8x) (2007) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{no| }} 
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2008 200W 1x 6pin connector, 
* not working 
* working 
* untested XFX PV-T88P-YDF4, Alpha Dog Edition runs extremely hot - Gigabyte GV-NX88T512H, 
|-
| GeForce 8800 GT 	
| 0x
| 0x0602 0x0611 0x0193 
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;DVI up to 2500 x 1600
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - 6pin psu power connector required
* not working 
* untested Asus EN8800GT/HTDP/256M EN8800GT/HTDP/512M EN8800GT/G/HTDP/512M 
* works 
|-
| GeForce 8800 GT (G92)
| 0x10de
| 0x0611 
| 0x0a2
| &lt;!--2D--&gt;{{Yes|6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;{{N/A}}
| &lt;!--Digital--&gt;{{Yes}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3 pci-e 2.0 8800GT 512MB on Icaros 2.0.3 [[File:8800GT aros heads.png|thumb|8800GT]] [[File:8800GT aros tails.png|thumb|8800GT detail]]
|-
| Geforce 8600gt (nv5 ) (G8x) (2007) 
| 0x
| 0x0401 0x0402 
| 0x0
| &lt;!--2D--&gt;{{Yes|Pixel  Text}}
| &lt;!--3D--&gt;{{No}} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - max res 
* not working 
* works 
|-
| GeForce 8500 GT  
| 0x
| 0x0421
| 0x0
| &lt;!--2D--&gt;{{Yes|  some color }}
| &lt;!--3D--&gt;{{yes| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; OpenGL tests - max opengl 3.x but 2.1 offered - max res 
* not working 
* works Gigabyte 8500 GT, 
|-
| GeForce 8800 GS 	
| 0x
| 0x0606 0x060D 
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - max res 
|-
| GeForce 8600GS 
| 0x
| 0x0403
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; openGL 3.x VP3 offers complete hardware-decoding for all 3 video codecs of the Blu-ray Disc format: MPEG-2, VC-1, and H.264 - Nvidia VDPAU Feature Set B  
|-
| GeForce 8300 GS  
| 0x
| 0x0423
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}} 
| &lt;!--Comments--&gt; opengl 3.x - max res 
|-
| Geforce 8400gs G98GS (end 2007)    GT218 (2009)
* Rev2 with 8/16 cores and 128-512MB of DDR2 or GDDR3 memory. 
* Rev3 with 8 cores and 512MB-1GB of DDR3 memory (based on Tesla 2.0) 
| 0x
| 0x0424 0x0422 
| 0x0
| &lt;!--2D--&gt;{{Yes|Doom  Doom2  Duke  }}
| &lt;!--3D--&gt;{{Yes| tunnel 490 gearbox 505 Cube 135 Cube2 55  quake3 }} 
| &lt;!--Analogue--&gt;{{Yes|works digital part of DVI but nothing from any display port}}
| &lt;!--Digital--&gt;{{Yes|output on digital 24 pin array of DDWG's DVI and hdmi}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 50W openGL 3.1 openCL - case single slot - one single-link DVI digital output, supporting up to one 1920x1080 resolution display - analog resolution 640 x 480 to 1024 x 768 16 and 24 bit color - [http://www.phoronix.com/scan.php?page=article&amp;item=nouveau_comp_2011&amp;num=19 runs a little hotter than expected] - G98 VP3 pci-e 2.0 512MB DDR2 - 
* not working 
* works Asus EN8400GS SILENT/P/512M PCIe (G98), 
|-
| Geforce 8400gs (nv50) (G86) (mid-2007)
* Rev1 with 16 cores / 256MB of DDR2 memory. 
| 0x
| 0x0404 
| 0x0
| &lt;!--2D--&gt;{{Yes|Doom  Doom2  Duke  }}
| &lt;!--3D--&gt;{{Yes| tunnel 490 gearbox 505 Cube 135 Cube2 55  quake3 }} 
| &lt;!--Analogue--&gt;{{Yes|works but not tested thru 4 pins of analog signal of DVI plug}}
| &lt;!--Digital--&gt;{{Yes|output on digital 24 pin array of DDWG's DVI and hdmi}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2008 50W openGL 3.1 openCL - case single slot - one single-link DVI digital output up to 1920x1080 resolution display - analog resolution 640 x 480 to 1024 x 768 16 and 24 bit color - [http://www.phoronix.com/scan.php?page=article&amp;item=nouveau_comp_2011&amp;num=19 runs a little hotter than expected] - G86 VP2 128MB - 
* not working XFX PV-T86S-YAJG NVIDIA GeForce 8400 GS 512MB DDR2, Sparkle 8400GS 512MB SX84GS512D2L-DPP, 
* works Asus EN8400GS SILENT/HTP/256M SILENT/HTP/512M/A, 
|-
| GeForce 8400 SE  
| 0x
| 0x0420
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; openGL 2.x openCL 
|-
| NVidia Quadro NVS290 DMS-59 
| 0x
| 0x0403
| 0x0
| &lt;!--2D--&gt;{{no| }}
| &lt;!--3D--&gt;{{no| }}
| &lt;!--Analogue--&gt;{{unk|DMS-59 socket}}
| &lt;!--Digital--&gt;{{unk|DMS-59 }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2008 21W - G86S (G86-827-A2) - 16 shading units, 8 texture mapping units, and 4 ROPs. NVIDIA has paired 256 MB DDR2 - PCIe 1.0 x16 Low Profile - 
|-
| Geforce Quadro FX 4600 (SDI), 5600 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Partial|VESA 2d}}
| &lt;!--3D--&gt;{{no| }}
| &lt;!--Analogue--&gt;{{partial| }}
| &lt;!--Digital--&gt;{{partial| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| GeForce 9800 GX2 (NV50 family) 
| 0x
| 0x0604
| 0x0
| &lt;!--2D--&gt;{{Partial|VESA }}
| &lt;!--3D--&gt;{{no| }}
| &lt;!--Analogue--&gt;{{Partial| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}} 
| &lt;!--Comments--&gt;2009 150w - 65nm technology 
|-
| GeForce 9800 GTX 
| 0x10de
| 0x0612
| 0x0a2
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Maybe|6.11  }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 2x6pin psu - 
* not working xfx on via chipset (2015),  
* works xfx on chipset intel , 
|-
| GeForce 9800 GTX+ 
| 0x10de
| 0x0613
| 0x0
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Maybe| }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - max res 2560 x 1920 - case dual slot - 26amp 12v rail on computer psu if 2x6pin connectors needed - 55nm version of the G92 chip - will not work with PCI-e 1.0a slots - 
* not working 
* works on a few models 
|-
| Geforce 9800gt (nv50) (G92a) (2008) 
| 0x10de
| 0x0614
| 0x0xa2
| &lt;!--2D--&gt;{{Yes| Doom Doom2 Duke  }}
| &lt;!--3D--&gt;{{Maybe|  tunnel 495  gearbox 513  Cube 156  Cube2 120   Quake3  }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{partial| DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; OpenGL 3.1  openCL 1.x - case dual slot - 600w 26amp on both 12v rails for 2x6pin psu on gfx card - no fan control - some come with 1x6pin - renamed version of the venerable GeForce 8800 GT - randomly works 
* not working Gainward 512M untested 
* working Gainward CardExpert (0x0401) Green Edition NE39800TFHD02-PM8D92 1024MB (no 6pin) 
|-
| Geforce gf9600 9600gt (nv5 ) (G9x) (2008) 
| 0x10de
| 0x0622
| 0x0a1
| &lt;!--2D--&gt;{{Yes| Doom Doom2 Duke  }}
| &lt;!--3D--&gt;{{Maybe|  tunnel 493  gearbox 675  Cube  Cube2 100  Quake3  }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes| DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; OpenGL 3.2 openCL but no fan control - case dual slot - 1 6pin pcie psu connector - 500 Watt or greater power supply with a minimum of 26 Amp on the +12 volt rail - Max Analog: 2048x1536 and Max Digital: 2560x1600 (Dual Link DVI Only) - PCI Express® 2.0 / 1.1 Support - g96 gpu randomly works - 
* not working  bfg tech ocx, 
* works gigabyte gv-n96tsl-512i -
|-
| Geforce gf9500 9500gt (nv5 ) (G9x) (2008) 
| 0x10de
| 0x0640
| 0x0a1
| &lt;!--2D--&gt;{{Yes| Doom  Doom2 Duke  }}
| &lt;!--3D--&gt;{{Maybe| tunnel 480  gearbox 500  Cube  Cube2 64  Quake3 }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes| DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.2 - case single slot - 350 Watt/400 Watt or greater power supply with a minimum of 18 Amp/22 Amp on the +12 volt rail - Max Analog: 2048x1536 and Max Digital: 2560x1600 (Dual Link DVI Only) - PCI Express® 2.0 / 1.1 Support - 
* not working zotac zone fanless, Gainward USA NE29500THHD01-PM8796, PNY G9500GN2E50X+0TE, 
* works xfx xne-9500t-td01-pm8596 1024mb ddr2,  
|-
| GeForce 9600 GS 
| 0x
| 0x0623
| 0x0
| &lt;!--2D--&gt; 
| &lt;!--3D--&gt; 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - max res - will not work with PCI-e 1.0a slots - 
* not working  
* works 
|-
| GeForce 9600 GSO 
| 0x
| 0x0610
| 0x0
| &lt;!--2D--&gt; 
| &lt;!--3D--&gt; 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - max res - G92 chopped down - 9600GSO is re-badged 8800GS both very power hungry cards - 
|-
| GeForce 9300 GS 	
| 0x
| 0x06E1 
| 0x0
| &lt;!--2D--&gt; 
| &lt;!--3D--&gt; 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 opengl 3.x - max res 
|-
| Geforce 9400 GT  (nv5 ) (G86S) (2008) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{partial|}}
| &lt;!--3D--&gt;{{unk|}}
| &lt;!--Analogue--&gt;{{unk|1x DVI, 1x VGA, 1x S-Video}}
| &lt;!--Digital--&gt;{{unk|1x DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 50W opengl 3.x - max res 
|-
| Geforce 9xxx   (nv5 ) (G9x) (2008) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{unk|}}
| &lt;!--3D--&gt;{{unk|}}
| &lt;!--Analogue--&gt;{{unk|}}
| &lt;!--Digital--&gt;{{unk|}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 opengl 3.x - max res 
|-
| &lt;!--Description--&gt;
NV84 (G84) 	GeForce 8600 (GT, GTS, M GT, M GS), 8700M GT, 
NV92 (G92) 	GeForce 8800 (GT, GS, GTS 512, M GTS, M GTX)
GeForce 9600 GSO, 9800 (GT, GTX, GTX+, GX2, M GT, M GTX)
NV96 (G96) 	GeForce 9400 GT, 9500 (GT, M G), 9600 (M GS, M GT), 
NV86 (G86) 	GeForce 8300 GS, 8400 (GS, M G, M GS, M GT), 8500 GT 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;NVA0 (GT200) GeForce GTX (260, 275, 280, 285, 295)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce GTX 280 (NV50 family) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x05E1
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{no| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; opengl 3.x - max res PureVideo HD 4 (Nvidia Feature Set C or &quot;VDPAU Feature Set C), VP4 added hardware to offload MPEG-4 Advanced Simple Profile (original DivX and Xvid) 
|-
| &lt;!--Description--&gt;GeForce GTX 260
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x05E2
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{partial|Vesa}}
| &lt;!--3D--&gt;{{no| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;  2 6pin - psu pci express 2.1 - 
|-
| Geforce GTS250 250GTS (g92b) (2009)  
| 0x10de
| 0x0615
| 0x0a2
| &lt;!--2D--&gt;{{Yes|  Doom  Doom2  Duke }}
| &lt;!--3D--&gt;{{Yes|  tunnel 486  gearbox 508-642  Cube   Cube2 80   Quake3 }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes| DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; 2x6pin psu VP2 - pci-e 2.x - case dual slots - 738m 1gb ddr3 - 
* not working Zotac branded version GDDR3 - 
* works  PNY gs-250x-zdfl and Gigabyte ??, BFG Tech RGTS2501024OCE, palit ne3ts250fhd52-pm8a92 with 2x6pin on top and hdmi output port, 
|-
| &lt;!--Description--&gt;GeForce GT 240 (GT215 family) 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x0ca3
| &lt;!--Revision--&gt;0xa2
| &lt;!--2D--&gt;{{Maybe|use VESA}}
| &lt;!--3D--&gt;{{No|6.11 tunnel gearbox}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;late 2009 openGl 3.2 - case dual slots - no 6pin psu required with VP4 - linux nouveau support added 2015 - All are pcie 2.1 cards and may not work in 1.0a slots - 
* not working 
* DDR3 with 512MB or 1GB - 
* DDR5 -Asus ENGT240 - XFX Pine GT240XYHFC 0x3001 - Gigabyte GV-N240D5-512I rev 1.0 - Zotac AMP! with HDMI 1.3a with DisplayPort 1.1, Dual Link DVI - 
* works 
|-
| &lt;!--Description--&gt;GT220 (GT216) G220 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x0a20
| &lt;!--Revision--&gt;0xa2
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Yes}}
| &lt;!--Analogue--&gt;{{Yes}}
| &lt;!--Digital--&gt;{{Yes|DVI }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; Icaros 2.0.3 GeForce GT220 1GB[[File:GT220 aros heads.png|thumb|GT220]][[File:GT220 aros tails.png|thumb|GT220]]
* untested NVIDIA Quadro® 400 512MB DDR3 GT216 DP DVI, AFox AF220 1Gb DDR3, 
|-
| Geforce GT220 220GT G94 Tesla (g92b)
| 0x10de
| 0x0a20
| 0xa2
| &lt;!--2D--&gt;{{Yes| Doom  Doom2  Duke }}
| &lt;!--3D--&gt;{{Yes|  tunnel 490 gearbox 505 cube 150 cube2 50  Quake3 }} 
| &lt;!--Analogue--&gt;{{Unk|1x DVI, 1x VGA}}
| &lt;!--Digital--&gt;{{Yes|DVI but not 1x HDMI }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 58W pci express 2.0 cards DDR3 - case single slot - 
* not working ASUS ENGT220/DI/1GD2(LP)/V2 - 
* works  - gainward card expert 0x0401 GDDr3 512MB - 
|-
| &lt;!--Description--&gt;GT210 GT 210 210GT G210 based on Tesla 2.0 GT218S GT218-300-A2 variant, GT218-300-B1 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x0a65
| &lt;!--Revision--&gt;0xa2
| &lt;!--2D--&gt;{{Yes|6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{Yes| }}
| &lt;!--Analogue--&gt;{{Unk|1x DVI, 1x VGA}}
| &lt;!--Digital--&gt;{{Maybe|DVI out works but not hdmi or 1x DisplayPort}} 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 31W OpenGL 3.3  pci-e 2.0 cards - single slot - 
* working GT218 based Asus EN210 based silent low profile large passively cooled - 
* untested MSI GeForce 210 1GB DDR3 PCIe N210-MD1GD3H/LP, 
* not working 
|-
| &lt;!--Description--&gt;Quadro NVS 295 (256 MB GDDR3), NVS 450 (256M/512 MB DDR3) 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{yes| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{partial|2 or 4 dp ports}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 25w low performance - G98s with 8 shading units, 4 texture mapping units, and 4 ROPs on PCI-Express 1.0 x16 - 
*not working some NVIDIA Quadro NVS 295 2 dp ports (DELL, HP), 
*working 
|-
| &lt;!--Description--&gt;GT310 Tesla 310, 315, GT 320, GT 330 GT 340
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{Maybe|6.11 tunnel gearbox}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2010 50w OpenGL 3.3  openCL all similar in performance to GT2xx except gt31x (poor) 
|-
| &lt;!--Description--&gt;Quadro NVS310 NVIDIA NVS 310
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt; 2 dp 
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2012 25w GF119S (GF119-825-A1) 48 shading units, 8 texture mapping units, and 4 ROPs on PCI-Express 2.0 x16 - 512 MB DDR3 - PureVideo VP5 VDPAU Feature Set D - 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt; GTX 470, GTX 480   GF10 GF10* core (NVC0 family)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{Maybe| tunnel gearbox}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2010 215w 2x6 plugs - NVC0 family (Fermi) GF100 (GF100-275-A3) Fermi 448 shading units, 56 texture mapping units, and 40 ROPs with 1,280 MB GDDR5 - OpenGL4.5 OpenCL1.1  Tessellation - case dual slots - 
|-
| Geforce GTX460 460GTX (G104) 256bit, 1GB v2 192bit and GTX 465 
| 0x10de
| 0x0e22
| 0xa1 
| &lt;!--2D--&gt;{{Maybe|VESA }}
| &lt;!--3D--&gt;{{Maybe| tunnel  gearbox  cube 055-111   cube2 50}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;NVC0 family (Fermi) OpenGL 4.x but  - 2x6pin psu - case dual slots - 
* not working evga 768MB GDDR5 192bit 01G-P3-1373-ER or 01G-P3-1372-TR
* works 1GB GDDR5 256bit 01G-P3-1371-ER 
|-
| &lt;!--Description--&gt;Geforce GTX 460SE 192bit 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x0e23
| &lt;!--Revision--&gt;0x91 or 0xa1
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Maybe| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; nouveau 6.11 - 2 6pin psu needed - case dual slots - 
* not working 
* works EVGA 01g-p3-1366-b6 et 1024MB p1041 - 
|-
| Geforce GT450 GTS450 450GTS GF106  
| 0x10de
| 0x0dc4
| 0x0a1
| &lt;!--2D--&gt;{{Yes| Doom  Doom2  Duke }}
| &lt;!--3D--&gt;{{Maybe|  tunnel  gearbox  cube   cube2 50  Quake3 }} 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Yes|DVI  }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
|  2010 Hardware OpenGL 4.2 but nouveau at 3.3  - most need 1x 6pin psu - case dual slots - 
* not working 
* DDR3 1 or 2GB - Palit NEAS450NHD41F, 
* GDDR5 512Mb or 1GB - MSI MPN N450GTSM2D1GD5OC, Asus MPN ENGTS450DI1GD5, 
* works Gainward Card Expert NE5S4500FHd51, 
|-
| &lt;!--Description--&gt;GT 440 GF108 chipset or better OEM GF106  
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{Maybe| tunnel gearbox}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGl 4.1 opencl 1.x - no 6 pin psu - 96 cuda cores 128bit - case dual slots - 
* not working 
* OEM 
* GDDR5 512MB to 1GB ASUSTeK ENGT440/DI/1GD5
* GDDR3 Asus 1gb to 2gb, 
* works 
|-
| &lt;!--Description--&gt;GT430 430GT (GF108) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{Maybe|6.11 tunnel gearbox}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;ddr3 memory 64bit or 128bit - buggy await new revision of driver
* not working 
* works 
|-
| &lt;!--Description--&gt;nVidia Quadro FX1800 768MB GDDR3 Full Height Graphics Card Workstation
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{no|6.11 tunnel gearbox}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;{{Maybe|DVI-I 2xDP}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;59W 768 MB GDDR3 memory using a 192-bit memory interface - OpenGL 3.3 - 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GTX 590   Fermi 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;OpenGL4.4 OpenCL 1.1 - GDDR5 - 6pin and 8pin psu connectors - 512 cuda - case dual slots - 
* not working 
* works 
|-
| &lt;!--Description--&gt;GTX 580, 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;PureVideo HD 5&quot; or &quot;VP5&quot; (Nvidia Feature Set D or VDPAU Feature Set D) 4k UHD 3840 × 2160  H.264 decode - 
|-
| &lt;!--Description--&gt;GTX 570, 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{Maybe|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
* not working Zotac GTX 570, Gainward GTX560TI/570 Phantom, 
* works gigabyte, evga 
|-
| &lt;!--Description--&gt;Geforce 5xx 560gtx Fermi GTX 560, 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;opengl 4.x - 2 6pin psu - 384 cuda cores - case dual slots - will not work with PCI-e 1.0a slots - 
* not working Asus ENGTX560 DC/2DI/1GD5, 
* Ti LE 448 cuda GDDR5 320bit 
* Ti 256bit 
* works 
|-
| &lt;!--Description--&gt;GTX 560 Ti  
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
* not working evga GTX 560Ti 01GP31560KR - Gainward GTX560TI/570 Phantom, 
* works 
|-
| &lt;!--Description--&gt;GTX 550 Ti 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x1201
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA  Doom   Doom2  Duke }}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;can hang on boot up on I2C Init or suffer random lockups on OpenGL apps - most need 1 6pin min 400W 24A on the +12V1 / +12V2 dual 12V rails of the computers' power supply unit - 192 cuda cores - case dual slots used - will not work with PCI-e 1.0a slots - 
* not working eVGA GeForce GTX 550 Ti (1024 MB) (01GP31556KR) - 
* untested asus Extreme, eVGA GeForce GTX 550 Ti (1024 MB) (01GP31557KR) -  - 
* works 
|-
| &lt;!--Description--&gt;GT 545 and OEM GF116 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 4.2 opencl 1.x - GDDR5 with OEM only - 
|-
| &lt;!--Description--&gt;GT530 OEM 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;96 cuda cores - 1GB or 2GB DDR3 128bit 
|-
| &lt;!--Description--&gt;GT520 520GT  
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;untested 48 cuda cores - DDR3 64bit 
|-
| &lt;!--Description--&gt;510, GT 530    
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D 6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; ddr 3 - 50w max - 
|-
| &lt;!--Description--&gt;GT610 Fermi GF119 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No|6.11 }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NVS 315 300 GF119S
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{No|VESA}} needs special dms-59 cable 
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2013 fermi 315 PNY VCNVS315-T 1Gb DDR3 but needs special dms-59 cable - 
|-
| &lt;!--Description--&gt;GT630 GF108 Fermi 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;not accelerated 2015 - like the GT730 below - 96 cuda cores whilst kepler version has 384 - 128bit to keplers' 64bit bandwidth - kepler has 2GB DDR3 
* not working Gigabyte 
* DDR3
* GDDR5 
* works 
|-
| &lt;!--Description--&gt;Geforce GT 730 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe| use VESA 6.11 Pixel  Text}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; fermi version has 96 cuda cores 128bit GF108 
* not working Asus 
* works 
|-
| &lt;!--Description--&gt;nVIDIA Quadro 4000
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}} 2 dp ports 
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;142W 2Gb GDDR5 - PCI Express 2.0 x16 ; full Height card with 1x 6-Pin PCIe power need - CUDA Cores 256 - OpenGL 4.5 
|-
| &lt;!--Description--&gt;nVIDIA Quadro 5000
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2011 200W 2.5Gb GDDR5 320 bit - PCI Express 2.0 x16 full Height card with 2x 6-Pin PCIe power need - 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GeForce GTX Titan GeForce GTX Titan Black GeForce GTX Titan Z
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;NVE0 family (Kepler) GeForce 600 GeForce 700 GeForce GTX Titan Kepler 
|-
| &lt;!--Description--&gt;GeForce GTX 780    GeForce GTX 780 Ti 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;PureVideo HD 6&quot; or &quot;VP6&quot; (Nvidia Feature Set E or VDPAU Feature Set E) significantly improved performance when decoding H.264 and MPEG-2 
|-
| &lt;!--Description--&gt;GeForce GTX 770 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;opengl 4.4 opencl 1.1 
|-
| &lt;!--Description--&gt;GeForce GTX 760 GeForce GTX 760 Ti
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce GT 740
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce GT 730 Kepler 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; two versions fermi 96 cores 128bit GF108 and kepler 384 cores 64bit GK208  
|-
| &lt;!--Description--&gt;680gtx GK104 core gtx680 680m
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;NVE0 family (Kepler) 
|-
| &lt;!--Description--&gt;GTX 690 Kepler NVE0 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;pci-e 3.0, OpenGL 4.4 OpenCL 1.1 
|-
| &lt;!--Description--&gt;GTX 670
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GTX 660 GTX 660 Ti 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GTX 650 GTX 650 Ti GTX 650 Ti Boost
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;NVE0 family (Kepler) most need 1 6pin psu 
* not working asus ENGTX560 DC/2DI/1GD5 
* works 
|-
| &lt;!--Description--&gt;Geforce GT 640
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
* 128bit DDR3
* 192bit DDR3 1.5 to 3GB 50W 
* 128bit GDDR5 75W 
|-
| &lt;!--Description--&gt;GT 620 GT 640 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{Unk| }}
| &lt;!--Digital--&gt;{{Unk| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GeForce 750ti, GeForce 900 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;[https://nouveau.freedesktop.org/FeatureMatrix.html NV110] Maxwell - 
|-
| &lt;!--Description--&gt;Nvidia GTX 750 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;0x1381
| &lt;!--Revision--&gt;0xa2
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;2026 nvidia test 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;GM206 2nd gen maxwell PureVideo HD 7&quot; or &quot;VP7&quot; (Nvidia Feature Set F or VDPAU Feature Set F) adds full hardware-decode of H.265 HEVC Version 1 (Main and Main 10 profiles and full fixed function VP9 (video codec) hardware decoding 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;Quadro K620 quadro p620 2gb gddr5 128bit and quadro p1000 4gb gt1030 30w 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2016 50w slim low profile - 
|-
| &lt;!--Description--&gt;GeForce gtx 1060, GeForce 1070
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;NV130 Pascal 
|-
| &lt;!--Description--&gt;gtx 1050ti 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;NV130 family (Pascal)
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV132 (GP102) NVIDIA Titan (X, Xp), GeForce GTX 1080 Ti
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV134 (GP104) GeForce GTX (1070, 1080)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV136 (GP106) GeForce GTX 1060
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV137 (GP107) GeForce GTX (1050, 1050 Ti)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV138 (GP108) GeForce GT 1030
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;NV162 (TU102) NVIDIA Titan RTX, GeForce RTX 2080 Ti
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV164 (TU104) GeForce RTX (2070 Super, 2080, 2080 Super)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2020 NV160 family (Turing) unified gsp-rm firmware - best starting point for Vulkan support 
|-
| &lt;!--Description--&gt;NV166 (TU106) GeForce RTX (2060, 2060 Super, 2070)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV168 (TU116) GeForce GTX (1650 Super, 1660, 1660 Ti, 1660 Super)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV167 (TU117) GeForce GTX 1650
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;gtx 1650ti super 
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2018 old style 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;NV172 (GA102) GeForce RTX (3080, 3090)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No| }}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2022 av1 decoding ampere 
|-
| &lt;!--Description--&gt;NV174 (GA104) GeForce RTX (3060 Ti, 3070, 3080 Mobile)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;NV170 family (Ampere) 
|-
| &lt;!--Description--&gt;NV176 (GA106) GeForce RTX (3050, 3060)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV177 (GA107) GeForce RTX 3050
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;NV192 (AD102) GeForce RTX 4090
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV193 (AD103) GeForce RTX 4080
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;NV190 family (Ada Lovelace) 
|-
| &lt;!--Description--&gt;NV194 (AD104) GeForce RTX (4070, 4070 Ti)
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV196 (AD106) GeForce RTX 4060 Ti
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV197 (AD107) GeForce RTX 4060
| &lt;!--Vendor ID--&gt;0x10de
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{unk| }}
| &lt;!--3D--&gt;{{unk| }}
| &lt;!--Analogue--&gt;{{unk| }}
| &lt;!--Digital--&gt;{{unk| }}
| &lt;!--Laptop LCD--&gt;{{unk| }}
| &lt;!--Comments--&gt;
|-
|}

==== nouveau mobile integrated ====


 If you purchased a notebook with an NVidia sticker on it, most of the time you have a optimus based one, ie Intel CPU+GPU melded with Nvidia GPU, Optimus was slated at one point to go into desktop PCs but the industry ended up rejecting that concept 


{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; | Description
! width=&quot;5%&quot; | Vendor ID
! width=&quot;5%&quot; | Product ID
! width=&quot;2%&quot; | Rev 
! width=&quot;5%&quot; | 2D
! width=&quot;5%&quot; | 3D
! width=&quot;5%&quot; | Analog Output
! width=&quot;5%&quot; | Digital Output
! width=&quot;5%&quot; | Laptop LCD
! width=40%&quot; | Comments
|-
| GeForce 6100 nForce 405 
| 0x
| 0x03D1 0x0242
| 0x0
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| 
|-
| &lt;!--Description--&gt;GeForce 6100 nForce 400 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x03D2
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 6100 nForce 420 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x03D5
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 6150 LE 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0241
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| GeForce 6150SE nForce 430 
| 0x
| 0x03D0
| 0x0
| &lt;!--2D--&gt;{{Maybe| }}
| &lt;!--3D--&gt;{{Maybe| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| working 
|-
| &lt;!--Description--&gt;GeForce 6150 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0240
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 7150M / nForce 630M 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0531
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 7000M / nForce 610M 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0533
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 7050 PV / NVIDIA nForce 630a 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x053A 0x053B
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| Geforce IGP 7025 nForce 630a
| 0x
| 0x053E
| 0x0
| &lt;!--2D--&gt;{{Yes|some}}
| &lt;!--3D--&gt;{{Yes|some}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No| }}
| some support on some chipsets 
|-
| GeForce 7100 / nForce 630i (C73)   
| 0x10de
| 0x07e1
| 0x0a2
| &lt;!--2D--&gt;{{Maybe}}
| &lt;!--3D--&gt;{{Maybe}}
| &lt;!--Analogue--&gt;{{Maybe}}
| &lt;!--Digital--&gt;{{Maybe}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| Icaros 2.0.3 and Gigabyte 73-pvm-s2h rev. 1.0 but will not boot on [https://ae.amigalife.org/index.php?topic=806.msg8765#new Acer x270 with Icaros 2.3] 
|-
| &lt;!--Description--&gt;GeForce 7150 / NVIDIA nForce 630i 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x07E0
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 7050 / NVIDIA nForce 610i 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x07E3
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| Geforce IGP 8100 (nForce 720a) 
| 0x
| 0x084F
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| 
|-
| GeForce 8100P 
| 0x
| 0x0847
| 0x0
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| 
|-
| &lt;!--Description--&gt;Geforce 8200 8300 nForce 730a 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x084A 0x0848 (GeForce 8300) 0x0849 (GeForce 8200) 0x084B (GeForce 8200) 
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;working on some 8300's with Icaros 1.5 but others untested 
|-
| &lt;!--Description--&gt;nForce 780a SLI 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x084C
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;nForce 750a SLI 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x084D
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| Nvidia Geforce IGP 9300 (nForce MCP7a) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe| }}
| &lt;!--3D--&gt;{{Maybe| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;works 
| 
|-
| &lt;!--Description--&gt;9400 (ION) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Yes| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;If AROS detects GPU chipset, works well 
|-
| &lt;!--Description--&gt;9700M ()
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| Geforce ION 2
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Yes| }}
| &lt;!--3D--&gt;{{Yes| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;works well 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GeForce Go 6150 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0244
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6100 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0247
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6200 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0164 0x0167
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6400 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0166 0x0168
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;Sony Laptop
|-
| &lt;!--Description--&gt;GeForce Go 6800 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x00C8
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6800 Ultra 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x00C9
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6600 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0144
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6600 TE/6200 TE 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0146
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6600 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0148
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 6600 GT 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0149
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7200 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x01D6
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7300 	
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x01D7
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;GeForce Go 7400 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x01D8 
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;works 2D and 3d issues though 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7800 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x098
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7800 GTX 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0099
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7950 GTX 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0297
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7900 GS 	
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0298
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7900 GTX 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0299
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7600 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0398
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce Go 7600 GT 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0399
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 6610 XL
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0145
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 6700 XL 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0147
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GeForce 8700M GT
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0409
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8600M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0425
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8400M GT
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0426
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8400M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0427
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8400M G
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0428
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8800M GTS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0609
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8800M GTX
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x060C
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9500M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0405
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 8600M GT
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0407
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9650M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0408
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9400M GT
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x042C
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9300M G
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x042E
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9100M G
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0844
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9800M GTS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0628
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9700M GTS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x062A
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9800M GTS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x062C
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9600M GT
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0647
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9600M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0648
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9600M GT
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x0649
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9500M G
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x064B
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9300M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x06E5
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9200M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x06E8
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GeForce 9300M GS
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;0x06E8
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV50 (G80) Quadro FX (4600 (SDI), 5600)
Quadro FX (2800M, 3600M, 3700, 3700M, 3800M, 4700 X2), VX 200
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV94 (G94) 9700M GTS, 9800M GTS, GeForce G 110M, GT 130(M), GT 140, Quadro FX (1800, 2700M)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV84 (G84) 	8700M GT, GeForce 9500M GS, 9650M GS
Quadro FX (370, 570, 570M, 1600M, 1700), NVS 320M
NV86 (G86) 	GeForce 8300 GS, 8400 (GS, M G, M GS, M GT), 8500 GT, GeForce 9300M G
Quadro FX 360M, NVS (130M, 135M, 140M, 290)
GeForce GTS 150(M), GTS 160M, GTS 240, GTS 250, GTX (260M, 280M, 285M), GT (330, 340)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NV96 (G96)  9650M GT, 9700M GT
GeForce G 102M, GT 120
Quadro FX (380, 580, 770M, 1700M)
NV98 (G98) 	GeForce 8400 GS, GeForce 9200M GS, 9300 (GE, GS, M GS)
GeForce G 100, G 105M
Quadro FX (370 LP, 370M), NVS (150M, 160M, 295, 420, 450)
Quadro CX, FX (3800, 4800, 5800)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NVA3 (GT215) 	GeForce GT (240, 320, 335M), GTS (250M, 260M, 350M, 360M) Quadro FX 1800M
NVA5 (GT216) 	GeForce GT (220, 230M, 240M, 325M, 330M), 315
Quadro 400, FX 880M, NVS 5100M
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NVA8 (GT218) 	GeForce 8400 GS, ION 2, GeForce 205, 210, G 210M, 305M, 310(M), 405
Quadro FX (380 LP, 380M), NVS (300, 2100M, 3100M)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NVAA (MCP77/MCP78) 	GeForce 8100, 8200, 8300 mGPU / nForce 700a series, 8200M G
NVAC (MCP79/MCP7A) 	ION, GeForce 9300, 9400 mGPU / nForce 700i series, 8200M G, 9100M, 9400M (G)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;NVAF (MCP89) 	GeForce 320M 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GT 605M, GT 610M GT 620M GT 630M GT 635M GT 645M     
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;GTX 650M 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;GTX 1650 mobile
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2019 turing architecture - last old skool support pre Vulkan 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;rtx 2050 mobile 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2022 ampere architecture best starting point for vulkan support 
|-
| &lt;!--Description--&gt;rtx 2060 mobile 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Rev
| 2D
| 3D
| Analog Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;rtx 4060 mobile 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
|}


====radeon.hidd====

Michel Shultz ''2D'' graphics driver (standard on most distributions but only for very old GPUs) and bearsofts updated 2013 around Icaros 1.3.1  

3D is not implemented by AROS yet but could cover these AMD chipsets

&lt;pre&gt;
2014 SI        AMD HD 7xxx 
2016 GCN3rd    AMD R5E R7E 
2019 GCN5th    AMD Vega 8  
2022 RDNA1     AMD RX5500 desktop only 
2023 RDNA2     AMD 680M 780M 
2024 RDNA3     AMD 880M 890M
2025 RDNA3.5   AMD 8060S strix halo and AI 
2027 RDNA4     AMD 
&lt;/pre&gt;


{| class=&quot;wikitable&quot;
! Description
! Vendor ID
! Product ID
! Revision 
! 2D
! 3D
! Analogue Output
! Digital Output
! Laptop LCD
! Comments
|-
| 7000 (r100)
| 0x1002
| 0x5159 
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;{{Maybe|vga15 pin connection but not s-video}}
| &lt;!--Digital--&gt;{{Yes|DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 1.3 
|-
| 7500 (rv200 but still r100 based) 
| 0x1002 
| 0x5157 
| 0x
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;{{Yes|vga15}}
| &lt;!--Digital--&gt;{{Yes|DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 1.3 
|-
| 8000 8500 (r200) 
| 0x1002 
| 0x514c (8500LE)
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 1.4 
|-
| 9000 9100 9250 (r200)
| 0x1002
| 0x5964 (9000) 0x514d (9100)
| 0x0001
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;{{Maybe|VGA15 but not s-video}}
| &lt;!--Digital--&gt;{{Yes|DVI}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 1.4 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| 9600 9800 (r300)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 2.1 
|-
| x300 x600 (r300)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 2.1 
|-
| x700, x800 ([http://en.wikipedia.org/wiki/Radeon_R600 r420])
| 0x
| 0x554d (R430 x800xl)
| 0x0
| &lt;!--2D--&gt;{{Yes|new driver}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 2.1 - x800 XL PCIE (problem with mouse-pointer, some part of the pointer is not transparent) 
|-
| x1300 x1550 x1600 x1800 x1900 x1950 ([http://en.wikipedia.org/wiki/Radeon_R520 r520])
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Yes|new driver}}
| &lt;!--3D--&gt;{{no}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 2.1 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| HD2400 HD2600 HD2900 ([http://en.wikipedia.org/wiki/Radeon_R600 r600])
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|some features with new driver}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; openGL 3.3 open CL 1.2 TeraScale architecture 
|-
| HD3400 HD3600 HD3800 (r600)
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|some features with new driver}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;pci-e 2.0, openGL 3.3 
|-
| HD4300 HD4500 HD4600 HD4700 HD4800 ([http://en.wikipedia.org/wiki/Radeon_R600 r700])
| 0x1002
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|but some later cards need 3D engine for faster and more flexible 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 3.3 - DDR3 -  GDDR5 was one of AMD's aces for the 4800 series - 4670 liked - 
|-
| HD6900 cayman series 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{Maybe|some features with new driver}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; openGL 3.3 open CL not mature (2014) - 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| HD5400 Series HD5430 HD5450 HD5470 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{No|needs 3D engine for accelerated 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2010 openGL 3.3 openCL - GDDR3 - 
|-
| HD5500 Series HD5550 HD5570 HD5600 Series HD5650 HD5670 HD5700 Series HD5750 HD5770 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{No|needs 3D engine for accelerated 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 3.3 openCL  - GDDR5  
|-
| HD 5800 Series HD5850 HD5870 HD5900 Series HD5950 HD5970 - HD6xxx not NI chipset ([http://en.wikipedia.org/wiki/Evergreen_(GPU_family) r800 evergreen]) 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{No|needs 3D engine for accelerated 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2009 openGL 3.3 openCL - DDR5 pci-e 2.1 best avoided for all pci-e 1.0 mobos - Ati TeraScale2 architecture - 
|-
| HD6450  [http://en.wikipedia.org/wiki/Northern_Islands_(GPU_family) Northern Islands chipset] 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{No|needs 3D engine for accelerated 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt; - DDR3 - 
|-
| HD6600 Series HD6650 HD6570 HD6600 Series HD6650 HD6670  
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{No|needs 3D engine for accelerated 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2011 - DDR5 - 
Radeon HD 8470 	11 	TeraScale 2
Radeon HD 8350 	11 	TeraScale 2
Radeon HD 7510 	11 	TeraScale 2
Radeon HD 6550D 	11 	TeraScale 2
Radeon HD 6530D 	11 	TeraScale 2
Radeon HD 6410D 	11 	TeraScale 2
Radeon HD 6370D 	11 	TeraScale 2
Radeon HD 6320 	11 	TeraScale 2
Radeon HD 6310 	11 	TeraScale 2
Radeon HD 6290 	11 	TeraScale 2
Radeon HD 6250 	11 	TeraScale 2
|-
| HD6800 Series HD6850 HD6870 HD6700 Series HD6790 to HD6990 
| 0x
| 0x
| 0x0
| &lt;!--2D--&gt;{{No|needs 3D engine for accelerated 2D now}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2011 - DDR5 - AMD TeraScale3 - 
|-
| &lt;!--Description--&gt;HD7450-HD7670 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2012 OpenGL but not Vulkan 
Radeon HD 7660D 	11 	TeraScale 3
Radeon HD 7560D 	11 	TeraScale 3
Radeon HD 7540D 	11 	TeraScale 3
Radeon HD 7480D 	11 	TeraScale 3
Radeon HD 6930 	11 	TeraScale 3
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;HD7750 HD 7770 / R7 250X HD7850 HD7870 / R9 270X HD 7950 / R9 280 HD 7970 / R9 280X [http://en.wikipedia.org/wiki/Southern_Islands_(GPU_family) Southern Islands]
*AMD Radeon R7 250XE Cape Verde XT	
*AMD Radeon R7 M465X Cape Verde	
*AMD Radeon R9 255	 Cape Verde PRX	
*AMD Radeon HD 7750  Cape Verde PRO	
*AMD Radeon R7 250E	 Cape Verde PRO	
*AMD Radeon HD 8740  Cape Verde PRO	
*AMD Radeon HD 7730	 Cape Verde LE
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2012 pci-e 3.0 1st Gen GCN architecture - 
|-
| &lt;!--Description--&gt;R5 430, FirePro W2100, 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2015 50W+ openGL openCL 1/3 speed of gtx750ti 1st gen gcn1 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;HD7790 [ Sea Islands ] 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2013 openGL 4.1 open CL - GCN2.0 Vulkan 1.0 introduced a Shader Engine (SE) comprising one geometry processor, up to 44 CUs (Hawaii chip), rasterizers, ROPs, and L1 cache and Graphics Command Processor for faster audio/video - suits Vulkan 1.1 
|-
| &lt;!--Description--&gt;r5 240 240x (slow) R7 250 250x (faster) HD 7790 / R7 260  260X / R7 360 to R5 350 (fast) and last one R5 430 OEM Plus (slow again) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2013 50W+ openGL 4.x openCL 1.x Vulkan 1.0 GCN 1st gen - 
|-
| &lt;!--Description--&gt;R9 290 / R9 390 R9 290X / R9 390X 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2014 openGL 4.x openCL 1.x 2nd Gen GCN Vulkan 1.1 architecture - 
|-
| &lt;!--Description--&gt;R9 Fury Nano 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2015 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;r-200 series r8 275 285 295 375 [Volcanic Islands] 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;openGL 4.x openCL 1.x - GCN3 Vulkan 1.2 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;Radeon™ RX 5700/5600/5500 Series and Radeon™ RX Vega Series
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2022 GCN 4 - OpenGL 4, Vulkan 1.3 - 
|-
| &lt;!--Description--&gt;Radeon™ RX 400/500 Series like rx 580
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Radeon™ Pro WX 9100, x200 Series and Radeon™ Pro W5700/W5500 Series
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;Radeon™ RX 7900/7600 Series
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Radeon™ RX 6900/6800/6700/6600/6500 Series
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|}


==== amd radeon mobile integrated ====

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; | Description
! width=&quot;5%&quot; | Vendor ID
! width=&quot;5%&quot; | Product ID
! width=&quot;2%&quot; | Rev 
! width=&quot;5%&quot; | 2D
! width=&quot;5%&quot; | 3D
! width=&quot;5%&quot; | Analog Output
! width=&quot;5%&quot; | Digital Output
! width=&quot;5%&quot; | Laptop LCD
! width=40%&quot; | Comments
|-
| &lt;!--Description--&gt;ATI RC410 [Radeon Xpress 200M]
| &lt;!--Vendor ID--&gt;0x1002
| &lt;!--Product ID--&gt;0x5a62 0x5955 0x5974 (200m)
| &lt;!--Revision--&gt;0x00
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Mobility Radeon 7500 
| &lt;!--Vendor ID--&gt;0x1002
| &lt;!--Product ID--&gt;0x4c57 (7500)
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Mobility Radeon 9000 
| 0x1002
| 0x4966 (9000)
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;Mobility Radeon 9500 9550 (rv360) 9600 (rv350)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon 9800 (rv420)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon X300 (RV370) X600 (RV380)
| 0x1002
| 0x (RV370) 0x5657 (RV380) 
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon X700 (RV410) X800 (RV423) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon X1200 (RS69M0) 
| 0x1002
| 0x791f
| 0x0 
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;X1200 IGP (RS690)
|-
| &lt;!--Description--&gt;Mobility Radeon X1300 X1350 X1400(rv515) X1600 (rv530) X1650 (RV535) X1800 (rv520) x1900 (rv570) 
| 0x1002 
| 0x71c7 (X1650) 
| 0x009e
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon 2100
| 0x1002
| 0x796e (2100)
| 0x0 
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{No|}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon HD 2400 (rv610) HD2600 (rv630) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon HD 3100 HD3200 HD3450 3470 (RS780MC RV620) 3670 (M86-XT RV635) HD3870 (M88-LXT RV670)
| 0x1002 
| 0x9610 and 0x9612 (HD3200) 0x9614 (HD3300) 
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon HD 4200 4250 (RV620)
| 0x1002
| 0x (HD4200) 0x9715 (HD4250)
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon HD 4330 4530 4550 (M92 RV710) 4650 (M96-XT RV730) 4670 RV730XT 4830 (M97 RV740) 4850 (M98 RV770)
| 0x1002 
| 0x (HD4350) 0x9442 (RV770) 0x9490 (HD4670)
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;untested 
|-
| &lt;!--Description--&gt;Mobility Radeon HD 530v (M92 RV710) HD 550v (M96 RV730)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;no support yet
|-
| &lt;!--Description--&gt;Mobility Radeon HD 5430 HD5650 (cedar Park LP)
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;no support yet
|-
| &lt;!--Description--&gt;Radeon HD 6250 6290 6310 6320 6350M (Redwood Capilano PRO) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No}}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{No}}
| &lt;!--Comments--&gt;no support yet
|-
| &lt;!--Description--&gt;AMD 7640G, 8450G, 8550G, 8650G Northern Islands 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2013 Last real support for old graphics standard before Vulkan takeover 
|-
| &lt;!--Description--&gt;R5 M230 M240 M255 - R7 M260 M265 (Kaveri Crystal series with Mantle and HSA) 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;2015 Maybe better with Vulkan 
|-
| &lt;!--Description--&gt;R5E R7E 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;2016 bristol ridge GCN 3.0 IGP (Carrizo Mobile) 
|-
| &lt;!--Description--&gt;AMD Vega 3, 6, 8, 11 iGP 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA 2D}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2018 raven ridge GCN 5th Gen  
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;5500m 5600m 5800m 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RDNA1 NaviX1 Zen 2 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;rx680m 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RDNA2 NaviX2 Zen 3 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;phoenix apu 1103 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2022 RDNA3 NaviX3 zen 4 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
|}


==== AMDGPU Vulkan desktop ====

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; | Description
! width=&quot;5%&quot; | Vendor ID
! width=&quot;5%&quot; | Product ID
! width=&quot;2%&quot; | Rev 
! width=&quot;5%&quot; | 2D
! width=&quot;5%&quot; | 3D
! width=&quot;5%&quot; | Analog Output
! width=&quot;5%&quot; | Digital Output
! width=&quot;5%&quot; | Laptop LCD
! width=40%&quot; | Comments
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;Kaveri 290 290X, 260 260X 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2015 AMDGPU Vulkan 
|-
| &lt;!--Description--&gt;R9 285 / R9 380  R9 380X  Fury / Fury X 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;opengl 4 opencl 1 3rd Gen GCN architecture 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;RX470 RX460 RX480 RX580 polaris10 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2016 opengl 4 opencl 2 4th Gen GCN architecture vulkan 1.3 
|-
| &lt;!--Description--&gt;RX460 RX560D polaris11 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2016 opengl 4 opencl 2 4th Gen GCN architecture vulkan 1.3 
|-
| &lt;!--Description--&gt;RX580 polaris20 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2016 opengl 4 opencl 2 4th Gen GCN architecture vulkan 1.3 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;RX 5000 5500 Navi 1x
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RNDA 1 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;RX 6000 Navi 2x 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RNDA 2 Mesa 21.3 decode av1 
|-
| &lt;!--Description--&gt;RX6000 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;RX 7000 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2022 RNDA 3 navi
|-
| &lt;!--Description--&gt;RX7000 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;{{No| }}
| &lt;!--Digital--&gt;{{No|nothing}}
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;RX9070 rx 9060 XT 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2025 rdna4 navi
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2026 udna (aka rdna5) 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
|}


==== AMDGPU Vulkan mobile ====

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;5%&quot; | Description
! width=&quot;5%&quot; | Vendor ID
! width=&quot;5%&quot; | Product ID
! width=&quot;2%&quot; | Rev 
! width=&quot;5%&quot; | 2D
! width=&quot;5%&quot; | 3D
! width=&quot;5%&quot; | Analog Output
! width=&quot;5%&quot; | Digital Output
! width=&quot;5%&quot; | Laptop LCD
! width=40%&quot; | Comments
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;R5E R7E 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;2016 bristol ridge GCN 3.0 IGP (Carrizo Mobile) 
|-
| &lt;!--Description--&gt;Vega iGP 3, 6, 8, 11 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;2018 raven ridge - Graphics Core Next (GCN) 5th gen - 
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;5500m 5600m 5800m 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RDNA1 NaviX1 Zen 2 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;rx680m 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RDNA2 NaviX2 Zen 3 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;phoenix apu 1103 
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;{{Maybe|VESA}}
| &lt;!--3D--&gt;{{No| }}
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;RDNA3 NaviX3 zen 4 
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;{{N/A}}
| &lt;!--Comments--&gt;
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Description
| Vendor ID
| Product ID
| Revision
| 2D
| 3D
| Analogue Output
| Digital Output
| Laptop LCD
| Comments
|-
| &lt;!--Description--&gt;
| &lt;!--Vendor ID--&gt;
| &lt;!--Product ID--&gt;
| &lt;!--Revision--&gt;
| &lt;!--2D--&gt;
| &lt;!--3D--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
|}


fyi if a notebooks with two graphic cards, the integrated Intel card (id 0x7d) for low power usage and a discrete Radeon card (id 0x56) which should be used for GPU-intensive applications. By default the Intel card is always used 


[https://wiki.archlinux.org/title/ATI Gallium Radeon HD] is not ported yet but is [https://www.phoronix.com/scan.php?page=news_item&amp;px=Linux-5.9-AMDGPU-Stats really big] and complex so another solution may have to be [https://discuss.haiku-os.org/t/the-graphics-acceleration-can-of-worms/10515/5 found] like [https://discuss.haiku-os.org/t/vulkan-lavapipe-software-rendering-is-working-on-haiku/11363/10 vulkan] where support starts from very recent ISA GCN islands HD7000s cards only 


*Vulkan
*Gallium


Vulkan software renderer allows to prepares the infrastructure for hardware rendering. Primary difference between software and hardware renderer is output to regular RAM vs GPU RAM, the rest is almost the same. It is possible to render to GPU RAM offscreen.

bare bones basics data flow

 application,&gt;&gt;&gt; api/opengl/vulkan&gt;&gt;&gt;&gt;, jit compiler, &gt;&gt;&gt;&gt;memory manger, &gt;&gt;&gt;&gt;gpu hardware

so you need to have a compiler that takes your api call/program/shaders/drawing commands and turns them into a program the gpu can render.

the vulkan to amd gpu compiler for shaders and textures is nearly os agnostic iirc as long as you have solid posix compliance

Unlike OpenGL, Vulkan does not depend on windowing system and it have driver add-on system with standardized API (Mesa also have OpenGL driver add-ons, but it have non-standard Mesa-specific API). OpenGL may need more work for windowing system related code at this point but developing Vulkan on real hardware is more strategic than developing OpenGL, since now Zink 3 running on Vulkan compensates for the lack of OpenGL support by giving performance similar to native accelerated OpenGL 

RadeonGfx use client-server model with client-server thread pairs. For each client thread that calls 3D acceleration API, server side thread is created. If client thread terminates, server side thread also exit. 


&lt;pre&gt;


GeForce RTX 5090 5070 5060 5050 
GeForce RTX 4090 4070 4060 4050 
GeForce RTX 2070
Radeon RX 7600
Quadro RTX 5000
Radeon PRO W6600
GeForce RTX 2060 12GB
Radeon PRO W7500
Quadro GP100
Radeon RX 6800S
GeForce RTX 3070 Laptop GPU
GeForce GTX 1080
GeForce RTX 3060 8GB
Quadro RTX 4000
Radeon Pro W5700
Radeon RX 6600
GeForce RTX 2080 (Mobile)
Radeon RX 7700S
Radeon RX 6700S
Radeon RX 6600S
Quadro RTX 5000 (Mobile)
GeForce GTX 1070 Ti
GeForce RTX 4050 Laptop GPU
Radeon Pro Vega 64X
Radeon RX 5700
Radeon RX Vega 64
GeForce RTX 2060
GeForce RTX 2070 Super with Max-Q Design


Radeon RX 6600M
GeForce GTX 1070
Radeon RX 6650M
GeForce RTX 3060 Laptop GPU
Radeon RX Vega 56
Radeon RX 6700M
GeForce RTX 2080 with Max-Q Design
Radeon RX 6800M
GeForce GTX 980 Ti
Radeon R9 Fury
GeForce GTX 980
Quadro M5500
Radeon R9 390X
Radeon RX 580
Radeon RX 5500
Radeon RX 6550M
GeForce GTX 1660 Ti with Max-Q Design
GeForce GTX 780 Ti
GeForce GTX 970
Radeon R9 290X
Radeon RX 480
Radeon RX 5600M
Quadro RTX 3000 with Max-Q Design
Radeon R9 290X / 390X
Ryzen 5 4600HS with Radeon Graphics
Radeon R9 290
Radeon Pro 5500 XT
Radeon R9 M490 *
GeForce GTX 780 
Radeon RX 6500M
Quadro M5500
GeForce GTX 1060 with Max-Q Design
Radeon RX 6500
Radeon RX 5300
Intel Arc A770M
GeForce GTX 1650 Ti
Radeon Pro 580X
Radeon RX 6400
GeForce RTX 2050
Ryzen 9 4900HS with Radeon Graphics
Radeon Ryzen 9 6900HS
GeForce GTX 980M
Quadro M5000M
Radeon RX 6300
GeForce GTX 1650 Ti with Max-Q Design
Radeon Pro 570
Ryzen 9 6900HS with Radeon Graphics
GeForce GTX 1050 Ti
Quadro M4000M
Radeon R9 280X  380X 
GeForce GTX 1650 with Max-Q Design
GeForce MX570
Radeon R9 280X
Radeon R9 380
Radeon 780M
GeForce GTX 960
GeForce GTX 970M
Quadro M4000M *
GeForce GTX 680


Radeon RX 6500M
Quadro M5500
Radeon Pro WX 7100
GeForce GTX 1060 with Max-Q Design
GeForce GTX 1650
Intel Arc A730M
Radeon HD 7970
Radeon R9 M395X
Radeon R9 M485X
Radeon R9 M480 *
Radeon R9 M295X
Radeon R9 M390X *
FirePro W7170M *
Radeon R9 M395
Radeon R7 370
Radeon RX 5500M
GeForce GTX 590
GeForce GTX 880M
GeForce GTX 950
Radeon R9 270X
GeForce GTX 660 Ti
GeForce GTX 760
GeForce GTX 780M
Quadro K5100M
GeForce GTX 680MX
Radeon HD 7870
GeForce GTX 965M
Quadro M3000M *
GeForce GTX 870M
Radeon R9 M290X
Radeon HD 8970M
Radeon Ryzen 7 7735U (680M), Radeon Ryzen 7 7735HS (680M 12C) 
GeForce GTX 580
Radeon HD 6970
GeForce GTX 1050
GeForce GTX 680M
GeForce GTX 775M
GeForce GTX 1630
FirePro M6100
Radeon HD 7970M
Radeon R9 M390 *
GeForce GTX 750 Ti


GeForce GTX 570
GeForce GTX 480
GeForce GTX 960M
Quadro M2000M *
Quadro K5000M
Quadro K4100M
GeForce GTX 770M
GeForce GTX 860M
GeForce GTX 675MX
GeForce GTX 950M
GeForce GTX 850M
Quadro M1000M
Radeon R9 M280X
Radeon HD 7950M *
GeForce GTX 560 Ti
Radeon HD 6870
GeForce GTX 470


GeForce GT 1030
GeForce MX330
Ryzen 5 PRO 5650GE with Radeon Graphics
Ryzen 7 5800HS 
FirePro 3D V8800
GeForce MX250
Radeon Pro WX 3200
Ryzen 7 PRO 5750G with Radeon Graphics
Radeon Ryzen 5 5600H
Ryzen 5 Pro 4650G with Radeon Graphics
Radeon Ryzen 7 5800U
Ryzen 7 7730U with Radeon Graphics
Radeon Ryzen 7 5825U
Radeon Pro WX 4150
Radeon Ryzen 5 PRO 4655G
Ryzen 5 4600G with Radeon Graphics
Radeon Ryzen 5 PRO 4655GE
GeForce GTX 485M
FirePro W6150M
Ryzen 7 5800U with Radeon Graphics
Ryzen 5 7530U with Radeon Graphics
Ryzen 7 4800U with Radeon Graphics
Radeon R9 M470
Ryzen 3 PRO 5350G with Radeon Graphics
Radeon RX Vega Ryzen 3 5300U
Ryzen 7 5825U with Radeon Graphics
Ryzen 5 PRO 4400G with Radeon Graphics
Radeon Ryzen 7 PRO 4750GE
Radeon Ryzen 7 4800U
FirePro V7900
Radeon HD 5970
Radeon Ryzen 7 7700X 8-Core
Radeon Ryzen 5 PRO 5650G
Radeon Ryzen 5 4400G
Radeon Ryzen 5 PRO 5650GE
Radeon RX 550X
FirePro V8800
Radeon RX Vega Ryzen 5 5500U
GeForce MX150
Quadro K3100M
Ryzen 7 PRO 5850U with Radeon Graphics
Radeon HD 6970M
Radeon R7 250X
Intel HD 5600
Ryzen 3 4300GE with Radeon Graphics
GeForce GTX 460
Ryzen 7 5700U with Radeon Graphics
Radeon Ryzen 5 7530U
Quadro K620
Ryzen 3 PRO 5350GE with Radeon Graphics
Intel Iris Pro P580
Intel UHD Graphics P630
Ryzen 5 4600H with Radeon Graphics
Ryzen 5 PRO 7530U with Radeon Graphics
Radeon HD 5870
Radeon HD 6870
Ryzen 7 4700G with Radeon Graphics
Ryzen 5 5600U with Radeon Graphics
Radeon HD 7770
Ryzen 3 Pro 4350G with Radeon Graphics
Radeon Ryzen 5 5625U
GeForce GTX 745
Radeon Ryzen 7 4850U Mobile
Radeon Ryzen 3 PRO 7330U
Quadro M600M
Radeon Ryzen 5 5500U
Ryzen 5 5560U with Radeon Graphics
Ryzen 7 4800H with Radeon Graphics


GeForce 945M
Ryzen 5 PRO 4650GE with Radeon Graphics
FirePro M5100
Radeon Ryzen 5 5600U
Radeon Ryzen 5 PRO 4500U
GeForce GTX 580M
Ryzen 7 PRO 5875U with Radeon Graphics
Ryzen 3 5300GE with Radeon Graphics
Radeon R9 M385
Quadro 5000M
Radeon Ryzen 7 4700U
Ryzen 5 PRO 5650U with Radeon Graphics
Radeon Ryzen 7 PRO 4750U
Ryzen 7 4700U with Radeon Graphics
Ryzen 7 PRO 4750U with Radeon Graphics
FirePro V7800
Radeon R9 350
Ryzen 3 4300G with Radeon Graphics
Radeon Vega 11 Ryzen 5 PRO 3350G
Radeon Ryzen 5 5560U
GeForce GTX 460 SE
Radeon Pro W5500M
Radeon Vega 11 Ryzen 5 PRO 3400G
Ryzen 5 5500U with Radeon Graphics
Ryzen 5 PRO 4500U with Radeon Graphics
GeForce GT 645
GeForce GTX 765M
Radeon R9 M385X
Ryzen 5 5625U with Radeon Graphics
Ryzen 3 PRO 7330U with Radeon Graphics
Radeon HD 5850
Radeon Vega 11 Ryzen 5 PRO 2400G
Intel Iris Pro 580
Radeon HD 6850
Intel Iris Xe MAX
Radeon Ryzen 7 PRO 5875U
Radeon Ryzen 5 7600 6-Core
GeForce GTX 470M
Ryzen 3 5300G with Radeon Graphics
GeForce GTX 670MX
Radeon RX 640
Qualcomm Adreno Gen 3
Radeon R7 450
GeForce GTX 675M
Radeon Pro WX 4130
Intel Iris Xe MAX 100
Quadro 5000
Radeon RX 570X
Radeon HD 7700-serie
Ryzen 5 4600U with Radeon Graphics
Ryzen 3 PRO 4350GE with Radeon Graphics
Radeon Vega 8 


GeForce MX230
GeForce GTX 765M
Quadro K4000M
Iris Pro Graphics P580 *
Iris Pro Graphics 580 *
GeForce GTX 645
Quadro M520
GeForce GTX 570M
GeForce MX130
Radeon RX 540
Radeon Ryzen 5 PRO 5675U
Intel UHD Graphics 770
Radeon RX Vega 11 Ryzen 7 3750H
Radeon Vega 11 Ryzen 5 PRO 3400GE 
Radeon HD 5850
GeForce GTX 675M
GeForce GTX 580M
Radeon HD 6990M
Radeon R9 M385X *
Radeon R9 M470X *
Radeon R9 M470 *
Radeon R9 M385 *
Radeon R9 M380 *
Radeon R9 M370X
Radeon R9 M275
Radeon HD 7770
GeForce GTX 485M
GeForce GTX 460 768MB
Radeon HD 6790
GeForce GTX 285M SLI
Quadro K3100M
FirePro W5170M *
GeForce GTX 670MX
Quadro 5010M
GeForce GTX 760M
GeForce GTX 670M


GeForce 940MX *
Maxwell GPU (940M, GDDR5)
FirePro M8900
Radeon HD 6970M
Radeon R9 M270
Radeon HD 8870M
Radeon HD 7870M
Quadro K3000M
GeForce GTX 570M
FirePro M6000
FirePro M5100
Quadro K2100M
Radeon HD 5770
GeForce GTX 550 Ti
GeForce GTX 280M SLI
Radeon HD 6950M
Radeon R7 250
GeForce GT 755M
GeForce GTX 660M
GeForce 845M
Radeon HD 8850M
Radeon R9 M365X
Radeon R9 M265X
Ryzen 5 PRO 4400GE with Radeon Graphics
FirePro W5130M *
Radeon Vega 8 Ryzen 5 3500U 
Radeon Vega 6 Ryzen 3 3300U
Radeon HD 7850M
Radeon HD 8790M
FirePro W4170M
FirePro W4190M
FirePro W4100
Quadro 4000M
GeForce GTX 470M
GeForce GTX 480M
GeForce GT 750M
Iris Pro Graphics 6200
Quadro K1100M
GeForce 940M
Radeon R9 M375
GeForce 930MX *
Radeon R7 M380 *
Radeon R7 M370
Quadro M600M *
GeForce GT 650M
Quadro K620M
GeForce 840M
Radeon R7 M275DX
GeForce GT 745M
Radeon HD 7770M
GeForce GTX 560M
Radeon R7 512 Cores (Kaveri Desktop)
Radeon R7 384 Cores (Kaveri Desktop)
Radeon R7 (Carrizo) *
Iris Pro Graphics 5200
GeForce GT 740M
GeForce 930M
Radeon HD 4850


Iris Graphics 550 *
GeForce 830M
Iris Graphics 540
Quadro M500M *
Quadro K2000M
GeForce GTS 450
GeForce GTX 260M SLI
GeForce GT 735M
Mobility Radeon HD 5870
GeForce 825M
Quadro 5000M
FirePro M4000
FirePro M7820
Radeon HD 6870M
GeForce 9800M GTX SLI
Radeon HD 8830M *
Radeon HD 8770M
Radeon R7 M260X
GeForce GTX 460M
GeForce 920MX *
GeForce GT 730M
Radeon HD 7750M
GeForce GT 645M *
FirePro M4100
Radeon HD 8750M
Radeon R6 A10-9600P 4C+6G
Quadro 3000M
Radeon R7 M270
Radeon R7 M265
Quadro FX 3800M
GeForce GTX 285M
Mobility Radeon HD 4870
GeForce GT 640M
Radeon R7 (Kaveri)
Radeon R8 M365DX
Radeon R7 M460 *
Radeon HD 7730M
Radeon R7 M360
GeForce GTX 280M
Radeon HD 8690M
Quadro FX 3700M
Radeon R7 M340
GeForce 920M
Radeon R6 M340DX
HD Graphics 530
HD Graphics P530
Tegra X1 Maxwell GPU
Radeon R7 M260
Radeon R6 (Carrizo)


Mobility Radeon HD 4860
FirePro M7740
Mobility Radeon HD 4850
GeForce GTX 260M
GeForce 9800M GTX
Quadro FX 2800M
Radeon HD 8670D
Radeon HD 7690M XT
FirePro M5950
GeForce GT 640M LE
Radeon R6 (Kaveri)
Radeon HD 8650M *
Radeon HD 8730M
Radeon HD 6770M
GeForce GT 635M
GeForce GT 555M
Radeon R7 A10 PRO-7800B
Radeon HD 5670
Mobility Radeon HD 5850
Radeon HD 6850M
Quadro 2000M
GeForce 9800M GT
GeForce 8800M GTX
Quadro FX 3600M
GeForce GT 445M
GeForce GTS 360M


GeForce GT 240
Radeon R7 PRO A10-9700
Radeon HD 7690M
HD Graphics 5600
Radeon HD 8570D
Radeon HD 8670M
Radeon R6 M255DX
Radeon HD 7660D
Radeon HD 6750M
Quadro K1000M
GeForce GT 550M
Radeon HD 8590M *
GeForce GTS 260M
GeForce GTS 160M
GeForce 9800M GTS
GeForce GT 430
Radeon HD 6830M
Mobility Radeon HD 5830
Radeon HD 6730M *
GeForce 9800M GS
Mobility Radeon HD 4830
Mobility Radeon HD 5770
Radeon HD 6570M
Radeon HD 8650G
Radeon HD 7670M
GeForce GT 630M
Radeon HD 7560D
GeForce GTS 150M *
Radeon R5 M335
Radeon R5 M430 *
Radeon R5 M330
Radeon R5 M255
Radeon Vega 3
Quadro 1000M
GeForce 820M
FirePro W2100
HD Graphics 520 620 
Iris Graphics 6100


GeForce GT 720M
GeForce 8800M GTS
Radeon R5 M240
Radeon R5 M320 *
Radeon R5 M230
Radeon R5 M315 *
Mobility Radeon HD 5750 *
Radeon HD 8570M
Radeon R7 PRO A10-8850B
HD Graphics 6000
Quadro K610M
Radeon HD 8550M
Iris Graphics 5100
GeForce GT 540M
Mali-T880 MP12 *
Radeon HD 8610G *
Radeon HD 6650M
HD Graphics 4600
Mobility Radeon HD 5730
HD Graphics 5500


Radeon R5 (Carrizo) *
Radeon R5 (Kaveri)
FirePro M5800
NVS 5400M
GeForce 710M
Radeon HD 7660G
GeForce GT 435M
HD Graphics 5000
Quadro K510M *
Radeon HD 5570
Radeon HD 6550M
Radeon HD 7590M *
GeForce GTS 350M
GeForce GTS 250M
Radeon HD 6630M
Radeon HD 7650M
FirePro M2000
Radeon HD 7570M
Radeon HD 7630M
Quadro FX 1800M
Mobility Radeon HD 5650
Radeon HD 8510G *
Radeon HD 6530M
Radeon HD 8550G
Quadro K500M *
GeForce GT 625M *
GeForce GT 620M
GeForce GT 525M
Radeon HD 6550D *
Radeon HD 7610M
Radeon HD 7620G
Radeon HD 8470D
Radeon HD 7640G
Adreno 530
GeForce ULP K1 (Tegra K1 Kepler GPU)
HD Graphics 4400
HD Graphics 510 515 *


NVS 5200M
Mobility Radeon HD 565v
Radeon HD 7550M
Mobility Radeon HD 4670
GeForce GT 425M
GeForce 9700M GTS
Radeon HD 6645G2 *
Quadro FX 2700M
GeForce GT 335M
Radeon HD 7600G
Mobility Radeon HD 3870
Mobility Radeon HD 4650
GeForce GT 220
GeForce GT 420M
Radeon HD 7530M *
Mobility Radeon HD 3850
GeForce GT 330M
Quadro FX 880M
Quadro NVS 5100M
GeForce GT 240M
Radeon HD 7490M *
HD Graphics 5300
Radeon HD 7510M *
GeForce Go 7950 GTX
Quadro FX 3500M
GeForce 8700M GT SLI
GeForce 9700M GT
GeForce GT 230M
Mobility Radeon HD 550v
Radeon HD 7480D
HD Graphics 4000
Mali-T760 MP8
Radeon HD 6620G
HD Graphics (Broadwell) *
Adreno 430
Radeon R5 (Beema/Carrizo-L)
Radeon R4 (Beema) (Kaveri)
HD Graphics (Skylake) *


Radeon HD 6450 GDDR5
Radeon HD 7500G
Radeon HD 8450G
Radeon HD 7470M
Radeon HD 6490M
Radeon HD 8400
Mali-T880 MP4
GeForce GT 520MX
Radeon HD 7520G
GeForce GT 325M
GeForce Go 7800 GTX SLI
GeForce 8600M GT SLI
GeForce Go 7900 GS SLI
GeForce GT 130M
NVS 4200M
GeForce Go 7900 GTX
Quadro FX 2500M
Radeon HD 8350G
Radeon HD 8330
GeForce 9650M GS
GeForce 9650M GT
Radeon R3 (Mullins/Beema)
GeForce 8700M GT
Quadro FX 1700M
Quadro FX 1600M
GeForce Go 7800 GTX
GeForce Go 7900 GS
Quadro NVS 320M
Quadro FX 1500M
GeForce 9600M GT
GeForce GT 220M
Quadro FX 770M
GeForce GT 120M
Radeon HD 7450M
GeForce 610M
GeForce 705M
Mali-T760 MP6
Radeon HD 6470M
FirePro M3900 *
GeForce GT 520M
Radeon HD 7420G
Mobility Radeon HD 3670
Mobility FireGL V5725
PowerVR GX6450
Adreno 420
HD Graphics (Haswell)


Radeon HD 6520G
Radeon HD 8310G *
GeForce 320M
GeForce GT 320M
Mobility Radeon HD 2600 XT
Mobility Radeon X1900
Mobility Radeon X1800XT
Mobility Radeon X1800
GeForce Go 6800 Ultra
GeForce Go 7800
GeForce 9600M GS
GeForce 9500M GS
Radeon HD 7400G
Radeon HD 6480G *
Mobility Radeon HD 2700
GeForce GT 415M
GeForce 410M
Radeon HD 7370M
Adreno 418
HD Graphics (Cherry Trail)
Radeon HD 6370M
Radeon HD 8280
Mobility Radeon HD 5470
Radeon HD 6450M
Radeon HD 7430M *
Mobility Radeon HD 3650
Mobility FireGL V5700
Mobility Radeon HD 5145
Mobility Radeon HD 545v
Radeon R6 (Mullins) *
Radeon HD 8240
Radeon HD 8250
Mobility Radeon HD 4570
Quadro FX 570M
Mobility Radeon HD 5450 *
Radeon R2 (Mullins/Beema) *
GeForce 8600M GT
Mobility Radeon HD 2600
HD Graphics 3000
Quadro FX 380M
GeForce 310M
GeForce G210M
NVS 3100M
GeForce 405M
GeForce 315M
GeForce Go 7600 GT
GeForce 9500M G
GeForce 8600M GS
NVS 2100M
GeForce Go 7700
GeForce Go 6800
Quadro FX Go 1400
Mobility Radeon X800XT
Radeon HD 6430M *
Radeon HD 6380G *
Mobility Radeon HD 5430
Radeon HD 8210
Mobility Radeon HD 540v
Mobility Radeon HD 4550
HD Graphics 2500
HD Graphics (Ivy Bridge)


Quadro NVS 310 
Radeon HD 7350M *
Radeon HD 6350M *
Mobility Radeon HD 4530
Mobility Radeon HD 4350
Radeon HD 4350
GeForce 305M
Mobility Radeon X1700
Mobility FireGL V5250
Mobility Radeon X2500
GeForce Go 7600
Quadro NVS 300M
Mobility Radeon X800
Mobility Radeon X1600
Mobility FireGL V5200
Mobility Radeon 9800
GeForce Go 6600
Mobility Radeon X1450
Mobility Radeon X700
Mobility FireGL V5000
GeForce G 110M
Quadro NVS 295 
Radeon HD 6330M *
Mobility Radeon HD 4330
GeForce 8400M GT
Quadro NVS 140M
HD Graphics 2000
GeForce 9500M GE *
GeForce 9400M (G) / ION (LE)
HD Graphics (Sandy Bridge) *


Adreno 330
PowerVR G6430
PowerVR GX6250
PowerVR G6400
HD Graphics (Bay Trail)
Mali-T628 MP6
Mali-T760 MP4
Chrome9HD *
Radeon HD 7340
Radeon HD 6320 *
Radeon HD 7310
Radeon HD 6310 *
Radeon HD 8180
Mobility Radeon HD 3470
GeForce 9300M G
ION 2 *
GeForce 9300M GS
Quadro FX 370M
Quadro NVS 160M
GeForce 9200M GS
Mobility Radeon HD 3450
Mobility Radeon HD 3430
Mobility Radeon HD 3410
Mobility Radeon HD 2400 XT
Radeon HD 4270
Radeon HD 4250
Radeon HD 7290 *
Radeon HD 6290 *
Radeon HD 4200
Graphics Media Accelerator (GMA) HD Graphics
Radeon HD 6250
Quadro NVS 150M
Quadro FX 360M
Mobility Radeon X1350
Mobility Radeon X1400
GeForce 9100M G
GeForce 8400M GS
Quadro NVS 135M
Mobility Radeon HD 2400
Radeon HD 3200
Radeon HD 4225 *
Radeon HD 4100 *
SGX554MP4
Mali-T628 MP4
Mobility Radeon HD 3400 *
Radeon HD 3100
GeForce 8400M G
Mali-T860 MP2
Quadro NVS 130M
GeForce 8200M G
Graphics Media Accelerator (GMA) 4700MHD
Graphics Media Accelerator (GMA) 4500MHD
Graphics Media Accelerator (GMA) 4500M
Mali-T604 MP4
GeForce Go 7400
Quadro FX 350M
Quadro NVS 120M
GeForce Go 7300
GeForce Tegra 4 *
PowerVR G6200
Adreno 405 *
Quadro NVS 110M
Mobility Radeon X600
Mobility FireGL V3200
Mobility FireGL V3100
Mobility Radeon HD X2300
Mobility Radeon 9700


Mobility FireGL T2e
Mobility Radeon X1300
GeForce4 4200 Go
Mobility Radeon 9600
Mobility FireGL T2
Mobility Radeon 9550
GeForce Go 7200
GeForce Go 6400
Mobility Radeon X300
GeForce Go 6250
GeForce Go 6200
GeForce FX Go 5700
Quadro FX Go 1000
GeForce FX Go 5600 / 5650
Radeon Xpress X1270
Radeon Xpress X1250
Radeon Xpress X1200
Graphics Media Accelerator (GMA) X3100
Mali-T624
Adreno 320 *
Mali-T760 MP2
Mali-T720 MP4
Mali-450 MP4
Graphics Media Accelerator (GMA) 3650 *
GeForce 7190M *
GeForce 7150M
Radeon Xpress 1150
GeForce Go 6150
GeForce Go 6100
GeForce 7000M
Graphics Media Accelerator (GMA) 3600 *
Mobility Radeon 9200
Mobility FireGL 9000
GeForce FX Go 5200
Mobility Radeon 9000
GeForce 4 488 Go
GeForce 4 460 Go
GeForce 4 440 Go
GeForce 4 420 Go
Graphics Media Accelerator (GMA) 3150
Graphics Media Accelerator (GMA) 950
SGX545 SGX544MP2 SGX543MP2 *
Mali-T720 MP2
Mali-T720
Adreno 302 304 305 306
Mobility Radeon 7500
Mobility FireGL 7800
Graphics Media Accelerator (GMA) 900
Radeon Xpress 200M
Radeon Xpress 1100
Mirage 3+ 672MX
Mirage 3 671MX
Mali-400 MP4 *
GeForce ULP (Tegra 3) *
VideoCore-IV *
Adreno 220 225*
Vivante GC1000+ Dual-Core
Mali-400 MP2 *
GeForce ULP (Tegra 2) *
Graphics Media Accelerator (GMA) 600 *
SGX540 *
Graphics Media Accelerator (GMA) 500
Adreno 205 *
Adreno 203 *
GC800 *
SGX535
SGX531
SGX530
Adreno 200 *
Mali-200 *
GeForce 3 Go *
GeForce 2 Go 200 / 100
Mobility Radeon 9100 IGP
Mobility Radeon 9000 IGP
Mobility Radeon M7
Mobility Radeon M6
Chrome9 HC
Extreme Graphics 2
Mobility Radeon 7000 IGP
Radeon IGP 340M
Radeon IGP 320M
S3G UniChrome Pro II
S3G UniChrome Pro
Castle Rock
Mirage 2 M760
Mirage M661FX
S3 Graphics ProSavage8
Mobility 128 M3
SM502 *
&lt;/pre&gt;


Not supported on AROS 

*OpenGL4 GPU must have 64-bit floating point FP64 math support, which is a hard requirement for GL 4.0. The max last revision opengl 4.6 (2017) on [https://wiki.gentoo.org/wiki/AMDGPU AMDGPU] RX 5000's / 6000s ([https://forum.batocera.org/d/7491-enable-opengl-46-and-vulkan-for-an-old-radeon-video-card RDNA] might come to AROS) but Intel UHD, Iris Plus or Xe, Nvidia RTX (will not) 
*OpenGL3 last revision 3.3 (2011) 


Some support on AROS 

*OpenGL2 nvidia-nouveau, 
*OpenGL1 intel gma950, 


Kernel-space drivers like '''radeon''' (older AMD driver for older GPUs), '''amdgpu''' (newer driver for newer GPUs, allows using a few new features), i915, nouveau and a few others. They are what handles the gory details of talking to the GPU itself (writing to proper registers, handling its memory directly, configuring outputs, and so on). Unfortunately most of what they're exposing can be only consumed by a single user of that GPU, which is why we need...

DRM and DRI (Direct Rendering Manager/Infrastructure) controls access to the GPUs, provides interfaces for talking to the GPU concurrently by multiple apps at once (without them breaking each other) and lets the system perform the most basic tasks like setting proper resolution and such if no userspace apps understand how to talk to the GPU exposed. DRI and DRM expose the GPU interfaces mostly as-is, not in a &quot;vendor-neutral&quot; portable way - if you don't have an application developed specifically for a GPU you have, it won't work. 

&quot;let's create a vendor-neutral interface for graphics so that apps can ignore the GPU-specific bits and get right to the drawing!&quot; - which is what OpenGL is. User-space drivers implement the OpenGL specification and expose it as an OpenGL library to apps (like games, browsers, etc) instead of the GPU. Mesa is the most popular collection of open-source user-space drivers and contains a few user-space drivers for different GPU families: '''radeonsi''' for most modern AMD GPUs (and '''r600g''', r300g and others for older ones), '''i915/i965''' for old/new Intel GPUs and '''nouveau''' for Nvidia GPUs. 

There's also Gallium, which is a bunch of utilities and common code shared among these drivers - if certain things can be done once and work everywhere, they'll land in Gallium and benefit all the drivers. Most Mesa drivers use Gallium (radeonsi, nouveau, software renderers), some don't (intel after gma950). 

Displaying 2D windows supports device-specific 2D drivers as well, but nowadays most of these are no longer needed as the modesetting can handle most hardware on its own. As the DRM/DRI got some additional interfaces for what used to be hardware-specific (setting resolutions, refresh rates, etc) and software requiring accelerated 2D drawing was optimized OpenGL-based renderers, dedicated 2D acceleration is slowly going away. Since around 2012, the 3D part of the graphics card deals with 2D operations. 

Modern GPUs can also decode video!? There's VDPAU (NVIDIA &amp; AMD GPUs) and VA-API (AMD &amp; Intel GPUs) that can also talk to the GPU exposed via DRM/DRI and issue proper commands to decode/encode a given video stream. Those drivers are GPU-specific too. 


So let's say you have some example GPUs, here's how example stacks could look like:

* AMD Radeon HD8750: amdgpu -&gt; DRM/DRI -&gt; Mesa (radeonsi)  
* AMD Radeon HD4850: radeon kernel driver -&gt; DRM/DRI -&gt; Mesa (r600g) -&gt; games/apps/etc.
* NVIDIA GeForce 460: nouveau kernel driver -&gt; DRM/DRI -&gt; Mesa (nouveau) -&gt; games/apps.
* Intel GMA950: i915 kernel driver -&gt; DRM/DRI -&gt; Mesa (i945) -&gt; games/apps.


{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;15%&quot; | Description
! width=&quot;15%&quot; | Analog Output
! width=&quot;15%&quot; | Digital Output
! width=&quot;15%&quot; | Laptop LCD
! width=30%&quot; | Comments
|-
| &lt;!--Description--&gt;Fudomi GC888A
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;1080p 100in throw projector 
|-
| &lt;!--Description--&gt;Vamvo VF320 (720P) 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;720p 90in 
|-
| &lt;!--Description--&gt;Happrun H1 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;1080p 90in 
|-
| &lt;!--Description--&gt;Umbolite Magcubic HIPPUS HY320 Mini 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;720p 100in 
|-
| &lt;!--Description--&gt;Zentality A10 Plus 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;720p 110in 
|-
| &lt;!--Description--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;nexigo nova mini 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;nebula mars 3 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;epson lifestudio flex plus portable projector
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;dangbei freedo 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;benq gv50 
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
| &lt;!--Description--&gt;
| &lt;!--Analogue--&gt;
| &lt;!--Digital--&gt;
| &lt;!--Laptop LCD--&gt;
| &lt;!--Comments--&gt;
|-
|}


Unless your computer uses a Firewire chipset manufactured by Texas Instruments, FireWire interfaces are likely to act buggy. 
AROS is unlikely to ever support FireWire. 


Bluetooth is similarly unlikely to be ever supported due to huge cost to be certified. 


No, x86 PCMCIA card.resource at the moment. Writing card.resource would be a similar amount of work to writing a typical driver. However, it might be complicated by having to support a variety of PCMCIA-controller chipsets like TI PCI1225, PCI1410, PCI1420, 1450, PCIxx12 and O2, etc. m68k card.resource does not really have many higher level functions, most functions are really simple or poke Gayle registers directly. only exception is CopyTuple(). Amiga card.resource has one significant flaw: it's single-unit. would need card.resource and pccard.library. There was talk in the past of designing a new API for PCMCIA because card.resource only supports one slot, but since most modern laptops only have one slot anyway, I think it might be worthwhile to implement card.resource as-is (at least as a first step). pccard.library would be trivial to port. So, a new API is needed.


&lt;pre&gt;
HDMI (licensing fee)

1.4  4K @ 30Hz
2.0  4K @ 60Hz
2.1  48Gbs for 4K @ 120Hz, 8K @ , VRR, etc 
&lt;/pre&gt;
&lt;pre&gt;
DisplayPort (VESA introduced) 

1.4  4K @ 60Hz
2.1  96Gbs for 4K @ 240Hz, 8K @ 120Hz. MST daisy chain multiple monitors, 
&lt;/pre&gt;</text>
      <sha1>e2hobwy3rsh8greve4awik7kdmdowvn</sha1>
    </revision>
  </page>
  <page>
    <title>Chess/Tactics</title>
    <ns>0</ns>
    <id>26899</id>
    <revision>
      <id>4638048</id>
      <parentid>4630696</parentid>
      <timestamp>2026-05-30T13:15:43Z</timestamp>
      <contributor>
        <username>User97104</username>
        <id>3562800</id>
      </contributor>
      <comment>Consistent capitals</comment>
      <origin>4638048</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="17448" sha1="ex7b1ofb4qophbjjbsca0vb1fv19odw" xml:space="preserve">== Guarding ==
When one of your pieces is placed so that it attacks a square occupied by another of your pieces, the former is said to be guarding the latter.
When your opponent captures the guarded piece, you can recapture with the guarding piece. Note that if a guarding piece is pinned to your king (see below for a description of pins), it can only guard other pieces against capturing by the enemy king, but not from other enemy pieces, since it is unable to move or capture.

== Batteries ==
{{Chess diagram|=
| tright
| 
|= 
   |  |rd|  |  |  |kd|  |  |=
   |pd|  |rd|qd|nd|  |pd|  |=
   |pl|pd|nd|  |pd|  |  |pd|=
   |  |bl|  |pd|pl|pd|  |  |=
   |  |pl|  |pl|  |pl|  |  |=
   |  |  |rl|  |  |nl|  |  |=
   |  |  |rl|  |  |  |pl|pl|=
   |  |  |ql|  |  |  |kl|  |=
| Alekhine-Nimzowitsch 1930 after 26. Qc1.
}}
Batteries are formed when two or more pieces work together. The most common kind of battery is the doubling of rooks on a file. Other batteries can be formed by rook-queen, bishop-queen, two knights or a bishop-pawn.

A triple battery can be constructed with the queen and both rooks. This is known as [[Wikipedia:Alekhine's gun|Alekhine's gun]] (diagram at right) and can be extremely dangerous. It is often advantageous to place the queen behind one or both rooks as it is a more valuable piece.

== The Exchange ==
In almost any game, a player will have the opportunity to capture one of his opponent's pieces in exchange for sacrificing or losing one of his own pieces. This should however NOT be done for its own sake! Initiate an exchange only when it benefits you, otherwise a loss of tempo. May occur. Benefits can include, but are not limited to:

* Material advantage - Exchanging one of your pieces for a more valuable opponent's piece (e.g. exchanging a bishop for your opponent's queen).
* Doubling pawns - Take when taking back means the doubling (or tripling) of your opponent's pawns on the same file.
* Opening up the king's defenses - Take when taking back means moving a pawn that exposes the king.
* Removing a defender - Take when the piece being taken is providing an essential service for the opponent.
* Blunting an attack - When you are being attacked, often a well timed exchange will leave your opponent with too few pieces to keep up the attack.
* Gaining space - In a cramped position, having more pieces can actually be a disadvantage because the pieces get in the way of each other.  If your opponent has a space advantage, exchanging pieces can lessen the advantage and make the resultant position less confining.
* Improving a material advantage - if you are ahead material, exchanging pieces will usually benefit you (note - pieces, NOT pawns).  Similarly, if you have an extra pawn, trade pieces that may otherwise be used as a sacrifice to prevent pawn promotion.
* Forcing checkmate - If you are able to force a checkmate by exchanging pieces, you should always take the exchange, even if the exchanges seem poor (e.g. sacrificing a Queen for a bishop). Note that a forced checkmate is one where there is no way for your opponent to prevent the checkmate.
* Threatening checkmate - Sometimes, you can propose an exchange where you can force a checkmate if your opponent accepts the exchange. That is if your opponent captures your piece after you capture one of their pieces, you are then able to force a checkmate.
* Preventing checkmate - If you are in a situation where the only way out of a checkmate is to exchange pieces, you must make the exchange.

== Forks and Double Attacks==
{{Chess diagram|=
| tright
| 
|= 
 8 |rd|nd|bd|qd|rd|  |  |kd|=
 7 |pd|pd|pd|pd|  |nl|pd|pd|=
 6 |  |  |  |  |  |nd|  |  |=
 5 |  |  |  |  |pd|  |  |  |=
 4 |  |  |  |  |pl|  |  |  |=
 3 |  |  |  |  |  |  |  |  |=
 2 |pl|pl|pl|pl|  |pl|pl|pl|=
 1 |rl|  |bl|ql|kl|bl|nl|rl|=
    a  b  c  d  e  f  g  h  
| The Royal Fork
}}
Sometimes a piece can be in position to attack two enemy pieces at once. This is called a fork or a double attack. All pieces can fork, even pawns, but knights have a reputation for making especially vicious forks because other pieces cannot block their way because the endangered pieces cannot defend by attacking it, unless they are another knight.

=== Forking with check ===
A knight fork that attacks the king from an unguarded square is very powerful. The opponent must then move his king to safety and the other piece in the fork has no chance of escape.

==== The Royal Fork ====
A ''royal'' fork is one involving both your opponent's king and queen.  In the example shown here, white's knight on f7 has engaged black in a royal fork.  Black will be down the exchange of a queen for a knight.
{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |  |kd|=
 7 |rd|  |  |  |  |  |  |pd|=
 6 |  |  |pd|  |  |  |pd|  |=
 5 |pd|  |  |  |  |  |  |  |=
 4 |pl|  |  |ql|  |  |  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |  |  |  |  |  |kl|pl|=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| A Queen Fork - Black to Move
}}

=== Forks do not always win material ===
If every time you saw a fork you played it, you would be making a mistake.  You have to examine the different possibilities to escape the fork.  In the queen fork on the right white has just played 1.Qd4+ forking the black king and rook.  However black can play 1. ...Rg7 blocking the check and moving the rook to safety (although white could play 2.Qxg7, taking the rook, black could then play 2. ...Kxg7, taking the queen; white will then have lost the Exchange and will be unable to destroy Black's pawn majority, resulting in a forced win for Black, a queened pawn, and a king-queen checkmate.)

However 1.Qd4 is by no means a bad move.  Perhaps White played 1.Qd4 in order to force black to play 1. ...Rg7 in which White can now play 2.Qd8+ (fork on king and pawn) Rg8 (forced) followed by 3.Qxa5 in which case White can push his a-pawn.  Here White forked Black's king and rook not to win the rook but to later win a pawn by a fork, and pave the way for his a-pawn to become promoted to a queen.  He might have also intended to play 3.Qf6+ Rg7 (forced) 4.Qxc6, eliminating Black's passed pawn.

{{-}}

== Pinned pieces ==
{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |  |kd|  |  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |nd|  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |bd|  |  |pl|  |  |  |=
 3 |  |  |nl|  |  |  |  |  |=
 2 |pl|pl|pl|  |  |pl|pl|pl|=
 1 |  |  |  |  |kl|  |  |  |=
    a  b  c  d  e  f  g  h  
| The white knight pinned by the black bishop
}}
A pinned piece is a piece that cannot move because it would expose an attack on an important piece by one of the opposing pieces, such that the capture of said piece would result in material gain by the opponent.

===Absolute Pin===

An absolute pin is great tactic to pin the opponent's pieces to his king. For example, take a look at the board on the right. Black just moved his dark-squared bishop to '''b4'''. The white knight is now pinned and cannot move, because moving the knight would put himself in check. White's only way to stop the pin is to move his king. The pawn on '''e4''' is no longer guarded by the knight, since the knight could not move to exchange. 

{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |kd|  |=
 7 |pd|pd|  |nd|  |rd|pd|pd|=
 6 |  |  |pd|  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |bl|pl|  |  |  |  |=
 3 |  |  |  |  |  |nl|  |  |=
 2 |pl|  |  |  |  |pl|pl|pl|=
 1 |  |  |  |  |  |  |kl|  |=
    a  b  c  d  e  f  g  h  
| Attack the pinned piece, white to move
}}
The position diagrammed to the right shows the theme of attacking the pinned piece. White can look at this position and immediately take the rook and win an exchange. However this wouldn't even be the best move. If white did this then the material would be dead even; however, white has more pawn islands and it would be a very close game. Instead, white can play Ng5! The rook cannot move, and black has no way of effectively defending the rook a second time, therefore Black will eventually lose a rook. So, if you have pinned a piece, try to see if you can attack the piece again, and if a piece of yours is pinned, try to see if your opponent can attack it again. The moral of the story: if you see a good move, stop and look around for a better one.

===Relative pin===

{{Chess diagram|=
|tright
|
|=
8|rd|  |bd|qd|kd|  |  |rd|=
7|pd|pd|pd|pd|  |pd|pd|pd|=
6|  |  |nd|  |  |nd|  |  |=
5|  |  |bd|  |pd|  |bl|  |=
4|  |  |bl|  |pl|  |  |  |=
3|  |  |  |pl|  |nl|  |  |=
2|pl|pl|pl|  |  |pl|pl|pl|=
1|rl|nl|  |ql|kl|  |  |rl|=

|Relative pin
}}

In contrast to the absolute pin, a ''relative pin'' occurs when one player's piece is pinned to one of lesser value than the king, such as a queen or rook. If the benefit of moving the pinned piece outweighs the loss of material occasioned by the capture of the exposed piece (for example, if a forced mate may be achieved), then the pin can be disregarded and the pinned piece moved.

===Cross-pin===

A rare situation where a piece is pinned twice to two different pieces.

{{-}}

== Skewers ==
{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |qd|  |  |  |  |=
 7 |pd|pd|pd|kd|  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |  |=
 2 |pl|pl|pl|  |  |pl|pl|pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| A skewer about to happen
}}

A skewer is similar to a pin, but it is in a sense more powerful. The difference between a pin and skewer is the location of the more important piece. In a pin the lesser piece blocks the attack on the more important one, in a skewer the more important piece is attacked first and when it moves it exposes the lesser piece behind it to be hit. Black has, in a blunderous moment, placed his king on '''d7''' in front of his queen on '''d8'''. White may now triumphantly slide either rook to '''d1''', skewering Black's king and queen. Since Black cannot block the check, the king has to move, exposing the black queen to the attack of the white rook.

{{-}}

== Discoveries ==
A discovery is an attack on an enemy piece which is unveiled by moving one of your pieces. The power of discoveries is that two targets can be attacked simultaneously. If combined with a check they can be lethal.

{{Chess diagram small|=
| tleft 
| 
|= 
 8 |  |kd|rd|  |  |  |nd|rd|=
 7 |pd|pd|  |  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |pl|  |  |  |nl|  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| If white moves his knight...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |  |kd|rd|  |  |  |nd|rd|=
 7 |pd|pd|  |nl|  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |pl|  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
|...it's a discovered check...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |kd|  |rd|  |  |  |nd|rd|=
 7 |pd|pd|  |nl|  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |pl|  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| ...and after he moves...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |kd|  |rd|  |  |  |nd|rd|=
 7 |pd|pd|  |  |  |pd|pd|pd|=
 6 |  |nl|  |  |  |  |  |  |=
 5 |pl|  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| ...a sacrifice...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |kd|  |rd|  |  |  |nd|rd|=
 7 |  |pd|  |  |  |pd|pd|pd|=
 6 |  |pl|  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| ...and after 3...axb6 4.axb6, it's another discovered check and mate!
}}
{{-}}

A simpler example of a discovered checkmate is shown below.
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |rl|  |  |  |  |  |=
 2 |  |ql|  |pl|kd|  |  |kl|=
 1 |rl|  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| This would normally be a checkmate, but White's pawn is in the way.  So White plays 1.d4...
}}
{{Chess diagram small|=
|
| 
|= 
 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |  |  |  |=
 |  |  |rl|  |  |  |  |  |=
 2 |  |ql|  |  |kd|  |  |kl|=
 1 |rl|  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| ...discovered check and mate!
}}

{{-}}
===Double check===

If some of you have noticed, White's 1.Nd7+ (in the first example) was a ''double check'', a type of discovered check where the piece moving also gives check. Such checks are very powerful, since the king is forced to move (both checks cannot be blocked at the same time, and both pieces cannot be captured at the same time.). They are also often lethal, as in the above game.
{{-}}


== Removing the defender ==
By first capturing, threatening, or pinning a piece that guards another, you should be able to capture the other piece for free. You can also remove the defender of a position. By using tactics you might be able to force a checkmate!

== Sacrifices ==
A sacrifice is an exchange of a piece for a non material advantage:
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |qd|  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |nd|=
 2 |pl|pl|pl|  |  |  |pl|pl|=
 1 |rl|  |  |  |  |rl|  |kl|=
    a  b  c  d  e  f  g  h  
| After 1. Kh1
}}
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |nd|=
 2 |pl|pl|pl|  |  |  |pl|pl|=
 1 |rl|  |  |  |  |rl|qd|kl|=
    a  b  c  d  e  f  g  h  
| After 1. ... Qg1+! sacrificing the queen.
}}
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |nd|=
 2 |pl|pl|pl|  |  |  |pl|pl|=
 1 |rl|  |  |  |  |  |rl|kl|=
    a  b  c  d  e  f  g  h  
| After 2. Rxg1
}}
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |  |=
 2 |pl|pl|pl|  |  |nd|pl|pl|=
 1 |rl|  |  |  |  |  |rl|kl|=
    a  b  c  d  e  f  g  h  
| After 2. ... Nf2#
}}
{{-}}
In the first diagram, White just moved '''1. Kh1''' to get out of check.

Black sacrifices his queen with '''1...Qg1+''' for a winning positional advantage - White is in check and can not take with his king because the knight guards the queen.

'''2. Rxg1''' - forced - this smothers the king - he cannot move because his own pieces are on every square he could go to - any check on an unguarded square now is mate.

'''2...Nf2#''' Checkmate. This queen's sacrifice was an example of a [[Wikipedia:Smothered mate|smothered mate]] (in which a knight delivers a checkmate that is caused by the king's inability to move anywhere).  In fact, this is a special kind of smothered mate, called ''Philidor's Legacy.''

{{-}}

== Zwischenzugs ==
{{Chess diagram small|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |kd|  |  |=
 3 |  |pd|  |  |  |pd|rl|  |=
 2 |bd|kl|  |  |  |  |  |pl|=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| A demonstration of Zwischenzug.
}}
{{Chess diagram small|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |rl|  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |kd|  |  |=
 3 |  |pd|  |  |  |  |  |  |=
 2 |  |kl|  |  |  |pd|  |pl|=
 1 |  |bd|  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| After 2... Bb1! (white resigned)
}}

A ''[[wikipedia:Zwischenzug|Zwischenzug]]'' (pronounced &quot;TSVISH-en-tsoog&quot;,) or &quot;in-between move,&quot; is one that is made unexpectedly in the midst of a sequence of moves. But not just any series of moves, one in which the player falling for the Zwischenzug feels the sequence is forced, while his opponent demonstrates to him that it certainly isn't! Most commonly these fall in between trades where a recapture seems to be the only proper means of play.

Such in-between moves often have a surprising and pleasing effect of increasing the potency of a combination beyond the opponent's expectations.

In Borisenkov-Mezenev (shown in the diagram to the right), black played '''1... f2''', threatening to queen, which White countered with '''2. Rg8''', intending '''3. Rf8+''', and '''4. Rxf1''', skewering the newly promoted queen. But White resigned after the Zwischenzug '''2... Bb1!''' which allows Black to queen ('''3. Kxb1 f1=Q+''' or '''3. Rf8+ Bf5''').{{-}}

&lt;noinclude&gt;{{Chess/Navigation|Notating The Game|Tactics Exercises}}&lt;/noinclude&gt;

[[it:Scacchi/Tattica]]</text>
      <sha1>ex7b1ofb4qophbjjbsca0vb1fv19odw</sha1>
    </revision>
    <revision>
      <id>4638049</id>
      <parentid>4638048</parentid>
      <timestamp>2026-05-30T13:18:15Z</timestamp>
      <contributor>
        <username>User97104</username>
        <id>3562800</id>
      </contributor>
      <comment>way too much spacing</comment>
      <origin>4638049</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="17442" sha1="be1ivien8zzihe9yoctb8ke0qfhdgm4" xml:space="preserve">== Guarding ==
When one of your pieces is placed so that it attacks a square occupied by another of your pieces, the former is said to be guarding the latter.
When your opponent captures the guarded piece, you can recapture with the guarding piece. Note that if a guarding piece is pinned to your king (see below for a description of pins), it can only guard other pieces against capturing by the enemy king, but not from other enemy pieces, since it is unable to move or capture.

== Batteries ==
{{Chess diagram|=
| tright
| 
|= 
   |  |rd|  |  |  |kd|  |  |=
   |pd|  |rd|qd|nd|  |pd|  |=
   |pl|pd|nd|  |pd|  |  |pd|=
   |  |bl|  |pd|pl|pd|  |  |=
   |  |pl|  |pl|  |pl|  |  |=
   |  |  |rl|  |  |nl|  |  |=
   |  |  |rl|  |  |  |pl|pl|=
   |  |  |ql|  |  |  |kl|  |=
| Alekhine-Nimzowitsch 1930 after 26. Qc1.
}}
Batteries are formed when two or more pieces work together. The most common kind of battery is the doubling of rooks on a file. Other batteries can be formed by rook-queen, bishop-queen, two knights or a bishop-pawn.

A triple battery can be constructed with the queen and both rooks. This is known as [[Wikipedia:Alekhine's gun|Alekhine's gun]] (diagram at right) and can be extremely dangerous. It is often advantageous to place the queen behind one or both rooks as it is a more valuable piece.

== The Exchange ==
In almost any game, a player will have the opportunity to capture one of his opponent's pieces in exchange for sacrificing or losing one of his own pieces. This should however NOT be done for its own sake! Initiate an exchange only when it benefits you, otherwise a loss of tempo. May occur. Benefits can include, but are not limited to:

* Material advantage - Exchanging one of your pieces for a more valuable opponent's piece (e.g. exchanging a bishop for your opponent's queen).
* Doubling pawns - Take when taking back means the doubling (or tripling) of your opponent's pawns on the same file.
* Opening up the king's defenses - Take when taking back means moving a pawn that exposes the king.
* Removing a defender - Take when the piece being taken is providing an essential service for the opponent.
* Blunting an attack - When you are being attacked, often a well timed exchange will leave your opponent with too few pieces to keep up the attack.
* Gaining space - In a cramped position, having more pieces can actually be a disadvantage because the pieces get in the way of each other.  If your opponent has a space advantage, exchanging pieces can lessen the advantage and make the resultant position less confining.
* Improving a material advantage - if you are ahead material, exchanging pieces will usually benefit you (note - pieces, NOT pawns).  Similarly, if you have an extra pawn, trade pieces that may otherwise be used as a sacrifice to prevent pawn promotion.
* Forcing checkmate - If you are able to force a checkmate by exchanging pieces, you should always take the exchange, even if the exchanges seem poor (e.g. sacrificing a Queen for a bishop). Note that a forced checkmate is one where there is no way for your opponent to prevent the checkmate.
* Threatening checkmate - Sometimes, you can propose an exchange where you can force a checkmate if your opponent accepts the exchange. That is if your opponent captures your piece after you capture one of their pieces, you are then able to force a checkmate.
* Preventing checkmate - If you are in a situation where the only way out of a checkmate is to exchange pieces, you must make the exchange.

== Forks and Double Attacks==
{{Chess diagram|=
| tright
| 
|= 
 8 |rd|nd|bd|qd|rd|  |  |kd|=
 7 |pd|pd|pd|pd|  |nl|pd|pd|=
 6 |  |  |  |  |  |nd|  |  |=
 5 |  |  |  |  |pd|  |  |  |=
 4 |  |  |  |  |pl|  |  |  |=
 3 |  |  |  |  |  |  |  |  |=
 2 |pl|pl|pl|pl|  |pl|pl|pl|=
 1 |rl|  |bl|ql|kl|bl|nl|rl|=
    a  b  c  d  e  f  g  h  
| The Royal Fork
}}
Sometimes a piece can be in position to attack two enemy pieces at once. This is called a fork or a double attack. All pieces can fork, even pawns, but knights have a reputation for making especially vicious forks because other pieces cannot block their way because the endangered pieces cannot defend by attacking it, unless they are another knight.

=== Forking with check ===
A knight fork that attacks the king from an unguarded square is very powerful. The opponent must then move his king to safety and the other piece in the fork has no chance of escape.

==== The Royal Fork ====
A ''royal'' fork is one involving both your opponent's king and queen. In the example shown here, white's knight on f7 has engaged black in a royal fork. Black will be down the exchange of a queen for a knight.
{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |  |kd|=
 7 |rd|  |  |  |  |  |  |pd|=
 6 |  |  |pd|  |  |  |pd|  |=
 5 |pd|  |  |  |  |  |  |  |=
 4 |pl|  |  |ql|  |  |  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |  |  |  |  |  |kl|pl|=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| A Queen Fork - Black to Move
}}

=== Forks do not always win material ===
If every time you saw a fork you played it, you would be making a mistake. You have to examine the different possibilities to escape the fork. In the queen fork on the right white has just played 1.Qd4+ forking the black king and rook. However black can play 1. ...Rg7 blocking the check and moving the rook to safety (although white could play 2.Qxg7, taking the rook, black could then play 2. ...Kxg7, taking the queen; white will then have lost the Exchange and will be unable to destroy Black's pawn majority, resulting in a forced win for Black, a queened pawn, and a king-queen checkmate.)

However 1.Qd4 is by no means a bad move.  Perhaps White played 1.Qd4 in order to force black to play 1. ...Rg7 in which White can now play 2.Qd8+ (fork on king and pawn) Rg8 (forced) followed by 3.Qxa5 in which case White can push his a-pawn.  Here White forked Black's king and rook not to win the rook but to later win a pawn by a fork, and pave the way for his a-pawn to become promoted to a queen. He might have also intended to play 3.Qf6+ Rg7 (forced) 4.Qxc6, eliminating Black's passed pawn.

{{-}}

== Pinned pieces ==
{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |  |kd|  |  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |nd|  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |bd|  |  |pl|  |  |  |=
 3 |  |  |nl|  |  |  |  |  |=
 2 |pl|pl|pl|  |  |pl|pl|pl|=
 1 |  |  |  |  |kl|  |  |  |=
    a  b  c  d  e  f  g  h  
| The white knight pinned by the black bishop
}}
A pinned piece is a piece that cannot move because it would expose an attack on an important piece by one of the opposing pieces, such that the capture of said piece would result in material gain by the opponent.

===Absolute Pin===

An absolute pin is great tactic to pin the opponent's pieces to his king. For example, take a look at the board on the right. Black just moved his dark-squared bishop to '''b4'''. The white knight is now pinned and cannot move, because moving the knight would put himself in check. White's only way to stop the pin is to move his king. The pawn on '''e4''' is no longer guarded by the knight, since the knight could not move to exchange. 

{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |kd|  |=
 7 |pd|pd|  |nd|  |rd|pd|pd|=
 6 |  |  |pd|  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |bl|pl|  |  |  |  |=
 3 |  |  |  |  |  |nl|  |  |=
 2 |pl|  |  |  |  |pl|pl|pl|=
 1 |  |  |  |  |  |  |kl|  |=
    a  b  c  d  e  f  g  h  
| Attack the pinned piece, white to move
}}
The position diagrammed to the right shows the theme of attacking the pinned piece. White can look at this position and immediately take the rook and win an exchange. However this wouldn't even be the best move. If white did this then the material would be dead even; however, white has more pawn islands and it would be a very close game. Instead, white can play Ng5! The rook cannot move, and black has no way of effectively defending the rook a second time, therefore Black will eventually lose a rook. So, if you have pinned a piece, try to see if you can attack the piece again, and if a piece of yours is pinned, try to see if your opponent can attack it again. The moral of the story: if you see a good move, stop and look around for a better one.

===Relative pin===

{{Chess diagram|=
|tright
|
|=
8|rd|  |bd|qd|kd|  |  |rd|=
7|pd|pd|pd|pd|  |pd|pd|pd|=
6|  |  |nd|  |  |nd|  |  |=
5|  |  |bd|  |pd|  |bl|  |=
4|  |  |bl|  |pl|  |  |  |=
3|  |  |  |pl|  |nl|  |  |=
2|pl|pl|pl|  |  |pl|pl|pl|=
1|rl|nl|  |ql|kl|  |  |rl|=

|Relative pin
}}

In contrast to the absolute pin, a ''relative pin'' occurs when one player's piece is pinned to one of lesser value than the king, such as a queen or rook. If the benefit of moving the pinned piece outweighs the loss of material occasioned by the capture of the exposed piece (for example, if a forced mate may be achieved), then the pin can be disregarded and the pinned piece moved.

===Cross-pin===

A rare situation where a piece is pinned twice to two different pieces.

{{-}}

== Skewers ==
{{Chess diagram|=
| tright
| 
|= 
 8 |  |  |  |qd|  |  |  |  |=
 7 |pd|pd|pd|kd|  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |  |=
 2 |pl|pl|pl|  |  |pl|pl|pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| A skewer about to happen
}}

A skewer is similar to a pin, but it is in a sense more powerful. The difference between a pin and skewer is the location of the more important piece. In a pin the lesser piece blocks the attack on the more important one, in a skewer the more important piece is attacked first and when it moves it exposes the lesser piece behind it to be hit. Black has, in a blunderous moment, placed his king on '''d7''' in front of his queen on '''d8'''. White may now triumphantly slide either rook to '''d1''', skewering Black's king and queen. Since Black cannot block the check, the king has to move, exposing the black queen to the attack of the white rook.

{{-}}

== Discoveries ==
A discovery is an attack on an enemy piece which is unveiled by moving one of your pieces. The power of discoveries is that two targets can be attacked simultaneously. If combined with a check they can be lethal.

{{Chess diagram small|=
| tleft 
| 
|= 
 8 |  |kd|rd|  |  |  |nd|rd|=
 7 |pd|pd|  |  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |pl|  |  |  |nl|  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| If white moves his knight...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |  |kd|rd|  |  |  |nd|rd|=
 7 |pd|pd|  |nl|  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |pl|  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
|...it's a discovered check...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |kd|  |rd|  |  |  |nd|rd|=
 7 |pd|pd|  |nl|  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |pl|  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| ...and after he moves...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |kd|  |rd|  |  |  |nd|rd|=
 7 |pd|pd|  |  |  |pd|pd|pd|=
 6 |  |nl|  |  |  |  |  |  |=
 5 |pl|  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| ...a sacrifice...
}}

{{Chess diagram small|=
| 
| 
|= 
 8 |kd|  |rd|  |  |  |nd|rd|=
 7 |  |pd|  |  |  |pd|pd|pd|=
 6 |  |pl|  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |bl|  |  |=
 3 |  |  |  |  |  |  |pl|  |=
 2 |  |pl|pl|  |  |pl|  |pl|=
 1 |rl|  |  |  |  |rl|kl|  |=
    a  b  c  d  e  f  g  h  
| ...and after 3...axb6 4.axb6, it's another discovered check and mate!
}}
{{-}}

A simpler example of a discovered checkmate is shown below.
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |rl|  |  |  |  |  |=
 2 |  |ql|  |pl|kd|  |  |kl|=
 1 |rl|  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| This would normally be a checkmate, but White's pawn is in the way.  So White plays 1.d4...
}}
{{Chess diagram small|=
|
| 
|= 
 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |pl|  |  |  |  |=
 |  |  |rl|  |  |  |  |  |=
 2 |  |ql|  |  |kd|  |  |kl|=
 1 |rl|  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| ...discovered check and mate!
}}

{{-}}
===Double check===

If some of you have noticed, White's 1.Nd7+ (in the first example) was a ''double check'', a type of discovered check where the piece moving also gives check. Such checks are very powerful, since the king is forced to move (both checks cannot be blocked at the same time, and both pieces cannot be captured at the same time.). They are also often lethal, as in the above game.
{{-}}


== Removing the defender ==
By first capturing, threatening, or pinning a piece that guards another, you should be able to capture the other piece for free. You can also remove the defender of a position. By using tactics you might be able to force a checkmate!

== Sacrifices ==
A sacrifice is an exchange of a piece for a non material advantage:
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |qd|  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |nd|=
 2 |pl|pl|pl|  |  |  |pl|pl|=
 1 |rl|  |  |  |  |rl|  |kl|=
    a  b  c  d  e  f  g  h  
| After 1. Kh1
}}
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |nd|=
 2 |pl|pl|pl|  |  |  |pl|pl|=
 1 |rl|  |  |  |  |rl|qd|kl|=
    a  b  c  d  e  f  g  h  
| After 1. ... Qg1+! sacrificing the queen.
}}
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |nd|=
 2 |pl|pl|pl|  |  |  |pl|pl|=
 1 |rl|  |  |  |  |  |rl|kl|=
    a  b  c  d  e  f  g  h  
| After 2. Rxg1
}}
{{Chess diagram small|=
| tleft
| 
|= 
 8 |  |  |  |  |  |kd|  |  |=
 7 |pd|pd|pd|  |  |pd|pd|pd|=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |  |  |  |=
 3 |  |  |  |  |  |  |  |  |=
 2 |pl|pl|pl|  |  |nd|pl|pl|=
 1 |rl|  |  |  |  |  |rl|kl|=
    a  b  c  d  e  f  g  h  
| After 2. ... Nf2#
}}
{{-}}
In the first diagram, White just moved '''1. Kh1''' to get out of check.

Black sacrifices his queen with '''1...Qg1+''' for a winning positional advantage - White is in check and can not take with his king because the knight guards the queen.

'''2. Rxg1''' - forced - this smothers the king - he cannot move because his own pieces are on every square he could go to - any check on an unguarded square now is mate.

'''2...Nf2#''' Checkmate. This queen's sacrifice was an example of a [[Wikipedia:Smothered mate|smothered mate]] (in which a knight delivers a checkmate that is caused by the king's inability to move anywhere).  In fact, this is a special kind of smothered mate, called ''Philidor's Legacy.''

{{-}}

== Zwischenzugs ==
{{Chess diagram small|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |kd|  |  |=
 3 |  |pd|  |  |  |pd|rl|  |=
 2 |bd|kl|  |  |  |  |  |pl|=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| A demonstration of Zwischenzug.
}}
{{Chess diagram small|=
| tright
| 
|= 
 8 |  |  |  |  |  |  |rl|  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |  |  |  |  |  |  |=
 4 |  |  |  |  |  |kd|  |  |=
 3 |  |pd|  |  |  |  |  |  |=
 2 |  |kl|  |  |  |pd|  |pl|=
 1 |  |bd|  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h  
| After 2... Bb1! (white resigned)
}}

A ''[[wikipedia:Zwischenzug|Zwischenzug]]'' (pronounced &quot;TSVISH-en-tsoog&quot;,) or &quot;in-between move,&quot; is one that is made unexpectedly in the midst of a sequence of moves. But not just any series of moves, one in which the player falling for the Zwischenzug feels the sequence is forced, while his opponent demonstrates to him that it certainly isn't! Most commonly these fall in between trades where a recapture seems to be the only proper means of play.

Such in-between moves often have a surprising and pleasing effect of increasing the potency of a combination beyond the opponent's expectations.

In Borisenkov-Mezenev (shown in the diagram to the right), black played '''1... f2''', threatening to queen, which White countered with '''2. Rg8''', intending '''3. Rf8+''', and '''4. Rxf1''', skewering the newly promoted queen. But White resigned after the Zwischenzug '''2... Bb1!''' which allows Black to queen ('''3. Kxb1 f1=Q+''' or '''3. Rf8+ Bf5''').{{-}}

&lt;noinclude&gt;{{Chess/Navigation|Notating The Game|Tactics Exercises}}&lt;/noinclude&gt;

[[it:Scacchi/Tattica]]</text>
      <sha1>be1ivien8zzihe9yoctb8ke0qfhdgm4</sha1>
    </revision>
  </page>
  <page>
    <title>Chess/Playing The Game</title>
    <ns>0</ns>
    <id>26908</id>
    <revision>
      <id>4638052</id>
      <parentid>4595961</parentid>
      <timestamp>2026-05-30T13:25:12Z</timestamp>
      <contributor>
        <username>User97104</username>
        <id>3562800</id>
      </contributor>
      <origin>4638052</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="33622" sha1="8zilaeb52jfg8d3pmhbbq08eqiuzrpj" xml:space="preserve">Chess, unlike many other games, does not involve direct chance such as the roll of a dice or which card is drawn. The outcome completely depends on the decisions of the players. However, because of its vast complexity, the far-reaching consequences of some decisions are practically unforeseeable.

One player (&quot;White&quot;) has the white pieces while the other (&quot;Black&quot;) has the black pieces. Sometimes the colors are not black and white (for instance, light and dark, or yellow and blue), but they generally contrast each other. In friendly games the choice of colors can be made by any method, such as flipping a coin. If there is no coin at hand, another typical way of deciding would be to conceal a black piece in one hand and a white piece in the other and ask one's opponent to select a hand. The colored piece selected will be the opponent's color. In competitive games the players are assigned their colors.

=== Order of play ===
Once all the pieces have been arranged, White (or the lighter color) makes the first move. White ''always'' makes the first move; this is important for notation, and any chess player will insist upon it. After White has made the move, Black will then make a move. The gameplay will continue in alternating fashion, White making a move, followed by Black.

===General movement rules===
*A move consists of moving a single piece, in accordance with its rules of movement, to a square that is unoccupied or occupied by an enemy piece. A player may never move a piece onto a square already occupied by another of his or her own pieces.
**''Exception'': There is a special move called &quot;castling&quot; where two pieces, a rook and the king, are moved; see below.
*If a piece is moved onto a square occupied by an enemy piece, the latter piece is removed from play and the first piece replaces it. The removed piece is said to have been ''captured'' or ''taken''. 
**''Exception'': In ''en passant'' capture, a pawn moves to an unoccupied square but still captures another pawn &quot;in passing&quot;; see below.
*Most pieces move and capture opponent pieces in the same way.
**''Exception'': The pawn has separate rules for moving and capturing opponent pieces.
*Most pieces may only make a move to a non-adjacent square if all the intervening squares are vacant (pieces may not 'jump over' other pieces).
**''Exception'': The knight can move to any suitable final square regardless of occupants of other squares.
**''Exception'': In castling, a king and a rook jump over each other.
*No player may make a move that leaves their own king &quot;in check&quot; (see below).
*The player must ''always'' make a move when it is his or her turn. In other words, he or she cannot choose not to make a move. If no legal move is possible the game ends in a draw (see below), except when the king is in check - this is called ''checkmate'', and is usually how the opposing player wins.

Also, when a pawn moves to a square at the opposite end of the board, it becomes a different piece (pawn promotion); all of these exceptions are covered below in more detail.

==The board==
Traditionally, the game is played on a board of 64 alternating black and white squares turned with a white square to each player's near right-hand corner. &quot;White on right&quot; is a helpful saying to remember this convention. The light and dark squares on the chessboard and the light and dark chess pieces are traditionally referred to as &quot;white&quot; and &quot;black&quot; respectively, although in modern chess sets almost any colors may be used (as long as they are not the ''same'' colors.) 

The horizontal rows of squares are called '''ranks''' and are numbered 1-8; the vertical columns of squares are called '''files''' and given the letters a-h. This way any single square can be easily identified by its rank and file, making it possible to record games by writing down the starting and ending position of the piece that moves every turn.

A chess diagram is always printed from the White player's perspective. 

{{Chess diagram|=
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    a  b  c  d  e  f  g  h
|Chess board}}
{{-}}

==The pieces==
The movement of the individual pieces is described below. In all the board diagrams shown, the squares to which the piece in question can move are indicated with x's.


===Pawn===
[[Image:Chess pll45.svg|left]]
Pawns can move one square straight forward, or optionally and on their first move only, two squares straight forward. The pawn is the only piece that can't move backwards. This piece is worth 1 point.


{{Chess diagram|=
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |pd|=
6 |  |  |  |  |  |pd|  |xx|=
5 |  |  |  |  |  |xx|  |xx|=
4 |xx|  |xx|  |  |  |  |  |=
3 |xx|  |pl|  |  |  |  |  |=
2 |pl|  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Pawn move}}
{{-}}

==== Capturing Pieces ====
The pawn can move one square diagonally forward to capture a piece, but cannot capture a piece by moving straight forward. For this reason, two opposing pawns on a file may become blocked by each other. In the first diagram below, legal capture moves for the white pawn are indicated with black circles.

To capture means to displace a piece, meaning, to replace the captured with the capturer.

In the second diagram below the White pawn is prevented from moving forwards by the Black pawn immediately in front of it (in the d-file) which it cannot capture, but it can capture the adjacent Black pawn by moving diagonally forward as seen in the last diagram.

The pawn is the only piece that moves and captures differently.

{{Chess diagram|=
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7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |xo|  |xo|  |  |  |=
4 |  |  |  |pl|  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Pawn capture}}

{{Chess diagram|=
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6 |  |  |  |  |  |  |  |  |=
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3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Position before capture}}

{{Chess diagram|=
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6 |  |  |  |  |  |  |  |  |=
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2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Position after capture}}
{{-}}

===Knight===
[[Image:Chess nll45.svg|left]]
The knight has a unique move that allows it to flank the other pieces. The easiest way to describe this move is that he moves to a square of the opposite color from the one he's on that is exactly two squares away from him. This piece is worth 3 points.

{{Chess diagram|=
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 7 |  |  |  |xx|  |xx|  |  |=
 6 |  |  |xx|  |  |  |xx|  |=
 5 |  |  |  |  |nl|  |  |  |=
 4 |  |  |xx|  |  |  |xx|  |=
 3 |  |  |  |xx|  |xx|  |  |=
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 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h
|Knight move, when starting from a dark colored square he moves to a light square two away}}

{{Chess diagram|=
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 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |xx|  |  |  |  |=
 6 |  |  |  |  |  |  |  |  |=
 5 |  |  |xx|  |  |  |  |  |=
 4 |  |  |  |  |  |  |xo|  |=
 3 |  |xx|  |  |xo|  |  |  |=
 2 |  |  |xo|  |  |  |  |  |=
 1 |nl|  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h
|The knight moves along straight lines like all other pieces, two such lines marked here}}
{{-}}

Another way to visualize the move is this: of the 16 squares that are 2 away from a knight he reaches the 8 that are of the opposite color of the square he's on and the other 8 can be reached by a queen where she on his square.

{{-}}
{{Chess diagram|=
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 8 |xo|  |  |  |xo|  |  |  |=
 7 |  |xo|  |  |xo|  |  |xo|=
 6 |  |  |xo|xx|xo|xx|xo|  |=
 5 |  |  |xx|xo|xo|xo|xx|  |=
 4 |xo|xo|xo|xo|nl|xo|xo|xo|=
 3 |  |  |xx|xo|xo|xo|xx|  |=
 2 |  |  |xo|xx|xo|xx|xo|  |=
 1 |  |xo|  |  |xo|  |  |xo|=
    a  b  c  d  e  f  g  h
|Knight move compared to the queen move}}
{{Chess diagram|=
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 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |xo|xx|xo|xx|xo|  |=
 6 |  |  |xx|  |  |  |xx|  |=
 5 |  |  |xo|  |nl|  |xo|  |=
 4 |  |  |xx|  |  |  |xx|  |=
 3 |  |  |xo|xx|xo|xx|xo|  |=
 2 |  |  |  |  |  |  |  |  |=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h
|Knight move compared to the queen again. Of the squares 2 away, the knight has 8 marked X and the queen could reach the other 8}}
{{-}}

It is important to remember that the knight moves in a straight line like all the other pieces, it's just along lines of movement no other piece uses. Consider this comparison: A queen moves ordinally along the ranks and files - North, East, South, and West on a compass rose; and she also moves diagonally - Northeast, Southeast, Southwest, and Northwest on a compass rose.  The knight moves along the wind lines of the rose - North by Northeast, East by Northeast, and so on. These lines pass between the squares adjacent to the knight and pass through the middle of the squares that are one square away from the knight.  The knight moves to the first square its line of movement passes through the middle of, so like the King the knight has eight squares he can move to when he is near the center of the board. Since the knight is moving between the squares adjacent to him pieces do not hinder his move whether they are allied or enemy.

==== Capturing Pieces ====
The knight captures any opponent's piece that occupies a square it can move to by removing that piece from the board and placing the knight in that square.  An important consequence of the knight's use of wind lines is that it can attack (that is, threaten to capture) pieces without being threatened in return so long as they are not also knights.  The reverse is also true - pieces attacking a knight are never threatened by it.


{{Chess diagram|=
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 8 |  |  |  |  |  |  |  |  |=
 7 |  |  |  |  |  |  |  |  |=
 6 |  |  |  |pd|  |kd|  |  |=
 5 |  |  |rd|  |  |  |pd|  |=
 4 |  |  |  |  |nl|  |  |  |=
 3 |  |  |bd|  |  |  |rd|  |=
 2 |  |  |  |qd|  |pd|  |  |=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h
|Knight capture}}
{{Chess diagram|=
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 6 |  |  |  |qd|  |qd|  |  |=
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 4 |  |  |  |ql|nl|ql|  |  |=
 3 |  |  |qd|ql|ql|ql|qd|  |=
 2 |  |  |  |qd|  |qd|  |  |=
 1 |  |  |  |  |  |  |  |  |=
    a  b  c  d  e  f  g  h
|Knight capture - Jumping over pieces}}
{{-}}

===Bishop===
[[Image:Chess_bll44.png|left]]
The bishop can move any number of squares diagonally. The bishop may not jump over any piece of either color. 

The bishop is restricted to the color of squares on which it began the game. Each player starts out with one light-square bishop that moves on the light colored squares, and one dark-square bishop that moves on the dark colored squares. In the diagram below, the bishop stands on a light square and can only move to other light squares. This piece worth 3 points.

{{-}}
{{Chess diagram|=
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8 |xx|  |  |  |  |  |  |  |=
7 |  |xx|  |  |  |  |  |xx|=
6 |  |  |xx|  |  |  |xx|  |=
5 |  |  |  |xx|  |xx|  |  |=
4 |  |  |  |  |bl|  |  |  |=
3 |  |  |  |xx|  |xx|  |  |=
2 |  |  |xx|  |  |  |xx|  |=
1 |  |xx|  |  |  |  |  |xx|=
   a  b  c  d  e  f  g  h
|Bishop move}}

{{Chess diagram|=
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8 |  |  |  |  |  |  |  |  |=
7 |  |qd|  |  |  |  |  |  |=
6 |  |  |xx|  |  |  |  |  |=
5 |  |  |  |xx|  |qd|  |  |=
4 |  |  |  |  |bl|  |  |  |=
3 |  |  |  |xx|  |xx|  |  |=
2 |  |  |qd|  |  |  |xx|  |=
1 |  |  |  |  |  |  |  |qd|=
   a  b  c  d  e  f  g  h
|Bishop capture}}
{{-}}

==== Capturing Pieces ====
The bishop captures any opponent's piece that it encounters during the movement described above, and then occupies the captured piece's square. In the diagram above the bishop may take any of the black queens. Notice that bishop may not move (jump) to squares behind or capture pieces hiding behind the queens.

===Rook===
[[Image:Chess rll45.svg|left]]
The rook can be moved any number of squares horizontally or vertically, but not diagonally. Like the bishop, the rook cannot jump over any pieces, except for &quot;castling&quot;. This piece is worth 5 points.  

{{-}}
{{Chess diagram|=
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8 |  |  |  |  |xx|  |  |  |=
7 |  |  |  |  |xx|  |  |  |=
6 |  |  |  |  |xx|  |  |  |=
5 |  |  |  |  |xx|  |  |  |=
4 |xx|xx|xx|xx|rl|xx|xx|xx|=
3 |  |  |  |  |xx|  |  |  |=
2 |  |  |  |  |xx|  |  |  |=
1 |  |  |  |  |xx|  |  |  |=
   a  b  c  d  e  f  g  h
|Rook move}}

{{Chess diagram|=
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8 |  |  |  |  |qd|  |  |  |=
7 |  |  |  |  |xx|  |  |  |=
6 |  |  |  |  |xx|  |  |  |=
5 |  |  |  |  |xx|  |  |  |=
4 |  |qd|xx|xx|rl|qd|  |  |=
3 |  |  |  |  |xx|  |  |  |=
2 |  |  |  |  |qd|  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Rook capture}}
{{-}}

==== Capturing Pieces ====
If the rook attempts to occupy a space already occupied by an opponent's piece, it captures the piece. In the diagram above the rook may take any of the black queens.

===Queen===
[[Image:Chess qll45.svg|left]]
The queen is the most powerful piece, being able to move any number of squares in any lateral or diagonal direction. It is best described as the combination of a rook's and bishop's movement capabilities.This piece is worth 9 points.

{{-}}
{{Chess diagram|=
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8 |xx|  |  |  |xx|  |  |  |=
7 |  |xx|  |  |xx|  |  |xx|=
6 |  |  |xx|  |xx|  |xx|  |=
5 |  |  |  |xx|xx|xx|  |  |=
4 |xx|xx|xx|xx|ql|xx|xx|xx|=
3 |  |  |  |xx|xx|xx|  |  |=
2 |  |  |xx|  |xx|  |xx|  |=
1 |  |xx|  |  |xx|  |  |xx|=
   a  b  c  d  e  f  g  h
|Queen move}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |qd|  |  |  |=
7 |  |qd|  |  |xx|  |  |  |=
6 |  |  |xx|  |xx|  |qd|  |=
5 |  |  |  |xx|xx|xx|  |  |=
4 |  |  |qd|xx|ql|xx|xx|qd|=
3 |  |  |  |xx|xx|qd|  |  |=
2 |  |  |qd|  |qd|  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Queen capture}}
{{-}}

==== Capturing Pieces ====

The queen captures any opponent's piece that it encounters during the movement described above, and then occupies the captured piece's square. In the diagram above the queen may take any of the black queens.

===King===
[[Image:Chess_kll44.png|left]]
The king can move one square at a time in any direction, as long as doing so does not place himself in check (see below). This piece is worth ∞ points, because if you lose the king, you lose the game. (Note that the king would be 3.5 points as an attacker/defender.)
{{-}}
{{Chess diagram|=
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |xx|xx|xx|  |  |=
4 |  |  |  |xx|kl|xx|  |  |=
3 |  |  |  |xx|xx|xx|  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|King move}}

{{Chess diagram|=
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |nd|  |nd|  |  |=
4 |  |  |  |  |kl|  |  |  |=
3 |  |  |  |nd|  |nd|  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|King capture}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |nd|  |  |  |=
4 |  |  |  |nd|kl|nd|  |  |=
3 |  |  |  |  |nd|  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|King capture}}
{{-}}

==== Capturing Pieces ====
The king may capture any opponent's piece adjacent to it, as long as doing so does not place himself in check (see below). In the diagrams above the king may take any of the black knights.

==== Check ====

The king is the most important piece belonging to each player, though not the most powerful. If a player moves a piece such that he threatens to capture his opponent's king in the next move, that king is said to be in ''check''. 

If a player's king is in check, he must immediately remove the check by moving the king, blocking the check with another piece, or capturing the checking piece. 

In the diagram below black's rook has checked the white king. White may avoid the check by moving the king one step sideways, blocking the check by putting the rook between the attacking black rook and the white king, or capture the black rook using the white bishop. Other normally legal moves, like moving one of the pawns, are illegal in this position since they will not remove the check.   

In a friendly game, a check is usually announced by saying ''check'' after the move is completed.

{{Chess diagram|=
|tleft
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8 |  |  |  |  |rl|  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |bl|  |  |  |  |=
3 |  |  |  |  |  |  |  |pl|=
2 |  |  |  |  |  |pl|pl|xx|=
1 |rd|  |  |  |xx|  |kl|  |=
   a  b  c  d  e  f  g  h
|White king in check, the X marks the moves white can make. }}
{{-}}

==== Checkmate ====

If the king is placed in check and can not escape, it is said to have been ''checkmated'' (or &quot;''mated''&quot; for short). The first player to checkmate the opponent's king wins the game. Note that the king is never actually captured, since it is obliged to move out of check whenever possible (and the game ends when it is impossible). In the diagram below white has no options to escape the check from black's rook, he is therefore checkmated.

{{Chess diagram|=
|tleft
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |pl|pl|pl|=
1 |rd|  |  |  |  |  |kl|  |=
   a  b  c  d  e  f  g  h
|White king in checkmate}}
{{-}}

====Special Restrictions — Avoiding &quot;Self-check&quot; ====

Players may not make any move which allows their king to be captured in the next move, i.e. places their own king in check. Thus two kings may never occupy adjacent squares, since they would have put themselves in check by moving there.  This is called the &quot;opposition&quot; and is indispensable when, for instance, you are using a queen or rook to checkmate a king.

The white king in the following diagram cannot move upwards or to the left since it would be in check from the bishop, or diagonally downwards which would leave it adjacent to the black king. Also, as no piece is threatening it if it fails to move, the king is not currently in check. Similarly, the black king cannot move diagonally upwards as that would put it next to the White king.

{{Chess diagram|=
|tleft
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|= 
8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |bd|  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |xx|  |xx|  |  |=
4 |  |  |  |  |kl|xx|  |  |=
3 |  |  |  |xx|xx|  |xo|xo|=
2 |  |  |  |  |  |xo|kd|xo|=
1 |  |  |  |  |  |xo|xo|xo|=
   a  b  c  d  e  f  g  h
|King may not move to an attacked square}}
{{-}}

The diagram below shows a position where the white bishop's movement is restricted by the same rule; the bishop can not be moved since the move would let black capture the white king in his next move. The white king on the other hand may move to any of the adjacent squares. 
{{Chess diagram|=
|tleft
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|= 
8 |  |  |  |  |rd|  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |bl|  |  |  |=
1 |  |  |  |  |kl|  |  |  |=
   a  b  c  d  e  f  g  h
|Bishop may not move}}
{{-}}

==Special Moves==
====Pawn Promotion====
If a pawn makes it to one of the eight squares along the far edge of the board from their initial position, the pawn is &quot;promoted&quot;. Upon reaching the far rank the player exchanges the pawn with either a queen, a rook, a bishop, or a knight. The player's move ends when the new piece occupies the promoted square.  

The new piece need not be a previously captured piece. Thus a player can have more than one queen, and more than two rooks, bishops or knights on the board. The player may never have more than one king, since the pawn can not be promoted to a king. In theory it is possible to get up to nine queens, or ten rooks, bishops or knights since there are eight pawns to promote. In practice however the pawn is usually promoted to a queen, since it is the most powerful piece, and it is rare for a player to have more than two queens on the board. If an extra queen is not at hand, an upside-down rook is usually used as a substitute. Sometimes, a player might want a different piece like a knight, if the queen's movements would not be helpful. 

{{Chess diagram|=
|tleft
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8 |  |  |  |  |xx|  |  |  |=
7 |  |  |  |  |pl|  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Pawn promotion - before move}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |ql|  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
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3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Pawn promotion - after move}}
{{-}}

====Castling====

[[Image:SCD_castle_kingside.png|frame|right|Kingside castling: O-O]]
[[Image:SCD_castle_queenside.png|frame|right|Queenside castling: O-O-O]]

Castling is a move involving the king and either of the rooks. Castling performed with the king's rook is called kingside castling, performed with the queen's rook is called queenside castling. A castling is typically done to move the king to a protective 'castle' surrounded by three pawns and a rook. 

Subject to restrictions detailed below, a player may move his king two squares towards the rook, and subsequently, ''on the same turn'', move the rook adjacent to but on the opposite side of the king, (onto the square over which the king has just passed).

The restrictions specific to castling are:

#Neither the king nor the participating rook may have moved previously in the game
#The king must not be in check at the start of the move, though it may have been in check previously in the game.
#The square over which the king passes must not be under attack ('in check') from an enemy piece.  (This would expose the king to a &quot;check&quot; in passing.)  The rook(s) may be under attack, or the queens' rooks may pass through an attacked queens' knight square.
#The king must not be in check at the end of the move. (Also applies to all normal moves.)
#The squares between the king and rook must be vacant.
#The king can also only castle horizontally. 

The diagrams below show examples of positions where castling is not legal.

{{Chess diagram|=
|tleft
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8 |  |  |  |  |rd|  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |pl|pl|pl|=
1 |  |  |  |  |kl|  |  |rl|=
   a  b  c  d  e  f  g  h
|King in check before move}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |bd|  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |pl|pl|pl|=
1 |  |  |  |  |kl|xx|  |rl|=
   a  b  c  d  e  f  g  h
|King passing attacked square}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |pl|nd|=
2 |  |  |  |  |  |pl|  |pl|=
1 |  |  |  |  |kl|  |xx|rl|=
   a  b  c  d  e  f  g  h
|King in check after move}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |pl|pl|pl|=
1 |  |  |  |  |kl|nd|nd|rl|=
   a  b  c  d  e  f  g  h
|Square(s) occupied}}
{{-}}

Note that the king must be the first piece moved and it must be moved two squares before it is released. If the rook is touched or moved first, then the king must stay where it is. This rule mainly applies in &quot;strict rules of chess&quot; where if a piece is touched, it must be moved. Touching the rook first indicates a rook only move, while releasing the king after one square indicates a king only move. Moving the king two squares is not a legal move by itself, and indicates a castling move.

{{-}}

====''En passant'' capture====
''En passant'' is French for &quot;in passing&quot;; you capture an enemy pawn as it is passing you.

When a pawn on its first move advances two squares onto the same rank as an opposing pawn on an adjacent file, this opposing pawn may, on that player's next move only, capture the advancing pawn as though it had only moved one square (provided the move is otherwise legal).  The pawn's ability to move two squares on their first move was a relatively late addition to the game of chess.  En Passant was introduced to prevent abuses of the new rule.

In the following example, the Black pawn advances two squares, and is captured by the White pawn which moves diagonally forwards and to the right (as if the Black pawn had moved only one square forward and been there). This move is only allowed on the turn in which the option is presented.

{{Chess diagram|=
|tleft
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8 |  |  |  |  |kd|  |  |  |=
7 |  |  |  |  |  |pd|  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |pl|xx|  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |kl|  |  |  |=
   a  b  c  d  e  f  g  h
|En passant black is about to move the pawn}}

{{Chess diagram|=
|tleft
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8 |  |  |  |  |kd|  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |xx|  |  |=
5 |  |  |  |  |pl|pd|  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |kl|  |  |  |=
   a  b  c  d  e  f  g  h
|En passant before capture}}

{{Chess diagram|=
|tleft
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|=
8 |  |  |  |  |kd|  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |pl|  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |kl|  |  |  |=
   a  b  c  d  e  f  g  h
|En passant after capture}}
{{-}}

==Initial position==
{{Chess diagram|=
|tleft
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|=
8 |rd|nd|bd|qd|kd|bd|nd|rd|=
7 |pd|pd|pd|pd|pd|pd|pd|pd|=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |pl|pl|pl|pl|pl|pl|pl|pl|=
1 |rl|nl|bl|ql|kl|bl|nl|rl|=
   a  b  c  d  e  f  g  h
|Initial position}}

In the initial position each side has eight pawns, two rooks, two knights, two bishops, a queen and a king arranged as shown in the diagram below. Note that the only pieces on either side which can initially move are the pawns and knights.

Beginners often set up the board incorrectly; it is a complex position to remember. The following mnemonics may help you remember where the pieces go.

*'''White on the Right''' It is important that the bottom-right-hand square is light-colored.
*'''Knights live in castles''' One knight is placed next to each rook (rooks look like the towers of a castle, and are sometimes [incorrectly] even ''called'' castles.)
*'''Queens on their color''' OR '''The dress matches the shoes''' The White Queen goes on a White Square, Black Queen goes on a Black Square
*'''Bishops are advisers to the Royalty''' Bishops surround the King and Queen.
*'''White King on the Right''' From the White Player's perspective, both Kings are on the right, and from the Black Player's perspective, the Kings are on the left.

If the ranks and files are printed on the board, the following rules may be helpful:
* White's pieces should be placed on the 1st and 2nd rank, and Black's pieces should be placed on the 7th and 8th rank. 
* The Queens should be positioned on the d-file (''D for Dame''). 
{{-}}

==Conclusion of the game==
Play continues to alternate between White and Black until one of the following outcomes is reached:

===Winning and losing===
*One player's king is checkmated. The game is lost by that player.
*In a competitive game, one player runs out of time. The game is lost by that player (with two important exceptions, see draws below).
*One player resigns, which is equivalent to quitting the game. A player may resign on either his or his opponent's turn. Resignation is often symbolized by the resigning player tipping over his king.

===Draws===
*The player to move has been ''stalemated'', meaning that he has no legal move and is not in check.
*Both players agree to draw the game. Either player may offer a draw to the opponent upon completion of his move. If the offer is accepted, the game is drawn. If the offer is rejected, the game will continue.
*A player can claim a draw with if any of the following are true:
**If the exact same position occurs or will occur three times with the same player to move, the player on move may claim a draw by threefold repetition. Note that the same set of moves must be available for each player (including castling and ''en passant'').
**No pawn has moved and no piece was captured in the last 50 moves.
**The opponent does not have sufficient material to checkmate him by any legal sequence of moves.
**Both players have run out of time in a competitive game.
**One player has run out of time in a competitive game, but the opponent does not have sufficient pieces to checkmate him by any legal sequence of moves.

{{Chess diagram|=
|tleft
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|=
8 |  |  |  |  |  |  |  |kd|=
7 |  |  |  |  |  |  |  |  |=
6 |  |pd|  |  |  |kl|ql|  |=
5 |  |pl|  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Black (to move) is stalemated}}

{{Chess diagram|=
|tleft
|
|=
8 |  |  |  |  |  |  |  |ql|=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |pl|pl|=
2 |  |  |  |  |  |rd|kl|  |=
1 |  |  |  |  |kd|xo|xx|xx|=
   a  b  c  d  e  f  g  h
|Threefold repetition}}

{{Chess diagram|=
|tleft
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|=
8 |  |  |  |  |kd|bd|  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |  |  |  |=
4 |  |  |  |  |  |  |  |  |=
3 |  |  |  |  |  |  |  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |kl|bl|nl|  |=
   a  b  c  d  e  f  g  h
|50 move rule}}

{{Chess diagram|=
|tleft
|
|=
8 |  |  |  |  |  |  |  |  |=
7 |  |  |  |  |  |  |  |  |=
6 |  |  |  |  |  |  |  |  |=
5 |  |  |  |  |  |kd|  |  |=
4 |  |  |  |  |  |nl|  |  |=
3 |  |  |  |  |  |kl|  |  |=
2 |  |  |  |  |  |  |  |  |=
1 |  |  |  |  |  |  |  |  |=
   a  b  c  d  e  f  g  h
|Insufficient mating material}}

{{-}}

The diagrams above shows example of some of the draw rules:
* Stalemate: Since black can not move the pawn or the king without placing himself in self-check, the game results in a stalemate.
* Threefold repetition: Black has checked white, and can continue to check white forever by moving the rook back and forth between f2 and f1. The same position will thus occur again and again. 
* 50 move rule: White has material advantage and enough material to mate, but if black plays correctly black will use his bishop to avoid being mated forever.   
* Insufficient mating material: White has material advantage, but not enough material to mate.

==Chess Etiquette==
Generally, chess games at tournaments are conducted under the following rules:
*'''Touch-move rule''' - If a player touches his own piece, he must move it, and if a player touches an opponents piece, he must capture it (unless the capture is not possible).  If he releases a piece on a square, the move is completed and can't be taken back. If you need to center a piece on its square, it is traditional to say ''j'adoube'' (I adjust).
*'''Be silent when your opponent is on the move''' - You can only adjust pieces, offer a draw, or claim a draw when it is their turn to move.

A friendly game may be played in any way that is mutually agreeable.  Generally it is considerate to avoid distracting your opponent.

==Glossary==
&lt;!--It's just a coincidence that these are in alphabetical order. If you would like to add terms, please put them in such an order so that it would make sense only by reading straight down with more basic series of terms at the top. Terms for which it is unnecessary to read other definitions, please place them at the bottom in alphabetical order.--&gt;
*'''Capture''' - To move one's piece into the same square as one of one's opponent's pieces.  The opponent's piece is removed from the board.
*'''Check''' - The king is 'in check' when it is being attacked by an enemy piece.
*'''Checkmate''' - The player whose turn it is can make no legal move to get his king out of check.
*'''Stalemate''' - The player whose turn it is can make no legal move, but the king is not in check.
&lt;noinclude&gt;{{Chess/Navigation|Arranging The Board|Notating The Game}}&lt;/noinclude&gt;

[[es:Manual de Ajedrez/Iniciación del juego]]
[[it:Scacchi/Le regole del gioco]]
[[ms:Catur/Bermain]]
[[nl:Schaken/Spelregels]]
[[pt:Xadrez/Regras]]
[[ro:Şah/Reguli de bază]]
[[zh:国际象棋/规则]]</text>
      <sha1>8zilaeb52jfg8d3pmhbbq08eqiuzrpj</sha1>
    </revision>
  </page>
  <page>
    <title>Arabic/Arabic numbers</title>
    <ns>0</ns>
    <id>27541</id>
    <revision>
      <id>4638081</id>
      <parentid>4637407</parentid>
      <timestamp>2026-05-30T15:38:28Z</timestamp>
      <contributor>
        <username>ShakespeareFan00</username>
        <id>46022</id>
      </contributor>
      <minor />
      <origin>4638081</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8911" sha1="shb4kg5t39o7mjs14go23dyv5bsviv3" xml:space="preserve">== The Arabic Numbers ==
Arabic Numerals (how the numbers look) consist of two types: the numerals used in most of the world, which originate from Arabic, and those used in the Arabic language today. Interestingly, while the Arabic language is written from right to left, Arabic Numerals are written from left to right, for example:

“I am 42 years old today!” is translated into Arabic as “!اليوم عندي ٤٢ سنة.”

A pattern you might notice is that words containing a ١ or ٢ have word-forms that differ from any patterns
== Comparison of Arabic numerals ==
Sometimes, the numbers themselves are written in different forms, depending on the country.
{|class=&quot;wikitable nounderlines&quot; style=&quot;text-align:center;line-height:normal&quot;
|-
|Western Arabic 
|0 (number)|0 || 1 (number)|1 || 2 (number)|2 || 3 (number)|3 || 4 (number)|4 || 5 (number)|5 || 6 (number)|6 || 7 (number)|7 || 8 (number)|8 || 9 (number)|9 || 10 (number)|10
|-
|Eastern Arabic numerals{{efn|Arabic (Unicode block) U+0660 through U+0669}}
| {{lang|ar|٠}} || {{lang|ar|١}} || {{lang|ar|٢}} || {{lang|ar|٣}} || {{lang|ar|٤}} || {{lang|ar|٥}} || {{lang|ar|٦}} || {{lang|ar|٧}} || {{lang|ar|٨}} || {{lang|ar|٩}} || {{lang|ar|١٠}}
|- 
|Persian{{efn|Arabic (Unicode block) U+06F0 through U+06F9; The numbers 4, 5, and 6 are different from Eastern Arabic}}
| {{lang|fa|۰}} || {{lang|fa|۱}} || {{lang|fa|۲}} || {{lang|fa|۳}} || {{lang|fa|۴}} || ''{{lang|fa|۵}}''|| {{lang|fa|۶}} || {{lang|fa|۷}} || {{lang|fa|۸}} || {{lang|fa|۹}} || {{lang|fa|۱۰}}
|-
|Urdu{{efn|Same Unicode characters as the Persian, but language is set to Urdu. The numerals 4, 6 and 7 are different from Persian; on some devices, this row may appear identical to Persian}}
| {{lang|ur|۰}} || {{lang|ur|۱}} || {{lang|ur|۲}} || {{lang|ur|۳}} || {{lang|ur|۴}} || {{lang|ur|۵}} || {{lang|ur|۶}} || {{lang|ur|۷}} || {{lang|ur|۸}} || {{lang|ur|۹}} || {{lang|ur|۱۰}}
|-
|colspan=12; style=&quot;text-align:left|{{Notelist}}
|}
Though the Persian &amp; Urdu variants are not often found outside of Iran &amp; Pakistan respectively, it is not impossible to run into them. It is also accepted to use western Arabic numerals, especially in typing where they are heavily favored. In this course, we will only use the eastern Arabic numerals in order to help better recognize them

==١٠-٠==
Numbers ١٠-١ have no rhyme or reason, so the best thing to do is memorize them

*&lt;span style=&quot;font-size:small&quot;&gt;'''٠ - صفر'''&lt;/span&gt;
:ṣifr
:''0 - Zero''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١ - واحد'''&lt;/span&gt;
:wāḥid
:''1 - One''

* &lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٢- اثنان'''&lt;/span&gt;
:iṯnān
:''2 - Two''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٣ - ثلاثة'''&lt;/span&gt;
:ṯalāṯa
:''3 - Three''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٤ - أربعة'''&lt;/span&gt;
:ʾarbaʿa
:''4 - Four''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٥ - خمسة'''&lt;/span&gt;
:ḵamsa
:''5 - Five''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٦ - ستة'''&lt;/span&gt;
:sitta
:''6 - Six''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٧ - سبعة'''&lt;/span&gt;
:sabʿa
:''7 - Seven''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٨ - ثمانية'''&lt;/span&gt;
:ṯamāniya
:''8 - Eight''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٩ - تسعة'''&lt;/span&gt;
:tisʿa
:''9 - Nine''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٠ - عشرة'''&lt;/span&gt;
:ʿašara
:''10 - Ten''

==١٩-١١==
Numbers ١٩-١١ are constructed by placing &quot;عشر&quot; after the number, with the exception of ١١ and ١٢ which have special word-forms. Even though these numbers are written with two separate words, they are spoken as if they are one, so ة is pronounced as ت
*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١١ - أحد عشر'''&lt;/span&gt;
:ʾāḥida ʿašr
:''11 - Eleven''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٢ - اثنا عشر'''&lt;/span&gt;
:iṯnā ʿašr
:''12 - Twelve''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٣ - ثلاثة عشر'''&lt;/span&gt;
:ṯalāṯata ʿašr
:''13 - Thirteen''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٤ - أربعة عشر'''&lt;/span&gt;
:ʾarbaʿata ʿašr
:''14 - Fourteen''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٥ - خمسة عشر'''&lt;/span&gt;
:ḵamsata ʿašr
:''15 - Fifteen''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٦ - ستة عشر'''&lt;/span&gt;
:sittata ʿašr
:''16 - Sixteen''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٧ - سبعة عشر'''&lt;/span&gt;
:sabʿata ʿašr
:''17 - Seventeen''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٨ - ثمانية عشر'''&lt;/span&gt;
:ṯamāniyata ʿašr
:''18 - Eighteen''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٩ - تسعة عشر'''&lt;/span&gt;
:tisʿata ʿašr
:''19 - Nineteen''

==٩٠-١٠==
Numbers ending with ٠, also known as tens in English, are formed methodically by replacing ـة- with ـون-; the numbers ١٠ and ٢٠ have special forms

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٠ - عشرة'''&lt;/span&gt;
:ʿašara
:''10 - Ten''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٢٠ - عشرون'''&lt;/span&gt;
:ʾišrūn
:''20 - Twenty''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٣٠ - ثلاثون'''&lt;/span&gt;
:ṯalāṯūn
:''30 - Thirty''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٤٠ - أربعون'''&lt;/span&gt;
:ʾarbaʿūn
:''40 - Forty''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٥٠ - خمسون'''&lt;/span&gt;
:ḵamsūn
:''50 - Fifty''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٦٠ - ستون'''&lt;/span&gt;
:sittūn
:''60 - Sixty''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٧٠ - سبعون'''&lt;/span&gt;
:sabʿūn
:''70 - Seventy''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٨٠ - ثمانون'''&lt;/span&gt;
:ṯamānūn
:''80 - Eighty''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٩٠ - تسعون'''&lt;/span&gt;
:tisʿūn
:''90 - Ninety''

==٩٠٠-١٠٠==
Hundreds also have their own forms, made by replacing ـة- and attaching the word for hundred to the base number, ـمائة-; the numbers ١٠٠ and ٢٠٠ have special forms
*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''١٠٠ - مائة'''&lt;/span&gt;
:māʾa
:''100 - One hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٢٠٠ - مائتين'''&lt;/span&gt;
:māʾatayn
:''200 - Two hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٣٠٠ - ثلاثمائة'''&lt;/span&gt;
:ṯalāṯumāʾa
:''300 - Three hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٤٠٠ - أربعمائة'''&lt;/span&gt;
:ʾarbaʿumāʾa
:''400 - Four hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٥٠٠ - خمسمائة'''&lt;/span&gt;
:ḵamsumāʾa
:''500 - Five hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٦٠٠ - ستمائة'''&lt;/span&gt;
:sittumāʾa
:''600 - Six hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٧٠٠ - سبعمائة'''&lt;/span&gt;
:sabʿumāʾa
:''700 - Seven hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٨٠٠ - ثمانيمائة'''&lt;/span&gt;
:ṯamāniyumāʾa
:''800 - Eight hundred''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٩٠٠ - تسعمائة'''&lt;/span&gt;
:tisʿumāʾa
:''900 - Nine hundred''

==٩٩٩-٠==
Other complex numbers under a thousand can be made placing the two words next to each other and adding the word &quot;and&quot;, &quot;-و&quot;, to the beginning of the next word; keep in mind that when reading numbers, the order is hundreds, ''ones,'' and ''then'' tens. Here are a few examples:

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٢٩٥ - مائتين وخمسة وتسعون'''&lt;/span&gt;
:māʾatayn wa-ḵamsa wa-tisʿūn 
:''295 - Two hundred ninety-five (lit. two-hundred and-five and-ninety)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٣٦٣ - ثلاثمائة وثلاثة وستون'''&lt;/span&gt;
:ṯalāṯumāʾa wa-ṯalāṯa wa-sittūn
:''363 - Three hundred sixty-three (lit. three-hundred and-three and-sixty)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٤٧ - سبعة وأربعون'''&lt;/span&gt;
:sabʿa wa-ʾarbaʿūn
:''47 - Forty-seven (lit. seven and-forty)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٥٠٢ - خمسمائة واثنان'''&lt;/span&gt;
:ḵamsumāʾa wa-iṯnān
:''502 - Five hundred two (lit. five-hundred and-two)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٧٣٠ - سبعمائة وثلاثون'''&lt;/span&gt;
:sabʿumāʾa wa-ṯalāṯūn
:''730 Seven hundred thirty (lit. seven-hundred and-thirty)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٦١ - واحد وستون'''&lt;/span&gt;
:wāḥid wa-sittūn
:''61 - Sixty-one (lit. one and-sixty)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٧١٨ - سبعمائة وثمانية عشر'''&lt;/span&gt;
:sabʿumāʾa wa-ṯamāniyata ʿašr
:''718 - Seven hundred eighteen (lit. seven-hundred and-eighteen)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٩٩٩ - تسعمائة وتسعة وتسعون'''&lt;/span&gt;
:tisʿumāʾa wa-tisʿa wa-tisʿūn
:''999 - Nine hundred ninety-nine (lit. nine-hundred and-nine and-ninety)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٥٥ - خمسة وخمسون'''&lt;/span&gt;
:ḵamsa wa-ḵamsūn
:''55 - Fifty-five (lit. five and-fifty)''

*&lt;span style=&quot;font-size:small&quot;&gt;&gt;'''٦٤٢ - ستمائة واثنان وأربعون'''&lt;/span&gt;
:sittumāʾa wa-iṯnān wa-ʾarbaʿūn
:''642 - Six hundred forty-two (lit. six-hundred and-two and-forty)''
----

&lt;center&gt;Back to [[Arabic]]&lt;/center&gt;

{{BookCat}}</text>
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  <page>
    <title>Chess/Variants</title>
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      <comment>too many spaces</comment>
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      <text bytes="3708" sha1="9j4z4rp30sx5ucm1gyju60g4k8we0g0" xml:space="preserve">[[File:Iacopo da Cessole - De ludo scachorum - 6440860.png|thumb|''De ludo scachorum'', 1493]]
Just as chess has changed over the centuries that it has been played, there are people who try to add new features or ideas to chess even now.  Sometimes this is just a minor rule change to make things interesting, but sometimes there are whole new ideas that are proposed that will modify chess so substantially that it essentially is a whole new game to be played.  The following are some chess variants to be considered if you want to experiment with alternative ideas for playing chess:

Many other chess variants can be [[w:Chess variant|found on Wikipedia]].

* [[/Random Opening Chess/]]
* [[Arimaa]]
* [[/Bug House/]] and [[/Crazy House/]]
* [[/Crazy House/]] (see [[/Bug House/]])
* [[/Chinese Chess/]] or [[/Chinese Chess/|Xiangqi]]
* [[w:Shogi|Shogi]] or [[w:Shogi|Japanese Chess]]

== Fairy chess ==

It is possible to invent a piece that moves according to any defined set of rules. In fairy chess, pieces are typically divided into three categories: leapers, riders, and hoppers.

A '''leaper''' moves directly from one square to another, regardless of the position of any other pieces on the board.  In ordinary chess, the knight is a (2,1) leaper: it moves one square horizontally and two squares vertically, or vice versa. The king is a hybrid (1,0) and (1,1) leaper: it moves to any adjacent square.

Fairy chess has pieces called camels and zebras: these are long-range leapers like knights, except that they leap (3,1) and (3,2) respectively. Note that a (3,1) leaper, like a bishop, always stays on squares of the same color, but a (3,2) leaper, like a knight, always moves to a square of the opposite color.

A '''rider''' is a leaper that can make multiple leaps in the same direction on the same move. In ordinary chess, the bishop is a (1,1) rider: it can move to any square diagonally, no matter how far away it is, as long as there is no other piece blocking the diagonal line.  Similary, the rook is a (1,0) rider. The queen is a hybrid (1,1) and (1,0) rider.

A special fairy chess rider is the nightrider or knightrider. This is a knight that can make consecutive knight-hops in the same direction on the same move.

A '''hopper''' is a piece that moves in a line while hopping over another piece.  There are no hoppers in ordinary chess, but the capture rule in checkers is a kind of hop: the capturing piece jumps over the opponent's piece, which is then removed from the board.  Also, the cannon in [[Chess/Variants/Chinese Chess|Xiangqi]] is a hopper. In fairy chess, a hopper may or may not be restricted to jumping over pieces of one color or the other; and the piece that is jumped over may either stay on the board or be removed, depending on the rules for that particular hopper.

The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece. The piece that is jumped over is not removed from the board; however, a locust is a special type of grasshopper, which captures an enemy piece over which it jumps.

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.

==See Also==
[[Chess Variants]]

&lt;noinclude&gt;{{Chess/Navigation|The Endgame|Tournaments}}&lt;/noinclude&gt;</text>
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      <comment>reorganizing paragraphs</comment>
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      <text bytes="3748" sha1="l3t6w9wb5a3p8oe5zzkbn8tdqc24vu7" xml:space="preserve">[[File:Iacopo da Cessole - De ludo scachorum - 6440860.png|thumb|''De ludo scachorum'', 1493]]
Just as chess has changed over the centuries that it has been played, there are people who try to add new features or ideas to chess even now.  Sometimes this is just a minor rule change to make things interesting, but sometimes there are whole new ideas that are proposed that will modify chess so substantially that it essentially is a whole new game to be played.  The following are some chess variants to be considered if you want to experiment with alternative ideas for playing chess:

Many other chess variants can be [[w:Chess variant|found on Wikipedia]].

* [[/Random Opening Chess/]]
* [[Arimaa]]
* [[/Bug House/]] and [[/Crazy House/]]
* [[/Crazy House/]] (see [[/Bug House/]])
* [[/Chinese Chess/]] or [[/Chinese Chess/|Xiangqi]]
* [[w:Shogi|Shogi]] or [[w:Shogi|Japanese Chess]]

== Fairy chess ==

It is possible to invent a piece that moves according to any defined set of rules. In fairy chess, pieces are typically divided into three categories: leapers, riders, and hoppers.

A '''leaper''' moves directly from one square to another, regardless of the position of any other pieces on the board.  In ordinary chess, the knight is a (2,1) leaper: it moves one square horizontally and two squares vertically, or vice versa. The king is a hybrid (1,0) and (1,1) leaper: it moves to any adjacent square.

Fairy chess has pieces called camels and zebras: these are long-range leapers like knights, except that they leap (3,1) and (3,2) respectively. Note that a (3,1) leaper, like a bishop, always stays on squares of the same color, but a (3,2) leaper, like a knight, always moves to a square of the opposite color.

A '''rider''' is a leaper that can make multiple leaps in the same direction on the same move. In ordinary chess, the bishop is a (1,1) rider: it can move to any square diagonally, no matter how far away it is, as long as there is no other piece blocking the diagonal line.  Similary, the rook is a (1,0) rider. The queen is a hybrid (1,1) and (1,0) rider.

A special fairy chess rider is the nightrider or knightrider. This is a knight that can make consecutive knight-hops in the same direction on the same move.

A '''hopper''' is a piece that moves in a line while hopping over another piece.  There are no hoppers in ordinary chess, but the capture rule in checkers is a kind of hop: the capturing piece jumps over the opponent's piece, which is then removed from the board.  Also, the cannon in [[Chess/Variants/Chinese Chess|Xiangqi]] is a hopper. In fairy chess, a hopper may or may not be restricted to jumping over pieces of one color or the other; and the piece that is jumped over may either stay on the board or be removed, depending on the rules for that particular hopper. The piece that is jumped over is not removed from the board; however, a '''locust''' is a special type of hopper (or sometimes considered its own type), which captures an enemy piece over which it jumps.

The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.

==See Also==
[[Chess Variants]]

&lt;noinclude&gt;{{Chess/Navigation|The Endgame|Tournaments}}&lt;/noinclude&gt;</text>
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  <page>
    <title>Arabic/1stPersonSing</title>
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      <text bytes="1677" sha1="h51oh3gxb5ete9shwsiwdl0pbpql8tf" xml:space="preserve">&lt;span style=&quot;font-size:large&quot;&gt;أنا
&lt;/span&gt;&lt;br&gt;
(ana)&lt;br&gt;
Although the spelling of &lt;span style=&quot;font-size:small&quot;&gt;أنا &lt;/span&gt;('ana) indicates a long&lt;span style=&quot;font-size:small&quot;&gt; ا &lt;/span&gt;(aa) sound. It is always pronounced ('ana), The use of (anaa) has a special usage (particularly found in the reciting of sacred religious texts (i.e. the Quran). So just say ('a-na).
That's the Arabic word for &quot;I&quot;. &quot;I&quot; and&lt;span style=&quot;font-size:small&quot;&gt; أنا &lt;/span&gt;are the singular, first person, nominative pronoun.

&lt;span style=&quot;font-size:medium&quot;&gt;أنا ولد&lt;/span&gt;

'ana walad(un)&lt;br&gt;
'a-na-wa-lad&lt;br&gt;
I am a boy.(I'm a boy)

&lt;span style=&quot;font-size:medium&quot;&gt;
أنا ولد والكتاب كبير&lt;/span&gt;

'ana waladun wa_al_kitaabu kabiir(un)&lt;br&gt;
'a-na-wa-la-dun-wal-ki-taa-bu-ka-biir&lt;br&gt;
I am a boy and the book is big.

&lt;span style=&quot;font-size:medium&quot;&gt;
أنا بنت والكتاب كبير جدا&lt;/span&gt;

'ana bintun wa_al_kitaabu kabiirun jiddan&lt;br&gt;
'a-na-bin-tun-wal-ki-taa-bu-ka-bii-run-jid-dan&lt;br&gt;
I'm a girl and the book is very big.

&lt;span style=&quot;font-size:medium&quot;&gt;
أنا من كندا&lt;/span&gt;

'ana min kanada&lt;br&gt;
'a-na-min-ka-na-da&lt;br&gt;
I'm from Canada.

&lt;span style=&quot;font-size:medium&quot;&gt;
أنا من لبنان
&lt;/span&gt;

'ana min lubnaan&lt;br&gt;
'a-na-min-lub-naan&lt;br&gt;
I'm from Lebanon.

&lt;span style=&quot;font-size:medium&quot;&gt;
أنا ولد من العاصمة&lt;/span&gt;

'ana waladun min al-`aaSimah(-ti)&lt;br&gt;
'a-na-wa-la-dun-mi-nal-`aa-Si-mah&lt;br&gt;
I am a boy from the capital.
&lt;br&gt;&lt;br&gt;&lt;br&gt;
&lt;span style=&quot;font-size:medium&quot;&gt;
أنا ذهبت إلى الـمدرسة&lt;/span&gt;

'ana ''dh''ahabtu ila al_madrasah(-ti)&lt;br&gt;
'a-na-''dh''a-hab-tu-i-lal-mad-ra-sah &lt;br&gt;
I went to school.

{{BookCat}}</text>
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  <page>
    <title>Arabic/1stPersonSingPoss</title>
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      <text bytes="592" sha1="jotvaslxqqjqjrqaocso2boycliz3gz" xml:space="preserve">&lt;span style=&quot;font-size:large&quot;&gt;ـِي &lt;/span&gt;

Adding the suffix&lt;span style=&quot;font-size:large&quot;&gt; ـِي&lt;/span&gt; (ee) to a word to say it's yours.

an example:

&lt;span style=&quot;font-size:large&quot;&gt;كتاب --&gt; كتابي&lt;/span&gt;

kitaabun--&gt;kitaabee&lt;br&gt;
ki-taa-bun  --&gt;  ki-taa-bee&lt;br&gt;
a book--&gt;my book

It does not matter if it was:
kitaabun or kitaabin or kitaaban  
meaning &quot;a book&quot;.&lt;br&gt;
All become  kitaabee.&lt;br&gt;
kitaabun--&gt;kitaabee&lt;br&gt;
kitaaban--&gt;kitaabee&lt;br&gt;
kitaabin--&gt;kitaabee

This makes it much simpler grammatically to say something is yours than to say something is his, or hers.

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  <page>
    <title>Arabic/whoseQuestions</title>
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      <text bytes="1265" sha1="70f98ddz4nhjsemj5he07tzavtchxp3" xml:space="preserve">INCOMPLETE- ALPHA-STAGE—needs verification

In English, we sometimes say things like:
Q1. &quot;Whose pen is that?&quot;
Q2. &quot;Whose mother picks up the kids?&quot;
Q3. &quot;Whose father died?&quot;
Q4. &quot;Whose friend is in trouble&quot;

And the answers go something like this:
A1.&quot;That's my pen.&quot;
A2. &quot;Fred's mother picks up the kids.&quot;
A3. &quot;My best friend's father died.&quot;
A4. &quot;His best friend is in trouble.&quot;

But sometime people can't give different types of answers:
X1. &quot;I don't know.&quot;
X2. &quot;What?! Someone picks up the kids from school?! I thought they walked home.&quot;
X3. &quot;I think John's father died.&quot; (the speaker is not certain)
X4. &quot;No one is in trouble.&quot;

So how do we say &quot;Whose&quot; like it was in Q1, Q2, Q3, and Q4. Well, instead of saying whose in Arabic we say&lt;span style=&quot;font-size:small&quot;&gt; لـمن &lt;/span&gt;(li-man). Recall that&lt;span style=&quot;font-size:small&quot;&gt; لِـ &lt;/span&gt;(li) is a preposition meaning &quot;for&quot;, as in &quot;He spoke for John.&quot; And recall that&lt;span style=&quot;font-size:small&quot;&gt; من &lt;/span&gt;(man) means &quot;who&quot; but only in a question so it kind of means &quot;who?&quot;. So instead of saying &quot;Whose&quot;, we say something that literally translates to &quot;for-who&quot;.

So let's try to translate Q1.
&lt;span style=&quot;font-size:small&quot;&gt;لـمن &lt;/span&gt;will start the sentence instead of &quot;whose&quot;.

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  <page>
    <title>Arabic/LearnRW/a i u</title>
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      <text bytes="2376" sha1="226ypy1xvkod7ge0onlz9d40dit6pnh" xml:space="preserve">The following works for all letters {Huroof}, in all forms.

* Pronounce the 'i' as [ɪ] (in English this is the 'i' in 'bit', not the 'i' in 'bite').
* Pronounce the 'u' as [u] (a 'short' 'oo' sound&lt;ref&gt;It's not really short at all, it's just not glided. In standard English the lips are tightened at the end of this sound. This is not done in Arabic.&lt;/ref&gt;).
* Pronounce the 'a' as [a] (this sound does not exist in standard English. It falls somewhere between the 'a' in 'cat' and the 'o' in 'dog'. It is the same as the normal French 'a', as in the word 'ami' &quot;friend&quot;).
&lt;table border=1&gt;
&lt;tr&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; بِ&lt;/span&gt;(bi)&lt;/td&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; بُ&lt;/span&gt;(bu)&lt;/td&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; بَ&lt;/span&gt;(ba)&lt;/td&gt;
&lt;/tr&gt;
&lt;tr&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; تِ&lt;/span&gt;(ti)&lt;/td&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; تُ&lt;/span&gt;(tu)&lt;/td&gt;

&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; تَ&lt;/span&gt;(ta)&lt;/td&gt;
&lt;/tr&gt;
&lt;tr&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; ثِ&lt;/span&gt;(thi)&lt;/td&gt;
&lt;td&gt;&lt;span style=&quot;font-size:medium&quot;&gt; ثُ&lt;/span&gt;(thu)&lt;/td&gt;
&lt;td&gt;&lt;span style=&quot;font-size:medium&quot;&gt; ثَ&lt;/span&gt;(''th''a)&lt;/td&gt;
&lt;/tr&gt;
&lt;tr&gt;
&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; سِ&lt;/span&gt;(si)&lt;/td&gt;

&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; سُ&lt;/span&gt;(su)&lt;/td&gt;

&lt;td&gt;&lt;span style=&quot;font-size:xx-large&quot;&gt; سَ&lt;/span&gt;(sa)&lt;/td&gt;
&lt;/tr&gt;

&lt;/table&gt;

&lt;!--Cell template
&lt;td&gt;&lt;span style=&quot;font-size:x-large&quot;&gt;&lt;/span&gt;()&lt;/td&gt;

--&gt;
==Examples==
These are examples of Arabic words (these are verbs) before and after the vowels have been indicated. These signs clarify how the word should be pronounced.  &lt;span style=&quot;font-size:x-large&quot;&gt;&gt;ترك&lt;/span&gt; (t-r-k)

BECOMES

&lt;span style=&quot;font-size:x-large&quot;&gt;&gt;تـَرَكَ&lt;/span&gt; (ta-ra-ka) &quot;leave&quot;

&lt;span style=&quot;font-size:x-large&quot;&gt;&gt;ثبت&lt;/span&gt;(''th''-b-t)

BECOMES

&lt;span style=&quot;font-size:x-large&quot;&gt;&gt;ثـَبَتَ&lt;/span&gt;(''th''a-ba-ta) &quot;registration&quot;

&lt;span style=&quot;font-size:x-large&quot;&gt;&gt;ذهب&lt;/span&gt;(''dh''-h-b)

BECOMES

&lt;span style=&quot;font-size:x-large&quot;&gt;&gt;ذ َهَبَ&lt;/span&gt;(''dh''a-ha-ba) Meaning: (he) went

&lt;span style=&quot;font-size:x-large&quot;&gt;&gt;نكن&lt;/span&gt;(n-k-n)

BECOMES

&lt;span style=&quot;font-size:x-large&quot;&gt;نـَكُنُ&lt;/span&gt;(na-ku-nu) &quot;We are&quot;

&lt;span style=&quot;font-size:x-large&quot;&gt;ثبت&lt;/span&gt;(''th''-b-t)

BECOMES

&lt;span style=&quot;font-size:x-large&quot;&gt;ثـَبُتَ&lt;/span&gt;(''th''a-bu-ta) &quot;registration&quot;

&lt;references/&gt;

{{BookCat}}</text>
      <sha1>226ypy1xvkod7ge0onlz9d40dit6pnh</sha1>
    </revision>
  </page>
  <page>
    <title>Arabic/LearnRW/laam-alif</title>
    <ns>0</ns>
    <id>45346</id>
    <revision>
      <id>4638079</id>
      <parentid>4413030</parentid>
      <timestamp>2026-05-30T15:32:17Z</timestamp>
      <contributor>
        <username>ShakespeareFan00</username>
        <id>46022</id>
      </contributor>
      <minor />
      <origin>4638079</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1169" sha1="7ergxpqv8x8le2nkqg7yx8dq3udkg3h" xml:space="preserve">Laam-alif is a ligature. When a ل (laam) comes before an ا (alif) in a word, they automatically come together and form laam-alif. Laam-alif isn't a letter; it's how the two letters, laam and then alif are written together.

==References==
&lt;table border=1&gt;
&lt;tr&gt;
&lt;td&gt; written three times ( x_x_x ) &lt;/td&gt;&lt;td&gt;  written twice ( x_x ) &lt;/td&gt;&lt;td&gt;connected-form ( _x ) &lt;/td&gt;&lt;td&gt;Alone ( x )&lt;/td&gt;&lt;td&gt;Name&lt;/td&gt; 
&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;&lt;span style=&quot;font-size:medium&quot;&gt;
 لالالا 
&lt;/span&gt;&lt;/td&gt; &lt;td&gt;&lt;span style=&quot;font-size:medium&quot;&gt;   
 لالا
&lt;/span&gt;&lt;/td&gt;&lt;td&gt;&lt;span style=&quot;font-size:medium&quot;&gt;
 ـلا 
&lt;/span&gt;&lt;td&gt;&lt;span style=&quot;font-size:small&quot;&gt;  
 لا
&lt;/span&gt;&lt;/td&gt;
&lt;td&gt;laam-alif&lt;/td&gt;
&lt;/tr&gt;
&lt;/table&gt;

Examples:

*&lt;span style=&quot;font-size:large&quot;&gt;ل + ا = لا&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;ل + أ = لأ&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;ل + إ = لإ&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;ل + آ = لآ&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;ا + ل + ا = الا&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;أ + ل + ا = ألا&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;إ + ل + ا = إلا&lt;/span&gt;


*&lt;span style=&quot;font-size:large&quot;&gt;آ + ل + ا = آلا&lt;/span&gt;

{{BookCat}}</text>
      <sha1>7ergxpqv8x8le2nkqg7yx8dq3udkg3h</sha1>
    </revision>
  </page>
  <page>
    <title>Wikijunior:Kings and Queens of England/The Whole Book</title>
    <ns>110</ns>
    <id>74856</id>
    <revision>
      <id>4638104</id>
      <parentid>4540840</parentid>
      <timestamp>2026-05-30T17:12:32Z</timestamp>
      <contributor>
        <username>~2026-32285-06</username>
        <id>3598139</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638104</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1248" sha1="f08xyc3e28kk8zx8uzxf7843gozs1l4" xml:space="preserve">__Alfredo__

=Introduction=
{{:Wikijunior:Kings and Queens of England/Introduction}}


=The Anglo-Saxons (871-1016)=
{{:Wikijunior:Kings and Queens of England/The Anglo-Saxons}}


=The Danes (1016-1042)=
{{:Wikijunior:Kings and Queens of England/The Danes}}


=The Normans (1066-1154)=
{{:Wikijunior:Kings and Queens of England/The Normans}}


=The Plantagenets (1154-1399)=
{{:Wikijunior:Kings and Queens of England/The Plantagenets}}


=The House of Lancaster (1399-1461, 1470-1471)=
{{:Wikijunior:Kings and Queens of England/The House of Lancaster}}


=The House of York (1461-1470, 1471-1485)=
{{:Wikijunior:Kings and Queens of England/The House of York}}


=The Tudors (1485-1603)=
{{:Wikijunior:Kings and Queens of England/The Tudors}}


=The Stuarts (1603-1649, 1660-1714)=
{{:Wikijunior:Kings and Queens of England/The Stuarts}}


=The Hanoverians (1714-1901)=
{{:Wikijunior:Kings and Queens of England/The Hanoverians}}


=The House of Saxe-Coburg-Gotha (1901-1917)=
{{:Wikijunior:Kings and Queens of England/The House of Saxe-Coburg-Gotha}}


=The House of Windsor (1917 onwards)=
{{:Wikijunior:Kings and Queens of England/The House of Windsor}}


=Future monarchs=
{{:Wikijunior:Kings and Queens of England/Future monarchs}}

{{BookCat}}</text>
      <sha1>f08xyc3e28kk8zx8uzxf7843gozs1l4</sha1>
    </revision>
  </page>
  <page>
    <title>Biology, Answering the Big Questions of Life/Introduction</title>
    <ns>0</ns>
    <id>79542</id>
    <revision>
      <id>4638120</id>
      <parentid>4413897</parentid>
      <timestamp>2026-05-30T22:16:34Z</timestamp>
      <contributor>
        <username>~2026-32275-33</username>
        <id>3598290</id>
      </contributor>
      <comment>deduction to induction because inductive reasoning is more appropriate word for empirical investigation.</comment>
      <origin>4638120</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8057" sha1="8zkhzvmchl7n9fwizpe1zwcojw7e5bj" xml:space="preserve">&lt;p style=&quot;background: #f2f2f2; border: 1px dashed #e6e6e6; padding-left: 3px; width: 100%; text-align: center;&quot;&gt;
[[Biology%2C_Answering_the_Big_Questions_of_Life/About the Book|Previous]] &lt; [[Biology%2C_Answering_the_Big_Questions_of_Life|Up]] &gt; [[Biology%2C_Answering_the_Big_Questions_of_Life/Cells|Next]] : [[Biology%2C_Answering_the_Big_Questions_of_Life/Index|Index]]&lt;/p&gt;
{{Easy1}}

[[Image:Flower-flyOnFlower2.jpg|thumb|350px|Life is everywhere]]
==The Science of Life==

Biology is the science that studies Life. 

When we look at the world around us we see life. We ourselves are living creatures living in a world full of other living organisms. This world is full of complex and beautiful living things. But how do they work? What are they made of? Why do they do what they do? 

The science that studies life and tries to answer these questions is called '''Biology'''. Everyone should learn biology because life is not only around us, it is within us. It is something that we experience every day, every moment. To study Biology is to learn about ourselves. Who we are. What we are. Why we are.

In this textbook we will ask the big questions of life and try to find the answers. &lt;sup&gt;1&lt;/sup&gt;

Questions like:
 [[#What is life?|What is life?]]
 [[Biology, Answering the Big Questions of Life/Photosynthesis|Why are plants green?]]
 [[Biology, Answering the Big Questions of Life/Atoms_and_Molecules|What is the world made of?]]

Feel free to browse this book, or read it straight through. It covers the information that you might cover in an introductory College Biology course and more. So let's be curious and investigate life.

===How do we know what we know?===

When we are first learning about the world, we learn by asking. We ask our parents, other adults, and older children. This is how we learn to read. This is how we learn the names of things. We ask someone called an &lt;b&gt;authority&lt;/b&gt; who tells us the answer.

But there is another way to learn about the world.  We can ask questions and try to answer them ourselves through observation and induction. We can lift a rock to see the earthworm that lives under it.

===What is Science?===

Science is a way of finding out about the world by asking questions and trying to answer them by testing and observing. By devising experiments and looking at the results, we can get closer to the truth about how the world works. If experiments do not support one explanation, we find a new one.

Scientists believe that direct observation trumps authority. If the facts do not support a belief, we discard it in favor of one that the evidence does support. So scientific ideas are always in flux changing as our understanding of the world changes. 

===How do you do Science?===
Scientists find out about the world by experimenting and interpreting the results. This way of testing is sometimes formalized into something called &lt;b&gt;The Scientific Method&lt;/b&gt;.

In the Scientific Method one begins with a question. 

'''Scientific Method'''
* Ask a '''Question'''.
* Make a '''Hypothesis''' (an educated guess).
* '''Devise an Experiment''' (one where you've made predictions).
* Perform the Experiment and view the '''Results'''.
* Come to a '''Conclusion''' about what it means.
* If the hypothesis is not proven, go back to step 2 and make a '''new hypothesis'''.

These simple steps allow scientists to build up a body of proven facts about the universe and how  it works. When a hypothesis has been proven by many, many experiments, we can call it a '''scientific theory'''. Some useful and well proven scientific theories are called '''natural laws'''.
:[[Biology, Answering the Big Questions of Life/Theories|Click here to go to Theories page --&gt;]]
[[Image:Siberian Tiger by Malene Th.jpg|thumb|300px|A living tiger.]]

==What is Life?==

There isn't just one thing that separates living things from nonliving things. A cat moves but so does a car.  A tree grows bigger, but so does a cloud. A cell has structure, but so does a crystal. In fact if you ask someone how to tell living things from nonliving things, many people would be at a loss. They would say, &lt;i&gt;&quot;You just know&quot;&lt;/i&gt;.

Defining life is complicated. Biologists define life by listing characteristics that living things share. Something that has all of the characteristics of life (not just one or two) is considered to be alive.

===What characteristics do living things share?===
An individual living creature is called an &lt;b&gt;organism&lt;/b&gt;.
There are many characteristics that living creatures share.

Living organisms ...
* Respond to environmental changes.
* Grow and develop.
* Can reproduce and have offspring.
* Use energy and have a complex chemistry (metabolism).
* Maintain themselves in a stable state (homeostasis).
* Are built of structures called cells.
* Evolve biologically.

====Respond to environmental changes====
If you step on a rock, it will just lie there, but if you step on a turtle, it may move or even snap at you. Living things know what is going on around them, and respond to changes in the environment. In other words, living organisms are capable of responding to stimuli.

====Grow and develop====
A seed may look like a pebble, but under the right conditions it will sprout and form a seedling that will grow into a larger plant. Growth refers to the process by which the organism increases in size and the number of cells increases. In other words, growth produces more or larger cells. Development, on the other hand, is a change in specific structures. For example, a fertilized egg develops specialized structures such as organs. 

====Can reproduce and have offspring====
Living things make more organisms like themselves.  They reproduce sexually or asexually (cloning). Whether the organism is a rabbit, or a tree, or a bacterium, life will make more life.

====Use energy and have a complex chemistry (metabolism)====
A flower has a complicated and beautiful structure. So does a crystal. But if you look closely at the crystal, you see no change. The flower, on the other hand, is transporting water through its petals, producing pigment molecules, breaking down sugar for energy, and undergoing a large number of other chemical reactions that are needed for living organisms to stay alive. We call the sum of the chemical reactions in a cell its [[Biology%2C_Answering_the_Big_Questions_of_Life/Metabolism |''metabolism'']].

As another example, humans, ''Homo sapiens'', eat to fuel their cells. The food they consume provides cells with chemical energy.

====Maintain themselves in a stable state (homeostasis)====
A human body has a temperature of about 98.6 degrees Fahrenheit (or approximately 37 degrees Celsius). If you step outside on a wintery morning, the temperature might be below freezing. You, however, don't just become an ice cube. You shiver and eat and do what you have to do to keep your body temperature the same. Living organisms keep themselves in a stable state. This is called ''homeostasis''.

====Are built of structures called cells====
If you look closely at any organism you can see that it is made of structures called [[Biology%2C_Answering_the_Big_Questions_of_Life/Cells |cells]]. Organisms that are very different such as ferns, and fish, and elephants all look very similar at the level of the cell. All living organisms are made of one or more cells.

====Evolve biologically====
Biological evolution refers to the change of inherited characteristics within a population over generations. Organisms often adapt to their environment which causes, in the long run, their characteristics to evolve.

==More about Biology==
[[Wikipedia: Portal:Biology]]
&lt;p style=&quot;background: #f2f2f2; border: 1px dashed #e6e6e6; padding-left: 3px; width: 100%; text-align: center;&quot;&gt;
[[Biology%2C_Answering_the_Big_Questions_of_Life/Aboutbook|Previous]] &lt; [[Biology%2C_Answering_the_Big_Questions_of_Life|Up]] &gt; [[Biology%2C_Answering_the_Big_Questions_of_Life/Cells|Next]] : [[Biology%2C_Answering_the_Big_Questions_of_Life/Index|Index]]
&lt;/p&gt;
{{Easy1}}
{{BookCat}}</text>
      <sha1>8zkhzvmchl7n9fwizpe1zwcojw7e5bj</sha1>
    </revision>
  </page>
  <page>
    <title>Chess Opening Theory/1. d4/1...f5</title>
    <ns>0</ns>
    <id>81314</id>
    <revision>
      <id>4638164</id>
      <parentid>4626687</parentid>
      <timestamp>2026-05-31T03:28:35Z</timestamp>
      <contributor>
        <username>Y7at7Y</username>
        <id>3582263</id>
      </contributor>
      <comment>Added 2. Nh3 and 2. Qd3.</comment>
      <origin>4638164</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8172" sha1="01l5lprpj8cklfb6llt5zzwzvqp27d8" xml:space="preserve">{{Chess Opening Theory/Position
|Dutch defence
|eco=[[Chess/ECOA|A80-A99]]
|parent=[[../|Queen's Pawn Opening]]
}}
== 1...f5 · Dutch defence ==

This is the Dutch defence, the fourth most common way to meet 1. d4. Black controls the central e4 square with their flank f-pawn. 

Because it does not develop or prepare to develop a piece (cf. 1...Nf6 and 1...d5 respectively), 1...f5 is less popular than Black's other options to control e4. In addition, moving the f-pawn so early, before Black has castled, is not for the faint of heart because it weakens Black's kingside. An illustration of this is the classic beginner's trap in the Hopton attack: [[/2. Bg5|2. Bg5]] h6 3. Bh4 g5 3. Bg3 f4 (thinking to trap the bishop) 4. e3 fxg3?? 5. Qh5#.

However, the Dutch is very combative, with an original character compared to other 1. d4 openings. Black intends to get maximum value out of a kingside attack. 

White's main approach against the Dutch is a set-up with Bg2, Nf3, short castling, and c4 by one of a number of move orders. [[/2. g3|'''2. g3''']] is the main move, though [[/2. c4|'''2. c4''']] or [[/2. Nf3|'''2. Nf3''']] are also common and usually transpose. 

Black chooses between two plans for their kingside bishop: either to fianchetto it with ...g6 and ...Bg7, called the called the '''Leningrad Dutch,''' e.g. 2. c4 Nf6 3. g3 g6 4. Bg2 Bg7; or ...e6 and ...Be7, where they may then choose either ...d6, the '''classical variation''', or an early ...d5 to clamp down on e4, called the '''stonewall variation''', e.g. in the move order 2. c4 Nf6 3. g3 e6 4. Bg2 Be7 5. Nf3 O-O 6. O-O d5.

If [[/2. e4|'''2. e4?!''']] anyway, the '''Staunton gambit''', Black should be very happy to trade their flank pawn for the more valuable central pawn, 2...fxe5. The Staunton gambit makes sense conceptually―Black has weakened their kingside and slowed down their development, therefore White should open the centre and attack―but while there are many traps available to White involving the weakened e8-h5 diagonal, against best play White is no better than equal. 

Other sidelines include:

[[/2. Bg5|'''2. Bg5''']], the '''Hopton attack'''. If White can't play e4, then they want to ensure the bishop is developed before playing e3. If Black plays 2...Nf6 then White is happy to trade their bishop for it and double Black's pawns. Black can expand on the kingside with tempo against White's bishop, 2...h6 3. Bh4 g5 4. Bg3, so long as they avoid the famous trap (above), or leave the bishop there for now and play 2...g6, ...Bg7 etc. 

[[/2. Nc3|'''2. Nc3''']], the '''Raphael variation'''. From c3 the knight may help support playing e4 and opening the centre, (e.g. 2...Nf6 (controls e4) 3. Bg5 e6?! 4. e4 fxe4 5. Nxe4{{chess/not|+}}, where 5...h6?? is a rookie error) but usually they games involve Bg5 and e3 as in the Hopton attack, e.g. 2...Nf6 3. Bg5 d5 (to control e4) 4. Bxf6 exf6 5. e3 intending Bd3. 

[[/2. g4|'''2. g4?!''']], the '''Krejcik gambit''', looks to deflect the f5 pawn from control of e4. However, after 2...fxg4 and ...d5 (defending g4 with the queen's bishop), White will have trouble recapturing the bothersome pawn and find they can't make much of e4 anyway. 

'''[[Chess Opening Theory/1. d4/1...f5/2. f3|2. f3]]''' is an uncommon sideline aiming for a central push with e4. Sometimes, White gambits a pawn on e4 for quick development and lines. The position is relatively equal after 2...d5 3. Nc3 Nf6 4. Bg5=. 

'''[[/2. Nh3/]]''' is a rare yet sound sideline where White develops the knight to the rim, usually with the intention of the '''Blackburne variation''', after 2...Nf6 3. g3 e6 4. Bg2.

'''[[/2. Qd3/]]''', the '''Alapin variation''', aggressively develops the queen and attacks the pawn on f5.
=== History ===

Dutch chess master [[w:Elias Stein (chess player)|Elias Stein]] recommended the move 1...f5 in his 1789 ''Nouvel essai sur le jeu des échecs'' (French: ''New essay on the game of chess'') as an alternative to avoid the queen's gambit, 1. d4 d5 2. c4.&lt;ref&gt;&quot;Celui qui n’a pas le Trait ne veut pas recevoir le Gambit de la Dame.&quot;, ''The player without the move (Black) doesn't want to receive the queen's gambit.'' {{Cite book |title=Nouvel essai sur le jeu des échecs |last=Stein |first=Elias |publisher=La Haye |year=1789 |language=French |url=https://archive.org/details/nouvelessaisurl00steigoog/mode/2up |chapter=, Dix-huitieme partie (18th game)}}&lt;/ref&gt;

In the 19th and early 20th centuries, 2. e4?!, the Staunton gambit, was considered critical. In 1931, [[w:Siegbert Tarrasch|Tarrasch]] gave the line 2. e4 fxe4 3. Nc3 Nf6 4. Bg5 c6 5. f3! exf3, with White being better.&lt;ref&gt;{{cite book |title=The Game of Chess |last=Tarrasch |first=Siegbert  |year= 1987|orig-year= 1934 |publisher=Courier Dover Publications |isbn= 978-0-486-25447-0}}&lt;/ref&gt;

Though it was never the main line, the Dutch received renewed interest in the 20th century, especially with reappraisal of 2. e4?!. Its most significant outing was in the 1951 World Chess Championship, where it was adopted by [[w:Mikhail Botvinnik|Mikhail Botvinnik]]&lt;ref&gt;[https://www.chessgames.com/perl/chesscollection?cid=1020397 1951 World Chess Championship, chessgames.com]&lt;/ref&gt;

==Theory table==

'''1. d4 f5'''
{| class=&quot;wikitable&quot;
|-
! &amp;nbsp; !! 2 !! 3 !! 4 !! 5 !! 6 !! 7 !! Evaluation !! Notes
|-
! Stonewall Defence
| [[/2. c4|c4]] &lt;br /&gt; Nf6
| g3 &lt;br /&gt; e6
| Bg2 &lt;br /&gt; Be7
| Nf3 &lt;br /&gt; O-O
| O-O &lt;br /&gt; d6
| Nc3 &lt;br /&gt; Qe8
| =
| The Stonewall fights for central control, by taking control over the light squares. White seeks to exploit weaknesses among the dark squares
|-
! [[/2. c4/2...g6|Leningrad Defence]]
| c4 &lt;br /&gt; Nf6
| g3 &lt;br /&gt; g6
| Bg2 &lt;br /&gt; Bg7
| Nf3 &lt;br /&gt; O-O
| O-O &lt;br /&gt; d6
| Nc3 &lt;br /&gt; Qe8
| =
| A very dynamic choice by black to fight for the e5 push. If white allows that, a king side attack by black is possible. 
|- 
! 
| [[/2. g3|g3]] &lt;br /&gt; Nf6
| Bg2 &lt;br /&gt; g6
| Nf3 &lt;br /&gt; Bg7
| O-O &lt;br /&gt; O-O
| b3 &lt;br /&gt; d6 
| Bb2 &lt;br /&gt; Ne4
| =
| 
|-
! [[/2. Bg5|Hopton Attack]]
| [[/2. Bg5|Bg5]] &lt;br /&gt; g6
| Nc3 &lt;br /&gt; d5
| h4 &lt;br /&gt; Bg7
| e3 &lt;br /&gt; c6
| e4 &lt;br /&gt; O-O
| Nf3 &lt;br /&gt; Be6
| +/=
| A very aggressive way by white to attack. But black will be able to equalize later on
|- 
! [[/2. e4|Staunton Gambit]]
| [[/2. e4|e4]] &lt;br /&gt; fxe4
| Nc3 &lt;br /&gt; Nf6
| Bg5 &lt;br /&gt; Nc6
| d5 &lt;br /&gt; Ne5
| Qd4 &lt;br /&gt; Nf7
| Bxf6 &lt;br /&gt; exf6
| +/=
| This is by far the most popular choice by white. Black will have to know a lot of theory in order to equalize. 
|-
! Exchange Variation
| [[/2. Nf3|Nf3]] &lt;br /&gt; Nf6
| Bg5 &lt;br /&gt; e6
| Nbd2 &lt;br /&gt; Be7
| Bxf6 &lt;br /&gt; Bxf6
| e4 &lt;br /&gt; d5
| exd5 &lt;br /&gt; exd5
| +/=
| The Exchange Variation leads to semi open games. There are tactical opportunities for both sides.
|-
! Krejcik Gambit
| g4 &lt;br /&gt; fxg5
| h3 &lt;br /&gt; d5
| hxg4 &lt;br /&gt; Bxg4
| Bg2 &lt;br /&gt; Nf6
| Bg5 &lt;br /&gt; Qd7
|
| +/=
| The Krejcik Gambit leads to sharp positions. Most of the time both sides will castle long. 
|-
! Krejcik Gambit, Hevendehl Counter Gambit
| g4 &lt;br /&gt; e5
|
|
|
|
|
| +/=
| A unique counter gambit. White has two ways to accept it. 
|-
! Krejcik Gambit, Hevendehl Counter Gambit, Belgian Line
| g4 &lt;br /&gt; e5
| gxf5 &lt;br /&gt; ...
|
|
|
|
| +/=
| Sharp and tactical.
|-
! Krejcik Gambit, Hevendehl Counter Gambit, Dutch Line
| g4 &lt;br /&gt; e5
| dxf5 &lt;br /&gt; ...
|
|
|
|
| +/=
| Sharp and tactical
|-
! [[/2. h3|Korchnoi Attack]]
| [[/2. h3|h3]] &lt;br /&gt; ...
|
|
|
|
|
| +/= 
| Leads to a mix between positional and tactical lines.
|-
! [[/2. h3|Korchnoi Attack, closed]]
| [[/2. h3|h3]] &lt;br /&gt; e5
|
|
|
|
|
| +/=
| Leads to more positonal lines.
|-
! [[/2. h3|Korchnoi Attack, semi closed]]
| [[/2. h3|h3]] &lt;br /&gt; e6
|
|
|
|
|
| +/=
| Leads to more tactical lines. 
|-
! [[/2. c4/2...g6/3. Nc3/3...Nh6|Bladel Defence]]
| c4 &lt;br /&gt; g6
| Nc3 &lt;br /&gt; [[/2. c4/2...g6/3. Nc3/3...Nh6|Nh6]]
|
|
|
|
| +/= 
| Leads to rich positions which are also very theoretical. 
|-
! Raphael Variation
| Nc3
| 
|
|
|
|
|
|
|}

{{Chess Opening Theory/Table}}
{{ChessMid}}
{{Wikipedia|Dutch Defence}}

== References ==

{{reflist}}
{{NCO}}
{{BCO2}}
{{ChessFooter}}

[[fi:Shakkiaapinen/Peli/1. d4/1...f5]]
[[fr:Theorie_ouvertures_echecs/1._d4/1...f5]]</text>
      <sha1>01l5lprpj8cklfb6llt5zzwzvqp27d8</sha1>
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  <page>
    <title>Erlang Programming/Getting Started</title>
    <ns>0</ns>
    <id>94229</id>
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      <id>4638171</id>
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        <id>3598432</id>
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==Getting Erlang==

Erlang/OTP is available as free software from [https://www.erlang.org/downloads Open Source Erlang Downloads]. Once you have downloaded the Erlang/OTP distribution, you will need to compile it (if on a Unix platform) and install it.

==Installing Erlang==

In addition to the brief instructions below, you may wish to consult the [http://erlang.org/doc/installation_guide/part_frame.html Installation Guide].

===Unix===

Unpack the source distribution. Decide where you want Erlang and its libraries installed. For our example, we will assume you want it in &lt;code&gt;/usr/local/erlang/otp_r11b&lt;/code&gt;. Create this directory, as well as a build directory for building the Erlang sources.

 mkdir /usr/local/erlang/otp_r11b

From within the top-level directory, type &lt;code&gt;./Install /usr/local/erlang/otp_r11b&lt;/code&gt;. This will configure, build and install the Erlang/OTP distribution.

Add the distribution's &lt;code&gt;bin&lt;/code&gt; directory to your path. You may wish to set this in your shell initialization file.

===Microsoft Windows===

The distribution is a self-installing &lt;code&gt;.exe&lt;/code&gt; file. Invoke it (for example, by double-clicking on its icon) and answer the prompts.

==The Erlang Shell==

Erlang comes with a shell which is used interactively when controlling the Erlang environment and developing programs. On Unix, invoke the shell by typing &lt;code&gt;erl&lt;/code&gt; on the command line. On Windows, type &lt;code&gt;werl&lt;/code&gt; on the command line, or double-click the Erlang shortcut icon.

This starts the Erlang system and provides a shell for input and evaluation of Erlang.

 Eshell V5.4.13 (abort with ^G)
 1&gt;

==Your First Erlang Code==

At the shell prompt, type &lt;code&gt;&quot;hello, world!&quot;&lt;/code&gt; followed by a dot (&lt;code&gt;.&lt;/code&gt;). You can follow that up with some arithmetic. Or answer the question &quot;What is six times 9?&quot; in base-13 notation:

 1&gt; &quot;hello, world!&quot;.
 &quot;hello, world!&quot;
 2&gt; 1 + 2.
 3
 3&gt; 13#6 * 13#9.
 54

When you are ready to exit, you can stop the Erlang system using the &lt;code&gt;halt()&lt;/code&gt; built-in function:

 4&gt; halt().</text>
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Welcome to the '''General reading room'''. On this page, Wikibookians are free to talk about the Wikibooks project in general. For proposals for improving Wikibooks, see the [[../Proposals/]] reading room.
{{clear}}

[[Category:Reading room]]

== Discussion at [[Wikibooks talk:Reviewers]] ==

I started a discussion on whether we should introduce an inactivity criteria for reviewers (and possibly autoreviewed users), at [[Wikibooks talk:Reviewers#Inactivity criteria]]. Any participation would be appreciated. Thank you. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:17, 18 May 2026 (UTC)

== May 2026 Wikimedia Café meetups regarding the Wikimedia Foundation Annual Plan ==
&lt;div class=&quot;border-box&quot; style=&quot;background-color: var(--background-color-warning-subtle, #f8eaba); max-width: 875px; padding: 5px; border: 1px solid black; margin: 5px; color: var(--clr-dark)&quot;&gt;
&lt;div class=&quot;box&quot; style=&quot;float:left; padding-top: 15px; padding-right: 15px;&quot;&gt;[[File:Wikimedia Café logo in plain SVG format.svg|75px|alt=The logo for the Wikimedia Café]]&lt;/div&gt;
Hello! There will be two '''[https://meta.wikimedia.org/wiki/Wikimedia_Caf%C3%A9 Wikimedia Café]''' discussion opportunities during the last weekend of May. Both sessions will focus on the [https://meta.wikimedia.org/wiki/Wikimedia_Foundation_Annual_Plan/2026-2027 the 2026-2027 Wikimedia Foundation Annual Plan]. Participants may attend either or both sessions.

#'''Saturday, 30 May 2026 at 15:00 UTC''' ([https://zonestamp.toolforge.org/1780153200 timestamp converter]), at a time friendly to the Americas, Africa, and Europe
#'''Sunday, 31 May 2026 at 05:00 UTC''' ([https://zonestamp.toolforge.org/1780203600 timestamp converter]), at a time friendly to Asia and the Pacific

Café participants are highly encouraged to read in advance [https://en.wikipedia.org/wiki/User:Sohom_Datta/annual_plan_guide at least this summary of the plan]. Optionally,  Café participants are encouraged to read portions of the plan that interest them and [https://meta.wikimedia.org/wiki/Talk:Wikimedia_Foundation_Annual_Plan/2026-2027 ask questions or provide feedback on the Annual Plan talk page]. 

Please see the Café page for more information, including [https://meta.wikimedia.org/wiki/Wikimedia_Caf%C3%A9#May_2026_meetings_with_a_focus_on_Wikimedia_Foundation_Annual_Plan/2026-2027 tables of timestamp conversions for both sessions], [https://meta.wikimedia.org/wiki/Wikimedia_Caf%C3%A9#Agenda._This_will_be_an_approximately_1_hour_Caf%C3%A9_session,_and_is_extendible_for_an_additional_30_minutes_if_needed. the agenda], and [https://meta.wikimedia.org/wiki/Wikimedia_Caf%C3%A9#How_to_attend_the_session how to register]!
&lt;br /&gt;
[[File:Buntstifte Eberhard Faber crop 64h.jpg|860px|alt=cropped image of colored pencils]]&lt;/div&gt;
&lt;span style=&quot;white-space:nowrap;&quot;&gt;[[User:Pine|&lt;span style=&quot;color:#01796f; text-shadow:#00BFFF 0 0 1.0em&quot;&gt;↠Pine&lt;/span&gt;]] [[User talk:Pine|&lt;span style=&quot;color:DeepSkyBlue&quot;&gt;(&lt;b style=&quot;color:#FFDF00;text-shadow:#FFDF00 0 0 1.0em&quot;&gt;✉&lt;/b&gt;)&lt;/span&gt;]]&lt;/span&gt; 19:44, 21 May 2026 (UTC)

== Vote now in the 2026 U4C election ==

&lt;section begin=&quot;announcement-content&quot; /&gt;
Eligible voters are asked to participate in the 2026 [[m:Special:MyLanguage/Universal_Code_of_Conduct/Coordinating_Committee|Universal Code of Conduct Coordinating Committee]] election. More information–including an eligibility check, voting process information, candidate information, and a link to the vote–are available on Meta at the [[m:Special:MyLanguage/Universal_Code_of_Conduct/Coordinating_Committee/Election/2026|2026 Election information page]]. The vote closes on 2 June 2026 at [https://zonestamp.toolforge.org/1780358400 00:00 UTC].

Please vote if your account is eligible. Results will be available by 14 June 2026. -- In cooperation with the U4C,&lt;section end=&quot;announcement-content&quot; /&gt;

[[m:User:Keegan (WMF)|Keegan (WMF)]] ([[m:User talk:Keegan (WMF)|talk]]) 17:14, 27 May 2026 (UTC)
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== Discussion at WB:TECH ==

I started a discussion whether we should keep the FlaggedRevs comment box hidden at [[Wikibooks:Reading room/Technical Assistance#Is this CSS code necessary?]], but I am notifying here due to a lack of participation over there. Thank you. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:41, 30 May 2026 (UTC)</text>
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Welcome to the '''Technical Assistance reading room'''. Get assistance on questions related to [[w:MediaWiki|MediaWiki]] markup, CSS, JavaScript, and such as they relate to Wikibooks. '''This is not a general-purpose technical support room'''.

To submit a ''bug notice or feature request'' for the MediaWiki software, visit [[phabricator:|Phabricator]].

To get more information about the ''MediaWiki software'', or to download your own copy, visit [[mw:|MediaWiki]]

There are also two IRC channels for technical help: {{Channel|mediawiki}} for issues about the software, and {{channel|mediawiki-core}} for [[m:WMF|WMF]] server or configuration issues.
{{clear}}
[[Category:Reading room]]

== plainlist and unbulleted list ==

Hi,&lt;br&gt;
The plainlist and unbulleted list templates don't work in a sandbox. [[User:PeterEasthope/sandbox|PeterEasthope/sandbox]] for example. What is the simplest solution?&lt;br&gt;
Thanks, ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 17:04, 18 April 2026 (UTC)
: The unbulleted list relies on a module, and the plainlist relies on a TemplateStyles CSS page. What were you trying to test on your sandbox? [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:47, 18 April 2026 (UTC)
::Aiming to make a list without bullets. Whether it works by a module or a template or some other device is probably not a significant concern. Certainly a list is needed rather than empty space. Thx, ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 21:29, 18 April 2026 (UTC)
::: The plain list works; the thing is, I believe the span class tags might be conflicting with that plain list, possibly... [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:11, 18 April 2026 (UTC)
::::Yes, thanks. Removed some span tags to test. Lines without span tags are displayed. If you see a way to have a background color for a string within a list, please let me know. Otherwise I think of making the list with line breaks rather than a template.&lt;br&gt;
::::Thx,      ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 15:35, 19 April 2026 (UTC)

== Is this CSS code necessary? ==

Is this line of CSS code on [[MediaWiki:Common.css]] necessary? What this does is that it removes the comment box when looking at the edit/book review interface. Is this currently needed?
&lt;syntaxhighlight lang=&quot;css&quot;&gt;
/* Hack to remove comment box for FlaggedRevs, since we seem unable to remove it from configuration. */
#mw-fr-commentbox { display:none; }
label[for=&quot;mw-fr-commentbox&quot;]{display: none;}
&lt;/syntaxhighlight&gt; [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:18, 19 April 2026 (UTC)

== Button text issue ==

When you edit a page, the edit dialog says 'By clicking the &quot;Save Page&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]', but button for saving says &quot;Publish changes&quot; rather than &quot;Save Page&quot;. Please change 'By clicking the &quot;Save Page&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]' to 'By clicking the &quot;Publish changes&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]', so that it matches the button text. There should be a page in the MediaWiki namespace that we can edit to fix this issue. [[User:TTWIDEE|TTWIDEE]] ([[User talk:TTWIDEE|discuss]] • [[Special:Contributions/TTWIDEE|contribs]]) 20:20, 19 May 2026 (UTC)
: {{done}}, see [[Special:Diff/4636593]]. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:08, 19 May 2026 (UTC)


== Survey (proposed direction for Wishlist) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;You are invited to voice your opinion on a new [[m:Talk:Community Wishlist#Proposed direction for Wishlist|community-proposed direction]] for the [[m:Community Wishlist|Community Wishlist]]. {{Int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 03:07, 29 May 2026 (UTC)&lt;/bdi&gt;
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        <id>3441010</id>
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      <minor />
      <comment>Whitespace fix.</comment>
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Welcome to the '''Technical Assistance reading room'''. Get assistance on questions related to [[w:MediaWiki|MediaWiki]] markup, CSS, JavaScript, and such as they relate to Wikibooks. '''This is not a general-purpose technical support room'''.

To submit a ''bug notice or feature request'' for the MediaWiki software, visit [[phabricator:|Phabricator]].

To get more information about the ''MediaWiki software'', or to download your own copy, visit [[mw:|MediaWiki]]

There are also two IRC channels for technical help: {{Channel|mediawiki}} for issues about the software, and {{channel|mediawiki-core}} for [[m:WMF|WMF]] server or configuration issues.
{{clear}}
[[Category:Reading room]]

== plainlist and unbulleted list ==

Hi,&lt;br&gt;
The plainlist and unbulleted list templates don't work in a sandbox. [[User:PeterEasthope/sandbox|PeterEasthope/sandbox]] for example. What is the simplest solution?&lt;br&gt;
Thanks, ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 17:04, 18 April 2026 (UTC)
: The unbulleted list relies on a module, and the plainlist relies on a TemplateStyles CSS page. What were you trying to test on your sandbox? [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:47, 18 April 2026 (UTC)
::Aiming to make a list without bullets. Whether it works by a module or a template or some other device is probably not a significant concern. Certainly a list is needed rather than empty space. Thx, ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 21:29, 18 April 2026 (UTC)
::: The plain list works; the thing is, I believe the span class tags might be conflicting with that plain list, possibly... [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:11, 18 April 2026 (UTC)
::::Yes, thanks. Removed some span tags to test. Lines without span tags are displayed. If you see a way to have a background color for a string within a list, please let me know. Otherwise I think of making the list with line breaks rather than a template.&lt;br&gt;
::::Thx,      ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 15:35, 19 April 2026 (UTC)

== Is this CSS code necessary? ==

Is this line of CSS code on [[MediaWiki:Common.css]] necessary? What this does is that it removes the comment box when looking at the edit/book review interface. Is this currently needed?
&lt;syntaxhighlight lang=&quot;css&quot;&gt;
/* Hack to remove comment box for FlaggedRevs, since we seem unable to remove it from configuration. */
#mw-fr-commentbox { display:none; }
label[for=&quot;mw-fr-commentbox&quot;]{display: none;}
&lt;/syntaxhighlight&gt; [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:18, 19 April 2026 (UTC)

== Button text issue ==

When you edit a page, the edit dialog says 'By clicking the &quot;Save Page&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]', but button for saving says &quot;Publish changes&quot; rather than &quot;Save Page&quot;. Please change 'By clicking the &quot;Save Page&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]' to 'By clicking the &quot;Publish changes&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]', so that it matches the button text. There should be a page in the MediaWiki namespace that we can edit to fix this issue. [[User:TTWIDEE|TTWIDEE]] ([[User talk:TTWIDEE|discuss]] • [[Special:Contributions/TTWIDEE|contribs]]) 20:20, 19 May 2026 (UTC)
: {{done}}, see [[Special:Diff/4636593]]. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:08, 19 May 2026 (UTC)

== Survey (proposed direction for Wishlist) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;You are invited to voice your opinion on a new [[m:Talk:Community Wishlist#Proposed direction for Wishlist|community-proposed direction]] for the [[m:Community Wishlist|Community Wishlist]]. {{Int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 03:07, 29 May 2026 (UTC)&lt;/bdi&gt;
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        <id>3441010</id>
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Welcome to the '''Technical Assistance reading room'''. Get assistance on questions related to [[w:MediaWiki|MediaWiki]] markup, CSS, JavaScript, and such as they relate to Wikibooks. '''This is not a general-purpose technical support room'''.

To submit a ''bug notice or feature request'' for the MediaWiki software, visit [[phabricator:|Phabricator]].

To get more information about the ''MediaWiki software'', or to download your own copy, visit [[mw:|MediaWiki]]

There are also two IRC channels for technical help: {{Channel|mediawiki}} for issues about the software, and {{channel|mediawiki-core}} for [[m:WMF|WMF]] server or configuration issues.
{{clear}}
[[Category:Reading room]]

== plainlist and unbulleted list ==

Hi,&lt;br&gt;
The plainlist and unbulleted list templates don't work in a sandbox. [[User:PeterEasthope/sandbox|PeterEasthope/sandbox]] for example. What is the simplest solution?&lt;br&gt;
Thanks, ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 17:04, 18 April 2026 (UTC)
: The unbulleted list relies on a module, and the plainlist relies on a TemplateStyles CSS page. What were you trying to test on your sandbox? [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:47, 18 April 2026 (UTC)
::Aiming to make a list without bullets. Whether it works by a module or a template or some other device is probably not a significant concern. Certainly a list is needed rather than empty space. Thx, ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 21:29, 18 April 2026 (UTC)
::: The plain list works; the thing is, I believe the span class tags might be conflicting with that plain list, possibly... [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:11, 18 April 2026 (UTC)
::::Yes, thanks. Removed some span tags to test. Lines without span tags are displayed. If you see a way to have a background color for a string within a list, please let me know. Otherwise I think of making the list with line breaks rather than a template.&lt;br&gt;
::::Thx,      ... [[User:PeterEasthope|PeterEasthope]] ([[User talk:PeterEasthope|discuss]] • [[Special:Contributions/PeterEasthope|contribs]]) 15:35, 19 April 2026 (UTC)

== Is this CSS code necessary? ==

On [[MediaWiki:Common.css]], the following (below) removes the comment box when looking at the FlaggedRevs UI interface. It appears that this was added [[Special:Diff/1966908|way back in November of 2010]], and was [[Special:Diff/4462799|adjusted in December of 2024]].
&lt;syntaxhighlight lang=&quot;css&quot;&gt;
/* Hack to remove comment box for FlaggedRevs, since we seem unable to remove it from configuration. */
#mw-fr-commentbox { display:none; }
label[for=&quot;mw-fr-commentbox&quot;]{display: none;}
&lt;/syntaxhighlight&gt;
However, is this still needed? I personally believe that we might need the comment box (despite the purpose being an anti-vandalism tool) to comment about the edit (with common sense), and it may also be used to include a summary when reverting an edit using the {{tq|Revert changes}} button. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:18, 19 April 2026 (UTC)

== Button text issue ==

When you edit a page, the edit dialog says 'By clicking the &quot;Save Page&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]', but button for saving says &quot;Publish changes&quot; rather than &quot;Save Page&quot;. Please change 'By clicking the &quot;Save Page&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]' to 'By clicking the &quot;Publish changes&quot; button, you are agreeing to the [[foundation:Special:MyLanguage/Policy:Terms_of_Use|Terms of Use]] and the [[foundation:Special:MyLanguage/Policy:Privacy_policy|Privacy Policy]]', so that it matches the button text. There should be a page in the MediaWiki namespace that we can edit to fix this issue. [[User:TTWIDEE|TTWIDEE]] ([[User talk:TTWIDEE|discuss]] • [[Special:Contributions/TTWIDEE|contribs]]) 20:20, 19 May 2026 (UTC)
: {{done}}, see [[Special:Diff/4636593]]. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:08, 19 May 2026 (UTC)

== Survey (proposed direction for Wishlist) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;You are invited to voice your opinion on a new [[m:Talk:Community Wishlist#Proposed direction for Wishlist|community-proposed direction]] for the [[m:Community Wishlist|Community Wishlist]]. {{Int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 03:07, 29 May 2026 (UTC)&lt;/bdi&gt;
&lt;!-- Message sent by User:기나ㅏㄴ@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=User:%EA%B8%B0%EB%82%98%E3%85%8F%E3%84%B4/MassMessage&amp;oldid=30604233 --&gt;</text>
      <sha1>1a4aj74l87o67x637qqik4vdvc07ccl</sha1>
    </revision>
  </page>
  <page>
    <title>D Programming/DUI</title>
    <ns>0</ns>
    <id>130464</id>
    <revision>
      <id>4638112</id>
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      <contributor>
        <username>ShakespeareFan00</username>
        <id>46022</id>
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      <origin>4638112</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="914" sha1="s59eov6rzpe2uz3su4vhvd8ze955ec3" xml:space="preserve">To be completed.

Duit (formerly DUI; now GtkD) is a D language graphical user interface wrapping (or binding) GTK+ graphical toolkit

GtkD is released under the LGPL license.

==GtkD Code Example==
 &lt;span style=&quot;color:blue&quot;&gt;import&lt;/span&gt; gtk.MainWindow;
 &lt;span style=&quot;color:blue&quot;&gt;import&lt;/span&gt; gtk.Label;
 &lt;span style=&quot;color:blue&quot;&gt;import&lt;/span&gt; gtk.Main;
 &lt;span style=&quot;color:blue&quot;&gt;void&lt;/span&gt; main( string[] args )
 {
  Main.init(args);
  MainWindow win = &lt;span style=&quot;color:blue&quot;&gt;new&lt;/span&gt; MainWindow(&lt;span style=&quot;color:green&quot;&gt;&quot;Hello World&quot;&lt;/span&gt;);
  win.setDefaultSize(200, 100);
  win.add(&lt;span style=&quot;color:blue&gt;new&lt;/span&gt; Label(&lt;span style=&quot;color:green&quot;&gt;&quot;Hello World&quot;&lt;/span&gt;));
  win.showAll();
  Main.run();   // here was Main.main(), which was wrong
 }

Its main website is:
*http://gtkd.org/

Older out-of-date websites are
*http://www.dsource.org/projects/gtkd
*http://dui.sourceforge.net/

{{BookCat}}</text>
      <sha1>s59eov6rzpe2uz3su4vhvd8ze955ec3</sha1>
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  <page>
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      <contributor>
        <username>Codename Noreste</username>
        <id>3441010</id>
      </contributor>
      <comment>/* Manipathakblog reported by MathXplore */ reply: Globally locked by Barras. (-) ([[mw:c:Special:MyLanguage/User:JWBTH/CD|CD]])</comment>
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      <text bytes="12576" sha1="3ez5hfd03uiy4p9bnqbalge15tcjra3" xml:space="preserve">__NEWSECTIONLINK__ {{Discussion Rooms}} {{shortcut|WB:AN|WB:AA}} {{TOC left}}
{{User:MiszaBot/config
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{{ombox|type=content|text='''To request a rename or usurpation''', go to the global request page at Meta [[meta:SRUC|here]].&lt;br /&gt;''Please do not post those requests here!''}}
{{Clear}}
Welcome to the '''Administrative Assistance reading room'''.  You can request assistance from [[WB:ADMIN|administrators]] for handling a variety of problems here and alert them about problems which may require special actions not normally used during regular content editing. Please be patient as administrators are often quite busy with either their own projects or trying to perform general maintenance and cleanup.

You can deal with most vandalism yourself: [[Wikibooks:Dealing with vandalism|fix it]], then [[Wikibooks:Templates/User_notices|warn the user]]. If there is repeated vandalism by one user, lots of vandalism on a single page, or vandalism from many users, tell an admin here, or in [irc://irc.freenode.net/wikibooks #wikibooks] (say &lt;code&gt;!admin&lt;/code&gt; to get attention).

For more general questions and assistance that doesn't require an administrator, please use the [[WB:HELP|Assistance Reading Room]].
{{clear}}

[[Category:Reading room]]

== No data in page linked to by Wikidata ==

The page, [https://en.wikibooks.org/wiki/OpenSSH/Third_Party_Utilities OpenSSH: Third Party Utilities] has no data and thus should not be linked to from [https://www.wikidata.org/wiki/Q139625509 Q139625509]  How can the link be deleted?  Thanks.  [[User:Larsnooden|Larsnooden]] ([[User talk:Larsnooden|discuss]] • [[Special:Contributions/Larsnooden|contribs]]) 05:06, 4 May 2026 (UTC)

:Same for Q139611668 and Q139611580.  All three links should be deleted / removed as the destination pages in the en.wikibook do not have any data but instead normal prose.  - [[User:Larsnooden|Larsnooden]] ([[User talk:Larsnooden|discuss]] • [[Special:Contributions/Larsnooden|contribs]]) 05:15, 4 May 2026 (UTC)
:Same for Q139806271, Q139806269, Q139806266, Q139806265, Q139806264, Q139806263, Q139806262, Q139806261, Q139806260, Q139806258, Q139806256, Q139806255, Q139625509, Q139611668, and Q139611580.  There seems to be some new kind of vandalism going on.  Perhaps there is a better page to report it on instead of this one? • [[User:Larsnooden|Larsnooden]] ([[User talk:Larsnooden|discuss]] • [[Special:Contributions/Larsnooden|contribs]]) 17:37, 17 May 2026 (UTC)
:: @[[User:Larsnooden|Larsnooden]] Given that this situation is happening on Wikidata, there is nothing that English Wikibooks admins can do. Please report this matter to the Wikidata administrators. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:13, 17 May 2026 (UTC)

== Can't log in :( ==

Xania here. I am logged in on Wikipedia but can't log in here even though it has always been automatic when switching between the two. Wikibooks seems to want me to authenticate myself via my authenticator app which I have not done before. Allows me to also use a recovery code which I do not have. How do I log in guys? [[Special:Contributions/&amp;#126;2026-28255-89|&amp;#126;2026-28255-89]] ([[User talk:&amp;#126;2026-28255-89|talk]]) 18:15, 10 May 2026 (UTC)
: I believe it might be the CheckUser permission requiring 2FA (on parity with interface administrators and oversighters) as that group has restrictions. You might need to temporarily request to the [[m:Stewards' noticeboard|stewards]] to remove CU access from your account to enable 2FA; however, since this project only has 2 CUs, [[User:MarcGarver|MarcGarver]]'s CU rights would be temporarily suspended. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:36, 10 May 2026 (UTC)
: Thanks, I've left a notice on the Steward's board.--[[Special:Contributions/&amp;#126;2026-28255-89|&amp;#126;2026-28255-89]] ([[User talk:&amp;#126;2026-28255-89|talk]]) 18:59, 10 May 2026 (UTC)
::This happened before when your CU rights were removed because you hadn't enrolled in 2FA. I presume you must have enrolled to get the CU rights back. Are you really sure you've never used any authenticator here? [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 11:49, 11 May 2026 (UTC)
:::See [https://en.wikibooks.org/wiki/User_talk:MarcGarver#Check_User previous discussion] from last year [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 11:51, 11 May 2026 (UTC)
::::Thanks. Good to know. I had completely forgotten that discussion. I will have to install some old authenticators and see which works.--[[Special:Contributions/&amp;#126;2026-28255-89|&amp;#126;2026-28255-89]] ([[User talk:&amp;#126;2026-28255-89|talk]]) 17:09, 16 May 2026 (UTC)
: Logged in finally. Seems I had recovery codes (totally forgotten about them) saved but no authenticator so each time I log in I'll need to use the codes.--[[User:Xania|Xania]] [[Image:Flag_of_Estonia.svg|15px]]  [[Image:Flag_of_Ukraine.svg|15px]] [[User talk:Xania|&lt;sup&gt;talk&lt;/sup&gt;]] 17:54, 16 May 2026 (UTC)

== Mnckhagaul reported by MathXplore ==

* {{userlinks|Mnckhagaul}}

Spam &lt;!-- USERREPORTED:/Mnckhagaul/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 08:35, 16 May 2026 (UTC)
: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 03:28, 17 May 2026 (UTC)
== Vrindavanmathuratourpackages reported by MathXplore ==

* {{userlinks|Vrindavanmathuratourpackages}}

Spam &lt;!-- USERREPORTED:/Vrindavanmathuratourpackages/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:13, 18 May 2026 (UTC)
: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:28, 18 May 2026 (UTC)
== Shawndavidsonosp2 reported by MathXplore ==

* {{userlinks|Shawndavidsonosp2}}

Spam, [[Special:AbuseLog/312343]], [[Special:AbuseLog/312344]] &lt;!-- USERREPORTED:/Shawndavidsonosp2/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:10, 19 May 2026 (UTC)

:This is not a spam. Its a discussion topic on Healthcare Software Development [[User:Shawndavidsonosp2|Shawndavidsonosp2]] ([[User talk:Shawndavidsonosp2|discuss]] • [[Special:Contributions/Shawndavidsonosp2|contribs]]) 13:00, 19 May 2026 (UTC)
: {{ping|MarcGarver|Xania}} (CU request) User:Shawndavidsonosp2 &amp; User:Lunasora33 made link additions for osplabs.com ([https://en.wikibooks.org/w/index.php?title=Information_Technology_and_Ethics/IT_and_Healthcare&amp;diff=prev&amp;oldid=4636437], [https://spamcheck.toolforge.org/by-domain?q=osplabs.com])
: {{ping|MarcGarver|SHB2000}} [[Special:CentralAuth/Rachvictor05]] &amp; [[Special:CentralAuth/Emma_Joseph_Swift]] (Locked) also made link additions for osplabs.com ([https://spamcheck.toolforge.org/by-domain?q=osplabs.com]) [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 13:46, 19 May 2026 (UTC)
::Clearly promotional accounts, both blocked. [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 16:00, 19 May 2026 (UTC)
:::and their spam domain added to the blacklist [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 16:02, 19 May 2026 (UTC)

== Banibrotechnologies reported by MathXplore ==

* {{userlinks|Banibrotechnologies}}

Spam &lt;!-- USERREPORTED:/Banibrotechnologies/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:10, 19 May 2026 (UTC)
: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:51, 19 May 2026 (UTC)

== Texasanne12 reported by MathXplore ==

* {{userlinks|Texasanne12}}

Link spam, [[Special:AbuseLog/312336]] &lt;!-- USERREPORTED:/Texasanne12/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:18, 19 May 2026 (UTC)

:{{done}} —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 02:14, 20 May 2026 (UTC)

== [[User:Me Lendroz]] (CU request) ==

{{ping|MarcGarver|Xania}} (this is related to previous CU, [[Wikibooks:Reading_room/Administrative_Assistance/Archives/2024/February#Alert_about_possible_evasion_of_previous_1-week_block_at_English_Wikibooks_(CU_needed?)]], [[Wikibooks:Reading_room/Administrative_Assistance/Archives/2024/August#Another_user_editing_User:Jay_Bolero's_user_page]]) &lt;br&gt;
I found [[Special:Contributions/CarlessParking]] editing the user page of [[User:Me Lendroz]]. What do our CUs think about this? [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 14:00, 19 May 2026 (UTC)

:It's an obvious sock of Jay Bolero not least because the account has posted &quot;my name is Karl Basallote&quot; everywhere and &quot;Basallote&quot; matches the previous sock. I've blocked CarlessParking as this is an abusive use of multiple accounts. [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 15:57, 19 May 2026 (UTC)
:: @[[User:MarcGarver|MarcGarver]] In that case, should their edits be reverted and/or marked as unreviewed? They were now blocked indefinitely for sockpuppetry. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:38, 27 May 2026 (UTC)

== Sharmasejal reported by MathXplore ==

* {{userlinks|Sharmasejal}}

Spam, [[Special:AbuseLog/312466]] &lt;!-- USERREPORTED:/Sharmasejal/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 11:12, 22 May 2026 (UTC)

:{{done}} —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 12:28, 22 May 2026 (UTC)
== Abbeypartyrental reported by MathXplore ==

* {{userlinks|Abbeypartyrental}}

Spam &lt;!-- USERREPORTED:/Abbeypartyrental/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 04:26, 24 May 2026 (UTC)

:{{done}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 13:33, 26 May 2026 (UTC)

== Varundraravinds reported by MathXplore ==
* {{userlinks|Varundraravinds}}

Spam &lt;!-- USERREPORTED:/Varundraravinds/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:10, 26 May 2026 (UTC)

:{{done}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 13:33, 26 May 2026 (UTC)

== Prabhuabd reported by MathXplore ==
* {{userlinks|Prabhuabd}}

Spam &lt;!-- USERREPORTED:/Prabhuabd/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:12, 26 May 2026 (UTC)

:{{done}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 13:33, 26 May 2026 (UTC)
== Manipathakblog reported by MathXplore ==
* {{userlinks|Manipathakblog}}

Promotion-only account &lt;!-- USERREPORTED:/Manipathakblog/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 06:54, 30 May 2026 (UTC)
: Globally locked by Barras. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:44, 30 May 2026 (UTC)</text>
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      <text bytes="9663" sha1="07f1o2roupprqsneoi23dd3xv2tn40j" xml:space="preserve">__NEWSECTIONLINK__ {{Discussion Rooms}} {{shortcut|WB:AN|WB:AA}} {{TOC left}}
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{{ombox|type=content|text='''To request a rename or usurpation''', go to the global request page at Meta [[meta:SRUC|here]].&lt;br /&gt;''Please do not post those requests here!''}}
{{Clear}}
Welcome to the '''Administrative Assistance reading room'''.  You can request assistance from [[WB:ADMIN|administrators]] for handling a variety of problems here and alert them about problems which may require special actions not normally used during regular content editing. Please be patient as administrators are often quite busy with either their own projects or trying to perform general maintenance and cleanup.

You can deal with most vandalism yourself: [[Wikibooks:Dealing with vandalism|fix it]], then [[Wikibooks:Templates/User_notices|warn the user]]. If there is repeated vandalism by one user, lots of vandalism on a single page, or vandalism from many users, tell an admin here, or in [irc://irc.freenode.net/wikibooks #wikibooks] (say &lt;code&gt;!admin&lt;/code&gt; to get attention).

For more general questions and assistance that doesn't require an administrator, please use the [[WB:HELP|Assistance Reading Room]].
{{clear}}

[[Category:Reading room]]

== No data in page linked to by Wikidata ==

The page, [https://en.wikibooks.org/wiki/OpenSSH/Third_Party_Utilities OpenSSH: Third Party Utilities] has no data and thus should not be linked to from [https://www.wikidata.org/wiki/Q139625509 Q139625509]  How can the link be deleted?  Thanks.  [[User:Larsnooden|Larsnooden]] ([[User talk:Larsnooden|discuss]] • [[Special:Contributions/Larsnooden|contribs]]) 05:06, 4 May 2026 (UTC)

:Same for Q139611668 and Q139611580.  All three links should be deleted / removed as the destination pages in the en.wikibook do not have any data but instead normal prose.  - [[User:Larsnooden|Larsnooden]] ([[User talk:Larsnooden|discuss]] • [[Special:Contributions/Larsnooden|contribs]]) 05:15, 4 May 2026 (UTC)
:Same for Q139806271, Q139806269, Q139806266, Q139806265, Q139806264, Q139806263, Q139806262, Q139806261, Q139806260, Q139806258, Q139806256, Q139806255, Q139625509, Q139611668, and Q139611580.  There seems to be some new kind of vandalism going on.  Perhaps there is a better page to report it on instead of this one? • [[User:Larsnooden|Larsnooden]] ([[User talk:Larsnooden|discuss]] • [[Special:Contributions/Larsnooden|contribs]]) 17:37, 17 May 2026 (UTC)
:: @[[User:Larsnooden|Larsnooden]] Given that this situation is happening on Wikidata, there is nothing that English Wikibooks admins can do. Please report this matter to the Wikidata administrators. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:13, 17 May 2026 (UTC)

== Vrindavanmathuratourpackages reported by MathXplore ==

* {{userlinks|Vrindavanmathuratourpackages}}

Spam &lt;!-- USERREPORTED:/Vrindavanmathuratourpackages/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:13, 18 May 2026 (UTC)
: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:28, 18 May 2026 (UTC)
== Shawndavidsonosp2 reported by MathXplore ==

* {{userlinks|Shawndavidsonosp2}}

Spam, [[Special:AbuseLog/312343]], [[Special:AbuseLog/312344]] &lt;!-- USERREPORTED:/Shawndavidsonosp2/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:10, 19 May 2026 (UTC)

:This is not a spam. Its a discussion topic on Healthcare Software Development [[User:Shawndavidsonosp2|Shawndavidsonosp2]] ([[User talk:Shawndavidsonosp2|discuss]] • [[Special:Contributions/Shawndavidsonosp2|contribs]]) 13:00, 19 May 2026 (UTC)
: {{ping|MarcGarver|Xania}} (CU request) User:Shawndavidsonosp2 &amp; User:Lunasora33 made link additions for osplabs.com ([https://en.wikibooks.org/w/index.php?title=Information_Technology_and_Ethics/IT_and_Healthcare&amp;diff=prev&amp;oldid=4636437], [https://spamcheck.toolforge.org/by-domain?q=osplabs.com])
: {{ping|MarcGarver|SHB2000}} [[Special:CentralAuth/Rachvictor05]] &amp; [[Special:CentralAuth/Emma_Joseph_Swift]] (Locked) also made link additions for osplabs.com ([https://spamcheck.toolforge.org/by-domain?q=osplabs.com]) [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 13:46, 19 May 2026 (UTC)
::Clearly promotional accounts, both blocked. [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 16:00, 19 May 2026 (UTC)
:::and their spam domain added to the blacklist [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 16:02, 19 May 2026 (UTC)

== Banibrotechnologies reported by MathXplore ==

* {{userlinks|Banibrotechnologies}}

Spam &lt;!-- USERREPORTED:/Banibrotechnologies/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:10, 19 May 2026 (UTC)
: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:51, 19 May 2026 (UTC)

== Texasanne12 reported by MathXplore ==

* {{userlinks|Texasanne12}}

Link spam, [[Special:AbuseLog/312336]] &lt;!-- USERREPORTED:/Texasanne12/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:18, 19 May 2026 (UTC)

:{{done}} —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 02:14, 20 May 2026 (UTC)

== [[User:Me Lendroz]] (CU request) ==

{{ping|MarcGarver|Xania}} (this is related to previous CU, [[Wikibooks:Reading_room/Administrative_Assistance/Archives/2024/February#Alert_about_possible_evasion_of_previous_1-week_block_at_English_Wikibooks_(CU_needed?)]], [[Wikibooks:Reading_room/Administrative_Assistance/Archives/2024/August#Another_user_editing_User:Jay_Bolero's_user_page]]) &lt;br&gt;
I found [[Special:Contributions/CarlessParking]] editing the user page of [[User:Me Lendroz]]. What do our CUs think about this? [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 14:00, 19 May 2026 (UTC)

:It's an obvious sock of Jay Bolero not least because the account has posted &quot;my name is Karl Basallote&quot; everywhere and &quot;Basallote&quot; matches the previous sock. I've blocked CarlessParking as this is an abusive use of multiple accounts. [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 15:57, 19 May 2026 (UTC)
:: @[[User:MarcGarver|MarcGarver]] In that case, should their edits be reverted and/or marked as unreviewed? They were now blocked indefinitely for sockpuppetry. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:38, 27 May 2026 (UTC)

== Sharmasejal reported by MathXplore ==

* {{userlinks|Sharmasejal}}

Spam, [[Special:AbuseLog/312466]] &lt;!-- USERREPORTED:/Sharmasejal/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 11:12, 22 May 2026 (UTC)

:{{done}} —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 12:28, 22 May 2026 (UTC)
== Abbeypartyrental reported by MathXplore ==

* {{userlinks|Abbeypartyrental}}

Spam &lt;!-- USERREPORTED:/Abbeypartyrental/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 04:26, 24 May 2026 (UTC)

:{{done}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 13:33, 26 May 2026 (UTC)

== Varundraravinds reported by MathXplore ==

* {{userlinks|Varundraravinds}}

Spam &lt;!-- USERREPORTED:/Varundraravinds/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:10, 26 May 2026 (UTC)

:{{done}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 13:33, 26 May 2026 (UTC)

== Prabhuabd reported by MathXplore ==

* {{userlinks|Prabhuabd}}

Spam &lt;!-- USERREPORTED:/Prabhuabd/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:12, 26 May 2026 (UTC)

:{{done}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 13:33, 26 May 2026 (UTC)
== Manipathakblog reported by MathXplore ==

* {{userlinks|Manipathakblog}}

Promotion-only account &lt;!-- USERREPORTED:/Manipathakblog/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 06:54, 30 May 2026 (UTC)
: Globally locked by Barras. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:44, 30 May 2026 (UTC)</text>
      <sha1>07f1o2roupprqsneoi23dd3xv2tn40j</sha1>
    </revision>
  </page>
  <page>
    <title>Arabic/LearnRW/al- Assimilation</title>
    <ns>0</ns>
    <id>142791</id>
    <revision>
      <id>4638076</id>
      <parentid>4614796</parentid>
      <timestamp>2026-05-30T15:24:08Z</timestamp>
      <contributor>
        <username>ShakespeareFan00</username>
        <id>46022</id>
      </contributor>
      <minor />
      <origin>4638076</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1361" sha1="q6ee1xuc9ns0y178scvdeu6fdw59gdd" xml:space="preserve">The definite article of Arabic is &lt;span style=&quot;font-size:small&quot;&gt;الـ &lt;/span&gt; (Alif-Laam), known as&lt;span style=&quot;font-size:small&quot;&gt;لام التارف&lt;/span&gt; (Laam al-Ta3reef).

The first letter of the Laam al-Ta3reef is a Hamzat-Wasl (&lt;span style=&quot;font-size:small&quot;&gt;همزة وصل&lt;/span&gt;), an alif with a 9aad (&lt;span style=&quot;font-size:small&quot;&gt;ص&lt;/span&gt;) written above it (&lt;span style=&quot;font-size:small&quot;&gt;ٱ&lt;/span&gt;).  We do not write the &lt;span style=&quot;font-size:small&quot;&gt;ص&lt;/span&gt; on the alif in writing (we simply know it is there, as no words in Arabic begin with alif (only alif with hamza (&lt;span style=&quot;font-size:small&quot;&gt;أ&lt;/span&gt;).  A Hamzat-Wasl takes the sound of a vowel immediately before it, if there is one;  if not, it makes the same sound as fatha at the beginning of the word (&lt;span style=&quot;font-size:small&quot;&gt;أَ&lt;/span&gt;).

An example of the Hamzat-Wasl taking the sound of a preceding vowel is &lt;span style=&quot;font-size:small&quot;&gt;الأُممُ الـمُتَّحِدة&lt;/span&gt; (Al-Umamu l-Muttahida), &quot;The United Nations&quot;.

The spelling of Laam al-Ta3reef is with 3ain and not alif: &lt;span style=&quot;font-size:small&quot;&gt;لام التعريف&lt;/span&gt;. Here it means 'the'. But in some places it means 'all'. Then it is known as Laam al-Jins, where jins means the whole category. E.g., al-7amdu = 'all praise' (&lt;span style=&quot;font-size:small&quot;&gt;الحمد&lt;/span&gt;).

{{BookCat}}</text>
      <sha1>q6ee1xuc9ns0y178scvdeu6fdw59gdd</sha1>
    </revision>
  </page>
  <page>
    <title>Haskell/Solutions/Understanding arrows</title>
    <ns>0</ns>
    <id>149431</id>
    <revision>
      <id>4638175</id>
      <parentid>3678632</parentid>
      <timestamp>2026-05-31T07:42:41Z</timestamp>
      <contributor>
        <username>OmniscientWhale</username>
        <id>3598489</id>
      </contributor>
      <comment>Correct return type for &quot;second&quot; function</comment>
      <origin>4638175</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="907" sha1="cwzectjcjtc35c8409grpq7kvmiwsc6" xml:space="preserve">{{Haskell solution}}

== Pocket guide to &lt;code&gt;Arrow&lt;/code&gt; ==

1.
&lt;syntaxhighlight lang=&quot;haskell&quot;&gt;
-- Available from Data.Tuple
swap :: (a, b) -&gt; (b, a)
swap (x, y) = (y, x)

second :: Arrow y =&gt; y a b -&gt; y (c, a) (c, b)
second f = arr swap &gt;&gt;&gt; first f &gt;&gt;&gt; arr swap

(***) :: Arrow y =&gt; y a c -&gt; y b d -&gt; y (a, b) (c, d)
f *** g = first f &gt;&gt;&gt; second g

dup :: a -&gt; (a, a)
dup x = (x, x)

(&amp;&amp;&amp;) :: Arrow y =&gt; y a b -&gt; y a c -&gt; y a (b, c)
f &amp;&amp;&amp; g = arr dup &gt;&gt;&gt; f *** g
&lt;/syntaxhighlight&gt;

2.
&lt;syntaxhighlight lang=&quot;haskell&quot;&gt;
swapTags :: Either a b -&gt; Either b a
swapTags e = case e of
    Left x  -&gt; Right x
    Right x -&gt; Left x

right :: y a b -&gt; y (Either c a) (Either c b)
right f = arr swapTags &gt;&gt;&gt; left f &gt;&gt;&gt; arr swapTags
&lt;/syntaxhighlight&gt;

3.
&lt;syntaxhighlight lang=&quot;haskell&quot;&gt;
liftY2 :: Arrow y =&gt; (a -&gt; b -&gt; c) -&gt; y r a -&gt; y r b -&gt; y r c
liftY2 f g h = g &amp;&amp;&amp; h &gt;&gt;&gt; arr (uncurry f) 
&lt;/syntaxhighlight&gt;</text>
      <sha1>cwzectjcjtc35c8409grpq7kvmiwsc6</sha1>
    </revision>
  </page>
  <page>
    <title>User:Panic2k4/Sandbox/ShareMemory</title>
    <ns>2</ns>
    <id>193698</id>
    <revision>
      <id>4638036</id>
      <parentid>4486440</parentid>
      <timestamp>2026-05-30T12:29:47Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <minor />
      <comment>/* Cultural background */</comment>
      <origin>4638036</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="140884" sha1="ry7fuvbifh2v7ydvvmhiz6u3bxdjagk" xml:space="preserve">(remember miscellaneous cut-pastes on [[User:Panic2k4/Sandbox/DumpingGround]])

{{NOTE|This is a list of subjects for possible books, and books that I would find interest in reading or see the subject covered on Wikibooks. Even if this is my personal space, anyone is granted authorization to add (and only add) items, news, links, references to any of the categories. I would gladly collaborate with and move anyone of this subjects to a Wikibook project.}}

----
[[User:Panic2k4/Sandbox/ShareMemory/Seeking Utopia|Seeking Utopia]]


== American fake==

=== Land taking ===
The United States of America, have been an artificial creation not an emergent nation, it was not build upon by shared history (strafes and pains) and a linking cultural bond (language, habits and shared memory) derived by the Roman common aspiration to link bloodlines with land by legal means as to maintain social order, and the elite in control. In fact the nation was created by the expansion of European powers and their fight for power, in particular those with an interest in the substitution of Spain as the dominant power having already helped to undo the Portuguese. In a very old European continent that was coming up out of the dark ages centered around the Catholic religion in internal conflict intended to maintain or replace the seat of power in Rome. The Italian peninsula was in a mess of warring states even more fragmented do to outside kingdoms influence whose recognition all depended on the Pope. England and France were still at each others throats for supremacy and would be so until the end of the US civil war.   

So the space that is now the  USA was  born for a technological and demographic race for land grab and economic profit  by the excluded protestant nations that had been waging wars in central Europe  again the  order and exploitation of the Roman Catholic Church using one excuse or another to gain freedom from the Pope and the Church. Some erroneously define the European nations evolution as meres kingdoms linked by family ties but this was not the reality at this time, long ago the Burgessy had gained a foot hold that started in central Europe and dramatically changed the only Noble elite into more organized economic interests groups, with an elevated knowledge on the economic dependency of the state, as the scarcity of workers due to the plagues reshaped the older nobility basic link to land ownership into having more commercial aspirations.

=== Protestant nation ===

==== Masonic influence ====

=== Revolutionaries or Terrorists ===

=== Constintution by and for the elites ===

=== Fake flag attacks as justification for war ===

==== Spanish US War ====

==== Absurd blindness that permited entry into WW2 ====

=== Project paperclip ===

=== Nuclear burden ===

=== Gold standard ===

=== Petrodollar ===

==== House of Saud ====

==== Iran ====

==== Regan's October surprise ====

==== Iran-Contra ====

==== Iraq ====

==== Kuwait ====
A meeting took place on July 25, 1990, between Saddam Hussein and April Glaspie, the U.S. Ambassador to Iraq. During this meeting, Glaspie informed Saddam that the United States &quot;takes no position&quot; on his dispute regarding Iraq's claims about oil prices and production levels do to Kuwait's oil production and the use of slant drilling technology (draining shared resources). Throughout the 1980s, Kuwait's oil production consistently exceeded its mandatory OPEC quota, contributing significantly to the global oil glut and thereby keeping oil prices low. This situation was detrimental to Iraq, which was struggling to recover economically from the Iran-Iraq War and heavily reliant on oil revenues.
So the statement by April Glaspie has been widely criticized for potentially giving Saddam the impression that the U.S. would not intervene if Iraq took military action against Kuwait. However, it's important to note that the U.S. did not explicitly warn Iraq against invading Kuwait, which has led to debates about whether the U.S. gave Iraq a &quot;green light&quot; to proceed with the invasion. One also has to take in consideration Saddams' deep link to the US, and the pattern of examples the US sets itrsel.

Military Capabilities: The disparity in military strength was stark. Iraq's military was one of the world's largest, with a vast array of tanks, aircraft, and personnel, whereas Kuwait's military was much smaller and less prepared for a full-scale invasion.

Distribution of Wealth: Kuwait was one of the wealthiest countries per capita, thanks to its vast oil reserves. This wealth, however, was concentrated among a small elite. 

Governance Structures: Both Iraq and Kuwait were governed by authoritarian regimes, but the nature of their rule differed significantly. Iraq under Saddam Hussein was characterized by repression and aggression, while Kuwait's monarchy was more stable but still faced challenges in managing its relationships with neighbors.

Insult to Iraqi Official: An incident involving an insult to an Iraqi official, Tariq Aziz, by Kuwaiti authorities further strained relations. This incident, along with other diplomatic tensions, contributed to the overall atmosphere of hostility

Absence of Cold War Dynamics: With the dissolution of the Soviet Union and the dominance of the United States post-Cold War, the geopolitical landscape had changed. The influence of superpowers in the Middle East had shifted, potentially altering the calculus for both Iraq and Kuwait. 

Oil Policy Discussions: Kuwait's oil policy discussions with the UK Foreign and Commonwealth Office (FCO) indicate that Kuwait was aware of the potential repercussions of its oil production policies on Iraq. These discussions took place around June 28, 1990, and highlighted Kuwait's intention to maintain its oil production levels despite the adverse effects on Iraq 

Misinterpretation of External Communications: A controversial phone call allegedly between Saudi King Fahd and another Gulf ruler, supposedly discussing the need to withstand Iraqi pressure for two more months, was leaked by Iraq. While the authenticity of this call is disputed, Iraq used it to accuse the Gulf states of conspiring against them. This incident reflects the complex web of misinformation and mistrust that characterized the pre-invasion period. Of note is that during the invasion itself, the Emir of Kuwait, Jaber Al-Ahmad Al-Jaber Al-Sabah, fled into the Saudi Arabian desert for safety. Other members of the Kuwaiti royal family and government officials sought refuge in Saudi Arabia as well. The escape routes taken by the elite were primarily directed towards neighboring countries, especially Saudi Arabia, given its proximity and historical ties with Kuwait.

Despite these factors, Kuwait's leadership may have underestimated the severity of Iraq's intentions and overestimated the support they would receive from the international community, particularly from the United States. The belief that they could manage the situation diplomatically without provoking a direct confrontation with Iraq highlights a misreading of the situation and a failure to anticipate the consequences of their actions.

Furthermore, the decision-making process within Kuwait's leadership may have been influenced by internal political considerations, personal relationships with Saddam Hussein, and a desire to maintain stability in the region. These factors, combined with the aforementioned external circumstances, contribute to a complex picture of why Kuwait continued to act in ways that antagonized Iraq, despite the clear risks involved.

Loss of Wealth: The invasion led to the looting of Kuwait's Central Bank, with over $1 billion in banknotes stolen. Additionally, Saddam Hussein devalued the Kuwaiti dinar, making it equal to the Iraqi dinar and effectively reducing its value by one-twelfth. This action rendered the stolen banknotes worthless, leading to substantial losses for the Kuwaiti elite whose assets were tied to the Kuwaiti currency.

Monetary Reserves: Before the invasion, Kuwait's monetary reserves were primarily funded by the Kuwait Investment Authority (KIA), which accumulated savings from Kuwaiti prewar fiscal surpluses and Sovereign Wealth Fund (SWF) contributions. These reserves were significantly depleted in 1991 to fund capital accumulation and reconstruction costs following the invasion. However, the production and exportation of petroleum allowed Kuwait to resume capital savings.

Foreign Debt: To finance reconstruction and capital accumulation, Kuwait increased its debt ceiling to $33 billion as part of a 5-year plan, marking the largest debt in the country's history. This debt was partly financed through inward foreign investment facilitated by martial law, which allowed the government to underwrite nonperforming loans extended by domestic banks and investment companies to Kuwaiti citizens. This process, known as Kuwait’s Debt Settlement Process, aimed to strengthen the financial market but resulted in a reversal of Kuwait's prewar net lender position for the next 5 years.

Defense Spending: Following the Gulf War, Kuwait initiated a plan to spend $12 billion over a 10-year period to improve its military capabilities. The goal was to enhance the country's ability to withstand future attacks long enough for international assistance to arrive. Despite concerns about the sustainability of military spending as oil revenues decline and reserves deplete, Kuwait has continued to allocate significant funds towards its defense.

Rebuilding Efforts: The invasion caused extensive damage to Kuwait's infrastructure, including oil facilities, refineries, and residential areas. The cost of rebuilding these facilities and restoring the country's economy was substantial. Kuwait had to invest heavily in repairing the damage and modernizing its oil industry to ensure it could meet its production targets. Following the liberation of Kuwait after the Gulf War, the economic landscape underwent significant changes, particularly in terms of oil extraction and processing contracts, as well as the transfer of reserves. Any contracts or agreements that had been established with Iraq during the occupation were nullified. This meant that Kuwait regained full control over its oil resources, which were crucial for its economic recovery. Kuwait sought to rebuild its oil industry and attract foreign investment. The aftermath of the invasion saw a reevaluation of contracts and agreements, with new opportunities emerging for international companies, including those from the United States and the United Kingdom, that as key allies in the liberation of Kuwait, secured favorable conditions for their oil companies in the post-war period. They were able to establish new contracts and agreements that expanded their companies' involvement in Kuwait's oil sector.

International Financial Institutions: Kuwait's post-war economic recovery was supported by its membership in the World Trade Organization (WTO), to which it gained admission in 1995. This accession reflects Kuwait's commitment to liberal trade policies and its efforts to integrate into the global economy.

Iraq was required to pay restitution for the damages caused during its invasion and occupation of Kuwait, including the theft of gold and other financial losses. As part of the terms set forth by the United Nations Security Council Resolution 687, passed in April 1991, Iraq agreed to reparations for the destruction of Kuwaiti property and the loss of income resulting from the invasion.
as Compensation for Losses, Restitution of Stolen Assets and Payment of Damages.

The total amount of reparations demanded from Iraq was substantial, but the exact figure varied depending on the assessments of the damage and losses incurred by Kuwait. The UN Compensation Commission, established to process claims and administer the reparations, received thousands of claims from individuals, corporations, and governments affected by Iraq's actions.

While Iraq agreed to the reparations as part of the ceasefire agreement following the Gulf War, the actual payment of these reparations has been a contentious issue. Iraq has paid a portion of the reparations, but disputes over the amounts owed and the ability of Iraq to fulfill its obligations have persisted. The UN Compensation Commission continues to operate, processing claims and overseeing the payment of reparations, although the pace of payments has been slow and incomplete.

=== Russsia's pressent ===
Golf war, betting on the losing side  Poland and Czechoslovakia token participating alonside US and UK troops.

==== Ukraine ====

== Future wars ==
{{TODO|the inevitability of war, war a crime against humanity )}}

=== Resource Wars ===

==== Energy ====

==== Water ====

==== Food ====

=== Rising China ===

The Clinton lead push for the entry of China into the WTO was a leading factor to the rapid modernization of China's Economy and to the de facto establishment of Chimerican economic cycle or reforms if both nation's economies.


America's Defense Department Ran a Secret Disinfo Campaign Online Against China's Covid Vaccine 

&lt;nowiki&gt;https://news.slashdot.org/story/24/06/17/0541243/americas-defense-department-ran-a-secret-disinfo-campaign-online-against-chinas-covid-vaccine&lt;/nowiki&gt;

== The great tome of anonymity ==

=== Privacy ===
==== Privacy's Last Gasp ====
{{TODO|[https://tech.slashdot.org/story/17/03/04/0156212/curated-advertising-is-coming-to-highway-billboards Curated Advertising Is Coming To Highway Billboards]}}

=== Anonymity ===

=== States ===

=== Family ===

=== Institutions ===

=== Corporations ===

=== Technology ===

==== Internet ====

==== Mobiles ====

== On the subject of memes... ==
{{TODO| What are they, who and what empowers them, their effect and exploitation. {{YouTube link|a2b_uhenJ7Q|Pianist Lord Vinheteiro's selection of meme music from the year 1500 AD to now. &quot;Greensleeves,&quot; Beethoven's &quot;Symphony No. 9,&quot; The Village People's &quot;YMCA,&quot; Rick Astley's rickroll hit &quot;Never Gonna Give You Up,&quot; and lots more.}}}}  

== The case for Kumari Kandam ==
{{TODO|[[w:Lemuria (continent)]]}}

== Comprehending Pollution ==
{{TODO|[https://science.slashdot.org/story/18/03/16/041250/microplastics-found-in-93-percent-of-bottled-water-tested-in-global-study Microplastics Found In 93 Percent of Bottled Water Tested In Global Study]. Most if not all modern pollution (past 1500) is criminal, even if negligent, as it can be predicted if not by any other reason by the concept of extrapolation and past experience. Pollution is not always chimerical in nature it may be from nano-materials to OGM crops.}}

{{TODO|The most used &quot;solution&quot; to pollution is dispersion, due to how cheap and easier it is to apply and the lack on our active social systems, from left to right, for a proper, interested defense of the common and the legacy to future generation}}

== China's History ==

{{TODO|Dinasties, Wester contact, Oprium wars, Boxer Revolution, WWI, WWII, [[w:Sun Yat-sen]], Mao}}

== AI Revolution: The rise of the machines  ==

A book about the beginning of the end of the [[w:Anthropocene]]

=== Previous Necessary steps === 

1 The Agrarian Revolution ([[w:Neolithic Revolution]])
2 The Industrial Revolution ([[w:Industrial Revolution]])
3 The Information revolution ([[w:Information revolution]])

=== Notion about IQ and intelligence ===

==== Animal models ====

===== Humans =====

=== Biological Machines ===

== The Path To Revolution ==

=== Define revolution ===

==== Counter-revolutions ====

=== Define revolutionaries ===

=== Historical Look ===

=== Observed Generalities ===

=== Future Projections ===

== The Energy Spiral ==
{{TODO|A work that covers human social-economical development and energy sources, from the past to the future}}

== The Woodworking World ==
{{TODO|[http://makezine.com/2016/05/28/weekend-watch-wood-working-around-world/ Weekend Watch: Woodworking Around The World]}}

== Pursuing the ultimate blade ==
This work should be an all encompassed view of the technological and diverse history behind the use of blades as a tool and predictions for the future.

Have you ever considered what inventions were the most important in our evolutionary path ? We do understand that inventions aren't often made in insulation, that most arise form observance and exploration of the natural world. Even that very few inventions are revolutionary, and of those, even fewer will be cultural impactors. And those, often come in a slow path that overtime evolve into something that not only may shape the world around us but ourselves.

Most of us would agree that fire was the most important invention, probably discovery, or even better, should we say mastery our species conquered. The doors it opened from food preservation to path of improvement to tools, even to the use of its sub-products or benefits of its large scale use is something we can't even imagine surviving without. But we also understand that invention and knowledge is like a branching tree, that is sequential that has a path a logic to it, as we define our inventions they are also defined by us, on our needs, our culture. What concepts may have been at the root of this ever branching tree, the use of rocks, of sticks and bones. We have example of other animals making use of there types of tools, even capable of creating and using fire but then consider the primal blade, the probably initial concept of abrasion and then the cutting edge, of shape and material used, the possibilities for refinement and creative specialization, the impact it had, and still does at it has been ever evolving along side us, the blade should be right there on the top of human achievements.

=== Tool meet function ===

==== Body ===

==== Spine ====

==== Handle ====

==== Edge ====

===== Front =====

===== Back =====

===== Sides / Faces =====

==== Physics ====

=== Silex ===

=== Knifes ===
{{TODO|[http://makezine.com/2016/05/27/make-alaskan-ulu-knife/ How to Make an Alaskan Ulu Knife]}}

=== Propellers ===

==== Nautical ====

==== Aerial ====

== Heroes, Idols and other people we like ==
[[w:Desmond Doss]]

== Reflections about the simulated universe ==
[[w:Evil demon]], [[w:Brain in a vat]], [http://www.simulation-argument.com/ Are You Living In a Computer Simulation?], [https://science.slashdot.org/story/16/10/06/1352205/tech-billionaires-are-asking-scientists-for-help-to-break-humans-out-of-computer-simulation?utm_source=feedburner&amp;utm_medium=feed&amp;utm_campaign=Feed%3A+Slashdot%2Fslashdot+%28Slashdot%29 Tech Billionaires Are Asking Scientists For Help To Break Humans Out of Computer Simulation]

== The task and property of leadership ==

There is an intrinsic link between leadership and capacity for motivation. A motivation not only a will to get upfront but the capacity to maintain and so excel over the ones that are lead. Since leadership can only exist in relation to a group, it also requires the capacity to deal with the expectations and motivations of others.

=== Classic Approaches ===
orthodox

=== Experimental Approaches ===
Non-orthodox, but never the less more than feasible and so deserving going beyond theoretical concepts.

== The Conundrum of Life ==
{{TODO|[[An Introduction to Molecular Biology/Macromolecules and Cells]]}}

=== Definitions ... ===
{{TODO|Virus, Bacteria, Roots of the Tree of life, Life vs alive}}

== The Biomimicry Log Book ==

=== Biomimetics ===
{{TODO|Mine [[w:Biomimetics]]}}

=== Scale ===
=== Bio-Mathematics ===

==== Physic's Universal Constants ====

==== Fibonacci number sequence ====

==== Golden ratio ====

=== Bio-Mechanics ===
==== Velcro ====

=== Bio-Architecture ===
;Architecture
==== Termites ====

{{TODO|Mine [http://www.wired.com/2015/11/building-skyscrapers-like-termite-mounds-could-save-energy/ Termites Are Teaching Architects to Design Super-Efficient Skyscrapers]}}

==== Wasps ====

== Abridged history of knowledge ==
{{TODO| Mine [http://science.slashdot.org/story/16/01/29/1847240/ancient-babylonians-figured-out-forerunner-of-calculus? Ancient Babylonians Figured Out Forerunner of Calculus]}}
== Introduction to Graphical Calculating Devices ==
=== Abacus ===
=== Nomogram ===
{{TODO|Mine [[w:Nomogram]]}}
=== Slide Rule ===
{{TODO|Mine [[w:Slide rule]]}}

== Tactics and Strategy ==

== Computer Aided Fabrication ==

=== CNC Machines ===
{{TODO|Mine [[w:CNC wood router]]}}

=== 3D Printing ===

=== Complex Robotics ===

== Understanding Radicalization ==
=== The Social Structure ===
==== Law and Order ====
===== Vigilantism =====

=== Destabilization ===

==== Economical ====
==== Social ====
==== Political ====

=== Terrorism ===

=== The Goal: Overthrow and Control ===

== Lets discuss politics... ==
=== Anarchy and individualism ===
=== Selfish vs Unselfish ===
==== Collectivism ====
{{TODO| Mine [https://libcom.org/library/industrial-collectivisation-spanish-revolution-hogan Industrial collectivization during the Spanish revolution - Deirdre Hogan], [http://www.theguardian.com/world/2013/oct/20/marinaleda-spanish-communist-village-utopia Spain's communist model village ]}}
=== Statism ===
Statism is an emergent ideology, originating in the structuring of a social, economic and political movement by a directing class with the intent to expand the City State organization into the scale of an established nation (or failing the requirement of there being a nation, a National State a belief or aspirational Nation state).

Statisms evolves from the need to preserve power and so centralize. It normally begins within a single entity and evolves slowly into a institution (a multigenerational enterprise, that historically is started and expanded around familiar ties), whether it's a city-state or a larger region. This centralization allows for more efficient governance and the ability to enforce laws and policies consistently across the territory and go about the erection and defense of the Nation.

The state is inevitably and in the last stage formed as away to preserve self-determination of the population of a region. Even that is a social manipulation, an atavism from our tribal nature. Due to the complexity of the proposition, it is a planned thing, by a cabal that manages to direct public opinion into expansion. Most probable through military engagement (as o position, outsiders, or excluded, must ultimately be eradicated as competitors). This as a rule started as a totalitarian regime that often engage in aggressive military campaigns to expand their territories. This expansion can lead to the incorporation of new regions into the existing state, thereby increasing its size and influence. A process that occurs until open war is not practical. As the practicality of state is only as strong a necessity to survive the opposing state(s). Aggressive military strategies are frequently employed to expand the territory under the state's control.

A Nation is normally a region but mostly its people, sharing a deep sense of identity (culture and relationship) this precedes any notion of statehood (pressure for self-rule by the inhabitants) but the diluted National State is based on an abstract notion of nationalism (an aspiration for a social normalization or at least a conformism to a united identity) it is frequently the grouping of semi-cohesive people, as regional agglomerates that normally are forced together by self-preservation and/or force to establish sovereignty. The concept of sovereignty is crucial in statism. It involves establishing the state's right to govern independently and to exert control over its borders. This is often achieved through diplomatic negotiations, treaties, and the assertion of military might. Of course, this requires a sharing of a communal legal code of sorts. Especially regarding property rights in this most nations evolved from the Roman legal code (that is also linked to the Roman Catholic Church as the primary directory of thought. And why protestant nations diverge in general on some basic procedures on process).  

Nation-Building, as seen normally proceeds state-building, but can be artificially established as statism also encompasses nation-building efforts. This involves fostering a sense of national identity and unity among the inhabitants of the expanded territory. Establishing sovereignty is essential for the state to operate independently and assert its authority over its borders. Fostering a strong national identity is crucial for the cohesion and stability of the expanded state. This is what we define as Cultural Imperialism, how Hollywood is used to rewrite history how culture can be an instrument of expansion, protection (or protectionism) and radicalization.

Examples are most ex-colonial territories (like Iraq) with a few exceptions (like Australia) and a mix of yet to be settled situations (Canada, Labia). This can be achieved through indoctrination of the population (education, cultural promotion, and the creation of shared symbols and narratives). In Europe this is strongly linked to religion. But all states result from internal and external pressures of competition. For example, China is an example where it is extremely visible on how internal and external processes shaped the Nation state.

Examples of National States are Spain, the UK or Switzerland of course the intention if of normalization of culture by the ruling class to form a Nation State, for example France is mostly cohesive even if there are still regional identities much less than Italy. But the notion of Nation is always mutable and expansionist (For example, China and Tibet or Russia and Ukraine). A National State is turned in a Nation State when the national elites (centers of social order) agree that they identify fully as a community with a joint shared future. This is often done via Economic Transformation (we saw this in Ukraine's interaction with the European Union and Russia). Economic factors play a significant role in state formation. Trade, finance, and urbanization contribute to the growth and stability of states. By integrating newly acquired territories into its economic sphere, a state can ensure its continued prosperity and strength.

Even the state participation in conflict resolution and integration is self-serving. Conflict theories suggest that states form primarily through the resolution of conflicts and the integration of previously separate populations. This process involves addressing differences, resolving disputes, and creating mechanisms for peaceful coexistence and cooperation. This is the kernel of any human cultural evolution. Considering the statism as a process in evolution, in the final stage of globalization we will probably have a longer time frame where only two states will persist (if we survive so far), this is already exemplified by the balancing of what we define as superpower bi-polarization (during the Cold War). This natural balance was then  recreated by the US by promotion of China into the WTO as the Chinamerica (social and economic promotion of China as a fully industrialized state that helped the economic transformation of America into services and intellectual property), that resulted into the yet to be fully realized China-American bi-polarization. In the failure of a regional based but global distributed government that could eradication most social differentiations, if we do a bit of futurism the evolution on geopolitics will go for a balancing act of two prevailing states (with the suppression of any other minority identity)  probably resulting in an ultra specialization into caste systems (like a bee hive or an insect society, these pressures have already been present how we differentiate activities by sex, recognize (to some logical sort)  racial specificities or see priest classes chose celibacy). One escape to resolve our personal identity identification (the egotistical individual) would be a merge with machines and very global networks. This is a process that is also running in the background. Our communication network is the largest machine (system) we have created. So the race is on the state that will control the algorithmic machines. 

There are no workable examples where individualism survives in such large systems, or system if we go so far as a unification or global government and a redefinition of state as part of a planetary identity and then repeat the evolution across the universe). There will probably by colonization of other planets (or space) where relativistic speeds, specific pressures and insulation will preserve what we define as humans today at least until we remove those obstacles.

== What matters about matter ==
=== Gravity ===

{{TODO|Particle and gravity wave}}

=== Time ===
=== Space ===
=== Space-time ===

== The rise and fall of Liberia ==
{{TODO|This seems to be a very interesting subject that everyone should know a bit more about as it has many implication.}}

== The fall of the Ottoman Empire ==
{{TODO|[[w:Gallipoli]]}}

== Visual Programming Paradigm ==
{{TODO| IDE / Visual Programming / Idea}}

[[wikipedia:Visual programming language]]

(http://dspace.mit.edu/handle/1721.1/41550)
OpenBlocks : an extendable framework for graphical block programming systems
Graphical programming systems have been built to lower the threshold to programming for beginners. However, because these systems were designed to make programming more accessible to novices, they were developed with narrower intentions for their users and applications. For example, in StarLogo TNG, a graphical block programming environment, users may create games and simulations, but they cannot use this same system to create programs that can automate their computer processes, like the text-based scripting system AppleScript. Application developers can create their own programming systems, but doing so can take a significant amount of time to design and implement. This thesis describes an extendable framework called OpenBlocks that enables application developers to build and iterate their own graphical block programming systems by specifying a single XML file. Application developers can focus more on the design of their systems instead of all the details of implementation. The design and implementation of OpenBlocks are described, along with a user study conducted to test its usability and extendability.


(http://education.mit.edu/starlogo-tng/searchandtype/searching-and-typeblocking.htm) StarLogo TNG

[[image:Scratch Screenshot, Gravity Script.png|300px|]] [[image:Scratch Rainbow nevit.gif|200px|]]{{clear}}
(http://scratch.mit.edu/)
Scratch is a highly engaging programming system that allows young students to create animated stories, games, interactive art, and simulations. Students use a drag and drop interface of &quot;code blocks&quot; to create sound, movement and actions to objects called &quot;sprites.&quot;

(http://www.chirp.scratchr.org/blog/?p=24)
Elements - a Scratch-like Smalltalk 

(http://byob.berkeley.edu/)
Build Your Own Blocks is an advanced offshoot of Scratch, a visual programming language primarily for kids from the Lifelong Kindergarten Group at the MIT Media Lab. This version, developed by Jens Mönig with design input and documentation from Brian Harvey, is an attempt to extend the brilliant accessibility of Scratch to somewhat older users—in particular, non-CS-major computer science students—without becoming inaccessible to its original audience. BYOB 3, which adds first class lists and procedures to BYOB's original contribution of custom blocks and recursion.

[[image:EToys on OLPC-dual mode display.jpg|800px|]]{{clear}}
(http://wiki.laptop.org/go/Etoys)
Squeak Etoys was inspired by LOGO, PARC-Smalltalk, Hypercard, and starLOGO (see discussion). It is a media-rich authoring environment with a simple, powerful scripted object model for many kinds of objects created by end-users that runs on many platforms, and it is free and open source. It includes 2D and 3D graphics, images, text, particles, presentations, web-pages, videos, sound and MIDI, etc. It includes the ability to share desktops with other Etoy users in real-time, so many forms of immersive mentoring and play can be done over the Internet. It is multilingual, runs on more than 20 platforms bit-identically, and has been successfully used in the USA, Europe, South America (Brazil, Colombia, Argentina), Asia (Japan, Korea, India, Nepal), and elsewhere.

[[image:OLPC-TurtleArt.jpg|800px|]]{{clear}}
(http://wiki.laptop.org/go/Turtle_Art)
Turtle Art is an activity with a Logo-inspired graphical &quot;turtle&quot; that draws colorful art based on Scratch-like snap-together visual programming elements. It is intended to be a stepping stone to Logo, but there are many restrictions compared to Logo. (Only numeric global variables and stack items are available, no lists or other data-structures. The conditionals and some of the functions only take constants or variables, not expressions. Limited screen real-estate makes building large programs unfeasible.) However, you can export your Turtle Art creations to Berkeley Logo. Turtle Art also has a (limited) facility for sensor input, so, for example, you can move the Turtle based upon sound volume or pitch. 

(http://tinlizzie.org/jstile/) (http://tinlizzie.org/svn/trunk/jstile/TileManual.txt)
Tilescript is a programming environment for educational purpose which
has good features in both graphical and textual languages. For Javascript.

(http://www.lively-kernel.org/projects/index.html)
Lively is a new approach to web programming available as open source under the MIT license. Originally developed at Sun Microsystems Laboratories, it provides a complete platform for web applications, including dynamic graphics, network access, and development tools. Students, academics, and adventurous developers are encouraged to join the community. 

(http://lively.cs.tut.fi/qt/)
Lively for Qt is a JavaScript application and mashup development environment that is built on top of the Qt platform. The system runs on Mac OS X, Linux, Windows and on any mobile device for which a port of the Qt platform is available. The system can also run in any web browser using a Qt web browser plugin.

(http://openquark.org/Open_Quark/Welcome.html) (http://resources.businessobjects.com/labs/cal/gemcutter-techpaper.pdf) $Commercial$ (Where's the CAL compiler? http://forums.sdn.sap.com/thread.jspa?threadID=909612)
Open Quark (CAL language) available under BSD-style license. The Gem Cutter is a graphical language IDE for the convenient creation and testing of functions in the Strongly-typed Lazy Functional Language CAL

(http://www.drdobbs.com/blog/archives/2010/07/the_visual_prog.html;jsessionid=YM10KVWOVE41HQE1GHOSKH4ATMY32JVN) The 'Visual Programming' Silver Bullet

(http://www.drdobbs.com/architecture-and-design/184409677;jsessionid=HLKFYDLFN00X1QE1GHOSKH4ATMY32JVN?pgno=27) Visual Programming in 3-D

(http://historical.ncstrl.org/tr/fulltext/tr/uiuc_cs/UIUCDCS-R-93-1838.txt) PROGRAMMING IN THREE DIMENSIONS BY MARC-ALEXANDER NAJORK

(http://www.cs.binghamton.edu/~reckert/3daape_paper.htm) Three-dimensional Computation Visualization for Computer Graphics Rendering Algorithms - David A. Goldman, Richard R. Eckert, Maxine S. Cohen at State University of New York at Binghamton

[[wikipedia:App Inventor for Android]]
(http://appinventor.googlelabs.com/about/) App Inventor an application provided by Google that allows anyone to create software applications for the Android OS.

(http://research.microsoft.com/en-us/projects/kodu/) Kodu is a new visual programming language made specifically for creating games. It is designed to be accessible for children and enjoyable for anyone. The programming environment runs on the Xbox, allowing rapid design iteration using only a game controller for input. (http://www.oscon.com/oscon2010/public/schedule/speaker/84626/?cmp=il-radar-conf-oscon10-emerging) Matt MacLaurin
UX Director, Microsoft FUSE Labs

[http://www.i-programmer.info/news/98-languages/4357-google-blockly-a-graphical-language-with-a-difference.html Google Blockly - A Graphical Language with a Difference], implemented in JavaScript which can compile to JavaScript, Dart or Python.

== The Path of Human Civilization  ==
[[Ancient History/Human Evolution/Human Origins]]

{{Quotation|The remarkable success of humanity as a species is not simply the result of a big brain, opposable thumbs, year-round sex, innovation or even language; it is also the result of social and cultural associations that act as a &quot;network&quot; for storing knowledge and good will--what we call technical and social capital.|Charles Hugh Smith in [http://www.oftwominds.com/blogdec11/why-im-hopeful12-11.html Why I Am Hopeful (December 24, 2011)].}}

=== Introduction to the science of history ===

==== Introduction to fossil records ====

===== Dating =====

=== Wide wild world ===

==== Few, far and wide ====

==== Fellow inhabitants ====

==== Aggression, the seed of war ====
{[TODO|Property (power and control), entitlement, covetousness, primacy}}

=== Us versus wild ===

==== Food ====

===== Water =====

==== Shelter ====

=== Tool use ===

=== Language ===

=== Community and collaboration ===
At this stage of human evolution, most of the human collectives were probably centered around family groups, hose size was intrinsically dependent on the size of the resources available and the effort required to gather them. This setup was both a biologic and &quot;economic&quot; imperative. Like many other social animals today territories were defended and prime resources fought over. The need to satisfy basic imperatives forced natures logic of the survival of the fittest, at best meetings between distinct groups would entail a large risk for conflict especially if level of competition was high due to demographic explosion (more resources, more people until equilibrium is reached) or natural events that impacted resources (drought) or health (virus).

The complexity of extending a these type of core collective into a small tribe required an huge leap in culture, an increase in the capacity of planning, of valuing knowledge and work and ultimately the ability of to communicate, that had so far been probably reduced to the basic needs. The coming together of these changes was a game changing in human history collaboration was now possible to overcome problems larger than those presented by daily life.  

==== Work as value ====

==== Communication ====

==== Leadership ====

=== Fire ===

=== Culture ===

==== Learning ====

===== Mathematics ====

===== Writing ====

===== Medicine =====

==== War ====

==== Property and inheritance ====

===== Slavery =====

=== Stone ===
It is hard to determine what came first wood tools or stone. It is however safe to assume that they must have been changes that happened very close, that is the realization about objects as tools, we are speaking of simple objects like using a bone, a branch or how to trow a stone, there is no real complexity that is added by the different material besides the possible applications. In that humans started to make a clear utilitarian distinction between objects in regards to their intrinsic qualities.

{{TODO|Tools [[w:Homo habilis|Homohabilis]]}}

{{TODO|Chimpanzee use of wood tools and Capuchin-monkey use of stone tools}}

=== Plant fibers ===

==== Containers ====

==== Rope ====

==== Traps ====

=== Have boat, will travel ===

=== Domestication ===

==== Agriculture ====

===== Urbanization =====

==== Yeast (or how fermentation shaped human civilization) ====

=== Currency ===

==== Administration ====

==== Empire building ====

===== Writing =====

===== Laws =====

=== Metallurgy and coal ===

==== Coper ====

==== Iron ====

=== Wheel ===

=== Glass ===

=== Electricity ===

=== Telecommunications ===

==== Fire, Smoke and mirrors ====

==== Pigeons ====

==== Telegraph ====

==== Radio ====

==== Television ====

==== Satellite ====

=== Computer ===

==== Wide World Web ====

== Unravelling Time ==

=== In the beginning... ===
Time and space, one must keep in mind that they are the two sides of localization, things exist in a time in a specific space. It is also interesting to understand that according to most accepted hypothesis of the creation of the universe, the [[w:Big Bang|big bang]], things did exist before time came to be but in a state the localization had no meaning. This was about ~14 billions years ago, then we have the theory of [[w:Inflation (cosmology)|cosmic inflation]] that tries to make sense of what has been happening to things as soon as they became realizable, especially in the 10&lt;sup&gt;−36&lt;/sup&gt; seconds after the conjectured Big Bang singularity to sometime between 10&lt;sup&gt;−332&lt;/sup&gt; and 10&lt;sup&gt;−32&lt;/sup&gt; seconds after the singularity. And then use that model to extrapolate why we see what we see on the observable universe and how the things in it will continue to evolve, localization wise. 

{{TODO|A cool book covering both the physics, history (especially regarding the importance of the naval clocks) and philosophic consideration regarding time}}

== Prophets, demagogues, beliefs and figure heads ==
Perception is everything. One can not build an opinion about something that one does not know, that of course does not prevent one from having a view about something that its known but not understood. Most of us have a very limited knowledge base, and even more limited is the knowledge base that is limited to first person experiences, so the validity of much of what we think we know and take for granted, our intellectual scaffolding is indeed very flimsy and intrinsically dependent of the quality of the source and the impartiality or the influence of society in shaping even our most personal events or occurrence.

***

When we consider public visibility, we can see practical examples of how as a social mass often creates wrong perceptions, even makes assumptions about some of its members that are perceived as being granted deference or special attention. In fact most of the time the reason why the person is given difference and attention may not even be connected to the established public perception. Take for instance the scientist Steven Hawkins in the general public his importance to physics is extremely exacerbated when we compare it with the view of Steven Hawkins amongst its peers physicist.

There is also a tendency for generalization, that someone that excels in a field is automatically imbued with a general field of superiority and even his behavior should be exemplar. Most of the time things could not be more removed from reality, even if some of the individuals that are propped up into such leading roles will try to do their best to maintain those perceptions. We all ultimately seek to be special, to have influence, to be relevant.
 
{{TODO|Mine [[wikipedia:Lance Armstrong]], [[wikipedia:Werner Erhard]], [[wikipedia:Popular psychology]] }}

&lt;center&gt;{{quotation|'''&quot;The greatest enemy of truth is very often not the lie - deliberate, contrived and dishonest - but the myth - persistent, persuasive and unrealistic&quot;'''|John F. Kennedy}}&lt;/center&gt;

=== Charisma ===

=== Supernatural ===

=== Magic ===

{{TODO|Mention Harry Houdini and even James Randi and how they doggedly persuaded the demystification of magic trickery for the unwilling exploitation of others}}

==== Control ====

===== Cults =====

===== Despots =====

== The biological evolution of man ==
Man's biology is constantly evolving, recent studies have shown that high altitude native population in the Himalayans have unique genetically differences that increase red blood cells (oxygen transporters) numbers well above the normal response to the environment.

Even if humanity has to some degree created a safer environment and provides, through society, protection to genetic alterations that would not survive in outside of a human controlled environment. In general natural selection is still a consistent factor pressing our evolution.

{{TODO|Natural Selection Is Still With Us http://news.sciencemag.org/sciencenow/2012/04/natural-selection-is-still-with-.html}}

== Meet the Neanderthals ==
Until very recently the Neanderthals were seen and portrayed as brutish and more animalistic version of our species, a dead end lower branch on our genealogical tree. A derivation emerged from the requirements of facing the effects of the Ice age over Europe. This imagine has suffered a drastic shift with the discovery that this branch is not as extinguished as we thought and that their mental capabilities were not as far from ours as we believed.

The environment that shaped Neanderthals was extremely harsh. Food scarcity, extreme cold forced individuals of a hunter-gatherer culture to become hardener, bigger and stronger with a general lifespan of 30 years. The Neanderthal was a short, wide and very muscular too user. Silex blades and wood spears permitted them to be confront larger pray, even fellow apex predators, like bears, requiring them not only to be strong, capable of [[w:Bench press|bench pressing]] 136 to 182 kilograms, but also very brave. They had fire, symbolism and art and some form of basic communication the language gene (FOXP2) is indeed present. Recent finds and detailed study indicate that Neanderthals were acute innovators, stone shaping technology seems to be even superior to those of homo-sapiens and Neanderthals may even be the first species to use an industrial process to produce a pitch (synthetic glue).

Statistical comparison of Neanderthal DNA with specific ethnic modern human DNA has provided an indication that interbreeding has occurred. European and Asian DNA shows a greater similitude with the Neanderthal DNA than African DNA.

{{TODO|Mine [[wikipedia:Neanderthals]]}}

== History of the Hollow Earth ==

{{TODO|Mine [[w:Hollow Earth]]}}

=== Mythological underworlds ===

==== Greco-Roman ====

==== Mayas ====

====  Tibetan ====

{{TODO|Mine [[w:Agartha]] and [[w:Shambhala]]}}

=== Edmond Halley (1656-1769) ===

{{TODO|Mine [[w:John Cleves Symmes, Jr.]]}}

and https://books.google.pt/books?id=3c6iBQAAQBAJ&amp;pg=PA210&amp;lpg=PA210&amp;dq=Math+seventeenth+century,+Leonhard+Euler+earth&amp;source=bl&amp;ots=IrIK746-80&amp;sig=wsOlO26zMLppzWognYasHVU-eB8&amp;hl=en&amp;sa=X&amp;redir_esc=y#v=onepage&amp;q=Math%20seventeenth%20century%2C%20Leonhard%20Euler%20earth&amp;f=false How Euler Did Even More By C. Edward Sandifer

=== John Cleves Symmes, Jr. (1780-1829) ===

{{TODO|Mine [[w:John Cleves Symmes, Jr.]]}}

=== USN Rear Admiral Richard E. Byrd, Jr. (1888-1957) ===

{{TODO|Mine [[w:Richard E. Byrd]]}}

=== Richard Sharpe Shaver (1907-1975) ===

{{TODO|Mine [[w:Richard Sharpe Shaver]]}}

=== in culture ===

Literature/Movies

== Defining State Governance ==
Since Government does not have competitors for you as a customer, you are forced to use, and required by law, to fund it.

Government is a intrinsic part of the state. One cannot exist without the other.

Government is only a requirement because states have to compete with other states. In this reality a state that employs more than half its population becomes a failed state.

The state is the taxpayer money in action.

Government manages public money, it should aim to be cost effective and not aim to generate profit in any of its activities. If an activity is lucrative it should be privatized and taxed.

In a government system that permits private enterprises to fund and lobby its policy makers, several functions of the state should never be privatized, especially the banking, military and prison systems. This is a perfect formula to get a totalitarian government.

Sometimes Government interference into markets is a requirement to implement the will of the people. For instance in the matters of slavery, child labor, false and misleading advertising, dangerous products (including drugs), nuclear bombs, stolen property, pornography (including child pornography), buying votes, emergency services, military, gambling, prostitution, extortion, blackmail, land rights and immigration.

The top most function of a government is to define, prioritize and address problems in regards to national interests. Rarely does a government truly works in this primary function, it normally dedicates exclusive attention to minimization of systemic and chronic problems and in serving their own interests, that consist in guaranteeing reelection, if not in the next turn, the one after.

A government only fails to be reelected under two circumstances, being more incompetent that expected or being forced to take drastic measures due to successive governance avoidance to deal with known issues. It is even, well funny, that when a nation faces war even if the governances is bad it has a high chance of reelection, especially if it can promote an image of strength (even if false).          

=== State control versus private ownership ===
The principal problem with state control is government corruption.

The principal problem of private ownership is resource waste.

The principal problem of privatization is its focus being on increasing revenue.

== Mount Athos ==
[[w:Mount Athos]]. The self-governed region of the Holy Mountain. The Holy Mountain is governed by the &quot;Holy Community&quot; which consists of the representatives of the 20 Holy Monasteries, having as executive committee the four-membered &quot;Holy Administration&quot;.
=== History ===

== Recalling Viriathus ==
{{TODO|Mine [[wikipedia:Viriathus]]}} 

== Toward a World Government ==
http://www.futurict.eu/ understand and manage complex, global, socially interactive systems, with a focus on sustainability and resilience. 

    &quot;I think the next (21st) century will be the century of complexity.&quot; Stephen Hawking
    &quot;The crisis should motivate economists to think further about their modelling of human behaviour.&quot; Ben Bernanke
    &quot;An economist who is only an economist cannot be a good economist.&quot;  Friedrich Hayek, Nobel Prize 1974
    &quot;I urge students to read narrowly within economics, but widely in science.&quot; Vernon Smith, Nobel Prize winner 2002

=== Who runs the world ? ===
[http://planetsave.com/2011/08/28/who-runs-the-world-network-analysis-reveals-super-entity-of-global-corporate-control/ Network Analysis Reveals ‘Super Entity’ of Global Corporate Control]

== History of slavery ==
Slavery had long been practiced in Europe and the MidleEast before the exploration of the African continent and the discovery of the new world and the European exploitation of African people. Slavery, much it seems to the surprise of many in the US, is not restricted or dependent on racial traits. If the intention is to be selective refer to it as African Slave Trade into the American Continent, and keep in mind that even before Europeans made a stride in Africa, slavery was already prevalent there also, human labor was and will be always a resource and so a tradable commodity.

=== What is racism ? ===

One of many tools for segregation and create cultural, social and economical divides. 

=== What is a slave ? ===

=== Tribes ===

=== Cast systems and generational slaves ===
To ensure that a slave and his/hers children will be slaves.

==== Women ====

===== White slavery =====

=== Breed the perfect slave ===
Gladiators

[[w:Slave breeding in the United States]]

=== Compounding effect of slavery/racial segregation ===
Slavery in regards to the economical exploitation of human work easily becomes a multi-generational situation as it begets a specific but multi-faced system with social, economical and cultural mechanics that with time get ever more complex and self regulated as to proceed towards optimal returns for those that benefit from it and so are ultimately more invested in not only maintaining control over it but perpetuating it. This is true to much any other social, economical and even cultural system. Supra or sub system, as human society is an collection of interlocking of engineered constructs to support niches of self interest ultimately ordered in a top down pyramidal construct.

This endeavor to impose a perpetuation of societal constructs, is on our genes. We seek stability and abhor change and so sadly there aren't any examples of successes in implementing rational and fair meaningful changes to these types of constructs without a break that tend to be violent and so have also implication if other system. This results in solutions that may pass by:

a) the removal of (or meaningful change to) those in control over the construct, that would signify a change over the output or its distribution.
b) the suppression of the grievances regarding the base of the construct what would be defined as the input.

All the examples that may insinuate otherwise have always lead to unfair results, with a large emotional charge, regrets and pains or even in a non decommission of the construct but in non meaningful changes. In regards to the topic at hand our past is full of examples from classic Greece, passing by the Roman Empire to de-colonialism, end of apartheid we can look back and see that things haven't really changed much in about 4000 years, they may have gotten more &quot;humane&quot;, diffuse and complex but human society is predicated (action dependent) on the exploitation and subjugation of other fellow humans. The system is continues to be more normalized, globalized and now automatized but is a loop, the patterns are the same, if observed from a considerable distance even minor political divergences become meaningless. The only realizations are about the costs and goals to our legacy as a specie. 

{{TODO|Cover the idiocy of the subject of reparations, in the US there is a lack of understanding about slavery as a global historical issue, there is a politically motivated suppression of objective analysis, a self centered, myopic, contrived political correctness and binary lack of rational dialog.}} 

=== Debt slavery ===
No one can be a proper (read independent) citizen while at the mercy of the current economic system.

Preference for married workers.

[http://www.counterpunch.org/2011/12/02/debt-slavery-%E2%80%93-why-it-destroyed-rome-why-it-will-destroy-us-unless-it%E2%80%99s-stopped/ Debt Slavery – Why It Destroyed Rome, Why It Will Destroy Us Unless It’s Stopped]

=== Corporatization of slavery ===
Corporate ownership of people.

[http://politics.slashdot.org/story/11/10/20/1243212/us-student-loans-exceed-1-trillion US Student Loans Exceed $1 Trillion] - Bankruptcy will not expunge debt. (Government will have to assure payment ?!?)

{{TODO|Add {{YouTube link|NB-HZG1Zh7s|George Carlin - You are a slave}}}}

{{quote|&quot;You don't need a formal conspiracy when interests converge.&quot;|George Carlin}}

==== Machine Age ====
===== AI and Robotics =====

== A look at Science Fiction ==

{{TODO| [[w:Raymond A. Palmer]]}}

== The Space Race ==

=== Rockets ===

=== Satellite ===

=== Destination Moon ===

== Understanding Revolutions ==

== Should we trust Government ==
&lt;center&gt;{{quotation|'''&quot;Taxes are the price we pay for civilization.&quot;'''|Oliver Wendell Holmes, Jr.}}&lt;/center&gt;

Government is the topmost institution of any nation and a fundamental part of the state, that is to say, a state is not defined only by its government and a nation is not indistinct from the its state.

The thing about any institution that one needs to always keep in mind is that their biggest and most important asset, is trust. The trust that people place on institutions is what enables them to function and is what prevents them from being substituted. A government, like any other institution, is also dependent on this rule.  

Trust is a characteristic of social relations there may be trust between people (or animals) but trust can not mean the same when used in context of a relation with a entity that does not share a sense of self, since the implications and requirements would not be the same. Thrust is a two way relationship, you may respect an institution but you should not trust it. 

If we look around the world we can safely state that all citizens are in a submissive situation in regards to their government, whatever type of government they have. This simple fact arises for the imparity in the relation, a citizen is a person while the government is not only several persons, but a collective formed around the purpose of guaranteeing the implementation of policies and laws, most of the governmental structures tend to form a hierarchy.

Most forms of governments is, in non-dictatorial regimes, is done by what is normally defined as public servants. This definition covers all functionaries of the state that are not directly dependent or elections for their functions and remain after shifts in the policy establishing organs. What is also known is that most positions of leadership regarding these public functionaries tends to be with increasingly frequency appointed by those in power, making it clear that today most public servants are not really oriented to serve the public's interest but to satisfy their hierarchic superiors. This is the other side of the reality is that one primary function of governments has clearly become that of looking after itself before looking after its citizens.

&lt;center&gt;{{quotation|'''&quot;What luck for rulers that men do not think.&quot;'''|Adolf Hitler|German Nazi dictator, orator, &amp; politician (1889 - 1945)}}&lt;/center&gt;
 
{{TODO|Fukushima released about twice as much cesium-137 as the government claims}}

[[w:Martial law]]

Due to our level of interconnection of knowledge, news and economic resources any significant event that seems random or unpredictable is no longer incidental but circumstantial and so predictable to a certain degree, if not outrightly planed to occur by some players on the power networks.  

=== Inalienable rights ===

==== Animal rights ====

==== Human rights ====
There are certain rights that all humans possess simply by being human...

===== Incumbent rights =====
There are certain rights that only a society can grant to its citizens and vice versa. These rights go beyond the inalienable rights, and are granted and recognized collectively as an obligation so that the society can function, these are especially important in relations between distinct societies.

=== Moving the goal posts ===
One of the powers a government has is the capability to produce and alter legislation, and establish policies.

As an examples, one of the claimed reasons that the USA and some other Western nations (not all), have difficulties dealing with most of the middle-east nations is the lack of democracy and the track record of respect for human rights. It then becomes paradoxical that they supported and still support much of those nations when it is on their economical interests. Even when there is a general election Palestine, they failed to support the recently elected government. So what is the standard ? We will how well that goes in Tunisia...

This type of hypocrisy gets even more blatant if we compare responses to situations like Libya or Syria and then compare it to Yemen, there the government is still supported by the same powers while killing unarmed protesters. 

In fact the only guide we are left are not the arguments against Islamism, lack of democratic representation or failure to protect human rights, but simply that those that do not advance those powers interest in the region will be enemies and will offer temporary protection to collaborators. This is a fact when we look at [[w:Saddam Hussein|Saddam Hussein]], [[w:Osama bin Laden|Osama bin Laden]] this is made even more clear on how the situation in Egypt developed in regards to the passing of power from [[w:Hosni Mubarak|Hosni Mubarak]] to the Military junta. Again we will still see how it goes...

==== Legal systems ====
{{SAMPLE|sampletext=
&quot;Between the strong and the weak, between the rich and the poor, between the master and the servant, it is freedom which oppresses and the law that liberates.&quot;|caption=—[[w:Jean-Baptiste Henri Lacordaire|Jean-Baptiste Henri Lacordaire]] (May 12, 1802 – November 21, 1861)}}

=== Technically challenged ===
One of the major problems with most governmental bodies is that the representatives that get elected by popular vote are increasingly being selected not by their personal qualifications, past work or experience but by how good they can address and motivate the public, looks and apparency today have a higher degree of importance in governmental election than brains.

This of course does not need to be grave problem depending on how one's government is structured especially the final steps of the policy decision process, if a government permits, informs and lessens to the public opinion it could even be more representative, technology is probably moving to enable such types of governments. On the other side if the government leadership is seen as something as a figure head, a father/mother figure and the public treated like children, the lack of ability of those elected to exercise rational thinking and understand the complex world we life today will further move us into bad policies and instability, this can even be aggravated if they become exclusively dependent in non-elected bureaucrats for directions. Bureaucrats tend to be appointed and rarely because of qualifications but by the ability to fallow party lines, they also create a level of protection to the government leadership, since if the situation permits they will serve as a scapegoat to diffuse the situation.    

{{TODO|Climate change, NASA}}

=== Secrecy is a state cancer === 
Secrecy in the working of a state may be a necessity, but mostly only in matters of national security, because of global competition between nations. Like any decease or pathogen that attempts to compromise a system, secrecy may be kept in check by the existing checks if a government is healthy, but as soon as the working of the system starts to rely on secrecy for its survival the system can be determined to have entered into critical failure.

'''A Government the relies too much in secrecy can think it can get away with murder, literally...'''

[[w:USS Maine (ACR-1)]] - [[w:Grupos Antiterroristas de Liberación]] - [[w:Río Negro Massacre]]

George W. Bush (and administration) lied to Congress and the American people about the reasons for invading Iraq. On July 15 The House forwarded the resolution to the Judiciary Committee with a 238 to 180 vote.  That &quot;Bush&quot; lied about weapons of mass destruction and Iraq’s threat to the US is now beyond doubt. Former US federal prosecutor Elizabeth De La Vega documents the lies most thoroughly in her book U.S. Vs Bush, and numerous other researchers have verified Bush’s untrue statements.

A secret Justice Department memorandum from 2010, Obama administration, provided the justification for the operation involving the CIA, and military assets under CIA control for the assassination of Anwar al-Awlaki, an American citizen in Yemen, despite an executive order banning assassinations, a federal law against murder, protections in the Bill of Rights and various strictures of the international laws of war. [http://www.washingtonpost.com/world/national-security/aulaqi-killing-reignites-debate-on-limits-of-executive-power/2011/09/30/gIQAx1bUAL_story.html?hpid=z1  The Washington Post 2011/09/30]

'''9/11'''
[http://www.projectcensored.org/top-stories/articles/unanswered-questions-of-911-911-prewarnings-building-7-collapse-flight-77-and-the-pentagon-israeli-involvement-united-airlines-put-options-war-games-atta-and-the-100000-911-terrorists-stil/ Unanswered Questions of 9/11]: 911 Prewarnings, Building 7 Collapse, Flight 77 and the Pentagon, Israeli Involvement, United Airlines Put-options, War games, Atta and the $100,000, 9/11 Terrorists Still Alive

The US government '''controversial type of secret court order''' to force Google Inc. and small Internet provider Sonic.net Inc. under the Electronic Communications Privacy Act, in place since 1986 that requires only that the government demonstrate reasonable grounds to request relevant records and material for an investigation. [http://online.wsj.com/article/SB10001424052970203476804576613284007315072.html Secret Orders Target Email]

The US government is showing interest in the concept advanced by the science fiction novelist Isaac Asimov more than 60 years ago, in his “Foundation” series, the new science labeled psychohistory combining history, mathematics and psychology as to predict (and manage) the future. [http://www.nytimes.com/2011/10/11/science/11predict.html?_r=1 Government Aims to Build a ‘Data Eye in the Sky’]

=== The true structure of power ===
{{quotation|&quot;What do all men with power want? More power.&quot; - The Oracle (from [[w:The Matrix|The Matrix]])}}

== Battling over intellectual property ==
Intellectual property has increasingly been raised in importance as a national and economical interest to be defended. Sadly the same does not seem to apply to the public domain and the access and liberties of the citizens over that type of material. Most non profit oriented public interests and especially creative works under the public domain, rarely get any state defense, something that is the obligation of the government.

[http://www.thestar.com/news/canada/article/1048993--leaks-show-u-s-swayed-canada-on-copyright-bill?bn=1 US elevated Canada on the piracy watch list to back the adoption of vexing copyright legislation]

trademark, copyright, and patents.

[http://boingboing.net/2011/10/20/ask-the-smithsonian-to-withdrawal-copyright-claim-on-public-domain-images.html Ask the Smithsonian to withdraw copyright claim on public domain images]

[http://boingboing.net/2011/10/20/canadian-tories-admit-that-canadians-dont-want-drm-rules-push-for-them-anyway.html Canadian Tories admit that Canadians don't want DRM rules, push for them anyway]

[http://yro.slashdot.org/story/11/10/20/1228255/acta-signed-by-8-of-11-participating-countries ACTA Signed By 8 of 11 Participating Countries]

Today the patent system, especially when applied to software is a house of cards supported by the convenience of the major patent fillers. Note that a patent filler is not the same as an innovator or creator. This equates to a monopolistic tendency toward the creative market (to profit by generating new ideas), where all those patent fillers attempt to extend their patent portfolios and cross-license them in ways that protects their mutual interest and at the same time excludes any other player to enter in concurrence. It has come to a point that those involved have an hard time in initiating litigations because no one 
knows anymore what patents may be violated or survive in court, and so the arms race continues to extend the arsenal.

A system that was created to foster and protect innovators and at the same time document for the public their intellectual property creations has been subverted into something that prevents the participation of newcomers and ultimately permits price fixing.

One thing is generally agreed most &quot;easy&quot; inventions have already taken place, we have long ago passed from simple solutions to compounded or merged creations often appearing in the cusp on the discovery of new technologies that do in fact depend heavily in previous works. But relying in the existence of prior art discovery, that not only depends on the existing failing system of patent attribution and skewed legal system. It is difficult and becoming increasingly hard for any new innovator to use prior art to defend their freedom to create. An assessment from USA in 2012 estimates that the costs of hiring a patent consultant able to find the previous art and the attorneys willing to devote months if not years to the legal battle would cost between at its lowest assessment between  $500,000 to $1,000,000. This cost and the time it takes puts initiating such attempt outside of what is sustainable even to any small business, and creation becomes therefore a quick path for bankruptcy.

=== Innovation ===
Innovation does not happen in a vacuum.

&quot;The public's interest is ultimately dominant over all other interests.&quot; - George Lucas in 1998 speech before Congress.

&quot;People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians,...&quot; - George Lucas in 1998 speech before Congress.

&quot;Attention should be paid to the interest of those who are yet unborn, who should be able to see this generation as it saw itself, and the past generation as it saw itself.&quot;  - George Lucas in 1998 speech before Congress.

Recent moves by the the US culminating in the [[w:Leahy-Smith America Invents Act|Leahy-Smith America Invents Act]], recently passed by an almost unprecedented super-majority, demonstrates that US legislators and political appointees are shifting away from protecting the rights from inventors towards the right of property of filers. This distinction is important because not all inventors can afford to fill a patent and so it favors larger firms with well-established internal patenting procedures. This erodes the capacity to invent of the common citizen.

OECD (Organization for Economic Cooperation and Development) representing 34 states. [http://www.oecd.org/document/10/0,3746,en_2649_34451_1901066_1_1_1_1,00.html OECD work on patent statistics]

The only true benefit of patents is that they document the specifics of innovations, and that aspect does not actually require any grant of exclusivity.

patents
*encourage innovation
It is a very strange belief that a bureaucracy will enforce the exclusive profit of singular entities within a society of billions of creative individuals.
*protect innovators - Any new product or innovation will have an army of lawyers descend to destroy it. Leading to patent portfolios of a handful of the biggest corporations. What about innovations that are developed independently but simultaneously? 

Examples of concurrent independent development abound. [http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_gladwell?currentPage=all newyorker.com]: Calculus - Newton and Leibniz. Evolution - Charles Darwin and Alfred Wallace. Oxygen - Carl Wilhelm and Joseph Priestley. Colour photos - Charles Cros and Louis du Hauron. Logarithms - John Napier, Henry Briggs, Joost Burgi. Sunspots - Fabricius, Galileo, Harriott, Scheiner. Piston engine plane - the Wright brothers and Santos Dumont. And so and so on.

Cross licensing escalates the problem by permitting the aggregation of interests in blocks, and so patents will only &quot;serve&quot; and &quot;protect&quot; closely connected groups- Where conflicting groups will be left with not choice to seek patent equilibrium to keep peace.

http://webcache.googleusercontent.com/search?q=cache:4pdIrxQ7BuoJ:fabianmejia.blogspot.com/2008/09/codeblocks-and-opengl.html+code::blocks+and+OpenGL&amp;cd=5&amp;hl=pt-PT&amp;ct=clnk&amp;gl=pt&amp;client=firefox-a

== On state sponsored crimes ==
There is a clear distinction to be made about the moral implications in regards to the effective control citizens over their governments. In a totalitarian regime the blame should fall only on those that were responsible or aware of the actions, but at least in a democracy all citizens should have their share of the blame, since it was their obligation to question and establish controls that would prevent the facts.

[[w:Grupos Antiterroristas de Liberación]]
[[w:Project MKULTRA]]
[[w:Sinking of the Rainbow Warrior]]
[http://www.dailymail.co.uk/news/article-2039542/North-Korea-Satellite-photos-death-camps-deny-exist.html 'Hell on earth': Detailed satellite photos show death camps North Korea still deny even exist]
USA covert intervention in Chile

{{TODO|Weapon producers, creators of armed movements, armament smugglers, information providers, mercenary trainers, enablers of violence}}

=== War ===

==== War crimes ====
[[w:War crimes]]

[[w:Allied war crimes during World War II]]

[[w:Japanese war crimes]]

[http://www.mediafreedominternational.org/2011/10/03/radioactive-weapons-with-long-term-health-risks-dropped-into-libya/ Radioactive Weapons with Long-Term Health Risks Dropped Into Libya]

{{TODO| Kosovo and Servia, Britain's Secret Human Rights Abuses in The war in Oman, 1957-59 }}

=== Atrocities ===
[[w:Tuskegee syphilis experiment]]

[[w:Unit 731]]

[[w:Bulu prison massacre]]

== Religion as a problem ==

=== Failing  to recognize the messenger ===
[http://www.science20.com/news_articles/computational_linguistics_figuring_out_who_wrote_bible-83504 Computational Linguistics: Figuring Out Who Wrote The Bible]

== Examining Exobiology ==
{{TODO|Probably reuse it elsewhere...}}

The Earth is home to a amazing diversity of life, the living things in all its glorious diversity. Due to our increasingly urban lifestyle and distance to nature, most of the time life can appear alien especially in its extremes of aesthetics, behaviors and even emotions, intelligence or higher social orders it can display. At the same times it can appear like a reflection of our-selfs, what we like to define as anthropomorphizing other living things, and it is fair to say that we share much with all other living creatures on this planet if not only the shared environment, in fact our quickness to anthropomorphize sometimes blinds us to the more subtle differences, even when they should have been obvious otherwise.   

=== Defining Life ===

=== Extremophile ===

=== Biologic symmetry ===

=== Little Green Men ===

==== Aliens on Earth ====

==== Aliens in Space ====

;USA
The US and in particular NASA has held a quasi-monopolistic hold on space science due to the US economic and technological power status, that is intrinsically linked to its drive to maintain a military and political primacy over the world since near the end of WWII, when it moved to captured most of the world human and capital resources including the underlying energy and monetary systems.

{{TODO|[[w:NASA]], [[w:Space tether]], STS-48, STS-80 footage ([[w:Story Musgrave]]), ice crystals the new &quot;swamp gas&quot;}}

=== Extra-terrestrial Biological Entity (EBE) ===
==== Expected low order commonalities ====
===== Symmetry =====
==== Expected high order commonalities ====
===== Nervous system =====
===== Brain =====
==== Body shape and characteristics ====
==== Physiology ====

== The UFO phenomena ==
While I long ago came to the belief or undrstanding that therer is no truer madness than what manking can produce to mirre itself into empty and fruitless debate and discussion about the minor things of reallity. As if there was an unspoken agreement to avoid addressing the pink pokodot elephant in the midle of the room- We chose as a species to avoid confrontation with our own limitations and relly in a minority of individuals to surplant themselves, in an indivudalistinc way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multigenerational projects, and even those requires a figure head, the agregating feagure. Civilization has so far being about the creation no only of a system that holds up bound to itself but binds us to stabilie visions of what should be. From the China´s Kingdoms to the rise of Rome (and fall of Grece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering untill now from a specie wide amnesia, that only on the last two towsand years or so shiftwed into a Alzaimers ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right untill that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathise with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from polution to social changes).

At the same time as indivuduals we have become much less than we where phisically and mentally. We have started a decline that will become unstopable, due to enviromental causes but also due to cultural preasures we have but removed ourselves from natural selection pressures (escept from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

=== Defining UFO ===
A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomenas on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
The supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

=== Encroashment on States. Security and riscks concenrns. Public and clutural impact. ===

Radio 

Radar networks

From looking out the space age permited us to look into our own planet. 

Melitary satelites

2024 - Finnish startup Kuva Space plans to provide the US government with hyperspectral data by launching satellites equipped with hyperspectral cameras into orbit. This is done by using hyperspectral imagery analyses in a wider light spectrum than traditional sensors premiting a better spectral signatures of materials (chemical composition).

=== Institutional sensors and recors and paralel areas of study. ===

=== Attempts to study the phenomena === 
Most Governments engage in misinformation and deception programs around UFO sightings, and the hierarchy gives clear directives for military personal to suppress information, even to government authorities. There is somewhat of a opening in South America, France, Belgium and United Kingdom in regards to access to civilian authorities and military reports.

[[w:Project Blue Book]]

Until something is understood no valid response can be conceived.

'''Still, no real scientific scrutiny ?'''

==== Ufology ====
Ufology, the study of unidentified flying objects (UFOs) is an activity, a field of study, specifically of UFOs, not a science per se, rarely falling into a scientific area beyond mathematics and vector physics due to the social nature of the phenomena and facing a prolonged boycott of institutions and state. One could even argue that ufology predates sciences as we know them today, that it was born at the same time religion was created. It certainly is the link between Astronomy and the age of Myths of pre-history and shares its roots in religious creation myths and the Metaphysical considerations who are we as a specie, why we are here and where is here in the context of it all. Some would link Ufology with the search for extraterrestrial intelligence that was mostly single-handed made into a legitimate scientific endeavor by Hollywood despite the lack of concrete evidence for extraterrestrial life. This seems strange to most persons that have passing knowledge of history and the debate regarding little green men, mysterious radio signals and the water channels found on Mars. How little we have advanced... 

Then there is the claim that the discovery of extraterrestrial life would be one of the most significant events in human history. I do not think so, we already have a lot of non-human intelligence on the planet. We can even admit that Neanderthals shared many of the human intellectual capabilities. The Roman Catholic Church has even cleared the path for the possibility. This from an institution that has until recently monopolized all non-human ententes interactions and established humanity place in it.  

It nevertheless as a group makes an effort, that many non-hard sciences still manage to blunder with, for example psychology or sociology for the use of scientific methodologies, information distribution and instruments. There is a full understanding of participants that reputation of clarity of argumentation and the publication of event investigation is what advances the field.  As a fringe and unregulated area of study, it lacks proper academic structure, it is open to public participation and accreditation with a great myopia in regard to what constitutes work in the field and simple regurgitation and speculation, that mere interest is not a valid credential and as in any field a publisher may not be, nothing more that a publicist to the field in general it reminds us to how silly medicine was not so long ago in regard to the notions and personages that attempted to aggregate and mutually support each other into a reputable state even in the type of forums it generates.

In pursuit of understanding UFOs many sciences are useful like Physics, Chemistry, Astronomy, History, Mathematics or Psychology.

Since common sense dictates that some of the observed objects can be graduated into a definition of being called craft, and with that it implies an intelligence capable not only of constructing something that seems beyond human capability but manages to pilot it beyond the ability of human pilots. Being clear here we are talking about human reports that predate the renascence, observations that can be declared as consistent (in what was described as observed, the evolution has been more on the speculative explanations to the observations).

Due to this and as if a snow ball, the implications add layers and if there are creators and pilots this signifies the possibility on interaction between those and humanity in general, and reports of that are also abundant  and so ufology get redefined to cover alleged extraterrestrial encounters, with all the added baggage of controversy and skepticism and a ever-increasing surface area where all and any event related to parapsychology phenomena is pilled on (literally from Big Foot to the Afterlife). 

While skepticism stems from a complex interplay of factors, the prominence seems to be in the lack of empirical evidence, that there is a subjective nature to the UFO sightings, and the ultimately to the lack of perceived credibility of ufologists. While these could in an even playfield be sufficient argumentation, when we deal with a topic of this magnitude and characteristics it fails to serve do dismiss the argument in favor of studying UFOs based on the principle of scientific inquiry.

Let us consider that most observations are done or in relation to nuclear arsenals and bases. That the best sensor data is not permitted into the public. That observations include interaction with military craft. That prime testimony from commercial pilots, police officers is discarded or ridiculized (people that have by function life and death power over others). To the point that it is clear there is a long-lasting campaign to suppress, diminish, challenge and silences public debate around the subject beyond a few narrow paths that at best permit for prebiotic life in the 150 light-years around our planet and only in the last 20 years managed to allow alien bacteria in Mars. This is absurd, and does not take into consideration that if life is a rare accident one should look in the space-time near the positive sampling not across the light-years of interstellar space, its not like we have more reports of UFOs in interstellar space than on our own atmosphere. If the narrative has problems, we should challenge the narrator... 

Personally, I do not accept the securitization explanation for the effort put into suppressing the subject (every action has a cost and consequences). Yes there are considerations that must be taken but unless one has full and supreme control over the subject, any potential military applications and strategic advantages that could arise from the discovery of advanced technologies associated with UFOs could not be assured. The only way this would make sense is if there is an inside cabal profiting from the privilege. But it raises the concern on how could such thing occur in a democratic and constitutional state setup and the scope would have to be international. 

While the first explanation is always human error in this case if there is not a so defined conspiracy for suppression, the only alternative is that we have already been colonized or infiltrated by a power that prefers to stay hidden, more so than the UFO phenomena that it suppresses. The reality may even be more complex but we are long past the possibility of blissful ignorance into a darkening sky situation where we plot ourselves out of the equation.


===== There is no such thing as a professional Ufologist... =====

===== History =====
The observation and questioning about the nature of UFOs has certainly been persistent across human history. Most object in the skies have had at one time or another caused awe and even fear. Fear and curiosity are probably the most powerful motivators to the advancement of mankind.

To conquer fear we needed to understand (or at least justify) the nature of what we observed and with that create a feeling of control and predictability, allowing us to function amidst the unknown.

All unknown phenomena at first started to be categorized as mystical and secret, and ultimately adopted as the cornerstone or religions across the word. Only with the advent of philosophy and then astronomy, was it possible to provide some understanding about the planets and the working of our solar system, and even to create notions about the self and the meaning of life, mathematics on the other hand helped to provide a fixed and understandable model to reality, not only augmenting certainty but even to extrapolate the unobservable.

Only in recent times and with the decline of religion in the West did the more technological advancements permit to formulate the question about life elsewhere, something that strangely older and less technological advanced cultures did take for granted. With improved telescopes it was possible to observe even stranger phenomena, the observation of the channels in mars was probably the topmost promoter in the west that life could exist beyond earth this soon fallowed by the discovery of the radio, lead to the now anecdotic notion that Martians were attempting to communicate with us and so the speculation became common and with it not only rich fields for science but for literature and even new religions.

What was earlier seen as supernatural phenomena, the field of religions and Gods was now open to the recently acquired freedom to reason and express divergent views and even publish them, leading to the rise of science.

Today it is not uncommon to speculate that some UFOs have extraterrestrial origin, not because of the nature of the phenomena but because we already much of what normally occurs, something that would before been simply explained as a signal of Gods, angels and daemons require not an explanation based on faith but in science.

{{TODO|[[w:Reported UFO sightings in the United Kingdom]]}}

===== Organizations =====
[[w:Center for UFO Studies|Center for UFO Studies (CUFOS)]]
{{TODO|Possible transwiki, check if there is great relevance or use only factual content and do the necessary wikipedia attribution. Returns from participating in UFO studies, from new concepts, technological advances, simple data collection and information gathering that can have implications to insights about adversary national security, to benefit from state funding and private funding.}}

=== Known causes for UFO reports  ===

==== Witnessing the fantastic ====
{{TODO| [[w:credibility]], [[w:skepticism]], [https://science.slashdot.org/story/18/03/22/2011216/researchers-finally-solve-mystery-of-alien-skeleton Researchers Finally Solve Mystery of 'Alien' Skeleton]}}

;Pilots

;High educated individuals that are reputational constrained or recognized
This may include Physical doctors, Engineers of functions that not only demand maintaining good reputation with peers but with society in general but require it. These people also have the capacity to be more critically aware, better informed or observant. Any report would incur the risk of damaging their reputation and so it is expected that they wouldn't risk it unless the claims merited it, if not only for a sense of self preservation. Age and expertise and previous reputational status should be considered, the key being the higher reputation risk they incur the higher the regard should be given to the report.  

;Military Personnel

;Police Officers
A police officer civil servant that trained as an agent that enforces the law of the land and protect the civilian population. It often possesses a close relation to the local community and has experience/training in acting under stress. Its daily routine is extremely regulated and documented and most of its day to day functions requires a high level of vigilance and so to be a good observer. Function also requires having a higher degree of conduct and be of a clear mind and body and have a good reputation.

;High Ranking Civil Servant 
{{TODO|({{YouTube link|u0_X5pKV74M|General media response to Miami congressional candidate (2017), Bettina Rodriguez Aguilera clai that she was abducted by aliens at age 7}})
, [[w:Lonnie Zamora incident]]}}

;General population

==== Personal gain ====
{{TODO|Money and fame, tourism and for profit driven organization, activity}}

==== Ideological promotion ====
Akin to the objective of personal fame, but with the specific intent not of promoting one individual but a set of ideas and concepts in the context of UFOs and Aliens.  

{{TODO|Space brothers, League of worlds, Ancient Aliens, New age religions. Some not even very innovative [[wikipedia:Starship Invasions]]}}   

==== Other possible causes for UFO reports ====
UFOs are also a convenient way to dismiss observation of secret tests, secret vehicle movements, missions or covert actions. Convenient because they consistently cast a shadow of immediate disbelief on the witness and what was observed.
==== Hoaxes ====
===== Famous hoaxes =====
===== Motivations =====
===== Effects =====

=== Unexplainable UFO reports ===
*January 7, 1948 - The 25-year-old Kentucky Air National Guard Thomas Mantell pilot crash and death in January 7, 1948. A local journal from Dayton, Ohaio, reported in April 27, in the article mentions parts of the report assembled at Wright-Patterson Air Force base. Including several quotes, one stating that the flying saucers &quot;are not a joke&quot;.
{{TODO|Trasnwiki [[w:Mantell UFO incident|Mantell UFO incident]]}}

*July 1952 - UFOs over Washington D.C. With fighter pilots engaging in chases that lasted up to 6 hours. Objects were picked up by radar.
*September 1976 - Iran. Two F4 try to intercept an UFO and shoot it down. Weapons and communications are disabled. Event documented by the USA State Department.
*Mexico City 1992, world's largest metropolitan area.

[[w:Hermann Oberth]]

==== Seemingly related phenomena ====
===== Abductions =====
The abduction phenomena can be segregated but not separated for other reports of contacts with &quot;other worldly&quot; entities. Their uniqueness is related to the fuzziness regarding memory of the incident or outright seemingly intentional suppression of the event, sometimes reported as a sense of missing time. With most of the abductees when gaining access to memories of the incidents reporting the events as like being in a dream state. The closeness to the entities and at time the complexity on the contact events may include reports of communication or continuation even across generations. All this makes this segment of first contact reports extremely unique, rare and with a higher personal impact to the abductee and are rarely consensual or pleasant or with a positive net outcome.

{{TODO|Hypnotic regression, eeg machine, lie-detector, uplift theory, biomechanical implants [https://www.gaia.com/lp/content/rh-negative-blood-type-alien/ Rh-Negative Blood],[Bret Oldham https://www.thecosmicswitchboard.com/2017/10/27/bret-oldham-alien-abductions/], [https://www.masslive.com/news/index.ssf/2016/07/man_at_center_of_1969_berkshir.html Thomas Reed, man at center of 1969 Berkshires UFO report] + [first of a kind entry into State’s antiquity, a 5000 pound commemorative Monument http://spookysouthcoast.com/battle-over-a-ufo-monument-thom-reed/]}}

=== Reports ===
The increasing problem of the Media ridiculing any reported observation, especially if linked to aliens or extraterrestrials, generates a powerful motivation for self censure and ultimately suffering, not only for the witnesses themselves, but to the advance of science and general understanding of phenomena.

Even if we disregard that it would be on the government interest, from security to national interest perspective to obscure or suppress any information leaking to the public. The problem is that this hard censorship, that to be fair has been decreasing in recent years with more and more nations at least appearing to be more proactive on the subject, admitting not interest (UK,USA) or extreme interest (Brazil, France) in the phenomena, the trend still forces a soft censorship on society in general. Most people discussing the subject have an hard time being taken seriously. 

{{TODO|Mention the Phoenix lights the not so funny news conference and the regret and pressure put on the state government figure.}}

Most mass sightings, in regards to witnesses and objects seen, seemingly occur in waves.

*Roswell, New Mexico, USA, July 1947 - In July 8 and 9 most media outlets across the globe made the first and last announcement that the USA Government had captured a flying saucer.

{{TODO|Transwiki [[w:Roswell UFO incident|Roswell UFO incident]]}}

Steve Schiff, Congressman, New Mexico (2004 PRG Political Courage Award): &quot;I cannot say that the Roswell incident was a cover-up. But I can certainly say that the government back then, and today, acted as like it was a cover-up and has been subject to been accused of a cover-up.&quot;


==== Eye witness ====

===== USA Presidents =====
Jimmy Carter; Ronald Reagan

===== NASA Astronauts =====

===== USSR Cosmonauts =====

==== Images ====
Krawetz: Image analysis and forensics - http://blog.wired.com/27bstroke6/files/bh-usa-07-krawetz.pdf

===== Photo =====

===== Video =====

====== Uncensored and reliable public video broadcasts ======
*NASA Space Shuttle mission STS-48, 12 September 1991, during Commander John O. Creighton camera filming of the planet's horizon, for a live broadcast of the images, many viewers could see a UFO. Since then NASA no longer allowed public access to live video broadcasting from shuttle missions.

=== Commonalities ===
==== Crafts ====
{{TODO|[[w:Black triangle (UFO)]]}}
==== Suits ====

=== UFOs and war ===

=== UFOs and nukes ===
*1945 USA first atomic bomb test.

=== UFOs and religion ===

=== TODO ===
{{TODO|Personalities to examine [[w:David Michael Jacobs]], [[w:Jacques Vallée]], [[w:Travis Walton UFO incident]] ({{YouTube link|DRinOL7KjtA|Travis Walton describes the event}})}}

== From the League of Nations to the United Nations ==

== Guide to civil disobedience ==
{{TODO|[http://www.coinbooks.org/esylum_v19n52a25.html the token coinage of Thomas Spence]}}

=== Understanding body language ===

=== Dealing with suppression weapons ===

==== Pepper-spray ====

==== Tear-gas ====

==== Long Range Acoustic Devices (LRAD) ====
{{TODO|[http://www.aclupa.org/pressroom/bystandersuespittsburghove.htm Bystander Sues City of Pittsburgh Over Pain and Hearing Loss Caused by Use of Long Range Acoustic Device at G-20 Protest]}}

== The corporation ==
{{SAMPLE|sampletext=
&quot;Fascism should more properly be called corporatism because it is the merger of state and corporate power.&quot;|caption=—[[w:Benito Mussolini|Benito Mussolini]] (29 July 1883 – 28 April 1945)}}

A corporation is an enterprise that emerges from inside the State by forces that ultimately aspire for state control and the power to enforce monopolistic choices on the population. Historically, these entities originate from inside the governing class of the state as a way to deflect public scrutiny, link to disreputable activities or as a way to gain advantage over other governing ententes. A corporation becomes an institution as soon as the stable functions of the state becomes defendant on its activities.

Most corporation aspire to expand beyond the state as to gain advantage over internal competitors but as a way to expand markets and so their own state influence outside its boarders. Privately owned corporations will have no nationalistic orientations beyond those shared by their own governance. They have no real social consideration beyond survival among its competitors, primarily as economic entities. 

A corporation will act against its own government if their governance sees it as advantageous, especially as a multinational enterprise whose governance shares no single nationalistic identity. This is why militaristic societies tend to foster a corporate culture that links private governance to state governance (seen generally in defense industry and banking) and historically in the structure of organized religion. 

hile it depends on scale, the personalization of the corporation is generally a ruse and a legal construct, that intends to impart human restrains and considerations into an entity that is due to its directives and layers of governance can become antisocial, but certainly needs to operate at a level of what would be psychopathy amongst its peers to survive.

== The trade of lies ==
When a population is kept in general state of ignorance, their judgment can more easily be controlled or even discarded as irrelevant without any internal opposition.

Any information is only valid if it is based in facts and any views expressed that can be sourced, useful information is one that is relevant to the consumer, and not artificially made relevant, to be transparent it must also presents multiple view points and enables the viewer to make it own mind about those relevant subjects.

&lt;center&gt;{{quotation|'''“All truth passes through three stages. First, it is ridiculed; second, it is violently opposed; and third, it is accepted as self-evident.”'''|Arthur Schopenhauer.}}&lt;/center&gt;

{{TODO|Perception plus Reputation plus Recognition by Similitude equals Inference}}

{{TODO|[[w:Otto and Elise Hampel]]}}

=== Propaganda ===
One thing that anyone will understand as a given fact is that any war will be preceded and accompanied by a propaganda campaign by and against all participants, it is also expected and an almost inevitability, that this campaigns will be even more utilized and effective on nations hose political systems depend on popular support.

{{quotation|'''&quot;...among the calamities of war may be jointly numbered the diminution of the love of truth, by the falsehoods which interest dictates and credulity encourages.&quot;'''|Samuel Johnson|The Idler, 11/11/1758}}

Propaganda by itself may not constitute a lie, but undoubtedly will only serve to promote the view or interests of the propagandist. It works as a reality distortion field, obscuring, twisting and selecting what to highlight as to promote a given agenda.  

An example of propaganda is the use of mass media to spread misinformation. This is done by governments and interest groups to indirectly promote their views to the public. Simple disinformation may becomes propaganda because it is backed up and promoted by the institutional powers as reality. 

{{SAMPLE|sampletext=
&quot;There's a war out there, old friend. A world war. And it's not about who's got the most bullets. It's about who controls the information. What we see and hear, how we work, what we think... it's all about the information! &quot;|caption=—from a dialog in [[w:Sneakers (film)|Sneakers (film)]]}}

[http://www.youtube.com/embed/LyjnEm8DZkI Youtube Video of RT.com report on statements made by Hillary Clinton, that the US Losing Information War to Alternative Media], [http://rt.com/ rt.com], is an Internet service published by the Autonomous Non-Profit Organisation (ANO) “TV-Novosti” (Russia).

[[w:William Randolph Hearst]] - [[w:Yellow journalism]] - [[w:Propaganda of the Spanish–American War]] - [[w:Duck and cover|Duck and cover]] and nuclear safety

{{TODO|[[wikipedia:Alex Thomson (journalist)|Alex Thomson]] from Channel4 &quot;Set up to be shot in Syria’s no man’s land?&quot; Free Syrian Army tries to get the journalists dead as a propagandistic stunt against the government. Strangely in a clear suppression of news this is news report is not picked up by any major news outlet, it is especially interesting since Alex Thomson had a government attributed VISA and should be recognizably a more independent reporter that those embedded with the rebels that are smuggled into the country (http://www.guardian.co.uk/media/2012/jun/08/alex-thompson-syrian-rebels).}}

{{TODO|See [[Communication Theory/Propaganda and the Public]]}}

==== Advertising ====
The concept of advertising is intimately linked to that of propaganda, it is often defined as a subset, a part, but if analyzed one can see that the distinctions are not on the methods or even goals but on the legal and economical labels of the producers and targets for it. So it is clear that the difference is only based on national and international legal rulings that may exclude some propagandist practices, producers and targets and relabel it as advertising.

=== Disinformation ===
Disinformation can serve to propagate lies, misdirect, confuse or weaken opposing views. Consider the damage one can create to the discussion of a topic if one can direct the opposition toward topics that are easily refuted or make the portraying the opposing side stupid by defending those issues.

{{quotation|'''&quot;The daily press and the telegraph which in a moment spreads inventions over the whole world, fabricate more myths ... in a day than could have formerly been done in a century&quot;'''|Karl Marx|1871}}

Disinformation is closely related to the motivation why people lie and what is defined as the truth, most of the time the truth is not a static objective notion, and this makes it easier to shift viewpoints about what the reality really is.  As any illusionist knows the best way to hide something in plain sight is to distract the audience with something else.

There is an important distinction to keep in mind, lies came in a different shapes. From the simple omission of the truth (that often is not even recognized as a lie, as the intention to deceive can not be ascertained) to the direct contradiction of the truth. It can serve as protection, deterrent and even be half-truth or inexact truth (without getting deeply in what the truth is). What defines a lie as negative is that if it consist in suppressing information that others require to perform an informed decision, to be free to make their own choices.

In a perfect world there would not be any reason to lie and have secrets, but in a world that is imperfect and becoming increasingly transparent there are specific areas of information that do need protection. From personal information to information that simply could be used against you. One could say that there is no moral justification for a lie except as a way to diplomatically deny access to information that others have no reason to have. This same rational is not valid for secrets, since secrecy is the intentional suppression of information that others need, here the the moral balance is harder to ascertain and depends exclusively on the reason for secrecy being of self preservation. Secrets came from shame and fear, and often lead to escalation of distrust and greater entanglement. All dirty deeds prefer the darkness.         

Today disinformation is all around us, directed by those that control the media channels in order to advance their goals and reduce visibility of subjects that they would prefers not being public knowledge. Well made disinformation dissemination will avoid being too obvious (unless that also serves a purpose). One easy way to detect disinformation is to find reputable source for the information, and corroborating reports. This of course in turn leads to perpetrator of the deception to intentional shift of the efforts of disinformation from the real data to the data sources, in an attempt to discredit them. 

&lt;center&gt;{{quotation|'''&quot;We'll know our disinformation program is complete when everything the American public believes is false&quot;'''|William Casey - CIA Director during the Reagan's administration.}}&lt;/center&gt;

There are many ways to employ disinformation, the method is dictated by the goal of what is intended. For instance events in Libya in 2011 when relating the where-abouts of Kadhafi suns or even statements statements regarding the progress of the rebels that can serve as a clear example. How the progress, strengths and feats was being amplified, at the same time wile governments negated that on TV, international forces where on the ground helping the rebels.

&lt;center&gt;{{quotation|'''&quot;When a well packaged web of lies is sold gradually to the masses over generations, the truth will seem utterly preposterous, and it's speaker a raving lunatic.&quot;'''|James Dresden.}}&lt;/center&gt;

Disinformation is often done by misrepresentation, exacerbation or creation of false news reports as to shift the public's perception.

{{TODO|[https://news.slashdot.org/story/16/04/22/155237/drone-believed-to-have-hit-british-airways-flight-may-have-been-a-plastic-bag? Drone Believed To Have Hit British Airways Flight 'May Have Been a Plastic Bag], the 2016 war on encryption etc.}}    

Another interesting case is the USA and UK media pressure and negativism regarding the euro currency. It is clearly unbalanced one considers the origin and the interests behind, those countries national situations and the original sinners in this economic chaos since the 2008 collapse. It would be expected that if someone should panicking it would be China since it has brought much of the euro debt and would suffer locally if the euro collapsed, to some degree China is strengthening its internal consumption, even creating internal imbalances, that has began to cause internal issues in 2016. We could even argue that it would be in the national interests of the USA-UK coalition to have a fragile China and increase its dependency on them for exports that ultimately influence its internal social stability. The paradox here is that the USA is also dependent on a strong Europe for trade (http://www.census.gov/foreign-trade/balance/c0003.html) and military support (NATO).

{{TODO| http://www.youtube.com/watch?v=QfEIXy64HL0#! fantastic example of the different wights and balances, by Associated Press reporter Matt Lee talking to Victoria Nuland, spokesperson for US State Department regarding the hypocrisy in how it uses and responds to Human Rights Watch reports (the distinction between Israel and Syria) very well done...}}

{{NOTE|The UK is a member of the EU but not a participant on the euro currency project (euro-zone).}}

{{TODO|Iraq, Romenian Timisoara &quot;massacre&quot;, death number as Indonesia left Timor, 2011 events in Syria, [[w:Río Negro Massacre]].}}

{{TODO|Cover &quot;Debate framing&quot;, talking points}}

==== &quot;Fake news&quot; ====
We should cringe on the label alone, all news are by default &quot;fake&quot;. What are news? News are new facts, that an information monger selected and treated for dissemination into a targeted audience. At best they may contain partial bits of actual events if the knowledge of those bits do not affect the interest of those involved in their dissemination, and that is after other parties being able to massage or obstruct optics regarding said events. After all that, the receiver own bias is also called into play to categorize it as &quot;fake&quot;, by the individual reader or by social communal pressure that itself can be influenced to attribute and generalize labels, to all the levels of the news gathering (spreading) endeavor.     

==== Censorship ====
Censorship is not only focused in hiding information from the targeted public, but can also consist creating artificial difficulties in accessing it. It is basically a suppression of information technique, that is also part of a process of disinformation, with a secondary result that it not only negates access to some information but promotes the value of the remaining information, solely by the fact that it is more accessible.

{{NOTE|It is also interesting to note that censorship not only generates technological issues by itself, even promoting failure and insecurity, but it also will produce general difficulties when interacting with technology that has not been created with censorship capabilities.}}

=== Marketing ===
{{TODO|[[Wikipedia:Neuromarketing|neuromarketing]] - [[Wikipedia:Fear, uncertainty and doubt]]}}

==== Subliminals ====

===== Audio =====

===== Visual =====

=== Public relations ===

==== Video News Releases ====
{{TODO|Promotional videos that simulate news reports format}}

=== Media control ===
The easiest way of ensuring control over information is the creation of artificial choke points and dependencies.

[http://www.youtube.com/watch?v=ez4zVwxCCtc Documentary on how the media lies to manipulate us] by Brian Springer

'''Books'''

'''The Press'''

'''Radio'''

'''Television'''

'''The Internet'''

The creation of the Internet has brought forth evidential prof of the efforts governments and commercial interests are willing to exert in the control of information. Control over access, movement and even creation of information in a distributed medium is something new and still evolving.

From simpler indexer, search engines have evolved beyond general information gatherers and portals into complex information channels, they now can monitor personal behaviors, location and interests, this shift for a personalized interaction arouse for the need to generate revenue, not by monetizing access but by the creation of indirect revenue streams. It started by simply permitting sites to get higher relevance to the addition of adds and now users have become also a commodity, where the data points they generate when interacting with the service is a valuable resource that others are willing to pay to have access.   

{{TODO| Mine [http://www.youtube.com/embed/n5OAzXgg2xU Facebook, Google &amp; Internet talk TED Video], mention [[w:Google Trends]], [http://pr.efactory.de/e-pagerank-algorithm.shtml Google PageRank - Algorithm], [http://googleblog.blogspot.com/2011/05/mining-patterns-in-search-data-with.html Mining patterns in search data with Google Correlate], [http://code.google.com/apis/analytics/ Google Analytics] and [http://www.google.com/transparencyreport/governmentrequests/ Google Transparency Report]}}

With the rise of the social network...


==== The spin doctor ====
{{TODO|[[Elements of Political Communication]]}}

==== Fabricated events ====
*Invasion of Poland by Nazi Germany, justified by a border conflict.
*USA attack on Vietnam, the actions used for justification.
*USA lead intervention on Kosovo ([[w:Kosovo War|Kosovo War]]), justified by claims of the existence of atrocities.
*USA lead attack on Iraq, justified by a claim of existence of Weapons of Mass Destruction.

[[w:False Flag]]

==== Censorship ====
Censorship is the suppression of information.

{{TODO|Cover also self censorship and its implications.}}

{{TODO|Russian intervention in Chechnya, the usurpation of the democratically elected government of Palestine, the negative effects Western (USA,EU) subsidies had/have in Africa's development, Iceland's people (not government) efforts not to pay its international banking system debts, the effect on the euro-zone countries retirement systems of Greece's debts pardon (especially those systems already in crisis) and the possibility creditors activating [[w:Credit default swaps]] (and naked Credit default swaps).}}

== Understanding earthquakes ==
Fish deaths may precede quakes due to temperature shifts and general alteration on the quality of water induced by vibrations.
Underground water table/tidal effects.

Richter scale

Why buildings collapse

Vibratory liquefaction 

=== Quake prediction ===
[[w:Earthquake prediction]] [[w:Jim Berkland]]

[http://www.washingtonpost.com/blogs/capital-weather-gang/post/did-the-atmosphere-signal-japan-earthquake-in-march/2011/10/04/gIQACyeRLL_blog.html Could electron count escalation high in the atmosphere serve to detect major earthquakes]

=== Quakes and volcanoes ===
Quake activity may trigger volcanic activity. In 27 February 2010, the magnitude 8.8 [[w:Maule, Chile|Maule, Chile]] earthquake trigged hundreds of volcano tectonic earthquakes at [[w:Uturuncu|Uturuncu]], a Bolivian volcano.

{{NOTE|The largest ever instrumentally-recorded earthquake, occurred in 1960, at Valdivia, south of the Maule region which a measured magnitude 9.5.}}

==== Volcano tectonic earthquake ====
[[w:Volcano tectonic earthquake]]

== Symbolism and rituals ==

== Deconstructing the War on Drugs ==
[http://www.ottawacitizen.com/news/Mexico%20urges%20consider%20legalizing%20drugs/5431636/story.html Mexican President Felipe Calderon Hinojosa speaks during the 2011 Clinton Global Initiative meeting on September 20, 2011 in New York urging the U.S. to consider legalizing drugs]

Most government agencies that deal with security and crime have to provide evidences that they are effective as a justification to continue to exist, to validate their spendings and to obtain more funding. It becomes then a priority to guarantee results (especially directed to the metrics used in performance evaluation), maintain a sense of urgency and increase the importance to their field of action. This will most often lead to quantity, but not quality and also to the direct or indirect generation of a symbiotic interdependent relation between the agencies and the target of their action.

[http://www.nydailynews.com/news/ny_crime/2011/10/13/2011-10-13_excop_we_fabricated_drug_raps_for_quotas.html#ixzz1ah29cALW We fabricated drug charges against innocent people to meet arrest quotas, former detective testifies]

=== The economics ===

==== Who benefits from the status quo ====
The question runs very parallel to those that promotes the war on drug.

==== Public Safety ====

==== Taxes ====

==== External policy impact ====

== The problem with time travel ==

== Towards the Heart's core ==
[[w:Tectonics]] [[w:Plate tectonics]] [[http://www.agiweb.org/geotimes/feb08/article.html?id=nn_tectonics.html Geotimes - February 2008 - Plate tectonics on a planet far, far away]]

== What we know about music ==

=== First there was sound... ===
{{TODO|What is sound and what is music}}

=== Order creeps in and music is born ===
When one looks deeply into all music across the multiple cultural specters and tastes, what is found is at its core is that it is all very similar across them. That the underling techniques of what we generally define (or appreciate) as good music is the same across all the multitude of styles. 

The major characteristics of all music are melody, rhythm, harmony and base.

Most of these characteristics evolved around establishing patters that are therefore easy for us to recognize as such. These patterns become the musical techniques, formulas, that there are refined from mathematical properties of music. These are even properties that arise without directed creation, that are simply natural discoveries, general and self evident and that music in part simply addresses the need to creates a language to express them, much like math expresses other aspects of the natural world is a way that is easily recognized across cultures.

{{TODO|Why is music copyrightable is it is an math is not ? Is there a case that can be made for equal treatment ?}}

Since the beginning there was an effort to organize sound  in relatable, &quot;naturally&quot; sequences, scales (melodic archetypes, modes) where each sound (musical note) is set in a rung of a musical latter. This concept later evolved into the generalized diatonic scale that emerged in the West as a standard. With the diatonic scale came, its minor scale and major scale that replicated older melodic archetypes and permitted evolution. With normalization all melodic arrangements became conscripted and increasingly derivative.

==== Melody ====
The melodic content is the simplest of pattern and easy to note due to its natural tendency not only for repetition but to be made more evident when there is a break in it. Melodies are also intrinsically linked to emotional memry as melodic patterning have shown to be even be remembered before birth.

The most preeminent melodic sequence in western culture is the pentatonic scale, as the name indicates consisting of 5 notes.

-- the chosen notes
--- the arrangement selected, the distance between the ley notes in the sound scales
-- their pitch
--- how high and low they are 
-- intervals 
--- distances between the pattern of note use from the sound scale
---- western culture the smallest is defined as semitone and a whole tone is two rungs on the musical latter
---- it is easier to vocalize whole tones than semitones and to remember, making it most of the vocal repertoire
---- base 
---- intervals patterns are therefore melodic pasterns and establish modes or permits divergency like the blue
---- notes in vocalized blue or the Tudor music &quot;clashing&quot; mode

== Mathematical wonders ==
=== Zero ===
=== Infinite ===
=== The equation ===
To some equations are like uncompromisable hieroglyphs, but at the core they are in fact non-abstractive works, that attempt to explain the universe we live in. There are in fact some equations that are more important than others, masterpieces that hold some of the foundations of our understanding of reality.

An equation is a mathematical statement that asserts the equality of two expressions, that is the right side of the equality must be the same as the left side of it. This not only requires that we understand and know the value of both sides but that these values must match.

There are many approaches to categorize the beauty of equations, the concept of beauty as always is on the eye of the beholder, in mathematical terms it is both of the beholder understanding or knowledge and the need to employ that same knowledge. So the mathematical beauty of equations can be a function of its usefulness, simplicity or even complexity, in this later cases much like a painting, we can marvel not only on what is represented but on the work done by its creator (in mathematical terms its discoverer). 

{{TODO|mine [[wikipedia:Equation]]}}

==== E = MC^2 ====
This is probably one of the most famous equations in the world. It brings to mind its discoverer, Einstein and the nuclear age. Its publishing in 1905 starter a scientific revolution.

{{TODO|mine [[wikipedia|Mass–energy equivalence]]}}

=== Pi ===

=== Fine-structure constant ===
{{TODO|[[w:Fine-structure constant]]}}

=== Prime numbers ===

=== Golden ratio ===
=== Euler's Number Triangle ===
=== Fractals ===
[http://www.youtube.com/watch?v=ZbK92bRW2lQ Benoit Mandelbrot - Hunting the Hidden Dimension Nova (2008)]

== A look into eugenics ==
[http://ideonexus.com/2007/12/02/the-complex-william-jennings-bryan/ The Complex William Jennings Bryan]

== All about nothing ==

the word nothing defines emptiness

the inexistence of emptiness

what is vacuum

== Considerations about euthanasia ==

== Generalities of story telling ==

== Recipes for jokes, gags and all things funny ==

== The secret for invisibility ==

== Introduction to Human Genetics ==
{{TODO|[https://www.huffingtonpost.com/map-happy/is-there-really-a-wanderl_b_7057672.html Wanderlust Gene]}}

=== Environmental influences on the human body ===
'''You are what you eat'''
[http://blogs.discovermagazine.com/80beats/2011/09/21/what-you-eat-affects-your-genes-rna-from-rice-can-survive-digestion-and-alter-gene-expression/ Foodstuff genetic material, microRNA, of has been detected in the human blood stream. Animal trials in mice demonstrated that they change how genes are expressed]

[[Metabolomics]]

the impact of natural birth to the baby immune system (the problem with cesareans)

teeth and mouth flora

the tonsils

epigenetic modifications

stomach flora

the human toleration to non-human milk

the function of the appendix

== Towards Immortality ==
Death the great equalizer, the ultimate motivator. But without the uncertainty of it, how long could you endure your existence as it is?

[https://science.slashdot.org/story/16/04/23/0434208/first-successful-gene-therapy-against-human-aging? First Successful Gene Therapy Against Human Aging?]

=== Death: Defining mortality ===

==== Death ====
While there are many causes for death the primary one result of a common cause, protein damage. It is at the core of the large number of chronic degenerative diseases that makes death a certainty.

Clinically dead

Brain dead

==== Self ====

=== Immortality vs Eternal Life ===

Cloning

Brain and Head Transplant

Metabolic/Life suspension

=== An examination of trans-humanism ===
[[w:Transhumanism]]

Brain digitalization / Simulation

==== Faith vs Science ====

Cryogenics (Alcor: Life Extension foundation)

==== Religion's thoughts on the subject ====

Religions that profess reincarnation as a dogmatic basis, like Hinduism, should be incompatible with most forms of immortality except consciousness duplication/simulation and Buddhism would probably even oppose the preservation of a static duplicate of consciousness as it would be prevented from transcending. On the other hand Abrahamic religions may be more accommodating, Judahism will probably be the more lenient, by Christianity will have to drastically evolve a response due to its core dogmas around resurrection and the ultimate transcendence.

=== Social-Economical Impact ===

==== Rights ====

==== Cost ====

==== Cost vs Return ====
Space, Resources, Evolutionary drive

==== How far is forever ? ====

=== Sources/Refs ===
[https://www.youtube.com/watch?v=pKjtLOOBqgk 1956, Orson welles, The Fountain of Youth]
| [http://www.imdb.com/title/tt6961638/ Waiting for Immortality]*

== Investment strategies before and after a calamity ==
{{Quotation|Where there is ruin, there is hope for treasures.|Rumi, the poet.}}

== Five senses and counting... ==
{{TODO|This book should explain and explore all the human senses and examine other animals as also cover attempts to expand and extend them beyond}}

=== Smell ===
The sense of smell is extremely interconnected with memory, as its the only sense that can be said to be directly connected to the limbic system of the brain, making emotional connection easy to form, retain and prime especially at a subconscious level. Since about 20% of all human communication is rational (at a conscious aware level) and the rest is emotional smell gets primacy. Olfactory receptors have also been found across the human body from the intestines to sperm, so we don't sense smell only with our noses.

Humans share many of the &quot;lower&quot; animals reactions to smell, for example the smell of a male (a smell that is similar in all mammalians) increases the stress level of the sensing mammal, from mice to men, this reaction reduces sensitivity to pain. It is also observable that smell in humans seem to have evolved due to how geographically mobile our species is and the pressing need to use it to select for food and check the safety of environment, this plasticity is observable in how the sense diverges across cultures, for example in relation to fermentation of chases or yogurts or even beer, how we are culturally and social conditioned on our reactions of disgust and expectations in regards to smell making it also very easy to have olfactory illusions.        

Smell alone can bring us to tears on happy recolection, excitement even salivation even before we conscious define what motivates the reaction. Smell is, alike tactile sensations, one of our most important senses. Taking primacy even over vision and is interlinked with the sense of taste. It is also one of our first senses to develop and one that conditions our psyche as we develop, from the response we keep regarding the vanilla like sent of breast milk that is linked to positive emotions. Odor can inform us of age, disponibility and viability for reproduction, level of stress/aggressiveness, fear, even simply what and if someone ate recently.

== On the concept of nation ==

== Primer for Open Source licenses ==

== Strategies for security ==

=== The nature of security ===

=== In the natural world ===

==== Lessons from biology ====

=== Security across history ===

== Gears of History ==
[[w:Gear]]

=== The Antikythera mechanism ===
[[w:Antikythera mechanism|Antikythera mechanism]]

=== Mechanical Clock ===
[[w:Clock]]

== The ET question ==
Mankind has the unique ability to ignore the obvious, specially when the facts reveal a disturbing truth. Statistically speaking, odds are there is intelligent life somewhere in the Universe. There is even evidence that life may at least have existed elsewhere in our own solar system. It is therefore an inevitability that at some point in the future we will have to face the implications of that reality.

[[w:Drake equation|Drake equation]] [http://web.archive.org/web/20110511133829/http://www.ufoevidence.org/topics/CondonReport.htm The Condon Report]

Since chances are that will be here (or they may already be here) long before we find them on our terms, the questions that first arise are:
*Where are they coming from?
*What are they doing here?
*What can we do about it?

=== The origin of life ===

==== Primal soup ====
{{TODO|Mine per-biotic chemistry, [[w:Stanley Miller]], astronomy and Amino acids detection}} 

===== RNA to DNA ===== 

===== Astrobiology =====
{{TODO|[[w:Astrobiology]]}}

===== Panspermia =====
{{TODO|Mine [[w:Panspermia]]}}

=== Alien vs Extraterrestrial ===
'''Origins'''
{{TODO|Cover [[wikipedia:M-theory]]}}

=== Government ===
For a government to retain their authority and comply to their obligations to the citizen and to the preservation of the state, any acknowledgment of a power, especially of a technological nature, that is superior to them and outside of their control is an anathema.

==== United States of America ====
The Brookings Institution report from December 14, 1960, funded by the USA Federal Government states &quot;Earth's Civilization Might Topple if Faced by a Race of Superior Beings&quot;.

A federal law passed by congress in 1969 makes it illegal for any American to make contact with any extraterritorial, and defines the whoever willfully violates it should be fined by $5,000 or imprisoned not more than 1 year, or both (1211.108 Violation).

In the 1995 [[w:Federal Emergency Management Agency|Federal Emergency Management Agency (FEMA)]] manual, named [http://books.google.pt/books/about/Fire_Officer_s_Guide_to_Disaster_Control.html?id=wH7km8j6HKkC&amp;redir_esc=y &quot;Fire Officer's Guide To Disaster Control&quot;] by William M. Kramer, Ph.D. and Charles W. Bahme. J.D, published in 1992, Chapter 13 is dedicated to teaching techniques to communicate with aliens and deal with a crashed extraterrestrial craft.

===== Never a Straight Answer (NASA) =====

{{TODO|Apolo 10 radio noise on the far side of the moon, how it was kept a secret is more interesting than what the noise was}}

==== The Soviets ====

{{TODO|[[w:Salyut programme]] Salyut 7 sighting, by 2 distinct crews}}

=== Science ===
The use of science, that is use of the scientific process to reach factual conclusions has been one of most revolutionary achievements of mankind in establishing consensus regarding the reality around us.    

==== Scientific verification ====
To be possible to verify the existence of extra terrestrial life, there must be something that can be repeatedly observed by scientific methods and in a scientific setting. We can not forget that scientist are ultimately humans, prone to error and other human fragilities, repetition of the experience and equality in the findings is what validates a scientific discovery. Even more that an acceptance by its pears, reporting the exact findings on a correctly performed scientific investigation is how ultimately human knowledge evolves, even in fields that do not rely primarily in the scientific method. Those who succeed in adding new findings to the human knowledge are diffidently immortalized.

==== Lunar Transient Phenomena ====
{{TODO|[[w:Transient lunar phenomenon]] [http://www.thelivingmoon.com/43ancients/02files/Transient_Lunar_Stuart.html 'Stuart's Event'], interesting to cover regarding the problem around the recognition of the phenomena. 1969 German astronomers report lights from the crater. NASA request astronauts on the Apollo 11 mission to do a visual observation that report a colorless glow coming from inside the crater, there is an 89 second problem with the public audio feed of that conversation. NASA's later conclusion that the brightness was caused by the reflective nature of the soil inside the crater is refuted as the sun wasn't on the right position for it.}}

===== The Aristarchus Event =====

=== First Contact ===

==== United Nations Office of Outer Space Affairs (UNOoOSA) ====
[[w:United Nations Office for Outer Space Affairs]] - [[w:Mazlan Othman]]

==== SETI ====

=== Witnesses ===

==== Abductions ====
There is also the issue that [[w:Hypnosis|hypnosis]] is used to recovered &quot;lost&quot; memories, the problem with using hypnosis in this tasks is that the operator (the hypnotist) can easily, even unwilling, direct the subject to create false memories or interpretation, under hypnosis memory is extremely fluid and missing details are often recreated by imagination, but nevertheless the sheer number of subjects with similar reports would still constitute a good indication of a repeated phenomenon. Purportedly abducteess, report that most abductions start in childhood and continue for many many years, even across generations.

Most people have had at least one experience of night-terrors, these are often presented as an explanation for the reports of the phenomenon or an entry point to the later recovering of &quot;lost&quot; memories, this can be a possible explanation to some cases, for instance per-technological societies labeled these cases incubus, sucubos and other types of mystical and fantastic creatures, it could be that today easy of access to information helps the subjects to report so cases, dialogs and settings that are extremely similar with each-other. But then we are faced with the case of reported medical anomalies and implants on these same subjects. 

===== Missing time =====

===== Medical anomalies =====

===== Implants =====

== Secret Societies ==

== Criminality in the 21st Century ==

{{TODO|See [[Lentis]].}}

=== The decline of physical cash ===
Robing a slaughter house for the meat will have a greater return and a lesser risk that to steal a motorcycle.

=== The rise of digital goods ===

==== Digital scrap yards ====
Remember the time that scrap yards were used by criminals, especially organized crime, not only to dispose of incrimination material but to reuse vehicle's licenses. In the digital age the created digital scrap yard is not only a literal gold mine (since there are indeed gold on those hill) but there is also a huge amount of sensitive and valuable data.

{{TODO|Mine [http://hardware.slashdot.org/story/13/04/02/2015254/wiping-a-smartphone-still-leaves-data-behind Wiping a Smartphone Still Leaves Data Behind]}}

The value is not only found in the rare minerals that are necessary in create the digital tools but there is a myriad of after-market &quot;business&quot; opportunities. From shady recycling are reselling of discarded but still &quot;functional&quot; trash to the booming illegal (but often non opposed) export of trash that local regulations would deem as environmental hazardous to more &quot;understanding&quot; locations.

==== Cybercrime ====
{{TODO|Mine [http://news.slashdot.org/story/12/08/03/1817216/the-1-trillion-cybercrime-myth The $1 Trillion Cybercrime Myth]}}

==== Data for ransom and blackmail ====

==== IT infrastructure as a extortion hostage ====
{{TODO|Mine [http://tech.slashdot.org/story/13/04/03/0313212/cyber-criminals-tying-up-emergency-phone-lines-through-tdos-attacks-dhs-warns Cyber Criminals Tying Up Emergency Phone Lines Through TDoS Attacks, DHS Warn]}}

=== It is all monetized now... ===

==== Insurance scams ====

=== Online black market ===
{{TODO|Mine [http://yro.slashdot.org/story/12/04/30/1855207/how-online-black-markets-work How Online Black Markets Work]}}

==== Bitcoins ====
{{TODO|[Mine [http://liveweb.archive.org/http://www.wired.com/threatlevel/2012/05/fbi-fears-bitcoin FBI Fears Bitcoin’s Popularity with Criminals]}}

=== Change of focus ===
{{TODO|[http://yro.slashdot.org/story/11/11/09/222259/biofuel-thieves-steal-restaurant-grease Biofuel Thieves Steal Restaurant Grease]}}

== Psychedelic reality ==

{{TODO|Cover Santo Daime, ayahuasca, [[wikipedia:The Doors of Perception]]}}

== On the subject of skepticism ==

== Cannibalism‎‎ across the ages ==

== Analyzing cheating ==
{{TODO|[http://news.slashdot.org/story/11/11/07/221228/survey-finds-cheating-among-students-at-all-gpa-levels Survey Finds Cheating Among Students At All GPA Levels]}}

== On death and taxes ==
{{TODO|[http://politics.slashdot.org/story/11/11/08/1321208/bill-gates-advocates-tax-on-financial-transactions Bill Gates Advocates Tax On Financial Transactions]}}

== Out of the box ==
A work about believable ideas, and supporting theories, that failed to fully materialize, by simple physical impossibility or lack of resources (time, contextual practicality) and other factors.

The human creativity is endless, as we imagine the impossible we extend the boundaries of reality. (me)

[[w:Dean drive]], [[w:Hieronymus machine]]

== Taking apart a literary work ==
{{TODO|aka Reverse engineering a literary work}}

== Feminisms and Society ==

== Intellectual property and Copyright history ==

== Weapons fabrication and modification ==

== Behind physics ==

=== Water ===

Hydrogen also has another interesting implication, for instance in endothermic reactions it affect the flame temperature that substances can reach, for instance the endothermic dissociation of water, around the 2000°C prevents flames temperatures to rise above 3000°-4000°C. This is why Dicyanoacetylene a compound of carbon and nitrogen with chemical formula C4N2 is has the record of burning in oxygen at a temperature of 4990°C fallowed by Cyanogen also carbon and nitrogen with chemical formula C2N2 that burns at ~4525°C.

== The &quot;free&quot; energy paradox ==

=== Economic effect ===
{{TODO|Discuss the issue of (and mine) [[wikipedia:Nuclear transmutation|Nuclear transmutation]] and [[wikipedia:Synthesis of precious metals|Synthesis of precious metals]]}}

=== Social effect ===
{{TODO|The rise of the machine age}}

=== Military implications ===

== Skeptic's handbook ==

== Guide of Presence, Presentation and Body-language ==

== What is up with Pyramids ==

=== Architecture ===

== Over-unity, the fight against thermodynamics ==

{{TODO| [[wikipedia|History of perpetual motion machines]]}}

== Dark - something - ==
{{TODO| [http://www.huffingtonpost.com/entry/dragonfly-44-dark-matter_us_57c0b0f6e4b04193420f3d41 Why The Discovery Of The Milky Way's 'Dark Twin' Is Such A Big Deal], [[w:Dark matter]] }}

== What is food ? ==

=== Function of food ===

=== Availability of food ===

Sustainable food 

=== Foood's properties ===

Protein

=== New food items ===

Fungal protein (mycoprotein) as food is present in mushrooms but also in present in products like [[w:Pekilo]]|Pekilo (invented in the 1970s, the world’s first commercial mycoprotein that also contains some fibers). Previously used as animal feed, but recently it has refined for human consumption). Finnish company Enifer is building a factory slated for completion by the end of 2025, where it will produce it in a way that would make it no more expensive than plant-based similar products. In the plant it it will grow the fungus in a fermentation tank, then heat-treat and harvest the biomass  with centrifuges resulting in a bioproduct similar to Tofu in aspect that will then be dried with hot air and milled into a powder. Finished Pekilo may be used as an ingredient to non animal meat synthesis or to enrich any other cereal mixes with protein.</text>
      <sha1>ry7fuvbifh2v7ydvvmhiz6u3bxdjagk</sha1>
    </revision>
    <revision>
      <id>4638037</id>
      <parentid>4638036</parentid>
      <timestamp>2026-05-30T12:33:16Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <minor />
      <comment>/* The UFO phenomena */</comment>
      <origin>4638037</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="116019" sha1="e0zi9xdlkz6otysb0gqema7i1mx31ee" xml:space="preserve">(remember miscellaneous cut-pastes on [[User:Panic2k4/Sandbox/DumpingGround]])

{{NOTE|This is a list of subjects for possible books, and books that I would find interest in reading or see the subject covered on Wikibooks. Even if this is my personal space, anyone is granted authorization to add (and only add) items, news, links, references to any of the categories. I would gladly collaborate with and move anyone of this subjects to a Wikibook project.}}

----
[[User:Panic2k4/Sandbox/ShareMemory/Seeking Utopia|Seeking Utopia]]


== American fake==

=== Land taking ===
The United States of America, have been an artificial creation not an emergent nation, it was not build upon by shared history (strafes and pains) and a linking cultural bond (language, habits and shared memory) derived by the Roman common aspiration to link bloodlines with land by legal means as to maintain social order, and the elite in control. In fact the nation was created by the expansion of European powers and their fight for power, in particular those with an interest in the substitution of Spain as the dominant power having already helped to undo the Portuguese. In a very old European continent that was coming up out of the dark ages centered around the Catholic religion in internal conflict intended to maintain or replace the seat of power in Rome. The Italian peninsula was in a mess of warring states even more fragmented do to outside kingdoms influence whose recognition all depended on the Pope. England and France were still at each others throats for supremacy and would be so until the end of the US civil war.   

So the space that is now the  USA was  born for a technological and demographic race for land grab and economic profit  by the excluded protestant nations that had been waging wars in central Europe  again the  order and exploitation of the Roman Catholic Church using one excuse or another to gain freedom from the Pope and the Church. Some erroneously define the European nations evolution as meres kingdoms linked by family ties but this was not the reality at this time, long ago the Burgessy had gained a foot hold that started in central Europe and dramatically changed the only Noble elite into more organized economic interests groups, with an elevated knowledge on the economic dependency of the state, as the scarcity of workers due to the plagues reshaped the older nobility basic link to land ownership into having more commercial aspirations.

=== Protestant nation ===

==== Masonic influence ====

=== Revolutionaries or Terrorists ===

=== Constintution by and for the elites ===

=== Fake flag attacks as justification for war ===

==== Spanish US War ====

==== Absurd blindness that permited entry into WW2 ====

=== Project paperclip ===

=== Nuclear burden ===

=== Gold standard ===

=== Petrodollar ===

==== House of Saud ====

==== Iran ====

==== Regan's October surprise ====

==== Iran-Contra ====

==== Iraq ====

==== Kuwait ====
A meeting took place on July 25, 1990, between Saddam Hussein and April Glaspie, the U.S. Ambassador to Iraq. During this meeting, Glaspie informed Saddam that the United States &quot;takes no position&quot; on his dispute regarding Iraq's claims about oil prices and production levels do to Kuwait's oil production and the use of slant drilling technology (draining shared resources). Throughout the 1980s, Kuwait's oil production consistently exceeded its mandatory OPEC quota, contributing significantly to the global oil glut and thereby keeping oil prices low. This situation was detrimental to Iraq, which was struggling to recover economically from the Iran-Iraq War and heavily reliant on oil revenues.
So the statement by April Glaspie has been widely criticized for potentially giving Saddam the impression that the U.S. would not intervene if Iraq took military action against Kuwait. However, it's important to note that the U.S. did not explicitly warn Iraq against invading Kuwait, which has led to debates about whether the U.S. gave Iraq a &quot;green light&quot; to proceed with the invasion. One also has to take in consideration Saddams' deep link to the US, and the pattern of examples the US sets itrsel.

Military Capabilities: The disparity in military strength was stark. Iraq's military was one of the world's largest, with a vast array of tanks, aircraft, and personnel, whereas Kuwait's military was much smaller and less prepared for a full-scale invasion.

Distribution of Wealth: Kuwait was one of the wealthiest countries per capita, thanks to its vast oil reserves. This wealth, however, was concentrated among a small elite. 

Governance Structures: Both Iraq and Kuwait were governed by authoritarian regimes, but the nature of their rule differed significantly. Iraq under Saddam Hussein was characterized by repression and aggression, while Kuwait's monarchy was more stable but still faced challenges in managing its relationships with neighbors.

Insult to Iraqi Official: An incident involving an insult to an Iraqi official, Tariq Aziz, by Kuwaiti authorities further strained relations. This incident, along with other diplomatic tensions, contributed to the overall atmosphere of hostility

Absence of Cold War Dynamics: With the dissolution of the Soviet Union and the dominance of the United States post-Cold War, the geopolitical landscape had changed. The influence of superpowers in the Middle East had shifted, potentially altering the calculus for both Iraq and Kuwait. 

Oil Policy Discussions: Kuwait's oil policy discussions with the UK Foreign and Commonwealth Office (FCO) indicate that Kuwait was aware of the potential repercussions of its oil production policies on Iraq. These discussions took place around June 28, 1990, and highlighted Kuwait's intention to maintain its oil production levels despite the adverse effects on Iraq 

Misinterpretation of External Communications: A controversial phone call allegedly between Saudi King Fahd and another Gulf ruler, supposedly discussing the need to withstand Iraqi pressure for two more months, was leaked by Iraq. While the authenticity of this call is disputed, Iraq used it to accuse the Gulf states of conspiring against them. This incident reflects the complex web of misinformation and mistrust that characterized the pre-invasion period. Of note is that during the invasion itself, the Emir of Kuwait, Jaber Al-Ahmad Al-Jaber Al-Sabah, fled into the Saudi Arabian desert for safety. Other members of the Kuwaiti royal family and government officials sought refuge in Saudi Arabia as well. The escape routes taken by the elite were primarily directed towards neighboring countries, especially Saudi Arabia, given its proximity and historical ties with Kuwait.

Despite these factors, Kuwait's leadership may have underestimated the severity of Iraq's intentions and overestimated the support they would receive from the international community, particularly from the United States. The belief that they could manage the situation diplomatically without provoking a direct confrontation with Iraq highlights a misreading of the situation and a failure to anticipate the consequences of their actions.

Furthermore, the decision-making process within Kuwait's leadership may have been influenced by internal political considerations, personal relationships with Saddam Hussein, and a desire to maintain stability in the region. These factors, combined with the aforementioned external circumstances, contribute to a complex picture of why Kuwait continued to act in ways that antagonized Iraq, despite the clear risks involved.

Loss of Wealth: The invasion led to the looting of Kuwait's Central Bank, with over $1 billion in banknotes stolen. Additionally, Saddam Hussein devalued the Kuwaiti dinar, making it equal to the Iraqi dinar and effectively reducing its value by one-twelfth. This action rendered the stolen banknotes worthless, leading to substantial losses for the Kuwaiti elite whose assets were tied to the Kuwaiti currency.

Monetary Reserves: Before the invasion, Kuwait's monetary reserves were primarily funded by the Kuwait Investment Authority (KIA), which accumulated savings from Kuwaiti prewar fiscal surpluses and Sovereign Wealth Fund (SWF) contributions. These reserves were significantly depleted in 1991 to fund capital accumulation and reconstruction costs following the invasion. However, the production and exportation of petroleum allowed Kuwait to resume capital savings.

Foreign Debt: To finance reconstruction and capital accumulation, Kuwait increased its debt ceiling to $33 billion as part of a 5-year plan, marking the largest debt in the country's history. This debt was partly financed through inward foreign investment facilitated by martial law, which allowed the government to underwrite nonperforming loans extended by domestic banks and investment companies to Kuwaiti citizens. This process, known as Kuwait’s Debt Settlement Process, aimed to strengthen the financial market but resulted in a reversal of Kuwait's prewar net lender position for the next 5 years.

Defense Spending: Following the Gulf War, Kuwait initiated a plan to spend $12 billion over a 10-year period to improve its military capabilities. The goal was to enhance the country's ability to withstand future attacks long enough for international assistance to arrive. Despite concerns about the sustainability of military spending as oil revenues decline and reserves deplete, Kuwait has continued to allocate significant funds towards its defense.

Rebuilding Efforts: The invasion caused extensive damage to Kuwait's infrastructure, including oil facilities, refineries, and residential areas. The cost of rebuilding these facilities and restoring the country's economy was substantial. Kuwait had to invest heavily in repairing the damage and modernizing its oil industry to ensure it could meet its production targets. Following the liberation of Kuwait after the Gulf War, the economic landscape underwent significant changes, particularly in terms of oil extraction and processing contracts, as well as the transfer of reserves. Any contracts or agreements that had been established with Iraq during the occupation were nullified. This meant that Kuwait regained full control over its oil resources, which were crucial for its economic recovery. Kuwait sought to rebuild its oil industry and attract foreign investment. The aftermath of the invasion saw a reevaluation of contracts and agreements, with new opportunities emerging for international companies, including those from the United States and the United Kingdom, that as key allies in the liberation of Kuwait, secured favorable conditions for their oil companies in the post-war period. They were able to establish new contracts and agreements that expanded their companies' involvement in Kuwait's oil sector.

International Financial Institutions: Kuwait's post-war economic recovery was supported by its membership in the World Trade Organization (WTO), to which it gained admission in 1995. This accession reflects Kuwait's commitment to liberal trade policies and its efforts to integrate into the global economy.

Iraq was required to pay restitution for the damages caused during its invasion and occupation of Kuwait, including the theft of gold and other financial losses. As part of the terms set forth by the United Nations Security Council Resolution 687, passed in April 1991, Iraq agreed to reparations for the destruction of Kuwaiti property and the loss of income resulting from the invasion.
as Compensation for Losses, Restitution of Stolen Assets and Payment of Damages.

The total amount of reparations demanded from Iraq was substantial, but the exact figure varied depending on the assessments of the damage and losses incurred by Kuwait. The UN Compensation Commission, established to process claims and administer the reparations, received thousands of claims from individuals, corporations, and governments affected by Iraq's actions.

While Iraq agreed to the reparations as part of the ceasefire agreement following the Gulf War, the actual payment of these reparations has been a contentious issue. Iraq has paid a portion of the reparations, but disputes over the amounts owed and the ability of Iraq to fulfill its obligations have persisted. The UN Compensation Commission continues to operate, processing claims and overseeing the payment of reparations, although the pace of payments has been slow and incomplete.

=== Russsia's pressent ===
Golf war, betting on the losing side  Poland and Czechoslovakia token participating alonside US and UK troops.

==== Ukraine ====

== Future wars ==
{{TODO|the inevitability of war, war a crime against humanity )}}

=== Resource Wars ===

==== Energy ====

==== Water ====

==== Food ====

=== Rising China ===

The Clinton lead push for the entry of China into the WTO was a leading factor to the rapid modernization of China's Economy and to the de facto establishment of Chimerican economic cycle or reforms if both nation's economies.


America's Defense Department Ran a Secret Disinfo Campaign Online Against China's Covid Vaccine 

&lt;nowiki&gt;https://news.slashdot.org/story/24/06/17/0541243/americas-defense-department-ran-a-secret-disinfo-campaign-online-against-chinas-covid-vaccine&lt;/nowiki&gt;

== The great tome of anonymity ==

=== Privacy ===
==== Privacy's Last Gasp ====
{{TODO|[https://tech.slashdot.org/story/17/03/04/0156212/curated-advertising-is-coming-to-highway-billboards Curated Advertising Is Coming To Highway Billboards]}}

=== Anonymity ===

=== States ===

=== Family ===

=== Institutions ===

=== Corporations ===

=== Technology ===

==== Internet ====

==== Mobiles ====

== On the subject of memes... ==
{{TODO| What are they, who and what empowers them, their effect and exploitation. {{YouTube link|a2b_uhenJ7Q|Pianist Lord Vinheteiro's selection of meme music from the year 1500 AD to now. &quot;Greensleeves,&quot; Beethoven's &quot;Symphony No. 9,&quot; The Village People's &quot;YMCA,&quot; Rick Astley's rickroll hit &quot;Never Gonna Give You Up,&quot; and lots more.}}}}  

== The case for Kumari Kandam ==
{{TODO|[[w:Lemuria (continent)]]}}

== Comprehending Pollution ==
{{TODO|[https://science.slashdot.org/story/18/03/16/041250/microplastics-found-in-93-percent-of-bottled-water-tested-in-global-study Microplastics Found In 93 Percent of Bottled Water Tested In Global Study]. Most if not all modern pollution (past 1500) is criminal, even if negligent, as it can be predicted if not by any other reason by the concept of extrapolation and past experience. Pollution is not always chimerical in nature it may be from nano-materials to OGM crops.}}

{{TODO|The most used &quot;solution&quot; to pollution is dispersion, due to how cheap and easier it is to apply and the lack on our active social systems, from left to right, for a proper, interested defense of the common and the legacy to future generation}}

== China's History ==

{{TODO|Dinasties, Wester contact, Oprium wars, Boxer Revolution, WWI, WWII, [[w:Sun Yat-sen]], Mao}}

== AI Revolution: The rise of the machines  ==

A book about the beginning of the end of the [[w:Anthropocene]]

=== Previous Necessary steps === 

1 The Agrarian Revolution ([[w:Neolithic Revolution]])
2 The Industrial Revolution ([[w:Industrial Revolution]])
3 The Information revolution ([[w:Information revolution]])

=== Notion about IQ and intelligence ===

==== Animal models ====

===== Humans =====

=== Biological Machines ===

== The Path To Revolution ==

=== Define revolution ===

==== Counter-revolutions ====

=== Define revolutionaries ===

=== Historical Look ===

=== Observed Generalities ===

=== Future Projections ===

== The Energy Spiral ==
{{TODO|A work that covers human social-economical development and energy sources, from the past to the future}}

== The Woodworking World ==
{{TODO|[http://makezine.com/2016/05/28/weekend-watch-wood-working-around-world/ Weekend Watch: Woodworking Around The World]}}

== Pursuing the ultimate blade ==
This work should be an all encompassed view of the technological and diverse history behind the use of blades as a tool and predictions for the future.

Have you ever considered what inventions were the most important in our evolutionary path ? We do understand that inventions aren't often made in insulation, that most arise form observance and exploration of the natural world. Even that very few inventions are revolutionary, and of those, even fewer will be cultural impactors. And those, often come in a slow path that overtime evolve into something that not only may shape the world around us but ourselves.

Most of us would agree that fire was the most important invention, probably discovery, or even better, should we say mastery our species conquered. The doors it opened from food preservation to path of improvement to tools, even to the use of its sub-products or benefits of its large scale use is something we can't even imagine surviving without. But we also understand that invention and knowledge is like a branching tree, that is sequential that has a path a logic to it, as we define our inventions they are also defined by us, on our needs, our culture. What concepts may have been at the root of this ever branching tree, the use of rocks, of sticks and bones. We have example of other animals making use of there types of tools, even capable of creating and using fire but then consider the primal blade, the probably initial concept of abrasion and then the cutting edge, of shape and material used, the possibilities for refinement and creative specialization, the impact it had, and still does at it has been ever evolving along side us, the blade should be right there on the top of human achievements.

=== Tool meet function ===

==== Body ===

==== Spine ====

==== Handle ====

==== Edge ====

===== Front =====

===== Back =====

===== Sides / Faces =====

==== Physics ====

=== Silex ===

=== Knifes ===
{{TODO|[http://makezine.com/2016/05/27/make-alaskan-ulu-knife/ How to Make an Alaskan Ulu Knife]}}

=== Propellers ===

==== Nautical ====

==== Aerial ====

== Heroes, Idols and other people we like ==
[[w:Desmond Doss]]

== Reflections about the simulated universe ==
[[w:Evil demon]], [[w:Brain in a vat]], [http://www.simulation-argument.com/ Are You Living In a Computer Simulation?], [https://science.slashdot.org/story/16/10/06/1352205/tech-billionaires-are-asking-scientists-for-help-to-break-humans-out-of-computer-simulation?utm_source=feedburner&amp;utm_medium=feed&amp;utm_campaign=Feed%3A+Slashdot%2Fslashdot+%28Slashdot%29 Tech Billionaires Are Asking Scientists For Help To Break Humans Out of Computer Simulation]

== The task and property of leadership ==

There is an intrinsic link between leadership and capacity for motivation. A motivation not only a will to get upfront but the capacity to maintain and so excel over the ones that are lead. Since leadership can only exist in relation to a group, it also requires the capacity to deal with the expectations and motivations of others.

=== Classic Approaches ===
orthodox

=== Experimental Approaches ===
Non-orthodox, but never the less more than feasible and so deserving going beyond theoretical concepts.

== The Conundrum of Life ==
{{TODO|[[An Introduction to Molecular Biology/Macromolecules and Cells]]}}

=== Definitions ... ===
{{TODO|Virus, Bacteria, Roots of the Tree of life, Life vs alive}}

== The Biomimicry Log Book ==

=== Biomimetics ===
{{TODO|Mine [[w:Biomimetics]]}}

=== Scale ===
=== Bio-Mathematics ===

==== Physic's Universal Constants ====

==== Fibonacci number sequence ====

==== Golden ratio ====

=== Bio-Mechanics ===
==== Velcro ====

=== Bio-Architecture ===
;Architecture
==== Termites ====

{{TODO|Mine [http://www.wired.com/2015/11/building-skyscrapers-like-termite-mounds-could-save-energy/ Termites Are Teaching Architects to Design Super-Efficient Skyscrapers]}}

==== Wasps ====

== Abridged history of knowledge ==
{{TODO| Mine [http://science.slashdot.org/story/16/01/29/1847240/ancient-babylonians-figured-out-forerunner-of-calculus? Ancient Babylonians Figured Out Forerunner of Calculus]}}
== Introduction to Graphical Calculating Devices ==
=== Abacus ===
=== Nomogram ===
{{TODO|Mine [[w:Nomogram]]}}
=== Slide Rule ===
{{TODO|Mine [[w:Slide rule]]}}

== Tactics and Strategy ==

== Computer Aided Fabrication ==

=== CNC Machines ===
{{TODO|Mine [[w:CNC wood router]]}}

=== 3D Printing ===

=== Complex Robotics ===

== Understanding Radicalization ==
=== The Social Structure ===
==== Law and Order ====
===== Vigilantism =====

=== Destabilization ===

==== Economical ====
==== Social ====
==== Political ====

=== Terrorism ===

=== The Goal: Overthrow and Control ===

== Lets discuss politics... ==
=== Anarchy and individualism ===
=== Selfish vs Unselfish ===
==== Collectivism ====
{{TODO| Mine [https://libcom.org/library/industrial-collectivisation-spanish-revolution-hogan Industrial collectivization during the Spanish revolution - Deirdre Hogan], [http://www.theguardian.com/world/2013/oct/20/marinaleda-spanish-communist-village-utopia Spain's communist model village ]}}
=== Statism ===
Statism is an emergent ideology, originating in the structuring of a social, economic and political movement by a directing class with the intent to expand the City State organization into the scale of an established nation (or failing the requirement of there being a nation, a National State a belief or aspirational Nation state).

Statisms evolves from the need to preserve power and so centralize. It normally begins within a single entity and evolves slowly into a institution (a multigenerational enterprise, that historically is started and expanded around familiar ties), whether it's a city-state or a larger region. This centralization allows for more efficient governance and the ability to enforce laws and policies consistently across the territory and go about the erection and defense of the Nation.

The state is inevitably and in the last stage formed as away to preserve self-determination of the population of a region. Even that is a social manipulation, an atavism from our tribal nature. Due to the complexity of the proposition, it is a planned thing, by a cabal that manages to direct public opinion into expansion. Most probable through military engagement (as o position, outsiders, or excluded, must ultimately be eradicated as competitors). This as a rule started as a totalitarian regime that often engage in aggressive military campaigns to expand their territories. This expansion can lead to the incorporation of new regions into the existing state, thereby increasing its size and influence. A process that occurs until open war is not practical. As the practicality of state is only as strong a necessity to survive the opposing state(s). Aggressive military strategies are frequently employed to expand the territory under the state's control.

A Nation is normally a region but mostly its people, sharing a deep sense of identity (culture and relationship) this precedes any notion of statehood (pressure for self-rule by the inhabitants) but the diluted National State is based on an abstract notion of nationalism (an aspiration for a social normalization or at least a conformism to a united identity) it is frequently the grouping of semi-cohesive people, as regional agglomerates that normally are forced together by self-preservation and/or force to establish sovereignty. The concept of sovereignty is crucial in statism. It involves establishing the state's right to govern independently and to exert control over its borders. This is often achieved through diplomatic negotiations, treaties, and the assertion of military might. Of course, this requires a sharing of a communal legal code of sorts. Especially regarding property rights in this most nations evolved from the Roman legal code (that is also linked to the Roman Catholic Church as the primary directory of thought. And why protestant nations diverge in general on some basic procedures on process).  

Nation-Building, as seen normally proceeds state-building, but can be artificially established as statism also encompasses nation-building efforts. This involves fostering a sense of national identity and unity among the inhabitants of the expanded territory. Establishing sovereignty is essential for the state to operate independently and assert its authority over its borders. Fostering a strong national identity is crucial for the cohesion and stability of the expanded state. This is what we define as Cultural Imperialism, how Hollywood is used to rewrite history how culture can be an instrument of expansion, protection (or protectionism) and radicalization.

Examples are most ex-colonial territories (like Iraq) with a few exceptions (like Australia) and a mix of yet to be settled situations (Canada, Labia). This can be achieved through indoctrination of the population (education, cultural promotion, and the creation of shared symbols and narratives). In Europe this is strongly linked to religion. But all states result from internal and external pressures of competition. For example, China is an example where it is extremely visible on how internal and external processes shaped the Nation state.

Examples of National States are Spain, the UK or Switzerland of course the intention if of normalization of culture by the ruling class to form a Nation State, for example France is mostly cohesive even if there are still regional identities much less than Italy. But the notion of Nation is always mutable and expansionist (For example, China and Tibet or Russia and Ukraine). A National State is turned in a Nation State when the national elites (centers of social order) agree that they identify fully as a community with a joint shared future. This is often done via Economic Transformation (we saw this in Ukraine's interaction with the European Union and Russia). Economic factors play a significant role in state formation. Trade, finance, and urbanization contribute to the growth and stability of states. By integrating newly acquired territories into its economic sphere, a state can ensure its continued prosperity and strength.

Even the state participation in conflict resolution and integration is self-serving. Conflict theories suggest that states form primarily through the resolution of conflicts and the integration of previously separate populations. This process involves addressing differences, resolving disputes, and creating mechanisms for peaceful coexistence and cooperation. This is the kernel of any human cultural evolution. Considering the statism as a process in evolution, in the final stage of globalization we will probably have a longer time frame where only two states will persist (if we survive so far), this is already exemplified by the balancing of what we define as superpower bi-polarization (during the Cold War). This natural balance was then  recreated by the US by promotion of China into the WTO as the Chinamerica (social and economic promotion of China as a fully industrialized state that helped the economic transformation of America into services and intellectual property), that resulted into the yet to be fully realized China-American bi-polarization. In the failure of a regional based but global distributed government that could eradication most social differentiations, if we do a bit of futurism the evolution on geopolitics will go for a balancing act of two prevailing states (with the suppression of any other minority identity)  probably resulting in an ultra specialization into caste systems (like a bee hive or an insect society, these pressures have already been present how we differentiate activities by sex, recognize (to some logical sort)  racial specificities or see priest classes chose celibacy). One escape to resolve our personal identity identification (the egotistical individual) would be a merge with machines and very global networks. This is a process that is also running in the background. Our communication network is the largest machine (system) we have created. So the race is on the state that will control the algorithmic machines. 

There are no workable examples where individualism survives in such large systems, or system if we go so far as a unification or global government and a redefinition of state as part of a planetary identity and then repeat the evolution across the universe). There will probably by colonization of other planets (or space) where relativistic speeds, specific pressures and insulation will preserve what we define as humans today at least until we remove those obstacles.

== What matters about matter ==
=== Gravity ===

{{TODO|Particle and gravity wave}}

=== Time ===
=== Space ===
=== Space-time ===

== The rise and fall of Liberia ==
{{TODO|This seems to be a very interesting subject that everyone should know a bit more about as it has many implication.}}

== The fall of the Ottoman Empire ==
{{TODO|[[w:Gallipoli]]}}

== Visual Programming Paradigm ==
{{TODO| IDE / Visual Programming / Idea}}

[[wikipedia:Visual programming language]]

(http://dspace.mit.edu/handle/1721.1/41550)
OpenBlocks : an extendable framework for graphical block programming systems
Graphical programming systems have been built to lower the threshold to programming for beginners. However, because these systems were designed to make programming more accessible to novices, they were developed with narrower intentions for their users and applications. For example, in StarLogo TNG, a graphical block programming environment, users may create games and simulations, but they cannot use this same system to create programs that can automate their computer processes, like the text-based scripting system AppleScript. Application developers can create their own programming systems, but doing so can take a significant amount of time to design and implement. This thesis describes an extendable framework called OpenBlocks that enables application developers to build and iterate their own graphical block programming systems by specifying a single XML file. Application developers can focus more on the design of their systems instead of all the details of implementation. The design and implementation of OpenBlocks are described, along with a user study conducted to test its usability and extendability.


(http://education.mit.edu/starlogo-tng/searchandtype/searching-and-typeblocking.htm) StarLogo TNG

[[image:Scratch Screenshot, Gravity Script.png|300px|]] [[image:Scratch Rainbow nevit.gif|200px|]]{{clear}}
(http://scratch.mit.edu/)
Scratch is a highly engaging programming system that allows young students to create animated stories, games, interactive art, and simulations. Students use a drag and drop interface of &quot;code blocks&quot; to create sound, movement and actions to objects called &quot;sprites.&quot;

(http://www.chirp.scratchr.org/blog/?p=24)
Elements - a Scratch-like Smalltalk 

(http://byob.berkeley.edu/)
Build Your Own Blocks is an advanced offshoot of Scratch, a visual programming language primarily for kids from the Lifelong Kindergarten Group at the MIT Media Lab. This version, developed by Jens Mönig with design input and documentation from Brian Harvey, is an attempt to extend the brilliant accessibility of Scratch to somewhat older users—in particular, non-CS-major computer science students—without becoming inaccessible to its original audience. BYOB 3, which adds first class lists and procedures to BYOB's original contribution of custom blocks and recursion.

[[image:EToys on OLPC-dual mode display.jpg|800px|]]{{clear}}
(http://wiki.laptop.org/go/Etoys)
Squeak Etoys was inspired by LOGO, PARC-Smalltalk, Hypercard, and starLOGO (see discussion). It is a media-rich authoring environment with a simple, powerful scripted object model for many kinds of objects created by end-users that runs on many platforms, and it is free and open source. It includes 2D and 3D graphics, images, text, particles, presentations, web-pages, videos, sound and MIDI, etc. It includes the ability to share desktops with other Etoy users in real-time, so many forms of immersive mentoring and play can be done over the Internet. It is multilingual, runs on more than 20 platforms bit-identically, and has been successfully used in the USA, Europe, South America (Brazil, Colombia, Argentina), Asia (Japan, Korea, India, Nepal), and elsewhere.

[[image:OLPC-TurtleArt.jpg|800px|]]{{clear}}
(http://wiki.laptop.org/go/Turtle_Art)
Turtle Art is an activity with a Logo-inspired graphical &quot;turtle&quot; that draws colorful art based on Scratch-like snap-together visual programming elements. It is intended to be a stepping stone to Logo, but there are many restrictions compared to Logo. (Only numeric global variables and stack items are available, no lists or other data-structures. The conditionals and some of the functions only take constants or variables, not expressions. Limited screen real-estate makes building large programs unfeasible.) However, you can export your Turtle Art creations to Berkeley Logo. Turtle Art also has a (limited) facility for sensor input, so, for example, you can move the Turtle based upon sound volume or pitch. 

(http://tinlizzie.org/jstile/) (http://tinlizzie.org/svn/trunk/jstile/TileManual.txt)
Tilescript is a programming environment for educational purpose which
has good features in both graphical and textual languages. For Javascript.

(http://www.lively-kernel.org/projects/index.html)
Lively is a new approach to web programming available as open source under the MIT license. Originally developed at Sun Microsystems Laboratories, it provides a complete platform for web applications, including dynamic graphics, network access, and development tools. Students, academics, and adventurous developers are encouraged to join the community. 

(http://lively.cs.tut.fi/qt/)
Lively for Qt is a JavaScript application and mashup development environment that is built on top of the Qt platform. The system runs on Mac OS X, Linux, Windows and on any mobile device for which a port of the Qt platform is available. The system can also run in any web browser using a Qt web browser plugin.

(http://openquark.org/Open_Quark/Welcome.html) (http://resources.businessobjects.com/labs/cal/gemcutter-techpaper.pdf) $Commercial$ (Where's the CAL compiler? http://forums.sdn.sap.com/thread.jspa?threadID=909612)
Open Quark (CAL language) available under BSD-style license. The Gem Cutter is a graphical language IDE for the convenient creation and testing of functions in the Strongly-typed Lazy Functional Language CAL

(http://www.drdobbs.com/blog/archives/2010/07/the_visual_prog.html;jsessionid=YM10KVWOVE41HQE1GHOSKH4ATMY32JVN) The 'Visual Programming' Silver Bullet

(http://www.drdobbs.com/architecture-and-design/184409677;jsessionid=HLKFYDLFN00X1QE1GHOSKH4ATMY32JVN?pgno=27) Visual Programming in 3-D

(http://historical.ncstrl.org/tr/fulltext/tr/uiuc_cs/UIUCDCS-R-93-1838.txt) PROGRAMMING IN THREE DIMENSIONS BY MARC-ALEXANDER NAJORK

(http://www.cs.binghamton.edu/~reckert/3daape_paper.htm) Three-dimensional Computation Visualization for Computer Graphics Rendering Algorithms - David A. Goldman, Richard R. Eckert, Maxine S. Cohen at State University of New York at Binghamton

[[wikipedia:App Inventor for Android]]
(http://appinventor.googlelabs.com/about/) App Inventor an application provided by Google that allows anyone to create software applications for the Android OS.

(http://research.microsoft.com/en-us/projects/kodu/) Kodu is a new visual programming language made specifically for creating games. It is designed to be accessible for children and enjoyable for anyone. The programming environment runs on the Xbox, allowing rapid design iteration using only a game controller for input. (http://www.oscon.com/oscon2010/public/schedule/speaker/84626/?cmp=il-radar-conf-oscon10-emerging) Matt MacLaurin
UX Director, Microsoft FUSE Labs

[http://www.i-programmer.info/news/98-languages/4357-google-blockly-a-graphical-language-with-a-difference.html Google Blockly - A Graphical Language with a Difference], implemented in JavaScript which can compile to JavaScript, Dart or Python.

== The Path of Human Civilization  ==
[[Ancient History/Human Evolution/Human Origins]]

{{Quotation|The remarkable success of humanity as a species is not simply the result of a big brain, opposable thumbs, year-round sex, innovation or even language; it is also the result of social and cultural associations that act as a &quot;network&quot; for storing knowledge and good will--what we call technical and social capital.|Charles Hugh Smith in [http://www.oftwominds.com/blogdec11/why-im-hopeful12-11.html Why I Am Hopeful (December 24, 2011)].}}

=== Introduction to the science of history ===

==== Introduction to fossil records ====

===== Dating =====

=== Wide wild world ===

==== Few, far and wide ====

==== Fellow inhabitants ====

==== Aggression, the seed of war ====
{[TODO|Property (power and control), entitlement, covetousness, primacy}}

=== Us versus wild ===

==== Food ====

===== Water =====

==== Shelter ====

=== Tool use ===

=== Language ===

=== Community and collaboration ===
At this stage of human evolution, most of the human collectives were probably centered around family groups, hose size was intrinsically dependent on the size of the resources available and the effort required to gather them. This setup was both a biologic and &quot;economic&quot; imperative. Like many other social animals today territories were defended and prime resources fought over. The need to satisfy basic imperatives forced natures logic of the survival of the fittest, at best meetings between distinct groups would entail a large risk for conflict especially if level of competition was high due to demographic explosion (more resources, more people until equilibrium is reached) or natural events that impacted resources (drought) or health (virus).

The complexity of extending a these type of core collective into a small tribe required an huge leap in culture, an increase in the capacity of planning, of valuing knowledge and work and ultimately the ability of to communicate, that had so far been probably reduced to the basic needs. The coming together of these changes was a game changing in human history collaboration was now possible to overcome problems larger than those presented by daily life.  

==== Work as value ====

==== Communication ====

==== Leadership ====

=== Fire ===

=== Culture ===

==== Learning ====

===== Mathematics ====

===== Writing ====

===== Medicine =====

==== War ====

==== Property and inheritance ====

===== Slavery =====

=== Stone ===
It is hard to determine what came first wood tools or stone. It is however safe to assume that they must have been changes that happened very close, that is the realization about objects as tools, we are speaking of simple objects like using a bone, a branch or how to trow a stone, there is no real complexity that is added by the different material besides the possible applications. In that humans started to make a clear utilitarian distinction between objects in regards to their intrinsic qualities.

{{TODO|Tools [[w:Homo habilis|Homohabilis]]}}

{{TODO|Chimpanzee use of wood tools and Capuchin-monkey use of stone tools}}

=== Plant fibers ===

==== Containers ====

==== Rope ====

==== Traps ====

=== Have boat, will travel ===

=== Domestication ===

==== Agriculture ====

===== Urbanization =====

==== Yeast (or how fermentation shaped human civilization) ====

=== Currency ===

==== Administration ====

==== Empire building ====

===== Writing =====

===== Laws =====

=== Metallurgy and coal ===

==== Coper ====

==== Iron ====

=== Wheel ===

=== Glass ===

=== Electricity ===

=== Telecommunications ===

==== Fire, Smoke and mirrors ====

==== Pigeons ====

==== Telegraph ====

==== Radio ====

==== Television ====

==== Satellite ====

=== Computer ===

==== Wide World Web ====

== Unravelling Time ==

=== In the beginning... ===
Time and space, one must keep in mind that they are the two sides of localization, things exist in a time in a specific space. It is also interesting to understand that according to most accepted hypothesis of the creation of the universe, the [[w:Big Bang|big bang]], things did exist before time came to be but in a state the localization had no meaning. This was about ~14 billions years ago, then we have the theory of [[w:Inflation (cosmology)|cosmic inflation]] that tries to make sense of what has been happening to things as soon as they became realizable, especially in the 10&lt;sup&gt;−36&lt;/sup&gt; seconds after the conjectured Big Bang singularity to sometime between 10&lt;sup&gt;−332&lt;/sup&gt; and 10&lt;sup&gt;−32&lt;/sup&gt; seconds after the singularity. And then use that model to extrapolate why we see what we see on the observable universe and how the things in it will continue to evolve, localization wise. 

{{TODO|A cool book covering both the physics, history (especially regarding the importance of the naval clocks) and philosophic consideration regarding time}}

== Prophets, demagogues, beliefs and figure heads ==
Perception is everything. One can not build an opinion about something that one does not know, that of course does not prevent one from having a view about something that its known but not understood. Most of us have a very limited knowledge base, and even more limited is the knowledge base that is limited to first person experiences, so the validity of much of what we think we know and take for granted, our intellectual scaffolding is indeed very flimsy and intrinsically dependent of the quality of the source and the impartiality or the influence of society in shaping even our most personal events or occurrence.

***

When we consider public visibility, we can see practical examples of how as a social mass often creates wrong perceptions, even makes assumptions about some of its members that are perceived as being granted deference or special attention. In fact most of the time the reason why the person is given difference and attention may not even be connected to the established public perception. Take for instance the scientist Steven Hawkins in the general public his importance to physics is extremely exacerbated when we compare it with the view of Steven Hawkins amongst its peers physicist.

There is also a tendency for generalization, that someone that excels in a field is automatically imbued with a general field of superiority and even his behavior should be exemplar. Most of the time things could not be more removed from reality, even if some of the individuals that are propped up into such leading roles will try to do their best to maintain those perceptions. We all ultimately seek to be special, to have influence, to be relevant.
 
{{TODO|Mine [[wikipedia:Lance Armstrong]], [[wikipedia:Werner Erhard]], [[wikipedia:Popular psychology]] }}

&lt;center&gt;{{quotation|'''&quot;The greatest enemy of truth is very often not the lie - deliberate, contrived and dishonest - but the myth - persistent, persuasive and unrealistic&quot;'''|John F. Kennedy}}&lt;/center&gt;

=== Charisma ===

=== Supernatural ===

=== Magic ===

{{TODO|Mention Harry Houdini and even James Randi and how they doggedly persuaded the demystification of magic trickery for the unwilling exploitation of others}}

==== Control ====

===== Cults =====

===== Despots =====

== The biological evolution of man ==
Man's biology is constantly evolving, recent studies have shown that high altitude native population in the Himalayans have unique genetically differences that increase red blood cells (oxygen transporters) numbers well above the normal response to the environment.

Even if humanity has to some degree created a safer environment and provides, through society, protection to genetic alterations that would not survive in outside of a human controlled environment. In general natural selection is still a consistent factor pressing our evolution.

{{TODO|Natural Selection Is Still With Us http://news.sciencemag.org/sciencenow/2012/04/natural-selection-is-still-with-.html}}

== Meet the Neanderthals ==
Until very recently the Neanderthals were seen and portrayed as brutish and more animalistic version of our species, a dead end lower branch on our genealogical tree. A derivation emerged from the requirements of facing the effects of the Ice age over Europe. This imagine has suffered a drastic shift with the discovery that this branch is not as extinguished as we thought and that their mental capabilities were not as far from ours as we believed.

The environment that shaped Neanderthals was extremely harsh. Food scarcity, extreme cold forced individuals of a hunter-gatherer culture to become hardener, bigger and stronger with a general lifespan of 30 years. The Neanderthal was a short, wide and very muscular too user. Silex blades and wood spears permitted them to be confront larger pray, even fellow apex predators, like bears, requiring them not only to be strong, capable of [[w:Bench press|bench pressing]] 136 to 182 kilograms, but also very brave. They had fire, symbolism and art and some form of basic communication the language gene (FOXP2) is indeed present. Recent finds and detailed study indicate that Neanderthals were acute innovators, stone shaping technology seems to be even superior to those of homo-sapiens and Neanderthals may even be the first species to use an industrial process to produce a pitch (synthetic glue).

Statistical comparison of Neanderthal DNA with specific ethnic modern human DNA has provided an indication that interbreeding has occurred. European and Asian DNA shows a greater similitude with the Neanderthal DNA than African DNA.

{{TODO|Mine [[wikipedia:Neanderthals]]}}

== History of the Hollow Earth ==

{{TODO|Mine [[w:Hollow Earth]]}}

=== Mythological underworlds ===

==== Greco-Roman ====

==== Mayas ====

====  Tibetan ====

{{TODO|Mine [[w:Agartha]] and [[w:Shambhala]]}}

=== Edmond Halley (1656-1769) ===

{{TODO|Mine [[w:John Cleves Symmes, Jr.]]}}

and https://books.google.pt/books?id=3c6iBQAAQBAJ&amp;pg=PA210&amp;lpg=PA210&amp;dq=Math+seventeenth+century,+Leonhard+Euler+earth&amp;source=bl&amp;ots=IrIK746-80&amp;sig=wsOlO26zMLppzWognYasHVU-eB8&amp;hl=en&amp;sa=X&amp;redir_esc=y#v=onepage&amp;q=Math%20seventeenth%20century%2C%20Leonhard%20Euler%20earth&amp;f=false How Euler Did Even More By C. Edward Sandifer

=== John Cleves Symmes, Jr. (1780-1829) ===

{{TODO|Mine [[w:John Cleves Symmes, Jr.]]}}

=== USN Rear Admiral Richard E. Byrd, Jr. (1888-1957) ===

{{TODO|Mine [[w:Richard E. Byrd]]}}

=== Richard Sharpe Shaver (1907-1975) ===

{{TODO|Mine [[w:Richard Sharpe Shaver]]}}

=== in culture ===

Literature/Movies

== Defining State Governance ==
Since Government does not have competitors for you as a customer, you are forced to use, and required by law, to fund it.

Government is a intrinsic part of the state. One cannot exist without the other.

Government is only a requirement because states have to compete with other states. In this reality a state that employs more than half its population becomes a failed state.

The state is the taxpayer money in action.

Government manages public money, it should aim to be cost effective and not aim to generate profit in any of its activities. If an activity is lucrative it should be privatized and taxed.

In a government system that permits private enterprises to fund and lobby its policy makers, several functions of the state should never be privatized, especially the banking, military and prison systems. This is a perfect formula to get a totalitarian government.

Sometimes Government interference into markets is a requirement to implement the will of the people. For instance in the matters of slavery, child labor, false and misleading advertising, dangerous products (including drugs), nuclear bombs, stolen property, pornography (including child pornography), buying votes, emergency services, military, gambling, prostitution, extortion, blackmail, land rights and immigration.

The top most function of a government is to define, prioritize and address problems in regards to national interests. Rarely does a government truly works in this primary function, it normally dedicates exclusive attention to minimization of systemic and chronic problems and in serving their own interests, that consist in guaranteeing reelection, if not in the next turn, the one after.

A government only fails to be reelected under two circumstances, being more incompetent that expected or being forced to take drastic measures due to successive governance avoidance to deal with known issues. It is even, well funny, that when a nation faces war even if the governances is bad it has a high chance of reelection, especially if it can promote an image of strength (even if false).          

=== State control versus private ownership ===
The principal problem with state control is government corruption.

The principal problem of private ownership is resource waste.

The principal problem of privatization is its focus being on increasing revenue.

== Mount Athos ==
[[w:Mount Athos]]. The self-governed region of the Holy Mountain. The Holy Mountain is governed by the &quot;Holy Community&quot; which consists of the representatives of the 20 Holy Monasteries, having as executive committee the four-membered &quot;Holy Administration&quot;.
=== History ===

== Recalling Viriathus ==
{{TODO|Mine [[wikipedia:Viriathus]]}} 

== Toward a World Government ==
http://www.futurict.eu/ understand and manage complex, global, socially interactive systems, with a focus on sustainability and resilience. 

    &quot;I think the next (21st) century will be the century of complexity.&quot; Stephen Hawking
    &quot;The crisis should motivate economists to think further about their modelling of human behaviour.&quot; Ben Bernanke
    &quot;An economist who is only an economist cannot be a good economist.&quot;  Friedrich Hayek, Nobel Prize 1974
    &quot;I urge students to read narrowly within economics, but widely in science.&quot; Vernon Smith, Nobel Prize winner 2002

=== Who runs the world ? ===
[http://planetsave.com/2011/08/28/who-runs-the-world-network-analysis-reveals-super-entity-of-global-corporate-control/ Network Analysis Reveals ‘Super Entity’ of Global Corporate Control]

== History of slavery ==
Slavery had long been practiced in Europe and the MidleEast before the exploration of the African continent and the discovery of the new world and the European exploitation of African people. Slavery, much it seems to the surprise of many in the US, is not restricted or dependent on racial traits. If the intention is to be selective refer to it as African Slave Trade into the American Continent, and keep in mind that even before Europeans made a stride in Africa, slavery was already prevalent there also, human labor was and will be always a resource and so a tradable commodity.

=== What is racism ? ===

One of many tools for segregation and create cultural, social and economical divides. 

=== What is a slave ? ===

=== Tribes ===

=== Cast systems and generational slaves ===
To ensure that a slave and his/hers children will be slaves.

==== Women ====

===== White slavery =====

=== Breed the perfect slave ===
Gladiators

[[w:Slave breeding in the United States]]

=== Compounding effect of slavery/racial segregation ===
Slavery in regards to the economical exploitation of human work easily becomes a multi-generational situation as it begets a specific but multi-faced system with social, economical and cultural mechanics that with time get ever more complex and self regulated as to proceed towards optimal returns for those that benefit from it and so are ultimately more invested in not only maintaining control over it but perpetuating it. This is true to much any other social, economical and even cultural system. Supra or sub system, as human society is an collection of interlocking of engineered constructs to support niches of self interest ultimately ordered in a top down pyramidal construct.

This endeavor to impose a perpetuation of societal constructs, is on our genes. We seek stability and abhor change and so sadly there aren't any examples of successes in implementing rational and fair meaningful changes to these types of constructs without a break that tend to be violent and so have also implication if other system. This results in solutions that may pass by:

a) the removal of (or meaningful change to) those in control over the construct, that would signify a change over the output or its distribution.
b) the suppression of the grievances regarding the base of the construct what would be defined as the input.

All the examples that may insinuate otherwise have always lead to unfair results, with a large emotional charge, regrets and pains or even in a non decommission of the construct but in non meaningful changes. In regards to the topic at hand our past is full of examples from classic Greece, passing by the Roman Empire to de-colonialism, end of apartheid we can look back and see that things haven't really changed much in about 4000 years, they may have gotten more &quot;humane&quot;, diffuse and complex but human society is predicated (action dependent) on the exploitation and subjugation of other fellow humans. The system is continues to be more normalized, globalized and now automatized but is a loop, the patterns are the same, if observed from a considerable distance even minor political divergences become meaningless. The only realizations are about the costs and goals to our legacy as a specie. 

{{TODO|Cover the idiocy of the subject of reparations, in the US there is a lack of understanding about slavery as a global historical issue, there is a politically motivated suppression of objective analysis, a self centered, myopic, contrived political correctness and binary lack of rational dialog.}} 

=== Debt slavery ===
No one can be a proper (read independent) citizen while at the mercy of the current economic system.

Preference for married workers.

[http://www.counterpunch.org/2011/12/02/debt-slavery-%E2%80%93-why-it-destroyed-rome-why-it-will-destroy-us-unless-it%E2%80%99s-stopped/ Debt Slavery – Why It Destroyed Rome, Why It Will Destroy Us Unless It’s Stopped]

=== Corporatization of slavery ===
Corporate ownership of people.

[http://politics.slashdot.org/story/11/10/20/1243212/us-student-loans-exceed-1-trillion US Student Loans Exceed $1 Trillion] - Bankruptcy will not expunge debt. (Government will have to assure payment ?!?)

{{TODO|Add {{YouTube link|NB-HZG1Zh7s|George Carlin - You are a slave}}}}

{{quote|&quot;You don't need a formal conspiracy when interests converge.&quot;|George Carlin}}

==== Machine Age ====
===== AI and Robotics =====

== A look at Science Fiction ==

{{TODO| [[w:Raymond A. Palmer]]}}

== The Space Race ==

=== Rockets ===

=== Satellite ===

=== Destination Moon ===

== Understanding Revolutions ==

== Should we trust Government ==
&lt;center&gt;{{quotation|'''&quot;Taxes are the price we pay for civilization.&quot;'''|Oliver Wendell Holmes, Jr.}}&lt;/center&gt;

Government is the topmost institution of any nation and a fundamental part of the state, that is to say, a state is not defined only by its government and a nation is not indistinct from the its state.

The thing about any institution that one needs to always keep in mind is that their biggest and most important asset, is trust. The trust that people place on institutions is what enables them to function and is what prevents them from being substituted. A government, like any other institution, is also dependent on this rule.  

Trust is a characteristic of social relations there may be trust between people (or animals) but trust can not mean the same when used in context of a relation with a entity that does not share a sense of self, since the implications and requirements would not be the same. Thrust is a two way relationship, you may respect an institution but you should not trust it. 

If we look around the world we can safely state that all citizens are in a submissive situation in regards to their government, whatever type of government they have. This simple fact arises for the imparity in the relation, a citizen is a person while the government is not only several persons, but a collective formed around the purpose of guaranteeing the implementation of policies and laws, most of the governmental structures tend to form a hierarchy.

Most forms of governments is, in non-dictatorial regimes, is done by what is normally defined as public servants. This definition covers all functionaries of the state that are not directly dependent or elections for their functions and remain after shifts in the policy establishing organs. What is also known is that most positions of leadership regarding these public functionaries tends to be with increasingly frequency appointed by those in power, making it clear that today most public servants are not really oriented to serve the public's interest but to satisfy their hierarchic superiors. This is the other side of the reality is that one primary function of governments has clearly become that of looking after itself before looking after its citizens.

&lt;center&gt;{{quotation|'''&quot;What luck for rulers that men do not think.&quot;'''|Adolf Hitler|German Nazi dictator, orator, &amp; politician (1889 - 1945)}}&lt;/center&gt;
 
{{TODO|Fukushima released about twice as much cesium-137 as the government claims}}

[[w:Martial law]]

Due to our level of interconnection of knowledge, news and economic resources any significant event that seems random or unpredictable is no longer incidental but circumstantial and so predictable to a certain degree, if not outrightly planed to occur by some players on the power networks.  

=== Inalienable rights ===

==== Animal rights ====

==== Human rights ====
There are certain rights that all humans possess simply by being human...

===== Incumbent rights =====
There are certain rights that only a society can grant to its citizens and vice versa. These rights go beyond the inalienable rights, and are granted and recognized collectively as an obligation so that the society can function, these are especially important in relations between distinct societies.

=== Moving the goal posts ===
One of the powers a government has is the capability to produce and alter legislation, and establish policies.

As an examples, one of the claimed reasons that the USA and some other Western nations (not all), have difficulties dealing with most of the middle-east nations is the lack of democracy and the track record of respect for human rights. It then becomes paradoxical that they supported and still support much of those nations when it is on their economical interests. Even when there is a general election Palestine, they failed to support the recently elected government. So what is the standard ? We will how well that goes in Tunisia...

This type of hypocrisy gets even more blatant if we compare responses to situations like Libya or Syria and then compare it to Yemen, there the government is still supported by the same powers while killing unarmed protesters. 

In fact the only guide we are left are not the arguments against Islamism, lack of democratic representation or failure to protect human rights, but simply that those that do not advance those powers interest in the region will be enemies and will offer temporary protection to collaborators. This is a fact when we look at [[w:Saddam Hussein|Saddam Hussein]], [[w:Osama bin Laden|Osama bin Laden]] this is made even more clear on how the situation in Egypt developed in regards to the passing of power from [[w:Hosni Mubarak|Hosni Mubarak]] to the Military junta. Again we will still see how it goes...

==== Legal systems ====
{{SAMPLE|sampletext=
&quot;Between the strong and the weak, between the rich and the poor, between the master and the servant, it is freedom which oppresses and the law that liberates.&quot;|caption=—[[w:Jean-Baptiste Henri Lacordaire|Jean-Baptiste Henri Lacordaire]] (May 12, 1802 – November 21, 1861)}}

=== Technically challenged ===
One of the major problems with most governmental bodies is that the representatives that get elected by popular vote are increasingly being selected not by their personal qualifications, past work or experience but by how good they can address and motivate the public, looks and apparency today have a higher degree of importance in governmental election than brains.

This of course does not need to be grave problem depending on how one's government is structured especially the final steps of the policy decision process, if a government permits, informs and lessens to the public opinion it could even be more representative, technology is probably moving to enable such types of governments. On the other side if the government leadership is seen as something as a figure head, a father/mother figure and the public treated like children, the lack of ability of those elected to exercise rational thinking and understand the complex world we life today will further move us into bad policies and instability, this can even be aggravated if they become exclusively dependent in non-elected bureaucrats for directions. Bureaucrats tend to be appointed and rarely because of qualifications but by the ability to fallow party lines, they also create a level of protection to the government leadership, since if the situation permits they will serve as a scapegoat to diffuse the situation.    

{{TODO|Climate change, NASA}}

=== Secrecy is a state cancer === 
Secrecy in the working of a state may be a necessity, but mostly only in matters of national security, because of global competition between nations. Like any decease or pathogen that attempts to compromise a system, secrecy may be kept in check by the existing checks if a government is healthy, but as soon as the working of the system starts to rely on secrecy for its survival the system can be determined to have entered into critical failure.

'''A Government the relies too much in secrecy can think it can get away with murder, literally...'''

[[w:USS Maine (ACR-1)]] - [[w:Grupos Antiterroristas de Liberación]] - [[w:Río Negro Massacre]]

George W. Bush (and administration) lied to Congress and the American people about the reasons for invading Iraq. On July 15 The House forwarded the resolution to the Judiciary Committee with a 238 to 180 vote.  That &quot;Bush&quot; lied about weapons of mass destruction and Iraq’s threat to the US is now beyond doubt. Former US federal prosecutor Elizabeth De La Vega documents the lies most thoroughly in her book U.S. Vs Bush, and numerous other researchers have verified Bush’s untrue statements.

A secret Justice Department memorandum from 2010, Obama administration, provided the justification for the operation involving the CIA, and military assets under CIA control for the assassination of Anwar al-Awlaki, an American citizen in Yemen, despite an executive order banning assassinations, a federal law against murder, protections in the Bill of Rights and various strictures of the international laws of war. [http://www.washingtonpost.com/world/national-security/aulaqi-killing-reignites-debate-on-limits-of-executive-power/2011/09/30/gIQAx1bUAL_story.html?hpid=z1  The Washington Post 2011/09/30]

'''9/11'''
[http://www.projectcensored.org/top-stories/articles/unanswered-questions-of-911-911-prewarnings-building-7-collapse-flight-77-and-the-pentagon-israeli-involvement-united-airlines-put-options-war-games-atta-and-the-100000-911-terrorists-stil/ Unanswered Questions of 9/11]: 911 Prewarnings, Building 7 Collapse, Flight 77 and the Pentagon, Israeli Involvement, United Airlines Put-options, War games, Atta and the $100,000, 9/11 Terrorists Still Alive

The US government '''controversial type of secret court order''' to force Google Inc. and small Internet provider Sonic.net Inc. under the Electronic Communications Privacy Act, in place since 1986 that requires only that the government demonstrate reasonable grounds to request relevant records and material for an investigation. [http://online.wsj.com/article/SB10001424052970203476804576613284007315072.html Secret Orders Target Email]

The US government is showing interest in the concept advanced by the science fiction novelist Isaac Asimov more than 60 years ago, in his “Foundation” series, the new science labeled psychohistory combining history, mathematics and psychology as to predict (and manage) the future. [http://www.nytimes.com/2011/10/11/science/11predict.html?_r=1 Government Aims to Build a ‘Data Eye in the Sky’]

=== The true structure of power ===
{{quotation|&quot;What do all men with power want? More power.&quot; - The Oracle (from [[w:The Matrix|The Matrix]])}}

== Battling over intellectual property ==
Intellectual property has increasingly been raised in importance as a national and economical interest to be defended. Sadly the same does not seem to apply to the public domain and the access and liberties of the citizens over that type of material. Most non profit oriented public interests and especially creative works under the public domain, rarely get any state defense, something that is the obligation of the government.

[http://www.thestar.com/news/canada/article/1048993--leaks-show-u-s-swayed-canada-on-copyright-bill?bn=1 US elevated Canada on the piracy watch list to back the adoption of vexing copyright legislation]

trademark, copyright, and patents.

[http://boingboing.net/2011/10/20/ask-the-smithsonian-to-withdrawal-copyright-claim-on-public-domain-images.html Ask the Smithsonian to withdraw copyright claim on public domain images]

[http://boingboing.net/2011/10/20/canadian-tories-admit-that-canadians-dont-want-drm-rules-push-for-them-anyway.html Canadian Tories admit that Canadians don't want DRM rules, push for them anyway]

[http://yro.slashdot.org/story/11/10/20/1228255/acta-signed-by-8-of-11-participating-countries ACTA Signed By 8 of 11 Participating Countries]

Today the patent system, especially when applied to software is a house of cards supported by the convenience of the major patent fillers. Note that a patent filler is not the same as an innovator or creator. This equates to a monopolistic tendency toward the creative market (to profit by generating new ideas), where all those patent fillers attempt to extend their patent portfolios and cross-license them in ways that protects their mutual interest and at the same time excludes any other player to enter in concurrence. It has come to a point that those involved have an hard time in initiating litigations because no one 
knows anymore what patents may be violated or survive in court, and so the arms race continues to extend the arsenal.

A system that was created to foster and protect innovators and at the same time document for the public their intellectual property creations has been subverted into something that prevents the participation of newcomers and ultimately permits price fixing.

One thing is generally agreed most &quot;easy&quot; inventions have already taken place, we have long ago passed from simple solutions to compounded or merged creations often appearing in the cusp on the discovery of new technologies that do in fact depend heavily in previous works. But relying in the existence of prior art discovery, that not only depends on the existing failing system of patent attribution and skewed legal system. It is difficult and becoming increasingly hard for any new innovator to use prior art to defend their freedom to create. An assessment from USA in 2012 estimates that the costs of hiring a patent consultant able to find the previous art and the attorneys willing to devote months if not years to the legal battle would cost between at its lowest assessment between  $500,000 to $1,000,000. This cost and the time it takes puts initiating such attempt outside of what is sustainable even to any small business, and creation becomes therefore a quick path for bankruptcy.

=== Innovation ===
Innovation does not happen in a vacuum.

&quot;The public's interest is ultimately dominant over all other interests.&quot; - George Lucas in 1998 speech before Congress.

&quot;People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians,...&quot; - George Lucas in 1998 speech before Congress.

&quot;Attention should be paid to the interest of those who are yet unborn, who should be able to see this generation as it saw itself, and the past generation as it saw itself.&quot;  - George Lucas in 1998 speech before Congress.

Recent moves by the the US culminating in the [[w:Leahy-Smith America Invents Act|Leahy-Smith America Invents Act]], recently passed by an almost unprecedented super-majority, demonstrates that US legislators and political appointees are shifting away from protecting the rights from inventors towards the right of property of filers. This distinction is important because not all inventors can afford to fill a patent and so it favors larger firms with well-established internal patenting procedures. This erodes the capacity to invent of the common citizen.

OECD (Organization for Economic Cooperation and Development) representing 34 states. [http://www.oecd.org/document/10/0,3746,en_2649_34451_1901066_1_1_1_1,00.html OECD work on patent statistics]

The only true benefit of patents is that they document the specifics of innovations, and that aspect does not actually require any grant of exclusivity.

patents
*encourage innovation
It is a very strange belief that a bureaucracy will enforce the exclusive profit of singular entities within a society of billions of creative individuals.
*protect innovators - Any new product or innovation will have an army of lawyers descend to destroy it. Leading to patent portfolios of a handful of the biggest corporations. What about innovations that are developed independently but simultaneously? 

Examples of concurrent independent development abound. [http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_gladwell?currentPage=all newyorker.com]: Calculus - Newton and Leibniz. Evolution - Charles Darwin and Alfred Wallace. Oxygen - Carl Wilhelm and Joseph Priestley. Colour photos - Charles Cros and Louis du Hauron. Logarithms - John Napier, Henry Briggs, Joost Burgi. Sunspots - Fabricius, Galileo, Harriott, Scheiner. Piston engine plane - the Wright brothers and Santos Dumont. And so and so on.

Cross licensing escalates the problem by permitting the aggregation of interests in blocks, and so patents will only &quot;serve&quot; and &quot;protect&quot; closely connected groups- Where conflicting groups will be left with not choice to seek patent equilibrium to keep peace.

http://webcache.googleusercontent.com/search?q=cache:4pdIrxQ7BuoJ:fabianmejia.blogspot.com/2008/09/codeblocks-and-opengl.html+code::blocks+and+OpenGL&amp;cd=5&amp;hl=pt-PT&amp;ct=clnk&amp;gl=pt&amp;client=firefox-a

== On state sponsored crimes ==
There is a clear distinction to be made about the moral implications in regards to the effective control citizens over their governments. In a totalitarian regime the blame should fall only on those that were responsible or aware of the actions, but at least in a democracy all citizens should have their share of the blame, since it was their obligation to question and establish controls that would prevent the facts.

[[w:Grupos Antiterroristas de Liberación]]
[[w:Project MKULTRA]]
[[w:Sinking of the Rainbow Warrior]]
[http://www.dailymail.co.uk/news/article-2039542/North-Korea-Satellite-photos-death-camps-deny-exist.html 'Hell on earth': Detailed satellite photos show death camps North Korea still deny even exist]
USA covert intervention in Chile

{{TODO|Weapon producers, creators of armed movements, armament smugglers, information providers, mercenary trainers, enablers of violence}}

=== War ===

==== War crimes ====
[[w:War crimes]]

[[w:Allied war crimes during World War II]]

[[w:Japanese war crimes]]

[http://www.mediafreedominternational.org/2011/10/03/radioactive-weapons-with-long-term-health-risks-dropped-into-libya/ Radioactive Weapons with Long-Term Health Risks Dropped Into Libya]

{{TODO| Kosovo and Servia, Britain's Secret Human Rights Abuses in The war in Oman, 1957-59 }}

=== Atrocities ===
[[w:Tuskegee syphilis experiment]]

[[w:Unit 731]]

[[w:Bulu prison massacre]]

== Religion as a problem ==

=== Failing  to recognize the messenger ===
[http://www.science20.com/news_articles/computational_linguistics_figuring_out_who_wrote_bible-83504 Computational Linguistics: Figuring Out Who Wrote The Bible]

== Examining Exobiology ==
{{TODO|Probably reuse it elsewhere...}}

The Earth is home to a amazing diversity of life, the living things in all its glorious diversity. Due to our increasingly urban lifestyle and distance to nature, most of the time life can appear alien especially in its extremes of aesthetics, behaviors and even emotions, intelligence or higher social orders it can display. At the same times it can appear like a reflection of our-selfs, what we like to define as anthropomorphizing other living things, and it is fair to say that we share much with all other living creatures on this planet if not only the shared environment, in fact our quickness to anthropomorphize sometimes blinds us to the more subtle differences, even when they should have been obvious otherwise.   

=== Defining Life ===

=== Extremophile ===

=== Biologic symmetry ===

=== Little Green Men ===

==== Aliens on Earth ====

==== Aliens in Space ====

;USA
The US and in particular NASA has held a quasi-monopolistic hold on space science due to the US economic and technological power status, that is intrinsically linked to its drive to maintain a military and political primacy over the world since near the end of WWII, when it moved to captured most of the world human and capital resources including the underlying energy and monetary systems.

{{TODO|[[w:NASA]], [[w:Space tether]], STS-48, STS-80 footage ([[w:Story Musgrave]]), ice crystals the new &quot;swamp gas&quot;}}

=== Extra-terrestrial Biological Entity (EBE) ===
==== Expected low order commonalities ====
===== Symmetry =====
==== Expected high order commonalities ====
===== Nervous system =====
===== Brain =====
==== Body shape and characteristics ====
==== Physiology ====

== From the League of Nations to the United Nations ==

== Guide to civil disobedience ==
{{TODO|[http://www.coinbooks.org/esylum_v19n52a25.html the token coinage of Thomas Spence]}}

=== Understanding body language ===

=== Dealing with suppression weapons ===

==== Pepper-spray ====

==== Tear-gas ====

==== Long Range Acoustic Devices (LRAD) ====
{{TODO|[http://www.aclupa.org/pressroom/bystandersuespittsburghove.htm Bystander Sues City of Pittsburgh Over Pain and Hearing Loss Caused by Use of Long Range Acoustic Device at G-20 Protest]}}

== The corporation ==
{{SAMPLE|sampletext=
&quot;Fascism should more properly be called corporatism because it is the merger of state and corporate power.&quot;|caption=—[[w:Benito Mussolini|Benito Mussolini]] (29 July 1883 – 28 April 1945)}}

A corporation is an enterprise that emerges from inside the State by forces that ultimately aspire for state control and the power to enforce monopolistic choices on the population. Historically, these entities originate from inside the governing class of the state as a way to deflect public scrutiny, link to disreputable activities or as a way to gain advantage over other governing ententes. A corporation becomes an institution as soon as the stable functions of the state becomes defendant on its activities.

Most corporation aspire to expand beyond the state as to gain advantage over internal competitors but as a way to expand markets and so their own state influence outside its boarders. Privately owned corporations will have no nationalistic orientations beyond those shared by their own governance. They have no real social consideration beyond survival among its competitors, primarily as economic entities. 

A corporation will act against its own government if their governance sees it as advantageous, especially as a multinational enterprise whose governance shares no single nationalistic identity. This is why militaristic societies tend to foster a corporate culture that links private governance to state governance (seen generally in defense industry and banking) and historically in the structure of organized religion. 

hile it depends on scale, the personalization of the corporation is generally a ruse and a legal construct, that intends to impart human restrains and considerations into an entity that is due to its directives and layers of governance can become antisocial, but certainly needs to operate at a level of what would be psychopathy amongst its peers to survive.

== The trade of lies ==
When a population is kept in general state of ignorance, their judgment can more easily be controlled or even discarded as irrelevant without any internal opposition.

Any information is only valid if it is based in facts and any views expressed that can be sourced, useful information is one that is relevant to the consumer, and not artificially made relevant, to be transparent it must also presents multiple view points and enables the viewer to make it own mind about those relevant subjects.

&lt;center&gt;{{quotation|'''“All truth passes through three stages. First, it is ridiculed; second, it is violently opposed; and third, it is accepted as self-evident.”'''|Arthur Schopenhauer.}}&lt;/center&gt;

{{TODO|Perception plus Reputation plus Recognition by Similitude equals Inference}}

{{TODO|[[w:Otto and Elise Hampel]]}}

=== Propaganda ===
One thing that anyone will understand as a given fact is that any war will be preceded and accompanied by a propaganda campaign by and against all participants, it is also expected and an almost inevitability, that this campaigns will be even more utilized and effective on nations hose political systems depend on popular support.

{{quotation|'''&quot;...among the calamities of war may be jointly numbered the diminution of the love of truth, by the falsehoods which interest dictates and credulity encourages.&quot;'''|Samuel Johnson|The Idler, 11/11/1758}}

Propaganda by itself may not constitute a lie, but undoubtedly will only serve to promote the view or interests of the propagandist. It works as a reality distortion field, obscuring, twisting and selecting what to highlight as to promote a given agenda.  

An example of propaganda is the use of mass media to spread misinformation. This is done by governments and interest groups to indirectly promote their views to the public. Simple disinformation may becomes propaganda because it is backed up and promoted by the institutional powers as reality. 

{{SAMPLE|sampletext=
&quot;There's a war out there, old friend. A world war. And it's not about who's got the most bullets. It's about who controls the information. What we see and hear, how we work, what we think... it's all about the information! &quot;|caption=—from a dialog in [[w:Sneakers (film)|Sneakers (film)]]}}

[http://www.youtube.com/embed/LyjnEm8DZkI Youtube Video of RT.com report on statements made by Hillary Clinton, that the US Losing Information War to Alternative Media], [http://rt.com/ rt.com], is an Internet service published by the Autonomous Non-Profit Organisation (ANO) “TV-Novosti” (Russia).

[[w:William Randolph Hearst]] - [[w:Yellow journalism]] - [[w:Propaganda of the Spanish–American War]] - [[w:Duck and cover|Duck and cover]] and nuclear safety

{{TODO|[[wikipedia:Alex Thomson (journalist)|Alex Thomson]] from Channel4 &quot;Set up to be shot in Syria’s no man’s land?&quot; Free Syrian Army tries to get the journalists dead as a propagandistic stunt against the government. Strangely in a clear suppression of news this is news report is not picked up by any major news outlet, it is especially interesting since Alex Thomson had a government attributed VISA and should be recognizably a more independent reporter that those embedded with the rebels that are smuggled into the country (http://www.guardian.co.uk/media/2012/jun/08/alex-thompson-syrian-rebels).}}

{{TODO|See [[Communication Theory/Propaganda and the Public]]}}

==== Advertising ====
The concept of advertising is intimately linked to that of propaganda, it is often defined as a subset, a part, but if analyzed one can see that the distinctions are not on the methods or even goals but on the legal and economical labels of the producers and targets for it. So it is clear that the difference is only based on national and international legal rulings that may exclude some propagandist practices, producers and targets and relabel it as advertising.

=== Disinformation ===
Disinformation can serve to propagate lies, misdirect, confuse or weaken opposing views. Consider the damage one can create to the discussion of a topic if one can direct the opposition toward topics that are easily refuted or make the portraying the opposing side stupid by defending those issues.

{{quotation|'''&quot;The daily press and the telegraph which in a moment spreads inventions over the whole world, fabricate more myths ... in a day than could have formerly been done in a century&quot;'''|Karl Marx|1871}}

Disinformation is closely related to the motivation why people lie and what is defined as the truth, most of the time the truth is not a static objective notion, and this makes it easier to shift viewpoints about what the reality really is.  As any illusionist knows the best way to hide something in plain sight is to distract the audience with something else.

There is an important distinction to keep in mind, lies came in a different shapes. From the simple omission of the truth (that often is not even recognized as a lie, as the intention to deceive can not be ascertained) to the direct contradiction of the truth. It can serve as protection, deterrent and even be half-truth or inexact truth (without getting deeply in what the truth is). What defines a lie as negative is that if it consist in suppressing information that others require to perform an informed decision, to be free to make their own choices.

In a perfect world there would not be any reason to lie and have secrets, but in a world that is imperfect and becoming increasingly transparent there are specific areas of information that do need protection. From personal information to information that simply could be used against you. One could say that there is no moral justification for a lie except as a way to diplomatically deny access to information that others have no reason to have. This same rational is not valid for secrets, since secrecy is the intentional suppression of information that others need, here the the moral balance is harder to ascertain and depends exclusively on the reason for secrecy being of self preservation. Secrets came from shame and fear, and often lead to escalation of distrust and greater entanglement. All dirty deeds prefer the darkness.         

Today disinformation is all around us, directed by those that control the media channels in order to advance their goals and reduce visibility of subjects that they would prefers not being public knowledge. Well made disinformation dissemination will avoid being too obvious (unless that also serves a purpose). One easy way to detect disinformation is to find reputable source for the information, and corroborating reports. This of course in turn leads to perpetrator of the deception to intentional shift of the efforts of disinformation from the real data to the data sources, in an attempt to discredit them. 

&lt;center&gt;{{quotation|'''&quot;We'll know our disinformation program is complete when everything the American public believes is false&quot;'''|William Casey - CIA Director during the Reagan's administration.}}&lt;/center&gt;

There are many ways to employ disinformation, the method is dictated by the goal of what is intended. For instance events in Libya in 2011 when relating the where-abouts of Kadhafi suns or even statements statements regarding the progress of the rebels that can serve as a clear example. How the progress, strengths and feats was being amplified, at the same time wile governments negated that on TV, international forces where on the ground helping the rebels.

&lt;center&gt;{{quotation|'''&quot;When a well packaged web of lies is sold gradually to the masses over generations, the truth will seem utterly preposterous, and it's speaker a raving lunatic.&quot;'''|James Dresden.}}&lt;/center&gt;

Disinformation is often done by misrepresentation, exacerbation or creation of false news reports as to shift the public's perception.

{{TODO|[https://news.slashdot.org/story/16/04/22/155237/drone-believed-to-have-hit-british-airways-flight-may-have-been-a-plastic-bag? Drone Believed To Have Hit British Airways Flight 'May Have Been a Plastic Bag], the 2016 war on encryption etc.}}    

Another interesting case is the USA and UK media pressure and negativism regarding the euro currency. It is clearly unbalanced one considers the origin and the interests behind, those countries national situations and the original sinners in this economic chaos since the 2008 collapse. It would be expected that if someone should panicking it would be China since it has brought much of the euro debt and would suffer locally if the euro collapsed, to some degree China is strengthening its internal consumption, even creating internal imbalances, that has began to cause internal issues in 2016. We could even argue that it would be in the national interests of the USA-UK coalition to have a fragile China and increase its dependency on them for exports that ultimately influence its internal social stability. The paradox here is that the USA is also dependent on a strong Europe for trade (http://www.census.gov/foreign-trade/balance/c0003.html) and military support (NATO).

{{TODO| http://www.youtube.com/watch?v=QfEIXy64HL0#! fantastic example of the different wights and balances, by Associated Press reporter Matt Lee talking to Victoria Nuland, spokesperson for US State Department regarding the hypocrisy in how it uses and responds to Human Rights Watch reports (the distinction between Israel and Syria) very well done...}}

{{NOTE|The UK is a member of the EU but not a participant on the euro currency project (euro-zone).}}

{{TODO|Iraq, Romenian Timisoara &quot;massacre&quot;, death number as Indonesia left Timor, 2011 events in Syria, [[w:Río Negro Massacre]].}}

{{TODO|Cover &quot;Debate framing&quot;, talking points}}

==== &quot;Fake news&quot; ====
We should cringe on the label alone, all news are by default &quot;fake&quot;. What are news? News are new facts, that an information monger selected and treated for dissemination into a targeted audience. At best they may contain partial bits of actual events if the knowledge of those bits do not affect the interest of those involved in their dissemination, and that is after other parties being able to massage or obstruct optics regarding said events. After all that, the receiver own bias is also called into play to categorize it as &quot;fake&quot;, by the individual reader or by social communal pressure that itself can be influenced to attribute and generalize labels, to all the levels of the news gathering (spreading) endeavor.     

==== Censorship ====
Censorship is not only focused in hiding information from the targeted public, but can also consist creating artificial difficulties in accessing it. It is basically a suppression of information technique, that is also part of a process of disinformation, with a secondary result that it not only negates access to some information but promotes the value of the remaining information, solely by the fact that it is more accessible.

{{NOTE|It is also interesting to note that censorship not only generates technological issues by itself, even promoting failure and insecurity, but it also will produce general difficulties when interacting with technology that has not been created with censorship capabilities.}}

=== Marketing ===
{{TODO|[[Wikipedia:Neuromarketing|neuromarketing]] - [[Wikipedia:Fear, uncertainty and doubt]]}}

==== Subliminals ====

===== Audio =====

===== Visual =====

=== Public relations ===

==== Video News Releases ====
{{TODO|Promotional videos that simulate news reports format}}

=== Media control ===
The easiest way of ensuring control over information is the creation of artificial choke points and dependencies.

[http://www.youtube.com/watch?v=ez4zVwxCCtc Documentary on how the media lies to manipulate us] by Brian Springer

'''Books'''

'''The Press'''

'''Radio'''

'''Television'''

'''The Internet'''

The creation of the Internet has brought forth evidential prof of the efforts governments and commercial interests are willing to exert in the control of information. Control over access, movement and even creation of information in a distributed medium is something new and still evolving.

From simpler indexer, search engines have evolved beyond general information gatherers and portals into complex information channels, they now can monitor personal behaviors, location and interests, this shift for a personalized interaction arouse for the need to generate revenue, not by monetizing access but by the creation of indirect revenue streams. It started by simply permitting sites to get higher relevance to the addition of adds and now users have become also a commodity, where the data points they generate when interacting with the service is a valuable resource that others are willing to pay to have access.   

{{TODO| Mine [http://www.youtube.com/embed/n5OAzXgg2xU Facebook, Google &amp; Internet talk TED Video], mention [[w:Google Trends]], [http://pr.efactory.de/e-pagerank-algorithm.shtml Google PageRank - Algorithm], [http://googleblog.blogspot.com/2011/05/mining-patterns-in-search-data-with.html Mining patterns in search data with Google Correlate], [http://code.google.com/apis/analytics/ Google Analytics] and [http://www.google.com/transparencyreport/governmentrequests/ Google Transparency Report]}}

With the rise of the social network...


==== The spin doctor ====
{{TODO|[[Elements of Political Communication]]}}

==== Fabricated events ====
*Invasion of Poland by Nazi Germany, justified by a border conflict.
*USA attack on Vietnam, the actions used for justification.
*USA lead intervention on Kosovo ([[w:Kosovo War|Kosovo War]]), justified by claims of the existence of atrocities.
*USA lead attack on Iraq, justified by a claim of existence of Weapons of Mass Destruction.

[[w:False Flag]]

==== Censorship ====
Censorship is the suppression of information.

{{TODO|Cover also self censorship and its implications.}}

{{TODO|Russian intervention in Chechnya, the usurpation of the democratically elected government of Palestine, the negative effects Western (USA,EU) subsidies had/have in Africa's development, Iceland's people (not government) efforts not to pay its international banking system debts, the effect on the euro-zone countries retirement systems of Greece's debts pardon (especially those systems already in crisis) and the possibility creditors activating [[w:Credit default swaps]] (and naked Credit default swaps).}}

== Understanding earthquakes ==
Fish deaths may precede quakes due to temperature shifts and general alteration on the quality of water induced by vibrations.
Underground water table/tidal effects.

Richter scale

Why buildings collapse

Vibratory liquefaction 

=== Quake prediction ===
[[w:Earthquake prediction]] [[w:Jim Berkland]]

[http://www.washingtonpost.com/blogs/capital-weather-gang/post/did-the-atmosphere-signal-japan-earthquake-in-march/2011/10/04/gIQACyeRLL_blog.html Could electron count escalation high in the atmosphere serve to detect major earthquakes]

=== Quakes and volcanoes ===
Quake activity may trigger volcanic activity. In 27 February 2010, the magnitude 8.8 [[w:Maule, Chile|Maule, Chile]] earthquake trigged hundreds of volcano tectonic earthquakes at [[w:Uturuncu|Uturuncu]], a Bolivian volcano.

{{NOTE|The largest ever instrumentally-recorded earthquake, occurred in 1960, at Valdivia, south of the Maule region which a measured magnitude 9.5.}}

==== Volcano tectonic earthquake ====
[[w:Volcano tectonic earthquake]]

== Symbolism and rituals ==

== Deconstructing the War on Drugs ==
[http://www.ottawacitizen.com/news/Mexico%20urges%20consider%20legalizing%20drugs/5431636/story.html Mexican President Felipe Calderon Hinojosa speaks during the 2011 Clinton Global Initiative meeting on September 20, 2011 in New York urging the U.S. to consider legalizing drugs]

Most government agencies that deal with security and crime have to provide evidences that they are effective as a justification to continue to exist, to validate their spendings and to obtain more funding. It becomes then a priority to guarantee results (especially directed to the metrics used in performance evaluation), maintain a sense of urgency and increase the importance to their field of action. This will most often lead to quantity, but not quality and also to the direct or indirect generation of a symbiotic interdependent relation between the agencies and the target of their action.

[http://www.nydailynews.com/news/ny_crime/2011/10/13/2011-10-13_excop_we_fabricated_drug_raps_for_quotas.html#ixzz1ah29cALW We fabricated drug charges against innocent people to meet arrest quotas, former detective testifies]

=== The economics ===

==== Who benefits from the status quo ====
The question runs very parallel to those that promotes the war on drug.

==== Public Safety ====

==== Taxes ====

==== External policy impact ====

== The problem with time travel ==

== Towards the Heart's core ==
[[w:Tectonics]] [[w:Plate tectonics]] [[http://www.agiweb.org/geotimes/feb08/article.html?id=nn_tectonics.html Geotimes - February 2008 - Plate tectonics on a planet far, far away]]

== What we know about music ==

=== First there was sound... ===
{{TODO|What is sound and what is music}}

=== Order creeps in and music is born ===
When one looks deeply into all music across the multiple cultural specters and tastes, what is found is at its core is that it is all very similar across them. That the underling techniques of what we generally define (or appreciate) as good music is the same across all the multitude of styles. 

The major characteristics of all music are melody, rhythm, harmony and base.

Most of these characteristics evolved around establishing patters that are therefore easy for us to recognize as such. These patterns become the musical techniques, formulas, that there are refined from mathematical properties of music. These are even properties that arise without directed creation, that are simply natural discoveries, general and self evident and that music in part simply addresses the need to creates a language to express them, much like math expresses other aspects of the natural world is a way that is easily recognized across cultures.

{{TODO|Why is music copyrightable is it is an math is not ? Is there a case that can be made for equal treatment ?}}

Since the beginning there was an effort to organize sound  in relatable, &quot;naturally&quot; sequences, scales (melodic archetypes, modes) where each sound (musical note) is set in a rung of a musical latter. This concept later evolved into the generalized diatonic scale that emerged in the West as a standard. With the diatonic scale came, its minor scale and major scale that replicated older melodic archetypes and permitted evolution. With normalization all melodic arrangements became conscripted and increasingly derivative.

==== Melody ====
The melodic content is the simplest of pattern and easy to note due to its natural tendency not only for repetition but to be made more evident when there is a break in it. Melodies are also intrinsically linked to emotional memry as melodic patterning have shown to be even be remembered before birth.

The most preeminent melodic sequence in western culture is the pentatonic scale, as the name indicates consisting of 5 notes.

-- the chosen notes
--- the arrangement selected, the distance between the ley notes in the sound scales
-- their pitch
--- how high and low they are 
-- intervals 
--- distances between the pattern of note use from the sound scale
---- western culture the smallest is defined as semitone and a whole tone is two rungs on the musical latter
---- it is easier to vocalize whole tones than semitones and to remember, making it most of the vocal repertoire
---- base 
---- intervals patterns are therefore melodic pasterns and establish modes or permits divergency like the blue
---- notes in vocalized blue or the Tudor music &quot;clashing&quot; mode

== Mathematical wonders ==
=== Zero ===
=== Infinite ===
=== The equation ===
To some equations are like uncompromisable hieroglyphs, but at the core they are in fact non-abstractive works, that attempt to explain the universe we live in. There are in fact some equations that are more important than others, masterpieces that hold some of the foundations of our understanding of reality.

An equation is a mathematical statement that asserts the equality of two expressions, that is the right side of the equality must be the same as the left side of it. This not only requires that we understand and know the value of both sides but that these values must match.

There are many approaches to categorize the beauty of equations, the concept of beauty as always is on the eye of the beholder, in mathematical terms it is both of the beholder understanding or knowledge and the need to employ that same knowledge. So the mathematical beauty of equations can be a function of its usefulness, simplicity or even complexity, in this later cases much like a painting, we can marvel not only on what is represented but on the work done by its creator (in mathematical terms its discoverer). 

{{TODO|mine [[wikipedia:Equation]]}}

==== E = MC^2 ====
This is probably one of the most famous equations in the world. It brings to mind its discoverer, Einstein and the nuclear age. Its publishing in 1905 starter a scientific revolution.

{{TODO|mine [[wikipedia|Mass–energy equivalence]]}}

=== Pi ===

=== Fine-structure constant ===
{{TODO|[[w:Fine-structure constant]]}}

=== Prime numbers ===

=== Golden ratio ===
=== Euler's Number Triangle ===
=== Fractals ===
[http://www.youtube.com/watch?v=ZbK92bRW2lQ Benoit Mandelbrot - Hunting the Hidden Dimension Nova (2008)]

== A look into eugenics ==
[http://ideonexus.com/2007/12/02/the-complex-william-jennings-bryan/ The Complex William Jennings Bryan]

== All about nothing ==

the word nothing defines emptiness

the inexistence of emptiness

what is vacuum

== Considerations about euthanasia ==

== Generalities of story telling ==

== Recipes for jokes, gags and all things funny ==

== The secret for invisibility ==

== Introduction to Human Genetics ==
{{TODO|[https://www.huffingtonpost.com/map-happy/is-there-really-a-wanderl_b_7057672.html Wanderlust Gene]}}

=== Environmental influences on the human body ===
'''You are what you eat'''
[http://blogs.discovermagazine.com/80beats/2011/09/21/what-you-eat-affects-your-genes-rna-from-rice-can-survive-digestion-and-alter-gene-expression/ Foodstuff genetic material, microRNA, of has been detected in the human blood stream. Animal trials in mice demonstrated that they change how genes are expressed]

[[Metabolomics]]

the impact of natural birth to the baby immune system (the problem with cesareans)

teeth and mouth flora

the tonsils

epigenetic modifications

stomach flora

the human toleration to non-human milk

the function of the appendix

== Towards Immortality ==
Death the great equalizer, the ultimate motivator. But without the uncertainty of it, how long could you endure your existence as it is?

[https://science.slashdot.org/story/16/04/23/0434208/first-successful-gene-therapy-against-human-aging? First Successful Gene Therapy Against Human Aging?]

=== Death: Defining mortality ===

==== Death ====
While there are many causes for death the primary one result of a common cause, protein damage. It is at the core of the large number of chronic degenerative diseases that makes death a certainty.

Clinically dead

Brain dead

==== Self ====

=== Immortality vs Eternal Life ===

Cloning

Brain and Head Transplant

Metabolic/Life suspension

=== An examination of trans-humanism ===
[[w:Transhumanism]]

Brain digitalization / Simulation

==== Faith vs Science ====

Cryogenics (Alcor: Life Extension foundation)

==== Religion's thoughts on the subject ====

Religions that profess reincarnation as a dogmatic basis, like Hinduism, should be incompatible with most forms of immortality except consciousness duplication/simulation and Buddhism would probably even oppose the preservation of a static duplicate of consciousness as it would be prevented from transcending. On the other hand Abrahamic religions may be more accommodating, Judahism will probably be the more lenient, by Christianity will have to drastically evolve a response due to its core dogmas around resurrection and the ultimate transcendence.

=== Social-Economical Impact ===

==== Rights ====

==== Cost ====

==== Cost vs Return ====
Space, Resources, Evolutionary drive

==== How far is forever ? ====

=== Sources/Refs ===
[https://www.youtube.com/watch?v=pKjtLOOBqgk 1956, Orson welles, The Fountain of Youth]
| [http://www.imdb.com/title/tt6961638/ Waiting for Immortality]*

== Investment strategies before and after a calamity ==
{{Quotation|Where there is ruin, there is hope for treasures.|Rumi, the poet.}}

== Five senses and counting... ==
{{TODO|This book should explain and explore all the human senses and examine other animals as also cover attempts to expand and extend them beyond}}

=== Smell ===
The sense of smell is extremely interconnected with memory, as its the only sense that can be said to be directly connected to the limbic system of the brain, making emotional connection easy to form, retain and prime especially at a subconscious level. Since about 20% of all human communication is rational (at a conscious aware level) and the rest is emotional smell gets primacy. Olfactory receptors have also been found across the human body from the intestines to sperm, so we don't sense smell only with our noses.

Humans share many of the &quot;lower&quot; animals reactions to smell, for example the smell of a male (a smell that is similar in all mammalians) increases the stress level of the sensing mammal, from mice to men, this reaction reduces sensitivity to pain. It is also observable that smell in humans seem to have evolved due to how geographically mobile our species is and the pressing need to use it to select for food and check the safety of environment, this plasticity is observable in how the sense diverges across cultures, for example in relation to fermentation of chases or yogurts or even beer, how we are culturally and social conditioned on our reactions of disgust and expectations in regards to smell making it also very easy to have olfactory illusions.        

Smell alone can bring us to tears on happy recolection, excitement even salivation even before we conscious define what motivates the reaction. Smell is, alike tactile sensations, one of our most important senses. Taking primacy even over vision and is interlinked with the sense of taste. It is also one of our first senses to develop and one that conditions our psyche as we develop, from the response we keep regarding the vanilla like sent of breast milk that is linked to positive emotions. Odor can inform us of age, disponibility and viability for reproduction, level of stress/aggressiveness, fear, even simply what and if someone ate recently.

== On the concept of nation ==

== Primer for Open Source licenses ==

== Strategies for security ==

=== The nature of security ===

=== In the natural world ===

==== Lessons from biology ====

=== Security across history ===

== Gears of History ==
[[w:Gear]]

=== The Antikythera mechanism ===
[[w:Antikythera mechanism|Antikythera mechanism]]

=== Mechanical Clock ===
[[w:Clock]]

== The ET question ==
Mankind has the unique ability to ignore the obvious, specially when the facts reveal a disturbing truth. Statistically speaking, odds are there is intelligent life somewhere in the Universe. There is even evidence that life may at least have existed elsewhere in our own solar system. It is therefore an inevitability that at some point in the future we will have to face the implications of that reality.

[[w:Drake equation|Drake equation]] [http://web.archive.org/web/20110511133829/http://www.ufoevidence.org/topics/CondonReport.htm The Condon Report]

Since chances are that will be here (or they may already be here) long before we find them on our terms, the questions that first arise are:
*Where are they coming from?
*What are they doing here?
*What can we do about it?

=== The origin of life ===

==== Primal soup ====
{{TODO|Mine per-biotic chemistry, [[w:Stanley Miller]], astronomy and Amino acids detection}} 

===== RNA to DNA ===== 

===== Astrobiology =====
{{TODO|[[w:Astrobiology]]}}

===== Panspermia =====
{{TODO|Mine [[w:Panspermia]]}}

=== Alien vs Extraterrestrial ===
'''Origins'''
{{TODO|Cover [[wikipedia:M-theory]]}}

=== Government ===
For a government to retain their authority and comply to their obligations to the citizen and to the preservation of the state, any acknowledgment of a power, especially of a technological nature, that is superior to them and outside of their control is an anathema.

==== United States of America ====
The Brookings Institution report from December 14, 1960, funded by the USA Federal Government states &quot;Earth's Civilization Might Topple if Faced by a Race of Superior Beings&quot;.

A federal law passed by congress in 1969 makes it illegal for any American to make contact with any extraterritorial, and defines the whoever willfully violates it should be fined by $5,000 or imprisoned not more than 1 year, or both (1211.108 Violation).

In the 1995 [[w:Federal Emergency Management Agency|Federal Emergency Management Agency (FEMA)]] manual, named [http://books.google.pt/books/about/Fire_Officer_s_Guide_to_Disaster_Control.html?id=wH7km8j6HKkC&amp;redir_esc=y &quot;Fire Officer's Guide To Disaster Control&quot;] by William M. Kramer, Ph.D. and Charles W. Bahme. J.D, published in 1992, Chapter 13 is dedicated to teaching techniques to communicate with aliens and deal with a crashed extraterrestrial craft.

===== Never a Straight Answer (NASA) =====

{{TODO|Apolo 10 radio noise on the far side of the moon, how it was kept a secret is more interesting than what the noise was}}

==== The Soviets ====

{{TODO|[[w:Salyut programme]] Salyut 7 sighting, by 2 distinct crews}}

=== Science ===
The use of science, that is use of the scientific process to reach factual conclusions has been one of most revolutionary achievements of mankind in establishing consensus regarding the reality around us.    

==== Scientific verification ====
To be possible to verify the existence of extra terrestrial life, there must be something that can be repeatedly observed by scientific methods and in a scientific setting. We can not forget that scientist are ultimately humans, prone to error and other human fragilities, repetition of the experience and equality in the findings is what validates a scientific discovery. Even more that an acceptance by its pears, reporting the exact findings on a correctly performed scientific investigation is how ultimately human knowledge evolves, even in fields that do not rely primarily in the scientific method. Those who succeed in adding new findings to the human knowledge are diffidently immortalized.

==== Lunar Transient Phenomena ====
{{TODO|[[w:Transient lunar phenomenon]] [http://www.thelivingmoon.com/43ancients/02files/Transient_Lunar_Stuart.html 'Stuart's Event'], interesting to cover regarding the problem around the recognition of the phenomena. 1969 German astronomers report lights from the crater. NASA request astronauts on the Apollo 11 mission to do a visual observation that report a colorless glow coming from inside the crater, there is an 89 second problem with the public audio feed of that conversation. NASA's later conclusion that the brightness was caused by the reflective nature of the soil inside the crater is refuted as the sun wasn't on the right position for it.}}

===== The Aristarchus Event =====

=== First Contact ===

==== United Nations Office of Outer Space Affairs (UNOoOSA) ====
[[w:United Nations Office for Outer Space Affairs]] - [[w:Mazlan Othman]]

==== SETI ====

=== Witnesses ===

==== Abductions ====
There is also the issue that [[w:Hypnosis|hypnosis]] is used to recovered &quot;lost&quot; memories, the problem with using hypnosis in this tasks is that the operator (the hypnotist) can easily, even unwilling, direct the subject to create false memories or interpretation, under hypnosis memory is extremely fluid and missing details are often recreated by imagination, but nevertheless the sheer number of subjects with similar reports would still constitute a good indication of a repeated phenomenon. Purportedly abducteess, report that most abductions start in childhood and continue for many many years, even across generations.

Most people have had at least one experience of night-terrors, these are often presented as an explanation for the reports of the phenomenon or an entry point to the later recovering of &quot;lost&quot; memories, this can be a possible explanation to some cases, for instance per-technological societies labeled these cases incubus, sucubos and other types of mystical and fantastic creatures, it could be that today easy of access to information helps the subjects to report so cases, dialogs and settings that are extremely similar with each-other. But then we are faced with the case of reported medical anomalies and implants on these same subjects. 

===== Missing time =====

===== Medical anomalies =====

===== Implants =====

== Secret Societies ==

== Criminality in the 21st Century ==

{{TODO|See [[Lentis]].}}

=== The decline of physical cash ===
Robing a slaughter house for the meat will have a greater return and a lesser risk that to steal a motorcycle.

=== The rise of digital goods ===

==== Digital scrap yards ====
Remember the time that scrap yards were used by criminals, especially organized crime, not only to dispose of incrimination material but to reuse vehicle's licenses. In the digital age the created digital scrap yard is not only a literal gold mine (since there are indeed gold on those hill) but there is also a huge amount of sensitive and valuable data.

{{TODO|Mine [http://hardware.slashdot.org/story/13/04/02/2015254/wiping-a-smartphone-still-leaves-data-behind Wiping a Smartphone Still Leaves Data Behind]}}

The value is not only found in the rare minerals that are necessary in create the digital tools but there is a myriad of after-market &quot;business&quot; opportunities. From shady recycling are reselling of discarded but still &quot;functional&quot; trash to the booming illegal (but often non opposed) export of trash that local regulations would deem as environmental hazardous to more &quot;understanding&quot; locations.

==== Cybercrime ====
{{TODO|Mine [http://news.slashdot.org/story/12/08/03/1817216/the-1-trillion-cybercrime-myth The $1 Trillion Cybercrime Myth]}}

==== Data for ransom and blackmail ====

==== IT infrastructure as a extortion hostage ====
{{TODO|Mine [http://tech.slashdot.org/story/13/04/03/0313212/cyber-criminals-tying-up-emergency-phone-lines-through-tdos-attacks-dhs-warns Cyber Criminals Tying Up Emergency Phone Lines Through TDoS Attacks, DHS Warn]}}

=== It is all monetized now... ===

==== Insurance scams ====

=== Online black market ===
{{TODO|Mine [http://yro.slashdot.org/story/12/04/30/1855207/how-online-black-markets-work How Online Black Markets Work]}}

==== Bitcoins ====
{{TODO|[Mine [http://liveweb.archive.org/http://www.wired.com/threatlevel/2012/05/fbi-fears-bitcoin FBI Fears Bitcoin’s Popularity with Criminals]}}

=== Change of focus ===
{{TODO|[http://yro.slashdot.org/story/11/11/09/222259/biofuel-thieves-steal-restaurant-grease Biofuel Thieves Steal Restaurant Grease]}}

== Psychedelic reality ==

{{TODO|Cover Santo Daime, ayahuasca, [[wikipedia:The Doors of Perception]]}}

== On the subject of skepticism ==

== Cannibalism‎‎ across the ages ==

== Analyzing cheating ==
{{TODO|[http://news.slashdot.org/story/11/11/07/221228/survey-finds-cheating-among-students-at-all-gpa-levels Survey Finds Cheating Among Students At All GPA Levels]}}

== On death and taxes ==
{{TODO|[http://politics.slashdot.org/story/11/11/08/1321208/bill-gates-advocates-tax-on-financial-transactions Bill Gates Advocates Tax On Financial Transactions]}}

== Out of the box ==
A work about believable ideas, and supporting theories, that failed to fully materialize, by simple physical impossibility or lack of resources (time, contextual practicality) and other factors.

The human creativity is endless, as we imagine the impossible we extend the boundaries of reality. (me)

[[w:Dean drive]], [[w:Hieronymus machine]]

== Taking apart a literary work ==
{{TODO|aka Reverse engineering a literary work}}

== Feminisms and Society ==

== Intellectual property and Copyright history ==

== Weapons fabrication and modification ==

== Behind physics ==

=== Water ===

Hydrogen also has another interesting implication, for instance in endothermic reactions it affect the flame temperature that substances can reach, for instance the endothermic dissociation of water, around the 2000°C prevents flames temperatures to rise above 3000°-4000°C. This is why Dicyanoacetylene a compound of carbon and nitrogen with chemical formula C4N2 is has the record of burning in oxygen at a temperature of 4990°C fallowed by Cyanogen also carbon and nitrogen with chemical formula C2N2 that burns at ~4525°C.

== The &quot;free&quot; energy paradox ==

=== Economic effect ===
{{TODO|Discuss the issue of (and mine) [[wikipedia:Nuclear transmutation|Nuclear transmutation]] and [[wikipedia:Synthesis of precious metals|Synthesis of precious metals]]}}

=== Social effect ===
{{TODO|The rise of the machine age}}

=== Military implications ===

== Skeptic's handbook ==

== Guide of Presence, Presentation and Body-language ==

== What is up with Pyramids ==

=== Architecture ===

== Over-unity, the fight against thermodynamics ==

{{TODO| [[wikipedia|History of perpetual motion machines]]}}

== Dark - something - ==
{{TODO| [http://www.huffingtonpost.com/entry/dragonfly-44-dark-matter_us_57c0b0f6e4b04193420f3d41 Why The Discovery Of The Milky Way's 'Dark Twin' Is Such A Big Deal], [[w:Dark matter]] }}

== What is food ? ==

=== Function of food ===

=== Availability of food ===

Sustainable food 

=== Foood's properties ===

Protein

=== New food items ===

Fungal protein (mycoprotein) as food is present in mushrooms but also in present in products like [[w:Pekilo]]|Pekilo (invented in the 1970s, the world’s first commercial mycoprotein that also contains some fibers). Previously used as animal feed, but recently it has refined for human consumption). Finnish company Enifer is building a factory slated for completion by the end of 2025, where it will produce it in a way that would make it no more expensive than plant-based similar products. In the plant it it will grow the fungus in a fermentation tank, then heat-treat and harvest the biomass  with centrifuges resulting in a bioproduct similar to Tofu in aspect that will then be dried with hot air and milled into a powder. Finished Pekilo may be used as an ingredient to non animal meat synthesis or to enrich any other cereal mixes with protein.</text>
      <sha1>e0zi9xdlkz6otysb0gqema7i1mx31ee</sha1>
    </revision>
    <revision>
      <id>4638062</id>
      <parentid>4638037</parentid>
      <timestamp>2026-05-30T13:34:49Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <minor />
      <comment>/* The ET question */</comment>
      <origin>4638062</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="110097" sha1="pvx6x5rajw6qtp1dgcu96ejt32rz1kp" xml:space="preserve">(remember miscellaneous cut-pastes on [[User:Panic2k4/Sandbox/DumpingGround]])

{{NOTE|This is a list of subjects for possible books, and books that I would find interest in reading or see the subject covered on Wikibooks. Even if this is my personal space, anyone is granted authorization to add (and only add) items, news, links, references to any of the categories. I would gladly collaborate with and move anyone of this subjects to a Wikibook project.}}

----
[[User:Panic2k4/Sandbox/ShareMemory/Seeking Utopia|Seeking Utopia]]


== American fake==

=== Land taking ===
The United States of America, have been an artificial creation not an emergent nation, it was not build upon by shared history (strafes and pains) and a linking cultural bond (language, habits and shared memory) derived by the Roman common aspiration to link bloodlines with land by legal means as to maintain social order, and the elite in control. In fact the nation was created by the expansion of European powers and their fight for power, in particular those with an interest in the substitution of Spain as the dominant power having already helped to undo the Portuguese. In a very old European continent that was coming up out of the dark ages centered around the Catholic religion in internal conflict intended to maintain or replace the seat of power in Rome. The Italian peninsula was in a mess of warring states even more fragmented do to outside kingdoms influence whose recognition all depended on the Pope. England and France were still at each others throats for supremacy and would be so until the end of the US civil war.   

So the space that is now the  USA was  born for a technological and demographic race for land grab and economic profit  by the excluded protestant nations that had been waging wars in central Europe  again the  order and exploitation of the Roman Catholic Church using one excuse or another to gain freedom from the Pope and the Church. Some erroneously define the European nations evolution as meres kingdoms linked by family ties but this was not the reality at this time, long ago the Burgessy had gained a foot hold that started in central Europe and dramatically changed the only Noble elite into more organized economic interests groups, with an elevated knowledge on the economic dependency of the state, as the scarcity of workers due to the plagues reshaped the older nobility basic link to land ownership into having more commercial aspirations.

=== Protestant nation ===

==== Masonic influence ====

=== Revolutionaries or Terrorists ===

=== Constintution by and for the elites ===

=== Fake flag attacks as justification for war ===

==== Spanish US War ====

==== Absurd blindness that permited entry into WW2 ====

=== Project paperclip ===

=== Nuclear burden ===

=== Gold standard ===

=== Petrodollar ===

==== House of Saud ====

==== Iran ====

==== Regan's October surprise ====

==== Iran-Contra ====

==== Iraq ====

==== Kuwait ====
A meeting took place on July 25, 1990, between Saddam Hussein and April Glaspie, the U.S. Ambassador to Iraq. During this meeting, Glaspie informed Saddam that the United States &quot;takes no position&quot; on his dispute regarding Iraq's claims about oil prices and production levels do to Kuwait's oil production and the use of slant drilling technology (draining shared resources). Throughout the 1980s, Kuwait's oil production consistently exceeded its mandatory OPEC quota, contributing significantly to the global oil glut and thereby keeping oil prices low. This situation was detrimental to Iraq, which was struggling to recover economically from the Iran-Iraq War and heavily reliant on oil revenues.
So the statement by April Glaspie has been widely criticized for potentially giving Saddam the impression that the U.S. would not intervene if Iraq took military action against Kuwait. However, it's important to note that the U.S. did not explicitly warn Iraq against invading Kuwait, which has led to debates about whether the U.S. gave Iraq a &quot;green light&quot; to proceed with the invasion. One also has to take in consideration Saddams' deep link to the US, and the pattern of examples the US sets itrsel.

Military Capabilities: The disparity in military strength was stark. Iraq's military was one of the world's largest, with a vast array of tanks, aircraft, and personnel, whereas Kuwait's military was much smaller and less prepared for a full-scale invasion.

Distribution of Wealth: Kuwait was one of the wealthiest countries per capita, thanks to its vast oil reserves. This wealth, however, was concentrated among a small elite. 

Governance Structures: Both Iraq and Kuwait were governed by authoritarian regimes, but the nature of their rule differed significantly. Iraq under Saddam Hussein was characterized by repression and aggression, while Kuwait's monarchy was more stable but still faced challenges in managing its relationships with neighbors.

Insult to Iraqi Official: An incident involving an insult to an Iraqi official, Tariq Aziz, by Kuwaiti authorities further strained relations. This incident, along with other diplomatic tensions, contributed to the overall atmosphere of hostility

Absence of Cold War Dynamics: With the dissolution of the Soviet Union and the dominance of the United States post-Cold War, the geopolitical landscape had changed. The influence of superpowers in the Middle East had shifted, potentially altering the calculus for both Iraq and Kuwait. 

Oil Policy Discussions: Kuwait's oil policy discussions with the UK Foreign and Commonwealth Office (FCO) indicate that Kuwait was aware of the potential repercussions of its oil production policies on Iraq. These discussions took place around June 28, 1990, and highlighted Kuwait's intention to maintain its oil production levels despite the adverse effects on Iraq 

Misinterpretation of External Communications: A controversial phone call allegedly between Saudi King Fahd and another Gulf ruler, supposedly discussing the need to withstand Iraqi pressure for two more months, was leaked by Iraq. While the authenticity of this call is disputed, Iraq used it to accuse the Gulf states of conspiring against them. This incident reflects the complex web of misinformation and mistrust that characterized the pre-invasion period. Of note is that during the invasion itself, the Emir of Kuwait, Jaber Al-Ahmad Al-Jaber Al-Sabah, fled into the Saudi Arabian desert for safety. Other members of the Kuwaiti royal family and government officials sought refuge in Saudi Arabia as well. The escape routes taken by the elite were primarily directed towards neighboring countries, especially Saudi Arabia, given its proximity and historical ties with Kuwait.

Despite these factors, Kuwait's leadership may have underestimated the severity of Iraq's intentions and overestimated the support they would receive from the international community, particularly from the United States. The belief that they could manage the situation diplomatically without provoking a direct confrontation with Iraq highlights a misreading of the situation and a failure to anticipate the consequences of their actions.

Furthermore, the decision-making process within Kuwait's leadership may have been influenced by internal political considerations, personal relationships with Saddam Hussein, and a desire to maintain stability in the region. These factors, combined with the aforementioned external circumstances, contribute to a complex picture of why Kuwait continued to act in ways that antagonized Iraq, despite the clear risks involved.

Loss of Wealth: The invasion led to the looting of Kuwait's Central Bank, with over $1 billion in banknotes stolen. Additionally, Saddam Hussein devalued the Kuwaiti dinar, making it equal to the Iraqi dinar and effectively reducing its value by one-twelfth. This action rendered the stolen banknotes worthless, leading to substantial losses for the Kuwaiti elite whose assets were tied to the Kuwaiti currency.

Monetary Reserves: Before the invasion, Kuwait's monetary reserves were primarily funded by the Kuwait Investment Authority (KIA), which accumulated savings from Kuwaiti prewar fiscal surpluses and Sovereign Wealth Fund (SWF) contributions. These reserves were significantly depleted in 1991 to fund capital accumulation and reconstruction costs following the invasion. However, the production and exportation of petroleum allowed Kuwait to resume capital savings.

Foreign Debt: To finance reconstruction and capital accumulation, Kuwait increased its debt ceiling to $33 billion as part of a 5-year plan, marking the largest debt in the country's history. This debt was partly financed through inward foreign investment facilitated by martial law, which allowed the government to underwrite nonperforming loans extended by domestic banks and investment companies to Kuwaiti citizens. This process, known as Kuwait’s Debt Settlement Process, aimed to strengthen the financial market but resulted in a reversal of Kuwait's prewar net lender position for the next 5 years.

Defense Spending: Following the Gulf War, Kuwait initiated a plan to spend $12 billion over a 10-year period to improve its military capabilities. The goal was to enhance the country's ability to withstand future attacks long enough for international assistance to arrive. Despite concerns about the sustainability of military spending as oil revenues decline and reserves deplete, Kuwait has continued to allocate significant funds towards its defense.

Rebuilding Efforts: The invasion caused extensive damage to Kuwait's infrastructure, including oil facilities, refineries, and residential areas. The cost of rebuilding these facilities and restoring the country's economy was substantial. Kuwait had to invest heavily in repairing the damage and modernizing its oil industry to ensure it could meet its production targets. Following the liberation of Kuwait after the Gulf War, the economic landscape underwent significant changes, particularly in terms of oil extraction and processing contracts, as well as the transfer of reserves. Any contracts or agreements that had been established with Iraq during the occupation were nullified. This meant that Kuwait regained full control over its oil resources, which were crucial for its economic recovery. Kuwait sought to rebuild its oil industry and attract foreign investment. The aftermath of the invasion saw a reevaluation of contracts and agreements, with new opportunities emerging for international companies, including those from the United States and the United Kingdom, that as key allies in the liberation of Kuwait, secured favorable conditions for their oil companies in the post-war period. They were able to establish new contracts and agreements that expanded their companies' involvement in Kuwait's oil sector.

International Financial Institutions: Kuwait's post-war economic recovery was supported by its membership in the World Trade Organization (WTO), to which it gained admission in 1995. This accession reflects Kuwait's commitment to liberal trade policies and its efforts to integrate into the global economy.

Iraq was required to pay restitution for the damages caused during its invasion and occupation of Kuwait, including the theft of gold and other financial losses. As part of the terms set forth by the United Nations Security Council Resolution 687, passed in April 1991, Iraq agreed to reparations for the destruction of Kuwaiti property and the loss of income resulting from the invasion.
as Compensation for Losses, Restitution of Stolen Assets and Payment of Damages.

The total amount of reparations demanded from Iraq was substantial, but the exact figure varied depending on the assessments of the damage and losses incurred by Kuwait. The UN Compensation Commission, established to process claims and administer the reparations, received thousands of claims from individuals, corporations, and governments affected by Iraq's actions.

While Iraq agreed to the reparations as part of the ceasefire agreement following the Gulf War, the actual payment of these reparations has been a contentious issue. Iraq has paid a portion of the reparations, but disputes over the amounts owed and the ability of Iraq to fulfill its obligations have persisted. The UN Compensation Commission continues to operate, processing claims and overseeing the payment of reparations, although the pace of payments has been slow and incomplete.

=== Russsia's pressent ===
Golf war, betting on the losing side  Poland and Czechoslovakia token participating alonside US and UK troops.

==== Ukraine ====

== Future wars ==
{{TODO|the inevitability of war, war a crime against humanity )}}

=== Resource Wars ===

==== Energy ====

==== Water ====

==== Food ====

=== Rising China ===

The Clinton lead push for the entry of China into the WTO was a leading factor to the rapid modernization of China's Economy and to the de facto establishment of Chimerican economic cycle or reforms if both nation's economies.


America's Defense Department Ran a Secret Disinfo Campaign Online Against China's Covid Vaccine 

&lt;nowiki&gt;https://news.slashdot.org/story/24/06/17/0541243/americas-defense-department-ran-a-secret-disinfo-campaign-online-against-chinas-covid-vaccine&lt;/nowiki&gt;

== The great tome of anonymity ==

=== Privacy ===
==== Privacy's Last Gasp ====
{{TODO|[https://tech.slashdot.org/story/17/03/04/0156212/curated-advertising-is-coming-to-highway-billboards Curated Advertising Is Coming To Highway Billboards]}}

=== Anonymity ===

=== States ===

=== Family ===

=== Institutions ===

=== Corporations ===

=== Technology ===

==== Internet ====

==== Mobiles ====

== On the subject of memes... ==
{{TODO| What are they, who and what empowers them, their effect and exploitation. {{YouTube link|a2b_uhenJ7Q|Pianist Lord Vinheteiro's selection of meme music from the year 1500 AD to now. &quot;Greensleeves,&quot; Beethoven's &quot;Symphony No. 9,&quot; The Village People's &quot;YMCA,&quot; Rick Astley's rickroll hit &quot;Never Gonna Give You Up,&quot; and lots more.}}}}  

== The case for Kumari Kandam ==
{{TODO|[[w:Lemuria (continent)]]}}

== Comprehending Pollution ==
{{TODO|[https://science.slashdot.org/story/18/03/16/041250/microplastics-found-in-93-percent-of-bottled-water-tested-in-global-study Microplastics Found In 93 Percent of Bottled Water Tested In Global Study]. Most if not all modern pollution (past 1500) is criminal, even if negligent, as it can be predicted if not by any other reason by the concept of extrapolation and past experience. Pollution is not always chimerical in nature it may be from nano-materials to OGM crops.}}

{{TODO|The most used &quot;solution&quot; to pollution is dispersion, due to how cheap and easier it is to apply and the lack on our active social systems, from left to right, for a proper, interested defense of the common and the legacy to future generation}}

== China's History ==

{{TODO|Dinasties, Wester contact, Oprium wars, Boxer Revolution, WWI, WWII, [[w:Sun Yat-sen]], Mao}}

== AI Revolution: The rise of the machines  ==

A book about the beginning of the end of the [[w:Anthropocene]]

=== Previous Necessary steps === 

1 The Agrarian Revolution ([[w:Neolithic Revolution]])
2 The Industrial Revolution ([[w:Industrial Revolution]])
3 The Information revolution ([[w:Information revolution]])

=== Notion about IQ and intelligence ===

==== Animal models ====

===== Humans =====

=== Biological Machines ===

== The Path To Revolution ==

=== Define revolution ===

==== Counter-revolutions ====

=== Define revolutionaries ===

=== Historical Look ===

=== Observed Generalities ===

=== Future Projections ===

== The Energy Spiral ==
{{TODO|A work that covers human social-economical development and energy sources, from the past to the future}}

== The Woodworking World ==
{{TODO|[http://makezine.com/2016/05/28/weekend-watch-wood-working-around-world/ Weekend Watch: Woodworking Around The World]}}

== Pursuing the ultimate blade ==
This work should be an all encompassed view of the technological and diverse history behind the use of blades as a tool and predictions for the future.

Have you ever considered what inventions were the most important in our evolutionary path ? We do understand that inventions aren't often made in insulation, that most arise form observance and exploration of the natural world. Even that very few inventions are revolutionary, and of those, even fewer will be cultural impactors. And those, often come in a slow path that overtime evolve into something that not only may shape the world around us but ourselves.

Most of us would agree that fire was the most important invention, probably discovery, or even better, should we say mastery our species conquered. The doors it opened from food preservation to path of improvement to tools, even to the use of its sub-products or benefits of its large scale use is something we can't even imagine surviving without. But we also understand that invention and knowledge is like a branching tree, that is sequential that has a path a logic to it, as we define our inventions they are also defined by us, on our needs, our culture. What concepts may have been at the root of this ever branching tree, the use of rocks, of sticks and bones. We have example of other animals making use of there types of tools, even capable of creating and using fire but then consider the primal blade, the probably initial concept of abrasion and then the cutting edge, of shape and material used, the possibilities for refinement and creative specialization, the impact it had, and still does at it has been ever evolving along side us, the blade should be right there on the top of human achievements.

=== Tool meet function ===

==== Body ===

==== Spine ====

==== Handle ====

==== Edge ====

===== Front =====

===== Back =====

===== Sides / Faces =====

==== Physics ====

=== Silex ===

=== Knifes ===
{{TODO|[http://makezine.com/2016/05/27/make-alaskan-ulu-knife/ How to Make an Alaskan Ulu Knife]}}

=== Propellers ===

==== Nautical ====

==== Aerial ====

== Heroes, Idols and other people we like ==
[[w:Desmond Doss]]

== Reflections about the simulated universe ==
[[w:Evil demon]], [[w:Brain in a vat]], [http://www.simulation-argument.com/ Are You Living In a Computer Simulation?], [https://science.slashdot.org/story/16/10/06/1352205/tech-billionaires-are-asking-scientists-for-help-to-break-humans-out-of-computer-simulation?utm_source=feedburner&amp;utm_medium=feed&amp;utm_campaign=Feed%3A+Slashdot%2Fslashdot+%28Slashdot%29 Tech Billionaires Are Asking Scientists For Help To Break Humans Out of Computer Simulation]

== The task and property of leadership ==

There is an intrinsic link between leadership and capacity for motivation. A motivation not only a will to get upfront but the capacity to maintain and so excel over the ones that are lead. Since leadership can only exist in relation to a group, it also requires the capacity to deal with the expectations and motivations of others.

=== Classic Approaches ===
orthodox

=== Experimental Approaches ===
Non-orthodox, but never the less more than feasible and so deserving going beyond theoretical concepts.

== The Conundrum of Life ==
{{TODO|[[An Introduction to Molecular Biology/Macromolecules and Cells]]}}

=== Definitions ... ===
{{TODO|Virus, Bacteria, Roots of the Tree of life, Life vs alive}}

== The Biomimicry Log Book ==

=== Biomimetics ===
{{TODO|Mine [[w:Biomimetics]]}}

=== Scale ===
=== Bio-Mathematics ===

==== Physic's Universal Constants ====

==== Fibonacci number sequence ====

==== Golden ratio ====

=== Bio-Mechanics ===
==== Velcro ====

=== Bio-Architecture ===
;Architecture
==== Termites ====

{{TODO|Mine [http://www.wired.com/2015/11/building-skyscrapers-like-termite-mounds-could-save-energy/ Termites Are Teaching Architects to Design Super-Efficient Skyscrapers]}}

==== Wasps ====

== Abridged history of knowledge ==
{{TODO| Mine [http://science.slashdot.org/story/16/01/29/1847240/ancient-babylonians-figured-out-forerunner-of-calculus? Ancient Babylonians Figured Out Forerunner of Calculus]}}
== Introduction to Graphical Calculating Devices ==
=== Abacus ===
=== Nomogram ===
{{TODO|Mine [[w:Nomogram]]}}
=== Slide Rule ===
{{TODO|Mine [[w:Slide rule]]}}

== Tactics and Strategy ==

== Computer Aided Fabrication ==

=== CNC Machines ===
{{TODO|Mine [[w:CNC wood router]]}}

=== 3D Printing ===

=== Complex Robotics ===

== Understanding Radicalization ==
=== The Social Structure ===
==== Law and Order ====
===== Vigilantism =====

=== Destabilization ===

==== Economical ====
==== Social ====
==== Political ====

=== Terrorism ===

=== The Goal: Overthrow and Control ===

== Lets discuss politics... ==
=== Anarchy and individualism ===
=== Selfish vs Unselfish ===
==== Collectivism ====
{{TODO| Mine [https://libcom.org/library/industrial-collectivisation-spanish-revolution-hogan Industrial collectivization during the Spanish revolution - Deirdre Hogan], [http://www.theguardian.com/world/2013/oct/20/marinaleda-spanish-communist-village-utopia Spain's communist model village ]}}
=== Statism ===
Statism is an emergent ideology, originating in the structuring of a social, economic and political movement by a directing class with the intent to expand the City State organization into the scale of an established nation (or failing the requirement of there being a nation, a National State a belief or aspirational Nation state).

Statisms evolves from the need to preserve power and so centralize. It normally begins within a single entity and evolves slowly into a institution (a multigenerational enterprise, that historically is started and expanded around familiar ties), whether it's a city-state or a larger region. This centralization allows for more efficient governance and the ability to enforce laws and policies consistently across the territory and go about the erection and defense of the Nation.

The state is inevitably and in the last stage formed as away to preserve self-determination of the population of a region. Even that is a social manipulation, an atavism from our tribal nature. Due to the complexity of the proposition, it is a planned thing, by a cabal that manages to direct public opinion into expansion. Most probable through military engagement (as o position, outsiders, or excluded, must ultimately be eradicated as competitors). This as a rule started as a totalitarian regime that often engage in aggressive military campaigns to expand their territories. This expansion can lead to the incorporation of new regions into the existing state, thereby increasing its size and influence. A process that occurs until open war is not practical. As the practicality of state is only as strong a necessity to survive the opposing state(s). Aggressive military strategies are frequently employed to expand the territory under the state's control.

A Nation is normally a region but mostly its people, sharing a deep sense of identity (culture and relationship) this precedes any notion of statehood (pressure for self-rule by the inhabitants) but the diluted National State is based on an abstract notion of nationalism (an aspiration for a social normalization or at least a conformism to a united identity) it is frequently the grouping of semi-cohesive people, as regional agglomerates that normally are forced together by self-preservation and/or force to establish sovereignty. The concept of sovereignty is crucial in statism. It involves establishing the state's right to govern independently and to exert control over its borders. This is often achieved through diplomatic negotiations, treaties, and the assertion of military might. Of course, this requires a sharing of a communal legal code of sorts. Especially regarding property rights in this most nations evolved from the Roman legal code (that is also linked to the Roman Catholic Church as the primary directory of thought. And why protestant nations diverge in general on some basic procedures on process).  

Nation-Building, as seen normally proceeds state-building, but can be artificially established as statism also encompasses nation-building efforts. This involves fostering a sense of national identity and unity among the inhabitants of the expanded territory. Establishing sovereignty is essential for the state to operate independently and assert its authority over its borders. Fostering a strong national identity is crucial for the cohesion and stability of the expanded state. This is what we define as Cultural Imperialism, how Hollywood is used to rewrite history how culture can be an instrument of expansion, protection (or protectionism) and radicalization.

Examples are most ex-colonial territories (like Iraq) with a few exceptions (like Australia) and a mix of yet to be settled situations (Canada, Labia). This can be achieved through indoctrination of the population (education, cultural promotion, and the creation of shared symbols and narratives). In Europe this is strongly linked to religion. But all states result from internal and external pressures of competition. For example, China is an example where it is extremely visible on how internal and external processes shaped the Nation state.

Examples of National States are Spain, the UK or Switzerland of course the intention if of normalization of culture by the ruling class to form a Nation State, for example France is mostly cohesive even if there are still regional identities much less than Italy. But the notion of Nation is always mutable and expansionist (For example, China and Tibet or Russia and Ukraine). A National State is turned in a Nation State when the national elites (centers of social order) agree that they identify fully as a community with a joint shared future. This is often done via Economic Transformation (we saw this in Ukraine's interaction with the European Union and Russia). Economic factors play a significant role in state formation. Trade, finance, and urbanization contribute to the growth and stability of states. By integrating newly acquired territories into its economic sphere, a state can ensure its continued prosperity and strength.

Even the state participation in conflict resolution and integration is self-serving. Conflict theories suggest that states form primarily through the resolution of conflicts and the integration of previously separate populations. This process involves addressing differences, resolving disputes, and creating mechanisms for peaceful coexistence and cooperation. This is the kernel of any human cultural evolution. Considering the statism as a process in evolution, in the final stage of globalization we will probably have a longer time frame where only two states will persist (if we survive so far), this is already exemplified by the balancing of what we define as superpower bi-polarization (during the Cold War). This natural balance was then  recreated by the US by promotion of China into the WTO as the Chinamerica (social and economic promotion of China as a fully industrialized state that helped the economic transformation of America into services and intellectual property), that resulted into the yet to be fully realized China-American bi-polarization. In the failure of a regional based but global distributed government that could eradication most social differentiations, if we do a bit of futurism the evolution on geopolitics will go for a balancing act of two prevailing states (with the suppression of any other minority identity)  probably resulting in an ultra specialization into caste systems (like a bee hive or an insect society, these pressures have already been present how we differentiate activities by sex, recognize (to some logical sort)  racial specificities or see priest classes chose celibacy). One escape to resolve our personal identity identification (the egotistical individual) would be a merge with machines and very global networks. This is a process that is also running in the background. Our communication network is the largest machine (system) we have created. So the race is on the state that will control the algorithmic machines. 

There are no workable examples where individualism survives in such large systems, or system if we go so far as a unification or global government and a redefinition of state as part of a planetary identity and then repeat the evolution across the universe). There will probably by colonization of other planets (or space) where relativistic speeds, specific pressures and insulation will preserve what we define as humans today at least until we remove those obstacles.

== What matters about matter ==
=== Gravity ===

{{TODO|Particle and gravity wave}}

=== Time ===
=== Space ===
=== Space-time ===

== The rise and fall of Liberia ==
{{TODO|This seems to be a very interesting subject that everyone should know a bit more about as it has many implication.}}

== The fall of the Ottoman Empire ==
{{TODO|[[w:Gallipoli]]}}

== Visual Programming Paradigm ==
{{TODO| IDE / Visual Programming / Idea}}

[[wikipedia:Visual programming language]]

(http://dspace.mit.edu/handle/1721.1/41550)
OpenBlocks : an extendable framework for graphical block programming systems
Graphical programming systems have been built to lower the threshold to programming for beginners. However, because these systems were designed to make programming more accessible to novices, they were developed with narrower intentions for their users and applications. For example, in StarLogo TNG, a graphical block programming environment, users may create games and simulations, but they cannot use this same system to create programs that can automate their computer processes, like the text-based scripting system AppleScript. Application developers can create their own programming systems, but doing so can take a significant amount of time to design and implement. This thesis describes an extendable framework called OpenBlocks that enables application developers to build and iterate their own graphical block programming systems by specifying a single XML file. Application developers can focus more on the design of their systems instead of all the details of implementation. The design and implementation of OpenBlocks are described, along with a user study conducted to test its usability and extendability.


(http://education.mit.edu/starlogo-tng/searchandtype/searching-and-typeblocking.htm) StarLogo TNG

[[image:Scratch Screenshot, Gravity Script.png|300px|]] [[image:Scratch Rainbow nevit.gif|200px|]]{{clear}}
(http://scratch.mit.edu/)
Scratch is a highly engaging programming system that allows young students to create animated stories, games, interactive art, and simulations. Students use a drag and drop interface of &quot;code blocks&quot; to create sound, movement and actions to objects called &quot;sprites.&quot;

(http://www.chirp.scratchr.org/blog/?p=24)
Elements - a Scratch-like Smalltalk 

(http://byob.berkeley.edu/)
Build Your Own Blocks is an advanced offshoot of Scratch, a visual programming language primarily for kids from the Lifelong Kindergarten Group at the MIT Media Lab. This version, developed by Jens Mönig with design input and documentation from Brian Harvey, is an attempt to extend the brilliant accessibility of Scratch to somewhat older users—in particular, non-CS-major computer science students—without becoming inaccessible to its original audience. BYOB 3, which adds first class lists and procedures to BYOB's original contribution of custom blocks and recursion.

[[image:EToys on OLPC-dual mode display.jpg|800px|]]{{clear}}
(http://wiki.laptop.org/go/Etoys)
Squeak Etoys was inspired by LOGO, PARC-Smalltalk, Hypercard, and starLOGO (see discussion). It is a media-rich authoring environment with a simple, powerful scripted object model for many kinds of objects created by end-users that runs on many platforms, and it is free and open source. It includes 2D and 3D graphics, images, text, particles, presentations, web-pages, videos, sound and MIDI, etc. It includes the ability to share desktops with other Etoy users in real-time, so many forms of immersive mentoring and play can be done over the Internet. It is multilingual, runs on more than 20 platforms bit-identically, and has been successfully used in the USA, Europe, South America (Brazil, Colombia, Argentina), Asia (Japan, Korea, India, Nepal), and elsewhere.

[[image:OLPC-TurtleArt.jpg|800px|]]{{clear}}
(http://wiki.laptop.org/go/Turtle_Art)
Turtle Art is an activity with a Logo-inspired graphical &quot;turtle&quot; that draws colorful art based on Scratch-like snap-together visual programming elements. It is intended to be a stepping stone to Logo, but there are many restrictions compared to Logo. (Only numeric global variables and stack items are available, no lists or other data-structures. The conditionals and some of the functions only take constants or variables, not expressions. Limited screen real-estate makes building large programs unfeasible.) However, you can export your Turtle Art creations to Berkeley Logo. Turtle Art also has a (limited) facility for sensor input, so, for example, you can move the Turtle based upon sound volume or pitch. 

(http://tinlizzie.org/jstile/) (http://tinlizzie.org/svn/trunk/jstile/TileManual.txt)
Tilescript is a programming environment for educational purpose which
has good features in both graphical and textual languages. For Javascript.

(http://www.lively-kernel.org/projects/index.html)
Lively is a new approach to web programming available as open source under the MIT license. Originally developed at Sun Microsystems Laboratories, it provides a complete platform for web applications, including dynamic graphics, network access, and development tools. Students, academics, and adventurous developers are encouraged to join the community. 

(http://lively.cs.tut.fi/qt/)
Lively for Qt is a JavaScript application and mashup development environment that is built on top of the Qt platform. The system runs on Mac OS X, Linux, Windows and on any mobile device for which a port of the Qt platform is available. The system can also run in any web browser using a Qt web browser plugin.

(http://openquark.org/Open_Quark/Welcome.html) (http://resources.businessobjects.com/labs/cal/gemcutter-techpaper.pdf) $Commercial$ (Where's the CAL compiler? http://forums.sdn.sap.com/thread.jspa?threadID=909612)
Open Quark (CAL language) available under BSD-style license. The Gem Cutter is a graphical language IDE for the convenient creation and testing of functions in the Strongly-typed Lazy Functional Language CAL

(http://www.drdobbs.com/blog/archives/2010/07/the_visual_prog.html;jsessionid=YM10KVWOVE41HQE1GHOSKH4ATMY32JVN) The 'Visual Programming' Silver Bullet

(http://www.drdobbs.com/architecture-and-design/184409677;jsessionid=HLKFYDLFN00X1QE1GHOSKH4ATMY32JVN?pgno=27) Visual Programming in 3-D

(http://historical.ncstrl.org/tr/fulltext/tr/uiuc_cs/UIUCDCS-R-93-1838.txt) PROGRAMMING IN THREE DIMENSIONS BY MARC-ALEXANDER NAJORK

(http://www.cs.binghamton.edu/~reckert/3daape_paper.htm) Three-dimensional Computation Visualization for Computer Graphics Rendering Algorithms - David A. Goldman, Richard R. Eckert, Maxine S. Cohen at State University of New York at Binghamton

[[wikipedia:App Inventor for Android]]
(http://appinventor.googlelabs.com/about/) App Inventor an application provided by Google that allows anyone to create software applications for the Android OS.

(http://research.microsoft.com/en-us/projects/kodu/) Kodu is a new visual programming language made specifically for creating games. It is designed to be accessible for children and enjoyable for anyone. The programming environment runs on the Xbox, allowing rapid design iteration using only a game controller for input. (http://www.oscon.com/oscon2010/public/schedule/speaker/84626/?cmp=il-radar-conf-oscon10-emerging) Matt MacLaurin
UX Director, Microsoft FUSE Labs

[http://www.i-programmer.info/news/98-languages/4357-google-blockly-a-graphical-language-with-a-difference.html Google Blockly - A Graphical Language with a Difference], implemented in JavaScript which can compile to JavaScript, Dart or Python.

== The Path of Human Civilization  ==
[[Ancient History/Human Evolution/Human Origins]]

{{Quotation|The remarkable success of humanity as a species is not simply the result of a big brain, opposable thumbs, year-round sex, innovation or even language; it is also the result of social and cultural associations that act as a &quot;network&quot; for storing knowledge and good will--what we call technical and social capital.|Charles Hugh Smith in [http://www.oftwominds.com/blogdec11/why-im-hopeful12-11.html Why I Am Hopeful (December 24, 2011)].}}

=== Introduction to the science of history ===

==== Introduction to fossil records ====

===== Dating =====

=== Wide wild world ===

==== Few, far and wide ====

==== Fellow inhabitants ====

==== Aggression, the seed of war ====
{[TODO|Property (power and control), entitlement, covetousness, primacy}}

=== Us versus wild ===

==== Food ====

===== Water =====

==== Shelter ====

=== Tool use ===

=== Language ===

=== Community and collaboration ===
At this stage of human evolution, most of the human collectives were probably centered around family groups, hose size was intrinsically dependent on the size of the resources available and the effort required to gather them. This setup was both a biologic and &quot;economic&quot; imperative. Like many other social animals today territories were defended and prime resources fought over. The need to satisfy basic imperatives forced natures logic of the survival of the fittest, at best meetings between distinct groups would entail a large risk for conflict especially if level of competition was high due to demographic explosion (more resources, more people until equilibrium is reached) or natural events that impacted resources (drought) or health (virus).

The complexity of extending a these type of core collective into a small tribe required an huge leap in culture, an increase in the capacity of planning, of valuing knowledge and work and ultimately the ability of to communicate, that had so far been probably reduced to the basic needs. The coming together of these changes was a game changing in human history collaboration was now possible to overcome problems larger than those presented by daily life.  

==== Work as value ====

==== Communication ====

==== Leadership ====

=== Fire ===

=== Culture ===

==== Learning ====

===== Mathematics ====

===== Writing ====

===== Medicine =====

==== War ====

==== Property and inheritance ====

===== Slavery =====

=== Stone ===
It is hard to determine what came first wood tools or stone. It is however safe to assume that they must have been changes that happened very close, that is the realization about objects as tools, we are speaking of simple objects like using a bone, a branch or how to trow a stone, there is no real complexity that is added by the different material besides the possible applications. In that humans started to make a clear utilitarian distinction between objects in regards to their intrinsic qualities.

{{TODO|Tools [[w:Homo habilis|Homohabilis]]}}

{{TODO|Chimpanzee use of wood tools and Capuchin-monkey use of stone tools}}

=== Plant fibers ===

==== Containers ====

==== Rope ====

==== Traps ====

=== Have boat, will travel ===

=== Domestication ===

==== Agriculture ====

===== Urbanization =====

==== Yeast (or how fermentation shaped human civilization) ====

=== Currency ===

==== Administration ====

==== Empire building ====

===== Writing =====

===== Laws =====

=== Metallurgy and coal ===

==== Coper ====

==== Iron ====

=== Wheel ===

=== Glass ===

=== Electricity ===

=== Telecommunications ===

==== Fire, Smoke and mirrors ====

==== Pigeons ====

==== Telegraph ====

==== Radio ====

==== Television ====

==== Satellite ====

=== Computer ===

==== Wide World Web ====

== Unravelling Time ==

=== In the beginning... ===
Time and space, one must keep in mind that they are the two sides of localization, things exist in a time in a specific space. It is also interesting to understand that according to most accepted hypothesis of the creation of the universe, the [[w:Big Bang|big bang]], things did exist before time came to be but in a state the localization had no meaning. This was about ~14 billions years ago, then we have the theory of [[w:Inflation (cosmology)|cosmic inflation]] that tries to make sense of what has been happening to things as soon as they became realizable, especially in the 10&lt;sup&gt;−36&lt;/sup&gt; seconds after the conjectured Big Bang singularity to sometime between 10&lt;sup&gt;−332&lt;/sup&gt; and 10&lt;sup&gt;−32&lt;/sup&gt; seconds after the singularity. And then use that model to extrapolate why we see what we see on the observable universe and how the things in it will continue to evolve, localization wise. 

{{TODO|A cool book covering both the physics, history (especially regarding the importance of the naval clocks) and philosophic consideration regarding time}}

== Prophets, demagogues, beliefs and figure heads ==
Perception is everything. One can not build an opinion about something that one does not know, that of course does not prevent one from having a view about something that its known but not understood. Most of us have a very limited knowledge base, and even more limited is the knowledge base that is limited to first person experiences, so the validity of much of what we think we know and take for granted, our intellectual scaffolding is indeed very flimsy and intrinsically dependent of the quality of the source and the impartiality or the influence of society in shaping even our most personal events or occurrence.

***

When we consider public visibility, we can see practical examples of how as a social mass often creates wrong perceptions, even makes assumptions about some of its members that are perceived as being granted deference or special attention. In fact most of the time the reason why the person is given difference and attention may not even be connected to the established public perception. Take for instance the scientist Steven Hawkins in the general public his importance to physics is extremely exacerbated when we compare it with the view of Steven Hawkins amongst its peers physicist.

There is also a tendency for generalization, that someone that excels in a field is automatically imbued with a general field of superiority and even his behavior should be exemplar. Most of the time things could not be more removed from reality, even if some of the individuals that are propped up into such leading roles will try to do their best to maintain those perceptions. We all ultimately seek to be special, to have influence, to be relevant.
 
{{TODO|Mine [[wikipedia:Lance Armstrong]], [[wikipedia:Werner Erhard]], [[wikipedia:Popular psychology]] }}

&lt;center&gt;{{quotation|'''&quot;The greatest enemy of truth is very often not the lie - deliberate, contrived and dishonest - but the myth - persistent, persuasive and unrealistic&quot;'''|John F. Kennedy}}&lt;/center&gt;

=== Charisma ===

=== Supernatural ===

=== Magic ===

{{TODO|Mention Harry Houdini and even James Randi and how they doggedly persuaded the demystification of magic trickery for the unwilling exploitation of others}}

==== Control ====

===== Cults =====

===== Despots =====

== The biological evolution of man ==
Man's biology is constantly evolving, recent studies have shown that high altitude native population in the Himalayans have unique genetically differences that increase red blood cells (oxygen transporters) numbers well above the normal response to the environment.

Even if humanity has to some degree created a safer environment and provides, through society, protection to genetic alterations that would not survive in outside of a human controlled environment. In general natural selection is still a consistent factor pressing our evolution.

{{TODO|Natural Selection Is Still With Us http://news.sciencemag.org/sciencenow/2012/04/natural-selection-is-still-with-.html}}

== Meet the Neanderthals ==
Until very recently the Neanderthals were seen and portrayed as brutish and more animalistic version of our species, a dead end lower branch on our genealogical tree. A derivation emerged from the requirements of facing the effects of the Ice age over Europe. This imagine has suffered a drastic shift with the discovery that this branch is not as extinguished as we thought and that their mental capabilities were not as far from ours as we believed.

The environment that shaped Neanderthals was extremely harsh. Food scarcity, extreme cold forced individuals of a hunter-gatherer culture to become hardener, bigger and stronger with a general lifespan of 30 years. The Neanderthal was a short, wide and very muscular too user. Silex blades and wood spears permitted them to be confront larger pray, even fellow apex predators, like bears, requiring them not only to be strong, capable of [[w:Bench press|bench pressing]] 136 to 182 kilograms, but also very brave. They had fire, symbolism and art and some form of basic communication the language gene (FOXP2) is indeed present. Recent finds and detailed study indicate that Neanderthals were acute innovators, stone shaping technology seems to be even superior to those of homo-sapiens and Neanderthals may even be the first species to use an industrial process to produce a pitch (synthetic glue).

Statistical comparison of Neanderthal DNA with specific ethnic modern human DNA has provided an indication that interbreeding has occurred. European and Asian DNA shows a greater similitude with the Neanderthal DNA than African DNA.

{{TODO|Mine [[wikipedia:Neanderthals]]}}

== History of the Hollow Earth ==

{{TODO|Mine [[w:Hollow Earth]]}}

=== Mythological underworlds ===

==== Greco-Roman ====

==== Mayas ====

====  Tibetan ====

{{TODO|Mine [[w:Agartha]] and [[w:Shambhala]]}}

=== Edmond Halley (1656-1769) ===

{{TODO|Mine [[w:John Cleves Symmes, Jr.]]}}

and https://books.google.pt/books?id=3c6iBQAAQBAJ&amp;pg=PA210&amp;lpg=PA210&amp;dq=Math+seventeenth+century,+Leonhard+Euler+earth&amp;source=bl&amp;ots=IrIK746-80&amp;sig=wsOlO26zMLppzWognYasHVU-eB8&amp;hl=en&amp;sa=X&amp;redir_esc=y#v=onepage&amp;q=Math%20seventeenth%20century%2C%20Leonhard%20Euler%20earth&amp;f=false How Euler Did Even More By C. Edward Sandifer

=== John Cleves Symmes, Jr. (1780-1829) ===

{{TODO|Mine [[w:John Cleves Symmes, Jr.]]}}

=== USN Rear Admiral Richard E. Byrd, Jr. (1888-1957) ===

{{TODO|Mine [[w:Richard E. Byrd]]}}

=== Richard Sharpe Shaver (1907-1975) ===

{{TODO|Mine [[w:Richard Sharpe Shaver]]}}

=== in culture ===

Literature/Movies

== Defining State Governance ==
Since Government does not have competitors for you as a customer, you are forced to use, and required by law, to fund it.

Government is a intrinsic part of the state. One cannot exist without the other.

Government is only a requirement because states have to compete with other states. In this reality a state that employs more than half its population becomes a failed state.

The state is the taxpayer money in action.

Government manages public money, it should aim to be cost effective and not aim to generate profit in any of its activities. If an activity is lucrative it should be privatized and taxed.

In a government system that permits private enterprises to fund and lobby its policy makers, several functions of the state should never be privatized, especially the banking, military and prison systems. This is a perfect formula to get a totalitarian government.

Sometimes Government interference into markets is a requirement to implement the will of the people. For instance in the matters of slavery, child labor, false and misleading advertising, dangerous products (including drugs), nuclear bombs, stolen property, pornography (including child pornography), buying votes, emergency services, military, gambling, prostitution, extortion, blackmail, land rights and immigration.

The top most function of a government is to define, prioritize and address problems in regards to national interests. Rarely does a government truly works in this primary function, it normally dedicates exclusive attention to minimization of systemic and chronic problems and in serving their own interests, that consist in guaranteeing reelection, if not in the next turn, the one after.

A government only fails to be reelected under two circumstances, being more incompetent that expected or being forced to take drastic measures due to successive governance avoidance to deal with known issues. It is even, well funny, that when a nation faces war even if the governances is bad it has a high chance of reelection, especially if it can promote an image of strength (even if false).          

=== State control versus private ownership ===
The principal problem with state control is government corruption.

The principal problem of private ownership is resource waste.

The principal problem of privatization is its focus being on increasing revenue.

== Mount Athos ==
[[w:Mount Athos]]. The self-governed region of the Holy Mountain. The Holy Mountain is governed by the &quot;Holy Community&quot; which consists of the representatives of the 20 Holy Monasteries, having as executive committee the four-membered &quot;Holy Administration&quot;.
=== History ===

== Recalling Viriathus ==
{{TODO|Mine [[wikipedia:Viriathus]]}} 

== Toward a World Government ==
http://www.futurict.eu/ understand and manage complex, global, socially interactive systems, with a focus on sustainability and resilience. 

    &quot;I think the next (21st) century will be the century of complexity.&quot; Stephen Hawking
    &quot;The crisis should motivate economists to think further about their modelling of human behaviour.&quot; Ben Bernanke
    &quot;An economist who is only an economist cannot be a good economist.&quot;  Friedrich Hayek, Nobel Prize 1974
    &quot;I urge students to read narrowly within economics, but widely in science.&quot; Vernon Smith, Nobel Prize winner 2002

=== Who runs the world ? ===
[http://planetsave.com/2011/08/28/who-runs-the-world-network-analysis-reveals-super-entity-of-global-corporate-control/ Network Analysis Reveals ‘Super Entity’ of Global Corporate Control]

== History of slavery ==
Slavery had long been practiced in Europe and the MidleEast before the exploration of the African continent and the discovery of the new world and the European exploitation of African people. Slavery, much it seems to the surprise of many in the US, is not restricted or dependent on racial traits. If the intention is to be selective refer to it as African Slave Trade into the American Continent, and keep in mind that even before Europeans made a stride in Africa, slavery was already prevalent there also, human labor was and will be always a resource and so a tradable commodity.

=== What is racism ? ===

One of many tools for segregation and create cultural, social and economical divides. 

=== What is a slave ? ===

=== Tribes ===

=== Cast systems and generational slaves ===
To ensure that a slave and his/hers children will be slaves.

==== Women ====

===== White slavery =====

=== Breed the perfect slave ===
Gladiators

[[w:Slave breeding in the United States]]

=== Compounding effect of slavery/racial segregation ===
Slavery in regards to the economical exploitation of human work easily becomes a multi-generational situation as it begets a specific but multi-faced system with social, economical and cultural mechanics that with time get ever more complex and self regulated as to proceed towards optimal returns for those that benefit from it and so are ultimately more invested in not only maintaining control over it but perpetuating it. This is true to much any other social, economical and even cultural system. Supra or sub system, as human society is an collection of interlocking of engineered constructs to support niches of self interest ultimately ordered in a top down pyramidal construct.

This endeavor to impose a perpetuation of societal constructs, is on our genes. We seek stability and abhor change and so sadly there aren't any examples of successes in implementing rational and fair meaningful changes to these types of constructs without a break that tend to be violent and so have also implication if other system. This results in solutions that may pass by:

a) the removal of (or meaningful change to) those in control over the construct, that would signify a change over the output or its distribution.
b) the suppression of the grievances regarding the base of the construct what would be defined as the input.

All the examples that may insinuate otherwise have always lead to unfair results, with a large emotional charge, regrets and pains or even in a non decommission of the construct but in non meaningful changes. In regards to the topic at hand our past is full of examples from classic Greece, passing by the Roman Empire to de-colonialism, end of apartheid we can look back and see that things haven't really changed much in about 4000 years, they may have gotten more &quot;humane&quot;, diffuse and complex but human society is predicated (action dependent) on the exploitation and subjugation of other fellow humans. The system is continues to be more normalized, globalized and now automatized but is a loop, the patterns are the same, if observed from a considerable distance even minor political divergences become meaningless. The only realizations are about the costs and goals to our legacy as a specie. 

{{TODO|Cover the idiocy of the subject of reparations, in the US there is a lack of understanding about slavery as a global historical issue, there is a politically motivated suppression of objective analysis, a self centered, myopic, contrived political correctness and binary lack of rational dialog.}} 

=== Debt slavery ===
No one can be a proper (read independent) citizen while at the mercy of the current economic system.

Preference for married workers.

[http://www.counterpunch.org/2011/12/02/debt-slavery-%E2%80%93-why-it-destroyed-rome-why-it-will-destroy-us-unless-it%E2%80%99s-stopped/ Debt Slavery – Why It Destroyed Rome, Why It Will Destroy Us Unless It’s Stopped]

=== Corporatization of slavery ===
Corporate ownership of people.

[http://politics.slashdot.org/story/11/10/20/1243212/us-student-loans-exceed-1-trillion US Student Loans Exceed $1 Trillion] - Bankruptcy will not expunge debt. (Government will have to assure payment ?!?)

{{TODO|Add {{YouTube link|NB-HZG1Zh7s|George Carlin - You are a slave}}}}

{{quote|&quot;You don't need a formal conspiracy when interests converge.&quot;|George Carlin}}

==== Machine Age ====
===== AI and Robotics =====

== A look at Science Fiction ==

{{TODO| [[w:Raymond A. Palmer]]}}

== The Space Race ==

=== Rockets ===

=== Satellite ===

=== Destination Moon ===

== Understanding Revolutions ==

== Should we trust Government ==
&lt;center&gt;{{quotation|'''&quot;Taxes are the price we pay for civilization.&quot;'''|Oliver Wendell Holmes, Jr.}}&lt;/center&gt;

Government is the topmost institution of any nation and a fundamental part of the state, that is to say, a state is not defined only by its government and a nation is not indistinct from the its state.

The thing about any institution that one needs to always keep in mind is that their biggest and most important asset, is trust. The trust that people place on institutions is what enables them to function and is what prevents them from being substituted. A government, like any other institution, is also dependent on this rule.  

Trust is a characteristic of social relations there may be trust between people (or animals) but trust can not mean the same when used in context of a relation with a entity that does not share a sense of self, since the implications and requirements would not be the same. Thrust is a two way relationship, you may respect an institution but you should not trust it. 

If we look around the world we can safely state that all citizens are in a submissive situation in regards to their government, whatever type of government they have. This simple fact arises for the imparity in the relation, a citizen is a person while the government is not only several persons, but a collective formed around the purpose of guaranteeing the implementation of policies and laws, most of the governmental structures tend to form a hierarchy.

Most forms of governments is, in non-dictatorial regimes, is done by what is normally defined as public servants. This definition covers all functionaries of the state that are not directly dependent or elections for their functions and remain after shifts in the policy establishing organs. What is also known is that most positions of leadership regarding these public functionaries tends to be with increasingly frequency appointed by those in power, making it clear that today most public servants are not really oriented to serve the public's interest but to satisfy their hierarchic superiors. This is the other side of the reality is that one primary function of governments has clearly become that of looking after itself before looking after its citizens.

&lt;center&gt;{{quotation|'''&quot;What luck for rulers that men do not think.&quot;'''|Adolf Hitler|German Nazi dictator, orator, &amp; politician (1889 - 1945)}}&lt;/center&gt;
 
{{TODO|Fukushima released about twice as much cesium-137 as the government claims}}

[[w:Martial law]]

Due to our level of interconnection of knowledge, news and economic resources any significant event that seems random or unpredictable is no longer incidental but circumstantial and so predictable to a certain degree, if not outrightly planed to occur by some players on the power networks.  

=== Inalienable rights ===

==== Animal rights ====

==== Human rights ====
There are certain rights that all humans possess simply by being human...

===== Incumbent rights =====
There are certain rights that only a society can grant to its citizens and vice versa. These rights go beyond the inalienable rights, and are granted and recognized collectively as an obligation so that the society can function, these are especially important in relations between distinct societies.

=== Moving the goal posts ===
One of the powers a government has is the capability to produce and alter legislation, and establish policies.

As an examples, one of the claimed reasons that the USA and some other Western nations (not all), have difficulties dealing with most of the middle-east nations is the lack of democracy and the track record of respect for human rights. It then becomes paradoxical that they supported and still support much of those nations when it is on their economical interests. Even when there is a general election Palestine, they failed to support the recently elected government. So what is the standard ? We will how well that goes in Tunisia...

This type of hypocrisy gets even more blatant if we compare responses to situations like Libya or Syria and then compare it to Yemen, there the government is still supported by the same powers while killing unarmed protesters. 

In fact the only guide we are left are not the arguments against Islamism, lack of democratic representation or failure to protect human rights, but simply that those that do not advance those powers interest in the region will be enemies and will offer temporary protection to collaborators. This is a fact when we look at [[w:Saddam Hussein|Saddam Hussein]], [[w:Osama bin Laden|Osama bin Laden]] this is made even more clear on how the situation in Egypt developed in regards to the passing of power from [[w:Hosni Mubarak|Hosni Mubarak]] to the Military junta. Again we will still see how it goes...

==== Legal systems ====
{{SAMPLE|sampletext=
&quot;Between the strong and the weak, between the rich and the poor, between the master and the servant, it is freedom which oppresses and the law that liberates.&quot;|caption=—[[w:Jean-Baptiste Henri Lacordaire|Jean-Baptiste Henri Lacordaire]] (May 12, 1802 – November 21, 1861)}}

=== Technically challenged ===
One of the major problems with most governmental bodies is that the representatives that get elected by popular vote are increasingly being selected not by their personal qualifications, past work or experience but by how good they can address and motivate the public, looks and apparency today have a higher degree of importance in governmental election than brains.

This of course does not need to be grave problem depending on how one's government is structured especially the final steps of the policy decision process, if a government permits, informs and lessens to the public opinion it could even be more representative, technology is probably moving to enable such types of governments. On the other side if the government leadership is seen as something as a figure head, a father/mother figure and the public treated like children, the lack of ability of those elected to exercise rational thinking and understand the complex world we life today will further move us into bad policies and instability, this can even be aggravated if they become exclusively dependent in non-elected bureaucrats for directions. Bureaucrats tend to be appointed and rarely because of qualifications but by the ability to fallow party lines, they also create a level of protection to the government leadership, since if the situation permits they will serve as a scapegoat to diffuse the situation.    

{{TODO|Climate change, NASA}}

=== Secrecy is a state cancer === 
Secrecy in the working of a state may be a necessity, but mostly only in matters of national security, because of global competition between nations. Like any decease or pathogen that attempts to compromise a system, secrecy may be kept in check by the existing checks if a government is healthy, but as soon as the working of the system starts to rely on secrecy for its survival the system can be determined to have entered into critical failure.

'''A Government the relies too much in secrecy can think it can get away with murder, literally...'''

[[w:USS Maine (ACR-1)]] - [[w:Grupos Antiterroristas de Liberación]] - [[w:Río Negro Massacre]]

George W. Bush (and administration) lied to Congress and the American people about the reasons for invading Iraq. On July 15 The House forwarded the resolution to the Judiciary Committee with a 238 to 180 vote.  That &quot;Bush&quot; lied about weapons of mass destruction and Iraq’s threat to the US is now beyond doubt. Former US federal prosecutor Elizabeth De La Vega documents the lies most thoroughly in her book U.S. Vs Bush, and numerous other researchers have verified Bush’s untrue statements.

A secret Justice Department memorandum from 2010, Obama administration, provided the justification for the operation involving the CIA, and military assets under CIA control for the assassination of Anwar al-Awlaki, an American citizen in Yemen, despite an executive order banning assassinations, a federal law against murder, protections in the Bill of Rights and various strictures of the international laws of war. [http://www.washingtonpost.com/world/national-security/aulaqi-killing-reignites-debate-on-limits-of-executive-power/2011/09/30/gIQAx1bUAL_story.html?hpid=z1  The Washington Post 2011/09/30]

'''9/11'''
[http://www.projectcensored.org/top-stories/articles/unanswered-questions-of-911-911-prewarnings-building-7-collapse-flight-77-and-the-pentagon-israeli-involvement-united-airlines-put-options-war-games-atta-and-the-100000-911-terrorists-stil/ Unanswered Questions of 9/11]: 911 Prewarnings, Building 7 Collapse, Flight 77 and the Pentagon, Israeli Involvement, United Airlines Put-options, War games, Atta and the $100,000, 9/11 Terrorists Still Alive

The US government '''controversial type of secret court order''' to force Google Inc. and small Internet provider Sonic.net Inc. under the Electronic Communications Privacy Act, in place since 1986 that requires only that the government demonstrate reasonable grounds to request relevant records and material for an investigation. [http://online.wsj.com/article/SB10001424052970203476804576613284007315072.html Secret Orders Target Email]

The US government is showing interest in the concept advanced by the science fiction novelist Isaac Asimov more than 60 years ago, in his “Foundation” series, the new science labeled psychohistory combining history, mathematics and psychology as to predict (and manage) the future. [http://www.nytimes.com/2011/10/11/science/11predict.html?_r=1 Government Aims to Build a ‘Data Eye in the Sky’]

=== The true structure of power ===
{{quotation|&quot;What do all men with power want? More power.&quot; - The Oracle (from [[w:The Matrix|The Matrix]])}}

== Battling over intellectual property ==
Intellectual property has increasingly been raised in importance as a national and economical interest to be defended. Sadly the same does not seem to apply to the public domain and the access and liberties of the citizens over that type of material. Most non profit oriented public interests and especially creative works under the public domain, rarely get any state defense, something that is the obligation of the government.

[http://www.thestar.com/news/canada/article/1048993--leaks-show-u-s-swayed-canada-on-copyright-bill?bn=1 US elevated Canada on the piracy watch list to back the adoption of vexing copyright legislation]

trademark, copyright, and patents.

[http://boingboing.net/2011/10/20/ask-the-smithsonian-to-withdrawal-copyright-claim-on-public-domain-images.html Ask the Smithsonian to withdraw copyright claim on public domain images]

[http://boingboing.net/2011/10/20/canadian-tories-admit-that-canadians-dont-want-drm-rules-push-for-them-anyway.html Canadian Tories admit that Canadians don't want DRM rules, push for them anyway]

[http://yro.slashdot.org/story/11/10/20/1228255/acta-signed-by-8-of-11-participating-countries ACTA Signed By 8 of 11 Participating Countries]

Today the patent system, especially when applied to software is a house of cards supported by the convenience of the major patent fillers. Note that a patent filler is not the same as an innovator or creator. This equates to a monopolistic tendency toward the creative market (to profit by generating new ideas), where all those patent fillers attempt to extend their patent portfolios and cross-license them in ways that protects their mutual interest and at the same time excludes any other player to enter in concurrence. It has come to a point that those involved have an hard time in initiating litigations because no one 
knows anymore what patents may be violated or survive in court, and so the arms race continues to extend the arsenal.

A system that was created to foster and protect innovators and at the same time document for the public their intellectual property creations has been subverted into something that prevents the participation of newcomers and ultimately permits price fixing.

One thing is generally agreed most &quot;easy&quot; inventions have already taken place, we have long ago passed from simple solutions to compounded or merged creations often appearing in the cusp on the discovery of new technologies that do in fact depend heavily in previous works. But relying in the existence of prior art discovery, that not only depends on the existing failing system of patent attribution and skewed legal system. It is difficult and becoming increasingly hard for any new innovator to use prior art to defend their freedom to create. An assessment from USA in 2012 estimates that the costs of hiring a patent consultant able to find the previous art and the attorneys willing to devote months if not years to the legal battle would cost between at its lowest assessment between  $500,000 to $1,000,000. This cost and the time it takes puts initiating such attempt outside of what is sustainable even to any small business, and creation becomes therefore a quick path for bankruptcy.

=== Innovation ===
Innovation does not happen in a vacuum.

&quot;The public's interest is ultimately dominant over all other interests.&quot; - George Lucas in 1998 speech before Congress.

&quot;People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians,...&quot; - George Lucas in 1998 speech before Congress.

&quot;Attention should be paid to the interest of those who are yet unborn, who should be able to see this generation as it saw itself, and the past generation as it saw itself.&quot;  - George Lucas in 1998 speech before Congress.

Recent moves by the the US culminating in the [[w:Leahy-Smith America Invents Act|Leahy-Smith America Invents Act]], recently passed by an almost unprecedented super-majority, demonstrates that US legislators and political appointees are shifting away from protecting the rights from inventors towards the right of property of filers. This distinction is important because not all inventors can afford to fill a patent and so it favors larger firms with well-established internal patenting procedures. This erodes the capacity to invent of the common citizen.

OECD (Organization for Economic Cooperation and Development) representing 34 states. [http://www.oecd.org/document/10/0,3746,en_2649_34451_1901066_1_1_1_1,00.html OECD work on patent statistics]

The only true benefit of patents is that they document the specifics of innovations, and that aspect does not actually require any grant of exclusivity.

patents
*encourage innovation
It is a very strange belief that a bureaucracy will enforce the exclusive profit of singular entities within a society of billions of creative individuals.
*protect innovators - Any new product or innovation will have an army of lawyers descend to destroy it. Leading to patent portfolios of a handful of the biggest corporations. What about innovations that are developed independently but simultaneously? 

Examples of concurrent independent development abound. [http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_gladwell?currentPage=all newyorker.com]: Calculus - Newton and Leibniz. Evolution - Charles Darwin and Alfred Wallace. Oxygen - Carl Wilhelm and Joseph Priestley. Colour photos - Charles Cros and Louis du Hauron. Logarithms - John Napier, Henry Briggs, Joost Burgi. Sunspots - Fabricius, Galileo, Harriott, Scheiner. Piston engine plane - the Wright brothers and Santos Dumont. And so and so on.

Cross licensing escalates the problem by permitting the aggregation of interests in blocks, and so patents will only &quot;serve&quot; and &quot;protect&quot; closely connected groups- Where conflicting groups will be left with not choice to seek patent equilibrium to keep peace.

http://webcache.googleusercontent.com/search?q=cache:4pdIrxQ7BuoJ:fabianmejia.blogspot.com/2008/09/codeblocks-and-opengl.html+code::blocks+and+OpenGL&amp;cd=5&amp;hl=pt-PT&amp;ct=clnk&amp;gl=pt&amp;client=firefox-a

== On state sponsored crimes ==
There is a clear distinction to be made about the moral implications in regards to the effective control citizens over their governments. In a totalitarian regime the blame should fall only on those that were responsible or aware of the actions, but at least in a democracy all citizens should have their share of the blame, since it was their obligation to question and establish controls that would prevent the facts.

[[w:Grupos Antiterroristas de Liberación]]
[[w:Project MKULTRA]]
[[w:Sinking of the Rainbow Warrior]]
[http://www.dailymail.co.uk/news/article-2039542/North-Korea-Satellite-photos-death-camps-deny-exist.html 'Hell on earth': Detailed satellite photos show death camps North Korea still deny even exist]
USA covert intervention in Chile

{{TODO|Weapon producers, creators of armed movements, armament smugglers, information providers, mercenary trainers, enablers of violence}}

=== War ===

==== War crimes ====
[[w:War crimes]]

[[w:Allied war crimes during World War II]]

[[w:Japanese war crimes]]

[http://www.mediafreedominternational.org/2011/10/03/radioactive-weapons-with-long-term-health-risks-dropped-into-libya/ Radioactive Weapons with Long-Term Health Risks Dropped Into Libya]

{{TODO| Kosovo and Servia, Britain's Secret Human Rights Abuses in The war in Oman, 1957-59 }}

=== Atrocities ===
[[w:Tuskegee syphilis experiment]]

[[w:Unit 731]]

[[w:Bulu prison massacre]]

== Religion as a problem ==

=== Failing  to recognize the messenger ===
[http://www.science20.com/news_articles/computational_linguistics_figuring_out_who_wrote_bible-83504 Computational Linguistics: Figuring Out Who Wrote The Bible]

== Examining Exobiology ==
{{TODO|Probably reuse it elsewhere...}}

The Earth is home to a amazing diversity of life, the living things in all its glorious diversity. Due to our increasingly urban lifestyle and distance to nature, most of the time life can appear alien especially in its extremes of aesthetics, behaviors and even emotions, intelligence or higher social orders it can display. At the same times it can appear like a reflection of our-selfs, what we like to define as anthropomorphizing other living things, and it is fair to say that we share much with all other living creatures on this planet if not only the shared environment, in fact our quickness to anthropomorphize sometimes blinds us to the more subtle differences, even when they should have been obvious otherwise.   

=== Defining Life ===

=== Extremophile ===

=== Biologic symmetry ===

=== Little Green Men ===

==== Aliens on Earth ====

==== Aliens in Space ====

;USA
The US and in particular NASA has held a quasi-monopolistic hold on space science due to the US economic and technological power status, that is intrinsically linked to its drive to maintain a military and political primacy over the world since near the end of WWII, when it moved to captured most of the world human and capital resources including the underlying energy and monetary systems.

{{TODO|[[w:NASA]], [[w:Space tether]], STS-48, STS-80 footage ([[w:Story Musgrave]]), ice crystals the new &quot;swamp gas&quot;}}

=== Extra-terrestrial Biological Entity (EBE) ===
==== Expected low order commonalities ====
===== Symmetry =====
==== Expected high order commonalities ====
===== Nervous system =====
===== Brain =====
==== Body shape and characteristics ====
==== Physiology ====

== From the League of Nations to the United Nations ==

== Guide to civil disobedience ==
{{TODO|[http://www.coinbooks.org/esylum_v19n52a25.html the token coinage of Thomas Spence]}}

=== Understanding body language ===

=== Dealing with suppression weapons ===

==== Pepper-spray ====

==== Tear-gas ====

==== Long Range Acoustic Devices (LRAD) ====
{{TODO|[http://www.aclupa.org/pressroom/bystandersuespittsburghove.htm Bystander Sues City of Pittsburgh Over Pain and Hearing Loss Caused by Use of Long Range Acoustic Device at G-20 Protest]}}

== The corporation ==
{{SAMPLE|sampletext=
&quot;Fascism should more properly be called corporatism because it is the merger of state and corporate power.&quot;|caption=—[[w:Benito Mussolini|Benito Mussolini]] (29 July 1883 – 28 April 1945)}}

A corporation is an enterprise that emerges from inside the State by forces that ultimately aspire for state control and the power to enforce monopolistic choices on the population. Historically, these entities originate from inside the governing class of the state as a way to deflect public scrutiny, link to disreputable activities or as a way to gain advantage over other governing ententes. A corporation becomes an institution as soon as the stable functions of the state becomes defendant on its activities.

Most corporation aspire to expand beyond the state as to gain advantage over internal competitors but as a way to expand markets and so their own state influence outside its boarders. Privately owned corporations will have no nationalistic orientations beyond those shared by their own governance. They have no real social consideration beyond survival among its competitors, primarily as economic entities. 

A corporation will act against its own government if their governance sees it as advantageous, especially as a multinational enterprise whose governance shares no single nationalistic identity. This is why militaristic societies tend to foster a corporate culture that links private governance to state governance (seen generally in defense industry and banking) and historically in the structure of organized religion. 

hile it depends on scale, the personalization of the corporation is generally a ruse and a legal construct, that intends to impart human restrains and considerations into an entity that is due to its directives and layers of governance can become antisocial, but certainly needs to operate at a level of what would be psychopathy amongst its peers to survive.

== The trade of lies ==
When a population is kept in general state of ignorance, their judgment can more easily be controlled or even discarded as irrelevant without any internal opposition.

Any information is only valid if it is based in facts and any views expressed that can be sourced, useful information is one that is relevant to the consumer, and not artificially made relevant, to be transparent it must also presents multiple view points and enables the viewer to make it own mind about those relevant subjects.

&lt;center&gt;{{quotation|'''“All truth passes through three stages. First, it is ridiculed; second, it is violently opposed; and third, it is accepted as self-evident.”'''|Arthur Schopenhauer.}}&lt;/center&gt;

{{TODO|Perception plus Reputation plus Recognition by Similitude equals Inference}}

{{TODO|[[w:Otto and Elise Hampel]]}}

=== Propaganda ===
One thing that anyone will understand as a given fact is that any war will be preceded and accompanied by a propaganda campaign by and against all participants, it is also expected and an almost inevitability, that this campaigns will be even more utilized and effective on nations hose political systems depend on popular support.

{{quotation|'''&quot;...among the calamities of war may be jointly numbered the diminution of the love of truth, by the falsehoods which interest dictates and credulity encourages.&quot;'''|Samuel Johnson|The Idler, 11/11/1758}}

Propaganda by itself may not constitute a lie, but undoubtedly will only serve to promote the view or interests of the propagandist. It works as a reality distortion field, obscuring, twisting and selecting what to highlight as to promote a given agenda.  

An example of propaganda is the use of mass media to spread misinformation. This is done by governments and interest groups to indirectly promote their views to the public. Simple disinformation may becomes propaganda because it is backed up and promoted by the institutional powers as reality. 

{{SAMPLE|sampletext=
&quot;There's a war out there, old friend. A world war. And it's not about who's got the most bullets. It's about who controls the information. What we see and hear, how we work, what we think... it's all about the information! &quot;|caption=—from a dialog in [[w:Sneakers (film)|Sneakers (film)]]}}

[http://www.youtube.com/embed/LyjnEm8DZkI Youtube Video of RT.com report on statements made by Hillary Clinton, that the US Losing Information War to Alternative Media], [http://rt.com/ rt.com], is an Internet service published by the Autonomous Non-Profit Organisation (ANO) “TV-Novosti” (Russia).

[[w:William Randolph Hearst]] - [[w:Yellow journalism]] - [[w:Propaganda of the Spanish–American War]] - [[w:Duck and cover|Duck and cover]] and nuclear safety

{{TODO|[[wikipedia:Alex Thomson (journalist)|Alex Thomson]] from Channel4 &quot;Set up to be shot in Syria’s no man’s land?&quot; Free Syrian Army tries to get the journalists dead as a propagandistic stunt against the government. Strangely in a clear suppression of news this is news report is not picked up by any major news outlet, it is especially interesting since Alex Thomson had a government attributed VISA and should be recognizably a more independent reporter that those embedded with the rebels that are smuggled into the country (http://www.guardian.co.uk/media/2012/jun/08/alex-thompson-syrian-rebels).}}

{{TODO|See [[Communication Theory/Propaganda and the Public]]}}

==== Advertising ====
The concept of advertising is intimately linked to that of propaganda, it is often defined as a subset, a part, but if analyzed one can see that the distinctions are not on the methods or even goals but on the legal and economical labels of the producers and targets for it. So it is clear that the difference is only based on national and international legal rulings that may exclude some propagandist practices, producers and targets and relabel it as advertising.

=== Disinformation ===
Disinformation can serve to propagate lies, misdirect, confuse or weaken opposing views. Consider the damage one can create to the discussion of a topic if one can direct the opposition toward topics that are easily refuted or make the portraying the opposing side stupid by defending those issues.

{{quotation|'''&quot;The daily press and the telegraph which in a moment spreads inventions over the whole world, fabricate more myths ... in a day than could have formerly been done in a century&quot;'''|Karl Marx|1871}}

Disinformation is closely related to the motivation why people lie and what is defined as the truth, most of the time the truth is not a static objective notion, and this makes it easier to shift viewpoints about what the reality really is.  As any illusionist knows the best way to hide something in plain sight is to distract the audience with something else.

There is an important distinction to keep in mind, lies came in a different shapes. From the simple omission of the truth (that often is not even recognized as a lie, as the intention to deceive can not be ascertained) to the direct contradiction of the truth. It can serve as protection, deterrent and even be half-truth or inexact truth (without getting deeply in what the truth is). What defines a lie as negative is that if it consist in suppressing information that others require to perform an informed decision, to be free to make their own choices.

In a perfect world there would not be any reason to lie and have secrets, but in a world that is imperfect and becoming increasingly transparent there are specific areas of information that do need protection. From personal information to information that simply could be used against you. One could say that there is no moral justification for a lie except as a way to diplomatically deny access to information that others have no reason to have. This same rational is not valid for secrets, since secrecy is the intentional suppression of information that others need, here the the moral balance is harder to ascertain and depends exclusively on the reason for secrecy being of self preservation. Secrets came from shame and fear, and often lead to escalation of distrust and greater entanglement. All dirty deeds prefer the darkness.         

Today disinformation is all around us, directed by those that control the media channels in order to advance their goals and reduce visibility of subjects that they would prefers not being public knowledge. Well made disinformation dissemination will avoid being too obvious (unless that also serves a purpose). One easy way to detect disinformation is to find reputable source for the information, and corroborating reports. This of course in turn leads to perpetrator of the deception to intentional shift of the efforts of disinformation from the real data to the data sources, in an attempt to discredit them. 

&lt;center&gt;{{quotation|'''&quot;We'll know our disinformation program is complete when everything the American public believes is false&quot;'''|William Casey - CIA Director during the Reagan's administration.}}&lt;/center&gt;

There are many ways to employ disinformation, the method is dictated by the goal of what is intended. For instance events in Libya in 2011 when relating the where-abouts of Kadhafi suns or even statements statements regarding the progress of the rebels that can serve as a clear example. How the progress, strengths and feats was being amplified, at the same time wile governments negated that on TV, international forces where on the ground helping the rebels.

&lt;center&gt;{{quotation|'''&quot;When a well packaged web of lies is sold gradually to the masses over generations, the truth will seem utterly preposterous, and it's speaker a raving lunatic.&quot;'''|James Dresden.}}&lt;/center&gt;

Disinformation is often done by misrepresentation, exacerbation or creation of false news reports as to shift the public's perception.

{{TODO|[https://news.slashdot.org/story/16/04/22/155237/drone-believed-to-have-hit-british-airways-flight-may-have-been-a-plastic-bag? Drone Believed To Have Hit British Airways Flight 'May Have Been a Plastic Bag], the 2016 war on encryption etc.}}    

Another interesting case is the USA and UK media pressure and negativism regarding the euro currency. It is clearly unbalanced one considers the origin and the interests behind, those countries national situations and the original sinners in this economic chaos since the 2008 collapse. It would be expected that if someone should panicking it would be China since it has brought much of the euro debt and would suffer locally if the euro collapsed, to some degree China is strengthening its internal consumption, even creating internal imbalances, that has began to cause internal issues in 2016. We could even argue that it would be in the national interests of the USA-UK coalition to have a fragile China and increase its dependency on them for exports that ultimately influence its internal social stability. The paradox here is that the USA is also dependent on a strong Europe for trade (http://www.census.gov/foreign-trade/balance/c0003.html) and military support (NATO).

{{TODO| http://www.youtube.com/watch?v=QfEIXy64HL0#! fantastic example of the different wights and balances, by Associated Press reporter Matt Lee talking to Victoria Nuland, spokesperson for US State Department regarding the hypocrisy in how it uses and responds to Human Rights Watch reports (the distinction between Israel and Syria) very well done...}}

{{NOTE|The UK is a member of the EU but not a participant on the euro currency project (euro-zone).}}

{{TODO|Iraq, Romenian Timisoara &quot;massacre&quot;, death number as Indonesia left Timor, 2011 events in Syria, [[w:Río Negro Massacre]].}}

{{TODO|Cover &quot;Debate framing&quot;, talking points}}

==== &quot;Fake news&quot; ====
We should cringe on the label alone, all news are by default &quot;fake&quot;. What are news? News are new facts, that an information monger selected and treated for dissemination into a targeted audience. At best they may contain partial bits of actual events if the knowledge of those bits do not affect the interest of those involved in their dissemination, and that is after other parties being able to massage or obstruct optics regarding said events. After all that, the receiver own bias is also called into play to categorize it as &quot;fake&quot;, by the individual reader or by social communal pressure that itself can be influenced to attribute and generalize labels, to all the levels of the news gathering (spreading) endeavor.     

==== Censorship ====
Censorship is not only focused in hiding information from the targeted public, but can also consist creating artificial difficulties in accessing it. It is basically a suppression of information technique, that is also part of a process of disinformation, with a secondary result that it not only negates access to some information but promotes the value of the remaining information, solely by the fact that it is more accessible.

{{NOTE|It is also interesting to note that censorship not only generates technological issues by itself, even promoting failure and insecurity, but it also will produce general difficulties when interacting with technology that has not been created with censorship capabilities.}}

=== Marketing ===
{{TODO|[[Wikipedia:Neuromarketing|neuromarketing]] - [[Wikipedia:Fear, uncertainty and doubt]]}}

==== Subliminals ====

===== Audio =====

===== Visual =====

=== Public relations ===

==== Video News Releases ====
{{TODO|Promotional videos that simulate news reports format}}

=== Media control ===
The easiest way of ensuring control over information is the creation of artificial choke points and dependencies.

[http://www.youtube.com/watch?v=ez4zVwxCCtc Documentary on how the media lies to manipulate us] by Brian Springer

'''Books'''

'''The Press'''

'''Radio'''

'''Television'''

'''The Internet'''

The creation of the Internet has brought forth evidential prof of the efforts governments and commercial interests are willing to exert in the control of information. Control over access, movement and even creation of information in a distributed medium is something new and still evolving.

From simpler indexer, search engines have evolved beyond general information gatherers and portals into complex information channels, they now can monitor personal behaviors, location and interests, this shift for a personalized interaction arouse for the need to generate revenue, not by monetizing access but by the creation of indirect revenue streams. It started by simply permitting sites to get higher relevance to the addition of adds and now users have become also a commodity, where the data points they generate when interacting with the service is a valuable resource that others are willing to pay to have access.   

{{TODO| Mine [http://www.youtube.com/embed/n5OAzXgg2xU Facebook, Google &amp; Internet talk TED Video], mention [[w:Google Trends]], [http://pr.efactory.de/e-pagerank-algorithm.shtml Google PageRank - Algorithm], [http://googleblog.blogspot.com/2011/05/mining-patterns-in-search-data-with.html Mining patterns in search data with Google Correlate], [http://code.google.com/apis/analytics/ Google Analytics] and [http://www.google.com/transparencyreport/governmentrequests/ Google Transparency Report]}}

With the rise of the social network...


==== The spin doctor ====
{{TODO|[[Elements of Political Communication]]}}

==== Fabricated events ====
*Invasion of Poland by Nazi Germany, justified by a border conflict.
*USA attack on Vietnam, the actions used for justification.
*USA lead intervention on Kosovo ([[w:Kosovo War|Kosovo War]]), justified by claims of the existence of atrocities.
*USA lead attack on Iraq, justified by a claim of existence of Weapons of Mass Destruction.

[[w:False Flag]]

==== Censorship ====
Censorship is the suppression of information.

{{TODO|Cover also self censorship and its implications.}}

{{TODO|Russian intervention in Chechnya, the usurpation of the democratically elected government of Palestine, the negative effects Western (USA,EU) subsidies had/have in Africa's development, Iceland's people (not government) efforts not to pay its international banking system debts, the effect on the euro-zone countries retirement systems of Greece's debts pardon (especially those systems already in crisis) and the possibility creditors activating [[w:Credit default swaps]] (and naked Credit default swaps).}}

== Understanding earthquakes ==
Fish deaths may precede quakes due to temperature shifts and general alteration on the quality of water induced by vibrations.
Underground water table/tidal effects.

Richter scale

Why buildings collapse

Vibratory liquefaction 

=== Quake prediction ===
[[w:Earthquake prediction]] [[w:Jim Berkland]]

[http://www.washingtonpost.com/blogs/capital-weather-gang/post/did-the-atmosphere-signal-japan-earthquake-in-march/2011/10/04/gIQACyeRLL_blog.html Could electron count escalation high in the atmosphere serve to detect major earthquakes]

=== Quakes and volcanoes ===
Quake activity may trigger volcanic activity. In 27 February 2010, the magnitude 8.8 [[w:Maule, Chile|Maule, Chile]] earthquake trigged hundreds of volcano tectonic earthquakes at [[w:Uturuncu|Uturuncu]], a Bolivian volcano.

{{NOTE|The largest ever instrumentally-recorded earthquake, occurred in 1960, at Valdivia, south of the Maule region which a measured magnitude 9.5.}}

==== Volcano tectonic earthquake ====
[[w:Volcano tectonic earthquake]]

== Symbolism and rituals ==

== Deconstructing the War on Drugs ==
[http://www.ottawacitizen.com/news/Mexico%20urges%20consider%20legalizing%20drugs/5431636/story.html Mexican President Felipe Calderon Hinojosa speaks during the 2011 Clinton Global Initiative meeting on September 20, 2011 in New York urging the U.S. to consider legalizing drugs]

Most government agencies that deal with security and crime have to provide evidences that they are effective as a justification to continue to exist, to validate their spendings and to obtain more funding. It becomes then a priority to guarantee results (especially directed to the metrics used in performance evaluation), maintain a sense of urgency and increase the importance to their field of action. This will most often lead to quantity, but not quality and also to the direct or indirect generation of a symbiotic interdependent relation between the agencies and the target of their action.

[http://www.nydailynews.com/news/ny_crime/2011/10/13/2011-10-13_excop_we_fabricated_drug_raps_for_quotas.html#ixzz1ah29cALW We fabricated drug charges against innocent people to meet arrest quotas, former detective testifies]

=== The economics ===

==== Who benefits from the status quo ====
The question runs very parallel to those that promotes the war on drug.

==== Public Safety ====

==== Taxes ====

==== External policy impact ====

== The problem with time travel ==

== Towards the Heart's core ==
[[w:Tectonics]] [[w:Plate tectonics]] [[http://www.agiweb.org/geotimes/feb08/article.html?id=nn_tectonics.html Geotimes - February 2008 - Plate tectonics on a planet far, far away]]

== What we know about music ==

=== First there was sound... ===
{{TODO|What is sound and what is music}}

=== Order creeps in and music is born ===
When one looks deeply into all music across the multiple cultural specters and tastes, what is found is at its core is that it is all very similar across them. That the underling techniques of what we generally define (or appreciate) as good music is the same across all the multitude of styles. 

The major characteristics of all music are melody, rhythm, harmony and base.

Most of these characteristics evolved around establishing patters that are therefore easy for us to recognize as such. These patterns become the musical techniques, formulas, that there are refined from mathematical properties of music. These are even properties that arise without directed creation, that are simply natural discoveries, general and self evident and that music in part simply addresses the need to creates a language to express them, much like math expresses other aspects of the natural world is a way that is easily recognized across cultures.

{{TODO|Why is music copyrightable is it is an math is not ? Is there a case that can be made for equal treatment ?}}

Since the beginning there was an effort to organize sound  in relatable, &quot;naturally&quot; sequences, scales (melodic archetypes, modes) where each sound (musical note) is set in a rung of a musical latter. This concept later evolved into the generalized diatonic scale that emerged in the West as a standard. With the diatonic scale came, its minor scale and major scale that replicated older melodic archetypes and permitted evolution. With normalization all melodic arrangements became conscripted and increasingly derivative.

==== Melody ====
The melodic content is the simplest of pattern and easy to note due to its natural tendency not only for repetition but to be made more evident when there is a break in it. Melodies are also intrinsically linked to emotional memry as melodic patterning have shown to be even be remembered before birth.

The most preeminent melodic sequence in western culture is the pentatonic scale, as the name indicates consisting of 5 notes.

-- the chosen notes
--- the arrangement selected, the distance between the ley notes in the sound scales
-- their pitch
--- how high and low they are 
-- intervals 
--- distances between the pattern of note use from the sound scale
---- western culture the smallest is defined as semitone and a whole tone is two rungs on the musical latter
---- it is easier to vocalize whole tones than semitones and to remember, making it most of the vocal repertoire
---- base 
---- intervals patterns are therefore melodic pasterns and establish modes or permits divergency like the blue
---- notes in vocalized blue or the Tudor music &quot;clashing&quot; mode

== Mathematical wonders ==
=== Zero ===
=== Infinite ===
=== The equation ===
To some equations are like uncompromisable hieroglyphs, but at the core they are in fact non-abstractive works, that attempt to explain the universe we live in. There are in fact some equations that are more important than others, masterpieces that hold some of the foundations of our understanding of reality.

An equation is a mathematical statement that asserts the equality of two expressions, that is the right side of the equality must be the same as the left side of it. This not only requires that we understand and know the value of both sides but that these values must match.

There are many approaches to categorize the beauty of equations, the concept of beauty as always is on the eye of the beholder, in mathematical terms it is both of the beholder understanding or knowledge and the need to employ that same knowledge. So the mathematical beauty of equations can be a function of its usefulness, simplicity or even complexity, in this later cases much like a painting, we can marvel not only on what is represented but on the work done by its creator (in mathematical terms its discoverer). 

{{TODO|mine [[wikipedia:Equation]]}}

==== E = MC^2 ====
This is probably one of the most famous equations in the world. It brings to mind its discoverer, Einstein and the nuclear age. Its publishing in 1905 starter a scientific revolution.

{{TODO|mine [[wikipedia|Mass–energy equivalence]]}}

=== Pi ===

=== Fine-structure constant ===
{{TODO|[[w:Fine-structure constant]]}}

=== Prime numbers ===

=== Golden ratio ===
=== Euler's Number Triangle ===
=== Fractals ===
[http://www.youtube.com/watch?v=ZbK92bRW2lQ Benoit Mandelbrot - Hunting the Hidden Dimension Nova (2008)]

== A look into eugenics ==
[http://ideonexus.com/2007/12/02/the-complex-william-jennings-bryan/ The Complex William Jennings Bryan]

== All about nothing ==

the word nothing defines emptiness

the inexistence of emptiness

what is vacuum

== Considerations about euthanasia ==

== Generalities of story telling ==

== Recipes for jokes, gags and all things funny ==

== The secret for invisibility ==

== Introduction to Human Genetics ==
{{TODO|[https://www.huffingtonpost.com/map-happy/is-there-really-a-wanderl_b_7057672.html Wanderlust Gene]}}

=== Environmental influences on the human body ===
'''You are what you eat'''
[http://blogs.discovermagazine.com/80beats/2011/09/21/what-you-eat-affects-your-genes-rna-from-rice-can-survive-digestion-and-alter-gene-expression/ Foodstuff genetic material, microRNA, of has been detected in the human blood stream. Animal trials in mice demonstrated that they change how genes are expressed]

[[Metabolomics]]

the impact of natural birth to the baby immune system (the problem with cesareans)

teeth and mouth flora

the tonsils

epigenetic modifications

stomach flora

the human toleration to non-human milk

the function of the appendix

== Towards Immortality ==
Death the great equalizer, the ultimate motivator. But without the uncertainty of it, how long could you endure your existence as it is?

[https://science.slashdot.org/story/16/04/23/0434208/first-successful-gene-therapy-against-human-aging? First Successful Gene Therapy Against Human Aging?]

=== Death: Defining mortality ===

==== Death ====
While there are many causes for death the primary one result of a common cause, protein damage. It is at the core of the large number of chronic degenerative diseases that makes death a certainty.

Clinically dead

Brain dead

==== Self ====

=== Immortality vs Eternal Life ===

Cloning

Brain and Head Transplant

Metabolic/Life suspension

=== An examination of trans-humanism ===
[[w:Transhumanism]]

Brain digitalization / Simulation

==== Faith vs Science ====

Cryogenics (Alcor: Life Extension foundation)

==== Religion's thoughts on the subject ====

Religions that profess reincarnation as a dogmatic basis, like Hinduism, should be incompatible with most forms of immortality except consciousness duplication/simulation and Buddhism would probably even oppose the preservation of a static duplicate of consciousness as it would be prevented from transcending. On the other hand Abrahamic religions may be more accommodating, Judahism will probably be the more lenient, by Christianity will have to drastically evolve a response due to its core dogmas around resurrection and the ultimate transcendence.

=== Social-Economical Impact ===

==== Rights ====

==== Cost ====

==== Cost vs Return ====
Space, Resources, Evolutionary drive

==== How far is forever ? ====

=== Sources/Refs ===
[https://www.youtube.com/watch?v=pKjtLOOBqgk 1956, Orson welles, The Fountain of Youth]
| [http://www.imdb.com/title/tt6961638/ Waiting for Immortality]*

== Investment strategies before and after a calamity ==
{{Quotation|Where there is ruin, there is hope for treasures.|Rumi, the poet.}}

== Five senses and counting... ==
{{TODO|This book should explain and explore all the human senses and examine other animals as also cover attempts to expand and extend them beyond}}

=== Smell ===
The sense of smell is extremely interconnected with memory, as its the only sense that can be said to be directly connected to the limbic system of the brain, making emotional connection easy to form, retain and prime especially at a subconscious level. Since about 20% of all human communication is rational (at a conscious aware level) and the rest is emotional smell gets primacy. Olfactory receptors have also been found across the human body from the intestines to sperm, so we don't sense smell only with our noses.

Humans share many of the &quot;lower&quot; animals reactions to smell, for example the smell of a male (a smell that is similar in all mammalians) increases the stress level of the sensing mammal, from mice to men, this reaction reduces sensitivity to pain. It is also observable that smell in humans seem to have evolved due to how geographically mobile our species is and the pressing need to use it to select for food and check the safety of environment, this plasticity is observable in how the sense diverges across cultures, for example in relation to fermentation of chases or yogurts or even beer, how we are culturally and social conditioned on our reactions of disgust and expectations in regards to smell making it also very easy to have olfactory illusions.        

Smell alone can bring us to tears on happy recolection, excitement even salivation even before we conscious define what motivates the reaction. Smell is, alike tactile sensations, one of our most important senses. Taking primacy even over vision and is interlinked with the sense of taste. It is also one of our first senses to develop and one that conditions our psyche as we develop, from the response we keep regarding the vanilla like sent of breast milk that is linked to positive emotions. Odor can inform us of age, disponibility and viability for reproduction, level of stress/aggressiveness, fear, even simply what and if someone ate recently.

== On the concept of nation ==

== Primer for Open Source licenses ==

== Strategies for security ==

=== The nature of security ===

=== In the natural world ===

==== Lessons from biology ====

=== Security across history ===

== Gears of History ==
[[w:Gear]]

=== The Antikythera mechanism ===
[[w:Antikythera mechanism|Antikythera mechanism]]

=== Mechanical Clock ===
[[w:Clock]]

== Secret Societies ==

== Criminality in the 21st Century ==

{{TODO|See [[Lentis]].}}

=== The decline of physical cash ===
Robing a slaughter house for the meat will have a greater return and a lesser risk that to steal a motorcycle.

=== The rise of digital goods ===

==== Digital scrap yards ====
Remember the time that scrap yards were used by criminals, especially organized crime, not only to dispose of incrimination material but to reuse vehicle's licenses. In the digital age the created digital scrap yard is not only a literal gold mine (since there are indeed gold on those hill) but there is also a huge amount of sensitive and valuable data.

{{TODO|Mine [http://hardware.slashdot.org/story/13/04/02/2015254/wiping-a-smartphone-still-leaves-data-behind Wiping a Smartphone Still Leaves Data Behind]}}

The value is not only found in the rare minerals that are necessary in create the digital tools but there is a myriad of after-market &quot;business&quot; opportunities. From shady recycling are reselling of discarded but still &quot;functional&quot; trash to the booming illegal (but often non opposed) export of trash that local regulations would deem as environmental hazardous to more &quot;understanding&quot; locations.

==== Cybercrime ====
{{TODO|Mine [http://news.slashdot.org/story/12/08/03/1817216/the-1-trillion-cybercrime-myth The $1 Trillion Cybercrime Myth]}}

==== Data for ransom and blackmail ====

==== IT infrastructure as a extortion hostage ====
{{TODO|Mine [http://tech.slashdot.org/story/13/04/03/0313212/cyber-criminals-tying-up-emergency-phone-lines-through-tdos-attacks-dhs-warns Cyber Criminals Tying Up Emergency Phone Lines Through TDoS Attacks, DHS Warn]}}

=== It is all monetized now... ===

==== Insurance scams ====

=== Online black market ===
{{TODO|Mine [http://yro.slashdot.org/story/12/04/30/1855207/how-online-black-markets-work How Online Black Markets Work]}}

==== Bitcoins ====
{{TODO|[Mine [http://liveweb.archive.org/http://www.wired.com/threatlevel/2012/05/fbi-fears-bitcoin FBI Fears Bitcoin’s Popularity with Criminals]}}

=== Change of focus ===
{{TODO|[http://yro.slashdot.org/story/11/11/09/222259/biofuel-thieves-steal-restaurant-grease Biofuel Thieves Steal Restaurant Grease]}}

== Psychedelic reality ==

{{TODO|Cover Santo Daime, ayahuasca, [[wikipedia:The Doors of Perception]]}}

== On the subject of skepticism ==

== Cannibalism‎‎ across the ages ==

== Analyzing cheating ==
{{TODO|[http://news.slashdot.org/story/11/11/07/221228/survey-finds-cheating-among-students-at-all-gpa-levels Survey Finds Cheating Among Students At All GPA Levels]}}

== On death and taxes ==
{{TODO|[http://politics.slashdot.org/story/11/11/08/1321208/bill-gates-advocates-tax-on-financial-transactions Bill Gates Advocates Tax On Financial Transactions]}}

== Out of the box ==
A work about believable ideas, and supporting theories, that failed to fully materialize, by simple physical impossibility or lack of resources (time, contextual practicality) and other factors.

The human creativity is endless, as we imagine the impossible we extend the boundaries of reality. (me)

[[w:Dean drive]], [[w:Hieronymus machine]]

== Taking apart a literary work ==
{{TODO|aka Reverse engineering a literary work}}

== Feminisms and Society ==

== Intellectual property and Copyright history ==

== Weapons fabrication and modification ==

== Behind physics ==

=== Water ===

Hydrogen also has another interesting implication, for instance in endothermic reactions it affect the flame temperature that substances can reach, for instance the endothermic dissociation of water, around the 2000°C prevents flames temperatures to rise above 3000°-4000°C. This is why Dicyanoacetylene a compound of carbon and nitrogen with chemical formula C4N2 is has the record of burning in oxygen at a temperature of 4990°C fallowed by Cyanogen also carbon and nitrogen with chemical formula C2N2 that burns at ~4525°C.

== The &quot;free&quot; energy paradox ==

=== Economic effect ===
{{TODO|Discuss the issue of (and mine) [[wikipedia:Nuclear transmutation|Nuclear transmutation]] and [[wikipedia:Synthesis of precious metals|Synthesis of precious metals]]}}

=== Social effect ===
{{TODO|The rise of the machine age}}

=== Military implications ===

== Skeptic's handbook ==

== Guide of Presence, Presentation and Body-language ==

== What is up with Pyramids ==

=== Architecture ===

== Over-unity, the fight against thermodynamics ==

{{TODO| [[wikipedia|History of perpetual motion machines]]}}

== Dark - something - ==
{{TODO| [http://www.huffingtonpost.com/entry/dragonfly-44-dark-matter_us_57c0b0f6e4b04193420f3d41 Why The Discovery Of The Milky Way's 'Dark Twin' Is Such A Big Deal], [[w:Dark matter]] }}

== What is food ? ==

=== Function of food ===

=== Availability of food ===

Sustainable food 

=== Foood's properties ===

Protein

=== New food items ===

Fungal protein (mycoprotein) as food is present in mushrooms but also in present in products like [[w:Pekilo]]|Pekilo (invented in the 1970s, the world’s first commercial mycoprotein that also contains some fibers). Previously used as animal feed, but recently it has refined for human consumption). Finnish company Enifer is building a factory slated for completion by the end of 2025, where it will produce it in a way that would make it no more expensive than plant-based similar products. In the plant it it will grow the fungus in a fermentation tank, then heat-treat and harvest the biomass  with centrifuges resulting in a bioproduct similar to Tofu in aspect that will then be dried with hot air and milled into a powder. Finished Pekilo may be used as an ingredient to non animal meat synthesis or to enrich any other cereal mixes with protein.</text>
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      <text bytes="1045" sha1="jny7202ccf1oreqbftyawiqsdfuujbh" xml:space="preserve">Book projects - [[User:Panic2k4/Sandbox/On UFOs|On UFOs]] - [[User:Panic2k4/Sandbox/Using Metakit|Using Metakit]]
----
EC++ http://www.caravan.net/ec2plus/ (Jun 6, 2002)
[[w:Embedded C++]]
[[User:Panic2k4/Sandbox| (WIKI) No Rights FAQ Page]]
----
http://en.wikibooks.org/wiki/User:Thenub314/wikibreak
http://en.wikibooks.org/w/index.php?title=Talk%3ADrugs%3AFact_and_Fiction&amp;action=historysubmit&amp;diff=1875609&amp;oldid=1874121
http://en.wikibooks.org/w/index.php?title=Drugs%3AFact_and_Fiction%2FIntroduction&amp;action=historysubmit&amp;diff=1876311&amp;oldid=1221271
http://en.wikibooks.org/w/index.php?title=Drugs%3AFact_and_Fiction%2FGeneral&amp;action=historysubmit&amp;diff=1876353&amp;oldid=1730415
http://en.wikibooks.org/w/index.php?title=Drugs%3AFact_and_Fiction%2FMarijuana&amp;action=historysubmit&amp;diff=1875756&amp;oldid=1785012
----
'''Panic's Wikibooks Skin'''&lt;br&gt;
[[:User:Panic2k4/myskin.css|My Skin]]
----
'''Bold'''&lt;br&gt;
''Italic''&lt;br&gt;
'''''Bold Italic'''''&lt;br&gt;
&lt;u&gt;'''Bold Underlined'''&lt;/u&gt;&lt;br&gt;
&lt;u&gt;''Italic Underlined''&lt;/u&gt;&lt;br&gt;
&lt;u&gt;'''''Bold Italic'''''&lt;/u&gt;&lt;br&gt;
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    <title>Abstract Algebra/Group Theory/Homomorphism/Kernel of a Homomorphism is a Subgroup</title>
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      <text bytes="3706" sha1="1u5r0itxlhrqkpqxil3wjry03nn04gg" xml:space="preserve">=Theorem=
Let ''f'' be a [[../Definition of Homomorphism, Kernel, and Image|homomorphism]] from [[../../Group/Definition of a Group|group]] &lt;&lt;span style=&quot;color:Blue&quot;&gt;G&lt;/span&gt; to [[../../Group/Definition of a Group|group]] &lt;&lt;span style=&quot;color:Green&quot;&gt;K&lt;/span&gt;.
Let &lt;&lt;span style=&quot;color:green&quot;&gt;''e''&lt;sub&gt;K&lt;/sub&gt;&lt;/span&gt; be [[../../Group/Definition of a Group/Definition of Identity|identity]] of &lt;&lt;span style=&quot;color:Green&quot;&gt;K&lt;/span&gt;.

:[[../Definition of Homomorphism, Kernel, and Image|&lt;math&gt; {\text{ker}}~ f = \lbrace g \in G \; | \;  f(g) = {\color{OliveGreen}e_{K}} \rbrace&lt;/math&gt;]] is a [[../../Subgroup/Definition of a Subgroup|subgroup]] of &lt;span style=&quot;color:Blue&quot;&gt;G&lt;/span&gt;.

=Proof=
==&lt;span style=&quot;color:Sienna&quot;&gt;Identity&lt;/span&gt;==
:{|Style = &quot;width:75%;boarder:1px&quot;
|-
|0. &lt;math&gt;f({\color{Blue}e_{G}}) = {\color{OliveGreen}e_{K}}&lt;/math&gt;
|| [[../Homomorphism Maps Identity to Identity|homomorphism maps identity to identity]]
|-
|1. &lt;math&gt; {\color{Blue}e_{G}} \in \lbrace g \in G \; | \;  f(g) = {\color{OliveGreen}e_{K}} \rbrace &lt;/math&gt;
|| 0. and [[../../Group/Definition of a Group/Definition of Identity|&lt;math&gt; {\color{Blue}e_{G}} \in G&lt;/math&gt;]]
|-
|.||
|-
|
:
|2. Choose &lt;math&gt; k \in \text{ker} f&lt;/math&gt; &amp;nbsp; where &amp;nbsp; &lt;math&gt;\text{ker} f = \lbrace g \in G \; | \;  f(g) = {\color{OliveGreen}e_{K}} \rbrace &lt;/math&gt;||
     |-
|
:3. &lt;math&gt; k \in G&lt;/math&gt;
|| 2.
     |-
|
:4. &lt;math&gt; {\color{Blue}e_{G}} \ast k = k \ast {\color{Blue}e_{G}} = k&lt;/math&gt;
|| [[../../Group/Definition of a Group/Definition of Identity#Usage3|''k'' is in G and &lt;&lt;span style=&quot;color:blue&quot;&gt;''e''&lt;sub&gt;G&lt;/sub&gt;&lt;/span&gt; is identity of G&lt;small&gt;(usage3)&lt;/small&gt;]] 
     |-
|.
||
     |-
|5. &lt;math&gt; \forall \; g \in G: e_{G} \ast g = g \ast e_{G} = g&lt;/math&gt;
|| 2, 3, and 4.
     |-
|6. &lt;math&gt; {\color{Blue}e_{G}}&lt;/math&gt; is identity of  &lt;math&gt; \text{ker} \; f&lt;/math&gt;
|| [[../../Group/Definition of a Group/Definition of Identity#Usage4|definition of identity&lt;small&gt;(usage 4)&lt;/small&gt;]] 
|}

==&lt;span style=&quot;color:Sienna&quot;&gt;Inverse&lt;/span&gt;==
:{|Style = &quot;width:75%;boarder:1px&quot;
     |-
|0. Choose &lt;math&gt; {\color{OliveGreen}k} \in \lbrace g \in G \; | \;  f(g) = e_{K} \rbrace &lt;/math&gt;||
     |-
| 
:1. &lt;math&gt; f({\color{OliveGreen}k}) = e_{K} &lt;/math&gt;
|| 0.
     |-
| 
:2. &lt;math&gt; {\color{OliveGreen}k} \ast {\color{BrickRed}k^{-1}} = {\color{BrickRed}k^{-1}} \ast {\color{OliveGreen}k} = e_{G} &lt;/math&gt;
|| [[../../Group/Definition of a Group/Definition of Inverse#Usage3|definition of inverse in G &lt;small&gt;(usage 3)&lt;/small&gt;]]
     |-
| 
:3. &lt;math&gt; f({\color{BrickRed}k^{-1}}) = [e_{K}]^{-1} = e_{K} &lt;/math&gt;
|| [[../Homomorphism Maps Inverse to Inverse|homomorphism maps inverse to inverse]]
     |-
| 
:4. &lt;&lt;span style=&quot;color:green&quot;&gt;''k''&lt;/span&gt; has inverse &lt;&lt;span style=&quot;color:FireBrick&quot;&gt; ''k''&lt;sup&gt;-1&lt;/sup&gt;&lt;/span&gt; in ker ''f''
|| 2, 3, and [[#Identity|''e''&lt;sub&gt;G&lt;/sub&gt; is identity of ker ''f'']]
     |-
| 5. Every element of ker ''f'' has an inverse.
|}

==&lt;&lt;span style=&quot;color:Sienna&quot;&gt;Closure&lt;/span&gt;==
:{|Style = &quot;width:75%;boarder:1px&quot;
     |-
|0. Choose &lt;math&gt; x, y \in \lbrace g \in G \; | \;  f(g) = e_{K} \rbrace &lt;/math&gt;||
     |-
|
:1. &lt;math&gt; f(x) = f(y) = e_{K}&lt;/math&gt;
|| 0.
     |-
|
:2. &lt;math&gt; f(x \ast y) = f(x) \circledast f(y)&lt;/math&gt;
|| ''f'' is a homomorphism
     |-
|
:3. &lt;math&gt; f(x \ast y) = e_{K} \circledast e_{K} = e_{K}&lt;/math&gt;
|| 1. and ''e''&lt;small&gt;K&lt;/small&gt; is identity of K
     |-
|
:4. &lt;math&gt; x \ast y \in \lbrace g \in G \; | \;  f(g) = e_{K} \rbrace&lt;/math&gt;
||
|}
==&lt;&lt;span style=&quot;color:Sienna&quot;&gt;Associativity&lt;/span&gt;==
:{| Style =&quot;width:60%&quot;
     |-
| 0. ker ''f'' is a subset of G||
     |-
| 1. &lt;math&gt;\ast&lt;/math&gt; is associative in G||
     |-
| 2. &lt;math&gt;\ast&lt;/math&gt; is associative in ker ''f'' || 1 and 2
|}
{{BookCat}}</text>
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    <title>Aros/User/Applications</title>
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==Introduction==


[[#Graphical Image Editing Art]]
[[#Office Application]]
[[#Audio]]

[[#Misc Application]]
[[#Games &amp; Emulation]]

[[#Application Guides]]

[[#top|...to the top]]


[[#top|...to the top]]

Most apps can be opened on the Workbench (aka publicscreen pubscreen) which is the default display option but can offer a custom one set to your configurations (aka custom screen mode promotion). These custom ones tend to stack so the possible use of A-M/A-N method of switching between full screens and the ability to pull down screens as well 

If you are interested in creating or porting new software, see [http://en.wikibooks.org/wiki/Aros/Developer/Docs here]

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Internet Applications 
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Web Online Browser [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/browser Odyssey 2.0], [https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1175&amp;highlight=odyssey&amp;rowstart=100 Odyssey 3.0], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/comm/www Amelinium], [https://blog.alb42.de/programs/amifox/ amifox] with [https://github.com/alb42/wrp wrp server], IBrowse*, Voyager*, [https://github.com/amigazen/aweb3/ AWeb 3.6 src], [https://github.com/matjam/aweb AWeb Src], [http://aminet.net/package/comm/www/NetSurf-m68k-sources Netsurf], [], 
|&lt;!--AmigaOS4--&gt;[ Odyssey OWB], [ Timberwolf (Firefox port 2011)], [http://amigaworld.net/modules/newbb/viewtopic.php?forum=32&amp;topic_id=32847 OWB-mui], [http://strohmayer.org/owb/ OWB-Reaction], IBrowse*, [http://os4depot.net/index.php?function=showfile&amp;file=network/browser/aweb.lha AWeb], Voyager, [http://www.os4depot.net/index.php?function=browse&amp;cat=network/browser Netsurf], 
|&lt;!--MorphOS--&gt;Wayfarer, [http://fabportnawak.free.fr/owb/ Odyssey OWB], [ Netsurf], IBrowse*, AWeb, [], 
|-
|&lt;!--Sub Menu--&gt;YouTube Viewing and downloading videos 
|&lt;!--AROS--&gt;Odyssey 2.0 can show Youtube webpage, [https://blog.alb42.de/amitube/ Amitube], 
|[https://blog.alb42.de/amitube/ Amitube], [https://github.com/YePpHa/YouTubeCenter/releases or this one], 
|[https://blog.alb42.de/amitube/ Amitube], getVideo, Tubexx, [https://github.com/walkero-gr/aiostreams aiostreams], 
|[ Wayfarer], [https://blog.alb42.de/amitube/ Amitube],Odyssey (OWB), [http://morphos.lukysoft.cz/en/vypis.php?kat=5 getVideo], Tubexx 
|-
|&lt;!--Sub Menu--&gt;E-mailing SMTP POP3 IMAP based 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/email SimpleMail], [http://sourceforge.net/projects/simplemail/files/ src], [https://github.com/jens-maus/yam YAM] 
|&lt;!--Amiga OS--&gt;[http://sourceforge.net/projects/simplemail/files/ SimpleMail], [https://github.com/jens-maus/yam YAM]
|&lt;!--AmigaOS4--&gt;SimpleMail, YAM, 
|&lt;!--MorphOS--&gt; SimpleMail, YAM
|-
|&lt;!--Sub Menu--&gt;IRC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat WookieChat], [https://sourceforge.net/projects/wookiechat/ Wookiechat src], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat AiRcOS], Jabberwocky, 
|&lt;!--Amiga OS--&gt;Wookiechat, AmIRC 
|&lt;!--AmigaOS4--&gt;Wookiechat 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Wookiechat], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 AmIRC], 
|-
|&lt;!--Sub Menu--&gt;Instant Messaging IM like [https://github.com/BlitterStudio/amidon Hollywood lang based Mastodon client], BlueSky AT protocol, Facebook(TM), Twitter X (TM), Bitlbee IRC Gateway and others 
|&lt;!--AROS--&gt;[https://github.com/kaffeine1/telegram-amiga telegram-amiga], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat jabberwocky], 
|&lt;!--Amiga OS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], CLIMM, SabreMSN, jabberwocky, 
|&lt;!--AmigaOS4--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], SabreMSN,
|&lt;!--MorphOS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 PolyglotNG], SabreMSN,
|-
|&lt;!--Sub Menu--&gt;Torrents 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/p2p ArTorr], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;CTorrent, Transmission 
|&lt;!--MorphOS--&gt;MLDonkey, Beehive, [http://morphos.lukysoft.cz/en/vypis.php?kat=5 Transmission], CTorrent, 
|-
|&lt;!--Sub Menu--&gt;FTP 
|&lt;!--AROS--&gt;Plugin included with Dopus Magellan, MarranoFTP, 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/comm/tcp/AmiFTP AmiFTP], AmiTradeCenter, ncFTP, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Pftp], [http://aminet.net/package/comm/tcp/AmiFTP-1.935-OS4 AmiFTP], 
|-
|&lt;!--Sub Menu--&gt;WYSIWYG Web Site Editor
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Internet Radio Streaming Audio [http://www.gnu.org/software/gnump3d/ gnump3d], [http://www.icecast.org/ Icecast2] Server (Broadcast) and Client (Listen), [ mpd], [http://darkice.sourceforge.net/ DarkIce], [http://www.dyne.org/software/muse/ Muse], 
|&lt;!--AROS--&gt;Mplayer (Icecast Client only), 
|&lt;!--Amiga OS--&gt;[https://github.com/sandlbn/TuneFinder TuneFinder C Src], [https://github.com/sandlbn/TuneFinderMUI TuneFinderMUI], [http://amigazeux.net/anr/ AmiNetRadio], [], [], 
|&lt;!--AmigaOS4--&gt;[http://www.tunenet.co.uk/ Tunenet], 
|&lt;!--MorphOS--&gt;Mplayer, AmiNetRadio, 
|-
|&lt;!--Sub Menu--&gt;VoIP (Voice over IP) with SIP Client (Session Initiation Protocol) or Asterisk IAX2 Clients Softphone (skype like) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;AmiPhone with Speak Freely, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Weather Forecast 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ WeatherBar], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench AWeather], []
|&lt;!--Amiga OS--&gt;[http://amigazeux.net/wetter/ Wetter], [https://github.com/emartisoft/AmiWeatherForecasts AmiWeatherForecasts src], 
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/?function=showfile&amp;file=utility/workbench/flipclock.lha FlipClock], 
|&lt;!--MorphOS--&gt;[http://amigazeux.net/wetter/ Wetter], 
|-
|&lt;!--Sub Menu--&gt;Street Road Maps Route Planning GPS Tracking  
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/muimapparium/ MuiMapparium] [https://build.alb42.de/ Build of MuiMapp versions], 
|&lt;!--Amiga OS--&gt;AmiAtlas*, UKRoutePlus*, [http://blog.alb42.de/ AmOSM], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://blog.alb42.de/programs/mapparium/ Mapparium], 
|-
|&lt;!--Sub Menu--&gt;Clock and Date setting from the internet (either ntp or websites) [https://www.timeanddate.com/worldclock/ World Clock], [http://www.time.gov/ NIST], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc ntpsync],  
|&lt;!--Amiga OS--&gt;ntpsync 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Newsgroups
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[http://newscoaster.sourceforge.net/ Newscoaster], [https://github.com/jens-maus/newsrog NewsRog], [ WorldNews], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Graphical Image Editing Art==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Image Editing
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Pixel Raster Artwork [https://github.com/LibreSprite/LibreSprite LibreSprite based on GPL aseprite], [https://github.com/abetusk/hsvhero hsvhero], [], 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/ZunePaint/ ZunePaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit LunaPaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit GrafX2], [ LodePaint needs OpenGL], 
|&lt;!--Amiga OS--&gt;[http://www.amigaforever.com/classic/download.html PPaint], GrafX2, [https://github.com/grovdata/Amiga_Sources/blob/master/software.md DeluxePaint], [http://www.amiforce.de/perfectpaint/perfectpaint.php PerfectPaint], Zoetrope, Brilliance2*, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit LodePaint], GrafX2, 
|&lt;!--MorphOS--&gt;Sketch, Pixel*, GrafX2, [http://morphos.lukysoft.cz/en/vypis.php?kat=3 LunaPaint]
|-
|&lt;!--Sub Menu--&gt;Image viewing 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LookHere], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LoView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer PicShow] , [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--Amiga OS--&gt;PicShow, PicView, Photoalbum,
|&lt;!--AmigaOS4--&gt;WarpView, PicShow, flPhoto, Thumbs, [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album]
|-
|&lt;!--Sub Menu--&gt;Photography retouching / Image Manipulation like Photoshop(tm)  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOEffects], [https://sourceforge.net/projects/zunetools/files/ ZunePaint], [http://sourceforge.net/projects/zunetools/files/ ZuneView], 
|&lt;!--Amiga OS--&gt;[ Tecsoft Video Paint aka TVPaint], Photogenics*, ArtEffect*, ImageFX*, XiPaint, fxPaint, ImageMasterRT, Opalpaint, 
|&lt;!--AmigaOS4--&gt;WarpView, flPhoto, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit Photocrop]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], ImageFX*, 
|-
|&lt;!--Sub Menu--&gt;Manage RAW picture folder galleries like Darktable, RAWtherapy, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Graphic Format Converter - ICC profile support sRGB, Adobe RGB, XYZ and linear RGB 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;GraphicsConverter, ImageStudio, [http://www.coplabs.org/artpro.html ArtPro]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Thumbnail Generator [], 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/shell Thumbnail Generator]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Icon Editor
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/iconedit Archives], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench Icon Toolbox], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/iconedit IconEditor]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Pixel Art Animation 
|&lt;!--AROS--&gt;Lunapaint
|&lt;!--Amiga OS--&gt;PPaint, AnimatED, Scala*, GoldDisk MovieSetter*, Walt Disney's Animation Studio*, ProDAD*, [https://github.com/historicalsource/DeluxePaint DeluxePaint src], Brilliance
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 Titler] 
|-
|&lt;!--Sub Menu--&gt;2D SVG based MovieSetter type 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;MovieSetter*, Fantavision*
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Morphing 
|&lt;!--AROS--&gt;[ GLMorph]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Cad (qcad-&gt;LibreCAD, etc.) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Xcad, MaxonCAD
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Cad like FreeCad, BRL-CAD, OpenSCAD, AvoCADo, etc. using dxf, obj (vertices), blend, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;XCad3d*, DynaCADD*, Cycas, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Model Rendering of glft (json) gbl (png jpg), usdz (USD files with materials, textures, and animations), FBX Filmbox is a proprietary Autodesk format, 
|&lt;!--AROS--&gt;POV-Ray
|&lt;!--Amiga OS--&gt;[http://www.discreetfx.com./amigaproducts.html CINEMA 4D]*, POV-Ray, Lightwave3D*, Real3D*, Caligari24*, Reflections/Monzoom*, [https://github.com/privatosan/RayStorm Raystorm src], Tornado 3D
|&lt;!--AmigaOS4--&gt;Blender, POV-Ray, Yafray
|&lt;!--MorphOS--&gt;Blender, POV-Ray, Yafray
|-
|&lt;!--Sub Menu--&gt;3D Format Converter [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=showfile&amp;file=graphics/convert/ivcon.lha IVCon]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen grabbing display 
|&lt;!--AROS--&gt;[ Screengrabber], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc snapit], [http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record screen recorder], []
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Grab graphics music from apps [https://github.com/Malvineous/ripper6 ripper6], [],
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Office Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Office
!width:10%;|AROS (x86)
!width:10%;|[http://en.wikipedia.org/wiki/Amiga_software Commodore-Amiga OS 3.1] (68k)
!width:10%;|[http://en.wikipedia.org/wiki/AmigaOS_4 Hyperion OS4] (PPC)
!width:10%;|[http://en.wikipedia.org/wiki/MorphOS MorphOS] (PPC)
|-
|&lt;!--Sub Menu--&gt;Word-processing 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=office/wordprocessing Cinnamon Writer], [https://finalwriter.godaddysites.com/ Final Writer 7*], [https://github.com/sodero/MUI-Vim/releases MUI-Vim], [ ], 
|&lt;!--AmigaOS--&gt;[ Softwood FinalCopy II*], Haage AmigaWriter*, Digita WordWorth*, Softwood FinalWriter*, Micro-Systems Excellence 3*, Arnor Protext, Rashumon, [ InterWord], [ KindWords], [WordPerfect], [ New Horizons Flow], [ CygnusEd Pro], [ Micro-systems Scribble], 
|&lt;!--AmigaOS4--&gt;AbiWord, [ CinnamonWriter]
|&lt;!--MorphOS--&gt;[ Cinnamon Writer], [http://www.meta-morphos.org/viewtopic.php?topic=1246&amp;forum=53 scriba], [http://morphos.lukysoft.cz/en/index.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Spreadsheets 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/leu/ Leu], [https://archives.arosworld.org/index.php?function=browse&amp;cat=office/spreadsheet], 
|&lt;!--AmigaOS--&gt;[https://aminet.net/package/biz/spread/ignition-src Ignition Src 1.3], [MaxiPlan 500 Plus], [OXXI Plan/IT v2.0 Speadsheet], [ Superplan], [ Creative Developments TurboCalc], [ ProCalc], [ InterSpread], [Digita DGCalc], [ Gold Disk Advantage], [ Micro-systems Analyze!]
|&lt;!--AmigaOS4--&gt;Gnumeric, [https://ignition-amiga.sourceforge.net/ Ignition], 
|&lt;!--MorphOS--&gt;[ ignition], [http://morphos.lukysoft.cz/en/vypis.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Presentations
|&lt;!--AROS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, 
|&lt;!--Amiga OS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, MediaPoint, PointRider, Scala*, 
|&lt;!--Amiga OS4--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider 
|&lt;!--MorphOS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider
|-
|&lt;!--Sub Menu--&gt;Databases 
|&lt;!--AROS--&gt;[http://sdb.freeforums.org/ SDB], [http://archives.arosworld.org/index.php?function=browse&amp;cat=office/database BeeBase], 
|&lt;!--Amiga OS--&gt;Precision Superbase 4 Pro*, Arnor Prodata*, BeeBase, Datastore, FinalData*, AmigaBase, Fiasco, Twist2*, [Digita DGBase], [], 
|&lt;!--AmigaOS4--&gt;BeeBase, SQLite, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=6 BeeBase], 
|-
|&lt;!--Sub Menu--&gt;PDF Viewing and editing digital signatures 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/arospdf/ ArosPDF via splash], [https://github.com/wattoc/AROS-vpdf vpdf wip], 
|&lt;!--Amiga OS--&gt;APDF 
|&lt;!--AmigaOS4--&gt;AmiPDF 
|&lt;!--MorphOS--&gt;APDF, vPDF, 
|-
|&lt;!--Sub Menu--&gt;Printing 
|&lt;!--AROS--&gt;Postscript 3 laser printers and Ghostscript internal, [ GutenPrint], 
|&lt;!--Amiga OS--&gt;[http://www.irseesoft.de/tp_what.htm TurboPrint]* 
|&lt;!--AmigaOS4--&gt;(some native drivers), 
|&lt;!--MorphOS--&gt;early TurboPrint included, 
|-
|&lt;!--Sub Menu--&gt;Note Taking markdown support like joplin, OneNote, EverNote Notes, xournalpp, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Study and analyse, collect, organize, annotate, cite, and share
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PIM Personal Information Manager - Day Diary Planner Calendar App 
|&lt;!--AROS--&gt;[ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;Digita Organiser*, On The Ball, Everyday Organiser, [ Contact Manager], 
|&lt;!--AmigaOS4--&gt;AOrganiser, 
|&lt;!--MorphOS--&gt;[http://polymere.free.fr/orga_en.html PolyOrga], 
|-
|&lt;!--Sub Menu--&gt;Accounting
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=office/misc ETB], LoanCalc, [ ], [ ], [ ], 
|[ Digita Home Accounts2], Accountant, Small Business Accounts, Account Master, [ Amigabok], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Project Management Research 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;SuperGantt, SuperPlan, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System Wide Dictionary - multilingual [http://sourceforge.net/projects/babiloo/ Babiloo], [http://code.google.com/p/stardict-3/ StarDict], 
|&lt;!--AROS--&gt;[ ],  
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System wide Thesaurus - multi lingual
|&lt;!--AROS--&gt;[ ], 
|Kuma K-Roget*, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Sticky Desktop Notes (post it type) 
|&lt;!--AROS--&gt;[http://aminet.net/package/util/wb/amimemos.i386-aros AmiMemos], [https://aminet.net/package/util/wb/amimemos.src-aros AmiMemos Src], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/util/wb/StickIt-2.00 StickIt v2], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DTP Desktop Publishing 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOPublisher], 
|&lt;!--Amiga OS--&gt;[http://pagestream.org/ Pagestream]*, Professional Pro Page*, Saxon Publisher, Pagesetter, PenPal, 
|&lt;!--AmigaOS4--&gt;[http://pagestream.org/ Pagestream]* 
|&lt;!--MorphOS--&gt;[http://pagestream.org/ Pagestream]* 
|-
|&lt;!--Sub Menu--&gt;Scanning 
|&lt;!--AROS--&gt;[ SCANdal], [], 
|&lt;!--Amiga OS--&gt;FxScan*, ScanQuix* 
|&lt;!--AmigaOS4--&gt;SCANdal (Sane)
|&lt;!--MorphOS--&gt;SCANdal
|-
|&lt;!--Sub Menu--&gt;OCR
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/convert gOCR] 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos-files.net/categories/office/text Tesseract] 
|-
|&lt;!--Sub Menu--&gt;Text Editing
|&lt;!--AROS--&gt;Jano Editor (already installed as Editor), [http://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit EdiSyn], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit Annotate], [https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Vim], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd] [https://github.com/vidarh/FrexxEd src], [ NoWinEd], 
|&lt;!--Amiga OS--&gt;Annotate, MicroGoldED/CubicIDE*, CygnusED*, Turbotext, Protext*, NoWinED, 
|&lt;!--AmigaOS4--&gt;Notepad, Annotate, CygnusED*, NoWinED, 
|&lt;!--MorphOS--&gt;MorphOS ED, NoWinED, GoldED/CubicIDE*, CygnusED*, Annotate, 
|-
|&lt;!--Sub Menu--&gt;Office Fonts [http://sourceforge.net/projects/fontforge/files/fontforge-source/ Font Designer] 
|&lt;!--AROS--&gt;[ ], [ ], 
|&lt;!--Amiga OS--&gt;TypeSmith*, SaxonScript (GetFont Adobe Type 1), 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Drawing Vector
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/amifig/ ZuneFIG previously AmiFIG]
|&lt;!--Amiga OS--&gt;Drawstudio*, ProVector*, ArtExpression*, Professional Draw*, AmiFIG, MetaView, [https://gitlab.com/amigasourcecodepreservation/designworks Design Works Src], [], 
|&lt;!--AmigaOS4--&gt;MindSpace, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit amifig], 
|&lt;!--MorphOS--&gt;SteamDraw, [http://aminet.net/package/gfx/edit/amifig amiFIG], 
|-
|&lt;!--Sub Menu--&gt;video conferencing (jitsi) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;source code hosting
|&lt;!--AROS--&gt;Gitlab, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (server)
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/VNC_Server ArosVNCServer], 
|&lt;!--Amiga OS--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC], [http://dspach.free.fr/amiga/avnc/index.html AVNC]
|&lt;!--AmigaOS4--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC] 
|MorphVNC, vncserver
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (client) login and connect to another machine 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/VNC_Client/ ArosVNC], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc rdesktop], 
|&lt;!--Amiga OS--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://dspach.free.fr/amiga/vva/index.html VVA], [http://www.hd-zone.com/ RDesktop]
|&lt;!--AmigaOS4--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|-
|&lt;!--Sub Menu--&gt;notifications 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Ranchero 
|&lt;!--AmigaOS4--&gt;Ringhio 
|&lt;!--MorphOS--&gt;MagicBeacon 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Audio==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Audio
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing playback Audio like MP3, [https://github.com/chrg127/gmplayer NSF], [https://github.com/kode54/lazyusf miniusf .usflib], [], etc 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer], [ HarmonyPlayer hp], [http://www.a500.org/downloads/audio/index.xhtml playcdda] CDs, [ WildMidi Player], [https://bszili.morphos.me/ UADE mod player], [], [RNOTunes ], [ mp3Player], [], 
|&lt;!--Amiga OS--&gt;AmiNetRadio, AmigaAmp, playOGG, 
|&lt;!--AmigaOS4--&gt;TuneNet, SimplePlay, AmigaAmp, TKPlayer
|AmiNetRadio, Mplayer, Kaya, AmigaAmp
|-
|&lt;!--Sub Menu--&gt;Editing Audio 
|&lt;!--AROS--&gt;[ Audio Evolution 4] 
|&lt;!--Amiga OS--&gt;[ Samplitude Opus Key], [https://sourceforge.net/projects/hd-rec/ HD-Rec Src], [http://www.sonicpulse.de/eng/news.html SoundFX], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/projects/hd-rec/ HD-Rec], AmiSoundED, [http://os4depot.net/?function=showfile&amp;file=audio/record/audioevolution4.lha Audio Evolution 4] 
|[http://www.hd-rec.de/HD-Rec/index.php?site=home HD-Rec], 
|-
|&lt;!--Sub Menu--&gt;Editing Tracker Music
|&lt;!--AROS--&gt;[https://github.com/hitchhikr/protrekkr Protrekkr], [ Schism Tracker], [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/tracker MilkyTracker], [http://www.hivelytracker.com/ HivelyTracker], [ Radium in AROS already],  [http://www.a500.org/downloads/development/index.xhtml libMikMod], 
|&lt;!--Amiga OS--&gt;MilkyTracker, HivelyTracker, DigiBooster, Octamed SoundStudio, 
|&lt;!--AmigaOS4--&gt;MilkyTracker, HivelyTracker, GoatTracker
|MilkyTracker, GoatTracker, DigiBooster, 
|-
|&lt;!--Sub Menu--&gt;Editing Music [], [https://github.com/kmatheussen/camd CAMD] and/or staves and notes manuscript 
|&lt;!--AROS--&gt;[http://bnp.hansfaust.de/ Bars and Pipes for AROS], [ Audio Evolution], [], 
|&lt;!--Amiga OS--&gt;[http://bnp.hansfaust.de/ Bars'n'Pipes], MusicX* David &quot;Talin&quot; Joiner &amp; Craig Weeks (for Notator-X), Deluxe Music Construction 2*, [https://github.com/timoinutilis/midi-sequencer-amigaos Horny c Src], HD-Rec, [https://aminet.net/package/mus/midi/dominatorV1_51 Dominator], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Rockbeat, [http://bnp.hansfaust.de/download.html Bars'n'Pipes], [http://os4depot.net/index.php?function=browse&amp;cat=audio/edit Horny], Audio Evolution 4, 
|&lt;!--MorphOS--&gt;Bars'n'Pipes, 
|-
|&lt;!--Sub Menu--&gt;Sound Sampling 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/record Audio Evolution 4], [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;did=162 Quick Record], [https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc SOX to get AIFF 16bit files], [https://github.com/aros-development-team/AROS/tree/master/workbench/tools/AHIRecord AHIRecord], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/package/mus/edit/AudioEvolution3_src Audio Evolution 3 c src], [ Samplitude-MS Opus Key], Audiomaster IV*, 
|&lt;!--AmigaOS4--&gt;[https://github.com/timoinutilis/phonolith-amigaos phonolith c src], HD-Rec, Audio Evolution 4,
|&lt;!--MorphOS--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Audio Evolution 4,
|-
|&lt;!--Sub Menu--&gt;Live Looping or Audio Misc - Groovebox like
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;CD/DVD burn
|[https://code.google.com/p/amiga-fryingpan/ FryingPan], 
|&lt;!--Amiga OS--&gt;FryingPan, [http://www.estamos.de/makecd/#CurrentVersion MakeCD], 
|&lt;!--AmigaOS4--&gt;FryingPan, AmiDVD, 
|[http://www.amiga.org/forums/printthread.php?t=58736 FryingPan], Jalopeano, 
|-
|&lt;!--Sub Menu--&gt;CD/DVD audio rip
|Lame, [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;cfid=0&amp;did=167 Quick CDrip],
|&lt;!--Amiga OS--&gt;Lame,  
|&lt;!--AmigaOS4--&gt;Lame, 
|Lame,  
|-
|&lt;!--Sub Menu--&gt;MP3 v1 and v2 Tagger
|&lt;!--AROS--&gt;id3ren (v1), [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/edit mp3info], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|
|-
|&lt;!--Sub Menu--&gt;Audio Convert
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc Sox], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/mus/misc/SoundBox SoundBox], [http://aminet.net/package/mus/misc/SoundBoxKey SoundBox Key], [http://aminet.net/package/mus/edit/SampleE SampleE], sox 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DJ mixing jamming 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Radio Automation Software [http://www.rivendellaudio.org/ Rivendell], [http://code.campware.org/projects/livesupport/report/3 Campware LiveSupport], [http://www.sourcefabric.org/en/airtime/ SourceFabric AirTime], [http://www.ohloh.net/p/mediabox404 MediaBox404], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speakers Audio Sonos Mains AC networked wired controlled 
*2005 ZP100 with ZP80 
*2008 Zoneplayer ZP120 (multi-room wireless amp)  ZP90 receiver only with CR100 controller, 
*2009 ZonePlayer S5, 
*2010 BR100 wireless Bridge (no support),   
*2011 Play:3
*2013 Bridge (no support), Play:1,  
*2016 Arc,   Play:1,   
*Beam (Gen 2),   Playbar,  Ray,   Era 100,   Era 300,   Roam,   Move 2,   
*Sub (Gen 3),   Sub Mini,  Five,  Amp  S2 
|&lt;!--AROS--&gt;SonosController 
|&lt;!--Amiga OS--&gt;SonosController
|&lt;!--AmigaOS4--&gt;SonosController
|&lt;!--MorphOS--&gt;SonosController
|-
|&lt;!--Sub Menu--&gt;Smart Speakers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Video Creativity and Production==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Video
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing Video 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer VAMP], [http://www.a500.org/downloads/video/index.xhtml CDXL player], [http://www.a500.org/downloads/video/index.xhtml IffAnimPlay], [], 
|&lt;!--Amiga OS--&gt;Frogger*, AMP2, MPlayer, RiVA*, MooViD*, 
|&lt;!--AmigaOS4--&gt;DvPlayer, MPlayer 
|&lt;!--MorphOS--&gt;MPlayer, Frogger, AMP2, VLC 
|-
|&lt;!--Sub Menu--&gt;Streaming Video and game streaming like OBS studio, Parsec, etc 
|&lt;!--AROS--&gt;Mplayer, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Mplayer, Gnash, Tubexx 
|&lt;!--MorphOS--&gt;Mplayer, OWB, Tubexx
|-
|&lt;!--Sub Menu--&gt;Playing DVD 
|&lt;!--AROS--&gt;[http://a-mc.biz/ AMC]*, Mplayer 
|&lt;!--Amiga OS--&gt;AMP2, Frogger 
|&lt;!--AmigaOS4--&gt;[http://a-mc.biz/ AMC]*, DvPlayer*, AMP2,  
|&lt;!--MorphOS--&gt;Mplayer 
|-
|&lt;!--Sub Menu--&gt;Screen Recording
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record Screenrecorder], [ ], [ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Screenrecorder, 
|-
|&lt;!--Sub Menu--&gt;Create and Edit Individual Video NLE 
|&lt;!--AROS--&gt;[ Mencoder], [ Quick Videos], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit AVIbuild], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc FrameBuild], FFMPEG, 
|&lt;!--Amiga OS--&gt;[ MainConcept Mainactor Broadcast*], [http://en.wikipedia.org/wiki/Video_Toaster Video Toaster*], MacroSystem MovieShop 4.3*, proDAD Adorage*, [ IOSpirit VHI studio]*, [Gold Disk ShowMaker], [], 
|&lt;!--AmigaOS4--&gt;FFMpeg/GUI 
|&lt;!--MorphOS--&gt;Blender, Mencoder, FFmpeg
|-
|&lt;!--Sub Menu--&gt;Subtitle editor 
|&lt;!--AROS--&gt;[https://aminet.net/package/text/edit/Slarti_Arosx86ABIv0 Slarti_Arosx86ABIv0], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;IP-based video production workflows with High Dynamic Range (HDR), 10-bit color collaborative NDI, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Blogging like Lemmy or kbin
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR face recognition for Vtubers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting Live 2D models with Cubism type editor 
&lt;pre&gt;
Model data (cmo3)
Basic motions (can3)
Background image (png)
Set of files for embedding (runtime folder)
• Model data (moc3)
• Motion data (motion3.json)
• Model settings file (model3.json)
• Physics settings file (physics3.json)
• Display auxiliary file (cdi3.json)
&lt;/pre&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting chatters .VRML models - standardized 3D file format for VR avatars 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;V-tubers V-tubing like Vseeface with Openseeface tracker or Vpuppr (virtual puppet project) for 2d / 3d art models rigging rigged LIV 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]


==Misc Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;File Management 
|&lt;!--AROS--&gt;DOpus4, [https://github.com/BlitterStudio/dopus5 DOpus Magellan aka DOpus 5], [ Scalos], [ ], 
|&lt;!--Amiga OS--&gt;DOpus2, DOpus 4, [http://sourceforge.net/projects/dopus5allamigas/files/?source=navbar DOpus Magellan DOpus5], ClassAction, FileMaster, [http://www.amiga.org/forums/showthread.php?t=4897 DirWork 2]*, [https://github.com/RudolphRiedel/DiskMaster2 DiskMaster2 src], 
|&lt;!--AmigaOS4--&gt;DOpus4, DOpus5, Filer, AmiDisk 
|&lt;!--MorphOS--&gt;DOpus4, DOpus5 
|-
|&lt;!--Sub Menu--&gt;File Verification / Repair 
|&lt;!--AROS--&gt;md5 (works in linux compiling shell), [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/filetool workpar2] (PAR2),  [http://zakalwe.fi/~shd/foss/cksfv/files/ compile cksfv from website], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Par2, 
|-
|Application Installer 
|&lt;!--AROS--&gt;[], [ InstallerNG], 
|&lt;!--Amiga OS--&gt;InstallerNG, Grunch, 
|&lt;!--AmigaOS4--&gt;Jack
|&lt;!--MorphOS--&gt;Jack 
|-
|&lt;!--Sub Menu--&gt;Compression archiver [https://github.com/FS-make-simple/paq9a paq9a], [], 
|&lt;!--AROS--&gt;XAD system is a toolkit designed for handling various file and disk archiver
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[https://aminet.net/package/util/pack/decrunchmania_os4 Crunchmania CrM2 depacker], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Binary Hexadecimal Editor 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Zaphod], [],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Repository
|&lt;!--AROS--&gt;[ Git]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Git
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Partition Editor formatter 
|&lt;!--AROS--&gt;[ Partition], [HDToolBox]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Repair
|&lt;!--AROS--&gt;ArSFSDoctor, 
|&lt;!--Amiga OS--&gt; Quarterback Tools, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Multiple File renaming
|&lt;!--AROS--&gt;DOpus 4 or 5, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Anti Virus
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;VChecker, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Random Wallpaper Desktop changer [ DOpus5], [ Scalos],  
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Alarm Clock, Timer, Stopwatch, Countdown 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench DClock], [http://aminet.net/util/time/AlarmClockAROS.lha AlarmClock], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Digital Signage
|&lt;!--AROS--&gt;Hollywood, Hollywood Designer 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fortune Cookie Quotes Sayings 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc AFortune], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Languages 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Fun School, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Mathematics ([http://www-fourier.ujf-grenoble.fr/~parisse/install_en.html Xcas], etc.), 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/scientific mathX] 
|&lt;!--Amiga OS--&gt;Maple V, mathX, Fun School, GCSE Maths, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;Yacas 
|&lt;!--MorphOS--&gt;Yacas 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Misc Application 2==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;System 
|&lt;!--AROS--&gt;[ SysExplorer], [ SysMon], [ Scout], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;OSK On Screen Keyboard
|&lt;!--AROS--&gt;[], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/util/wb/OSK.lha OSK]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Magnifier Magnifying Glass Magnification 
|&lt;!--AROS--&gt;[http://www.onyxsoft.se/files/zoomit.lha ZoomIT], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Comic Book CBR CBZ format reader viewer 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comics], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comicon], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Reader 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#legadon Legadon EPUB],[]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Converter 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Text to Speech tts [https://github.com/JonathanFly/bark-installer Bark], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc flite], 
|&lt;!--Amiga OS--&gt;[http://www.text2speech.com translator], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=search&amp;tool=simple FLite]
|&lt;!--MorphOS--&gt;[http://se.aminet.net/pub/aminet/mus/misc/ FLite]
|-
|&lt;!--Sub Menu--&gt;Speech Voice Recognition Dictation - [http://sourceforge.net/projects/cmusphinx/files/ CMU Sphinx], [http://julius.sourceforge.jp/en_index.php?q=en/index.html Julius], [http://www.isip.piconepress.com/projects/speech/index.html ISIP], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speech Voice Changer [], [], [], [], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fractals
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;ZoneXplorer, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Landscape Rendering 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/raytrace WCS World Construction Set], 
|&lt;!--Amiga OS--&gt;[ Vista Pro], [http://en.wikipedia.org/wiki/World_Construction_Set World Construction Set]
|&lt;!--AmigaOS4--&gt;[ WCS World Construction Set],
|&lt;!--MorphOS--&gt;[ WCS World Construction Set],
|-
|&lt;!--Sub Menu--&gt;Astronomy [https://sourceforge.net/projects/skychart/ skychart freepascal], [], [], 
|&lt;!--AROS--&gt;[ Digital Almanac (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/search?query=planetarium Aminet search], [http://aminet.net/misc/sci/DA3V56ISO.zip Digital Almanac], [https://aminet.net/package/misc/sci/da3sourceV58 Src c V58], [ Galileo renamed to Distant Suns]*, [], 
|&lt;!--AmigaOS4--&gt;[http://sourceforge.net/projects/digital-almanac/ Digital Almanac], Distant Suns*, [http://www.digitaluniverse.org.uk/ Digital Universe]*,
|&lt;!--MorphOS--&gt;[http://www.aminet.net/misc/sci/da3.lha Digital Almanac], [http://www.aminet.net/package/misc/sci/da3-mos-src Src c V56], 
|-
|&lt;!--Sub Menu--&gt;Astrology [https://sourceforge.net/projects/skylendar/ skylendar], [https://github.com/CruiserOne/Astrolog Astrolog], [https://www.astrolog.org/astrolog/astfile.htm Astrology alt site], [https://saravali.github.io/download.html Maitreya], [https://github.com/alamahant/Asteria Asteria], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PCB design
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Genealogy History Family Tree Ancestry Records (FreeBMD, FreeREG, and FreeCEN file formats or GEDCOM GenTree)
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; [ Origins], [ Your Family Tree], [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Display Blanker screensaver 
|&lt;!--AROS--&gt;Blanker Commodity (built in), [https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/screenblanker GarshneBlanker], [http://sourceforge.net/projects/gblanker/ GBlanker Src], [], 
|&lt;!--Amiga OS--&gt;MultiCX, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;ModernArt Blanker, 
|-
|&lt;!--Sub Menu--&gt;Maths Graph Function Plotting
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#MUIPlot MUIPlot], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;App Utility Launcher Dock toolbar  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/docky BoingBar], [], 
|&lt;!--Amiga OS--&gt;[https://github.com/adkennan/DockBot Dockbot],
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Printer [https://github.com/OrcaSlicer/OrcaSlicer OrcaSlicer]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;BASIC Computer Language 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/language Basic4SDL], [ Ace Basic], [ X-AMOS], [SDLBasic], [ Alvyn], 
|&lt;!--Amiga OS--&gt;[http://www.amiforce.de/main.php Amiblitz 3], [http://amos.condor.serverpro3.com/AmosProManual/contents/c1.html Amos Pro], [http://aminet.net/package/dev/basic/ace24dist ACE Basic], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;sdlBasic
|-
|&lt;!--Sub Menu--&gt;C/C++ IDE 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd], [https://github.com/vidarh/FrexxEd FrexxEd src], Annotate, Murks, 
|&lt;!--Amiga OS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Annotate, 
|&lt;!--AmigaOS4--&gt;CodeBench , [https://gitlab.com/boemann/codecraft CodeCraft], 
|&lt;!--MorphOS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Anontate, 
|-
|&lt;!--Sub Menu--&gt;Computer Languages Translation [https://tetracorp.github.io/guide/reverse-engineering-amiga.html ], [https://amigasourcecodepreservation.gitlab.io/amiga-assembler-insider-guide/ ], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://bitbucket.org/rhinoid/convert68000toc/src/main/ convert m68k seka asm-one to c], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Gui Creators
|&lt;!--AROS--&gt;[ MuiBuilder], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[ MuiBuilder],  
|-
|&lt;!--Sub Menu--&gt;Catalog .cd .ct Editors 
|&lt;!--AROS--&gt;FlexCat
|&lt;!--Amiga OS--&gt;[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|&lt;!--AmigaOS4--&gt;[http://aminet.net/package/dev/misc/simplecat SimpleCat], FlexCat
|[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|-
|&lt;!--Sub Menu--&gt;HAM amateur radio  [], [], [], [https://cemaxecuter.com/ Dragon OS], [https://github.com/km4ack/73Linux with 73 link update], [https://www.youtube.com/watch?v=YAL5KNePRSg video for], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://www.amigarealm.com/amiga/amicomms/comm4.htm Comm4], [https://www.amigarealm.com/archives/comms/aarug/ TNC Terminal Node Controller with packets over serial connections on Yaesu or Woxum handheld], [https://aminet.net/comm/misc AmiCom], [ with 7Plus file encoder/decoder], [ mksstv], [ RTTYam], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Games &amp; Emulation==

Some emulators/games require OpenGL to function and to adjust ahi prefs channels, frequency and unit0 and unit1 and 
[http://aros.sourceforge.net/documentation/users/shell/changetaskpri.php changetaskpri -1]

Rom patching  https://www.marcrobledo.com/RomPatcher.js/ https://www.romhacking.net/patch/ (ips, ups, bps, etc) and this other site supports the latter formats https://hack64.net/tools/patcher.php 

Free public domain roms for use with emulators can be found [http://www.pdroms.de/ here] as most of the rest are covered by copyright rules. If you like to read about old games see [http://retrogamingtimes.com/ here] and [http://www.armchairarcade.com/neo/ here] and a [http://www.vintagecomputing.com/ blog] about old computers. Possibly some of the [http://www.answers.com/topic/list-of-best-selling-computer-and-video-games best selling] of all time. [http://en.wikipedia.org/wiki/List_of_computer_system_emulators Wiki] with emulated systems list.

[https://archive.gamehistory.org/ Archive of VGHF], [https://library.gamehistory.org/ Video Game History Foundation Library search]


{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Emulation]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Games Emulation Amstrad CPC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [ Caprice32 (OpenGL &amp; pure SDL)], [ Arnold], [https://retroshowcase.gr/cpcbox-master/], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Apple2 and 2GS
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Arcade
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Mame], [ SI Emu (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;Mame, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem xmame], amiarcadia, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 Mame], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 2600 [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Stella], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 5200 [https://github.com/wavemotion-dave/A5200DS A5200DS], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 7800
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 400 800 130XL [https://github.com/wavemotion-dave/A8DS A8DS], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Atari800], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Lynx
|&lt;!--AROS--&gt;[http://myfreefilehosting.com/f/6366e11bdf_1.93MB Handy (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Jaguar
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Bandai Wonderswan 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation BBC Micro and Acorn Electron [http://beehttps://bem-unix.bbcmicro.com/download.html BeebEm], [http://b-em.bbcmicro.com/ B-Em], [http://elkulator.acornelectron.co.uk/ Elkulator], [http://electrem.emuunlim.com/ ElectrEm], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Dragon 32 and Tandy CoCo [http://www.6809.org.uk/xroar/ xroar], [], 
|&lt;!--AROS--&gt;[], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C16 Plus4
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C64
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Vice (ABIv0 only)], [], 
|&lt;!--Amiga OS--&gt;Frodo, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem viceplus], 
|&lt;!--MorphOS--&gt;Vice, 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore Amiga
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Janus UAE], Emumiga, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer UAE], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 UAE], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Japanese MSX MSX2 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Intelivision
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Colecovision and Adam
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Milton Bradley (MB) Vectrex [ Vectrex OpenGL], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation PICO8 Pico-8 fantasy video game console [https://github.com/egordorichev/pemsa-sdl/ pemsa-sdl], [https://github.com/jtothebell/fake-08 fake-08], [https://github.com/Epicpkmn11/fake-08/tree/wip fake-08 fork], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo Gameboy
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem vba no sound], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem vba]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo NES
|&lt;!--AROS--&gt;[ EmiNES], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Fceu], [https://github.com/takahirox/nes-js?tab=readme-ov-file nes-js], [https://github.com/bfirsh/jsnes jsnes], [https://github.com/angelo-wf/NesJs NesJs], 
|&lt;!--Amiga OS--&gt;AmiNES, [http://www.dridus.com/~nyef/darcnes/ darcNES], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem amines]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo SNES
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Zsnes], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem warpsnes]
|&lt;!--MorphOS--&gt;[http://fabportnawak.free.fr/snes/ Snes9x], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo N64 
*HLE and plugins [ mupen64], [https://github.com/ares-emulator/ares ares], [https://github.com/N64Recomp/N64Recomp N64Recomp], [https://github.com/rt64/rt64 rt64], [https://github.com/simple64/simple64 Simple64], 
*LLE [], 
|&lt;!--AROS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+],
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+], [http://aminet.net/package/misc/emu/tr-981125_src TR64], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Gamecube Wii]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Wii U]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/yuzu-emu Nintendo Switch]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation NEC PC Engine 
|&lt;!--AROS--&gt;[], [], [https://github.com/yhzmr442/jspce js-pce], 
|[http://www.hugo.fr.fm/ Hugo], [http://mednafen.sourceforge.net/ Mednafen], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem tgemu]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Master System (SMS)
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Dega], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem sms], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem osmose]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Genesis/Megadrive
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem gp no sound], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem DGen], 
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/genplus-gx/ Genplus], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem genesisplus]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Saturn 
*HLE [https://mednafen.github.io/ mednafen], [http://yabause.org/ yabause], [], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;[http://yabause.org/ Yabause], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Dreamcast 
*HLE [https://github.com/flyinghead/flycast  flycast], [https://code.google.com/archive/p/nulldc/downloads NullDC], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair ZX80 and ZX81 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair Spectrum 
|[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Fuse (crackly sound)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer SimCoupe], [ FBZX slow], [https://jsspeccy.zxdemo.org/ jsspeccy], [http://torinak.com/qaop/games qaop], 
|&lt;!--Amiga OS--&gt;[http://www.lasernet.plus.com/ Asp], [http://www.zophar.net/sinclair.html Speculator], [http://www.worldofspectrum.org/x128/index.html X128], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair QL
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/misc/emu/QDOS4amiga1 QDOS4amiga]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation SNK NeoGeo Pocket
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem gngeo], NeoPop, 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sony PlayStation
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem FPSE], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem FPSE]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS2]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS3]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://vita3k.org/ Sony Vita]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/shadps4-emu/shadPS4 PS4]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation [http://en.wikipedia.org/wiki/Tangerine_Computer_Systems Tangerine] Oric and Atmos 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Oricutron]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem Oricutron]
|&lt;!--MorphOS--&gt;[http://aminet.net/package/misc/emu/oricutron Oricutron]
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 99/4 99/4A [https://github.com/wavemotion-dave/DS994a DS994a], [], [https://js99er.net/#/ js99er], [], [http://aminet.net/package/misc/emu/TI4Amiga TI4Amiga], [http://aminet.net/package/misc/emu/TI4Amiga_src TI4Amiga src in c], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation HP 38G 40GS 48 49G/50G Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 58 83 84 85 86 - 89 92 Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [https://www.rockpapershotgun.com/ General]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Games [https://www.trackawesomelist.com/michelpereira/awesome-open-source-games/ Open Source and others] || AROS || Amiga OS || Amiga OS4 || Morphos 
|-
|&lt;!--Sub Menu--&gt;Games Action like [https://github.com/BSzili/OpenLara/tree/amiga/src source of openlara SDL2], [https://github.com/opentomb/OpenTomb opentomb], [https://github.com/LostArtefacts/TRX TRX formerly Tomb1Main], [https://github.com/TombEngine TombEngine], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Thrust], [https://github.com/fragglet/sdl-sopwith sdl sopwith], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action BOH], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Adventure like [http://dotg.sourceforge.net/ DMJ], [https://github.com/kromenak/gengine Gabriel Knight 3], [http://www.sarien.net/ Sierra Sarien], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/adventure dmagnetic], [https://archives.arosworld.org/?function=browse&amp;cat=emulation/misc ScummVM], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying frotz infocom], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Board like [https://github.com/aperture-software/colditz-escape escape from colditz], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/board], [http://amigan.1emu.net/releases Africa]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Cards 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/card ], [], 
|&lt;!--AmigaOS--&gt;[http://home.arcor.de/amigasolitaire/e/welcome.html Reko], [https://github.com/samskivert/beschei-en beschei Src], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Misc [https://github.com/michelpereira/awesome-open-source-games Awesome open], [https://github.com/bobeff/open-source-games General Open Source], [https://github.com/SAT-R/sa2 Sonic Advance 2], [https://github.com/velorek1/cwordle Wordle type], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games FPS like [https://aminet.net/package/game/shoot/D1X_Rebirth_AGA Descent D1X src], [https://github.com/DescentDevelopers/Descent3 Descent 3], [https://github.com/Fewnity/Counter-Strike-Nintendo-DS Counter-Strike-Nintendo-DS], [https://github.com/Aleph-One-Marathon/alephone Bungie Marathon 1994], [https://github.com/ZDoom/gzdoom gzdoom], [], 
|&lt;!--AROS--&gt;Doom, Quake, [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Quake 3 Arena (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Assault Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube 2 Sauerbraten (OpenGL)], [http://fodquake.net/test/ FodQuake QuakeWorld], [ Duke Nukem 3D], [ Darkplaces Nexuiz Xonotic], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Doom 3 SDL (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Hexenworld and Hexen 2], [ Aliens vs Predator Gold 2000 (openGL)], [ Odamex (openGL doom)], 
|&lt;!--Amiga OS--&gt;Doom, Quake, AB3D, Fears, Breathless, 
|&lt;!--AmigaOS4--&gt;Doom, Quake, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12 Doom], Quake, Quake 3 Arena, [https://github.com/OpenXRay/xray-16 S.T.A.L.K.E.R Xray]
|-
|&lt;!--Sub Menu--&gt;Games MMORG like 
|&lt;!--AROS--&gt;[ Eternal Lands (OpenGL)],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Platform like 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform], [ Maze of Galious], [ Gish]*(openGL), [ Mega Mario], 
[http://www.gianas-return.de/ Giana's Return], [http://www.sqrxz.de/ Sqrxz], [.html Aquaria]*(openGL), 
[http://www.sqrxz2.de/ Sqrxz 2], [http://www.sqrxz.de/sqrxz-3/ Sqrxz 3], [http://www.sqrxz.de/sqrxz-4/ Sqrxz 4], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform Cave Story], [https://bszili.morphos.me/ Frogatto], [https://bszili.morphos.me/ OpenJazz], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Puzzle [https://github.com/mariopartyrd/marioparty4/tree/port Party], [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle], [ Cubosphere (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle Candy Crisis], [http://bszili.morphos.me/ TailTale], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Racing [ Trigger Rally], [ VDrift], [http://www.ultimatestunts.nl/index.php?page=2&amp;lang=en Ultimate Stunts], [http://maniadrive.raydium.org/ Mania Drive], [https://github.com/plowteam/donut Simpsons Hit and Run], [], 
|&lt;!--AROS--&gt;[ Super Tux Kart (OpenGL)], [http://www.dusabledanslherbe.eu/AROSPage/F1Spirit.30.html F1 Spirit (OpenGL)], [http://bszili.morphos.me/index.html MultiRacer], [https://bszili.morphos.me/ Speed Dreams], [], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://bszili.morphos.me/index.html Speed Dreams], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12], [http://bszili.morphos.me/index.html TORCS], 
|-
|&lt;!--Sub Menu--&gt;Games 1st first person DRPG [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/OpenEnroth/OpenEnroth OpenEnroth MM], []
|&lt;!--AROS--&gt;[https://github.com/BSzili/aros-stuff Arx Libertatis], [http://www.playfuljs.com/a-first-person-engine-in-265-lines/ js raycaster], [https://github.com/Dorthu/es6-crpg webgl], [https://github.com/sonountaleban/AmiShockolate System Shock], [], [], 
|&lt;!--AmigaOS--&gt;Phantasie, Faery Tale, Dungeon Master, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 3rd third person action CRPG  [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/alexbatalov/fallout1-ce fallout ce], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games isometric RPG [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/topics/dungeon?l=javascript Dungeon], [], [https://github.com/clintbellanger/heroine-dusk JS Dusk], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying nethack], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying GemRB], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games card based RPG [https://github.com/open-duelyst/duelyst Duelyst], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Rhythm, Beat, Step [], [], [https://clonehero.net/ clonehero], [https://github.com/MatteoGodzilla/Dj-Engine Dj-Engine], 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc Frets on Fire], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Shoot Em Ups [http://www.mhgames.org/oldies/formido/ Formido], [http://code.google.com/p/violetland/ Violetland], 
||&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Open Tyrian], [http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], [ Alien Blaster], [https://github.com/OpenFodder/openfodder OpenFodder], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Simulations [http://scp.indiegames.us/ Freespace 2], [http://www.heptargon.de/gl-117/gl-117.html GL117], [http://code.google.com/p/corsix-th/ Theme Hospital], [http://code.google.com/p/freerct/ Rollercoaster Tycoon], [http://hedgewars.org/ Hedgewars], [https://github.com/raceintospace/raceintospace raceintospace], [https://github.com/Return-To-The-Roots RTTR Settlers 2], [https://github.com/OoliteProject/oolite oolite elite], [https://github.com/fesh0r/newkind newkind elite], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;SimCity, SimAnt, Sim Hospital, Theme Park, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Life Sim [https://github.com/ACreTeam/forest Animal Crossing], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Strategy [http://rtsgus.org/ RTSgus], [http://wargus.sourceforge.net/ Wargus], [http://stargus.sourceforge.net/ Stargus], [https://github.com/KD-lab-Open-Source/Perimeter Perimeter], [https://matty77.itch.io/conflict-3049 conflict-3049], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy MegaGlest (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy UFO:AI (OpenGL)], [http://play.freeciv.org/ FreeCiv], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Horror [https://github.com/Mikompilation/MikuPan Fatal Frame], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Sandbox Voxel Open World Exploration [https://github.com/UnknownShadow200/ClassiCube Classicube],[http://www.michaelfogleman.com/craft/ Craft], [https://github.com/tothpaul/DelphiCraft DelphiCraft],[https://www.minetest.net/ Luanti formerly Minetest], [ infiniminer], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Battle Royale [https://bruh.io/ Play.Bruh.io], [https://www.coolmathgames.com/0-copter Copter Royale], [https://surviv.io/ Surviv.io], [https://nuggetroyale.io/#Ketchup Nugget Royale], [https://miniroyale2.io/ Miniroyale2.io], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Tower Defense [https://chriscourses.github.io/tower-defense/ HTML5], [https://github.com/SBardak/Tower-Defense-Game TD C++], [https://github.com/bdoms/love_defense LUA and LOVE], [https://github.com/HyOsori/Osori-WebGame HTML5], [https://github.com/PascalCorpsman/ConfigTD ConfigTD Pascal], [https://github.com/GloriousEggroll/wine-ge-custom Wine], []
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Visual Novel Engines [https://github.com/Kirilllive/tuesday-js Tuesday JS], [ Lua + LOVE], [https://github.com/weetabix-su/renpsp-dev RenPSP], [https://github.com/Galladite27/ONScripter-EN ONScripter-EN], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Reality VR [https://gitlab.com/madsbuvi/openmw openmw vr], [https://github.com/Team-Beef-Studios/BeefRaiderXR BeefRaiderXR], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Table Top VTT [ Roll20], [https://www.owlbear.rodeo/ owlbear rodeo], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Computer assisted TableTop TTRPG OSR [https://www.rpgsolo.com/play.php RPGSolo], [https://github.com/fpsvogel/solo-ttrpgs Solo TTRPG], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 2D 3D Engines [https://github.com/fegennari/3DWorld 3DWorld], [https://github.com/GarageGames/Torque3D Torque3D], [https://github.com/gameplay3d/GamePlay GamePlay 3D],  [https://www.babylonjs.com/ BabylonJS ], [ Godot], [ Ogre], [ Crystal Space], [], [], [], 
|&lt;!--AROS--&gt;[https://www.arkhamdev.net/wiki.htm?id=agx Arkham Development antiryadgx 8.9 lts with register], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games C based game frameworks [https://github.com/orangeduck/Corange Corange], [https://github.com/scottcgi/Mojoc Mojoc], [https://orx-project.org/ Orx], [https://github.com/ioquake/ioq3 Quake 3], [https://www.mapeditor.org/ Tiled], [https://www.raylib.com/ 2d Raylib], [https://github.com/Rabios/awesome-raylib other raylib], [https://github.com/MrFrenik/gunslinger Gunslinger], [https://o3de.org/ o3d], [http://archives.aros-exec.org/index.php?function=browse&amp;cat=development/library GLFW], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/library Raylib 5], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Pinball [https://github.com/vpinball/vpinball vpinball], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|}


==Application Guides==

[[#top|...to the top]]

===Web Browser===

OWB is now at version 2.0 (which got an engine refresh, from July 2015 to February 2019) and 3.0.

This latest version has a good support for many/most web sites, even YouTube web page now works. 

This improved compatibility comes at the expense of higher RAM usage (now 1GB RAM is the absolute minimum). 

Also, keep in mind that the lack of a JIT (Just-In-Time) JS compiler on the 32 bit version, makes the web surfing a bit slow. 

Only the 64 bit version of OWB 2.0 will have JIT enabled, thus benefitting of more speed. There are tooltypes that can be added to the icon to provide further features JIT, MSE etc 


Certificates from [https://curl.se/docs/caextract.html ca certs], 


DNS tracking blocking with [https://easylist.to/easylist/easylist.txt easylist.txt] in PROGDIR:Conf before starting browser with enabled AdBlock [https://github.com/easylist/easylist/tree/master easylist], [https://gitlab.com/eyeo anti abp], [https://firebog.net/ big blocklist], [https://github.com/StevenBlack/hosts Steves], [], [], 

This can be enabled with OWB Odyssey with Windows -&gt; Content Blocking and Windows -&gt; Messages and enter 

 https://www.youtube.com/api/stats/ads*
 https://www.youtube.com/pagead/adview*
 https://www.youtube.com#@##player-ads*

into your custom filters 


Element blocker browser extension might be needed for [https://github.com/easylist/easylist/wiki/Youtube-Issues youtube], [ mid roll], [ pre roll], [ ],  


OWB speed is much better when running from RAM Disk, the best way is to add the below into your S:User-Startup which copies OWB drawer from Extras:Internet/OWB to RAM Disk: 

So add this :
&lt;pre&gt;
copy Extras:Internet/OWB Ram:OWB/ ALL CLONE &gt;NIL:
copy Extras:Internet/OWB.info Ram: &gt;NIL:
&lt;/pre&gt;
Open RAM Disk and open OWB drawer and double click on OWB icon so that the above icon tooltypes are activated 

Problems are that the copy time is long (around 20 seconds added in the background), but we can make it faster if we delete useless files from the OWB drawer (docs, …)
If you don’t copy the drawer back onto the HD, you won’t save your cache, cookies, passwords… So you need a script for it.


Error messages 

SSL error &quot;cant verify with ca-certificates&quot;, check bios clock time date is correct 

Error 6, try checking networking prefs settings and Save / Use preferences again or a '''few times''' otherwise the network chipset may not be compatible with Aros 


[https://www.google.com/search?q=%s&amp;udm=14 Google search without AI overview] 


===E-mail===

 YAM does not support SSL and most mail providers now switched to encrypted SMTP/POP3 connections


====SimpleMail====

SimpleMail supports IMAP and appears to work with GMail, but it's never been reliable enough, it can crash with large mailboxes.

Please read more on this [http://www.freelists.org/list/simplemail-usr User list]


 GMail

Be sure to activate the pop3 usage in your gmail account setup / configuration first.

pop3: 
pop.gmail.com
Use SSL: Yes
Port: 995

smtp:
smtp.gmail.com (with authentication)
Use Authentication: Yes
Use SSL: Yes
Port: 465 or 587


 Hotmail/MSN/outlook/Microsoft Mail mid-2017, all outlook.com accounts will be migrated to Office 365 / Exchange

Most users are currently on POP which does not allow showing folders and many other features (technical limitations of POP3). With Microsoft IMAP you will get folders, sync read/unread, and show flags. You still won't get push though, as Microsoft has not turned on the IMAP Idle command as at Sept 2013.

If you want to try it, you need to first remove (you can't edit) your pop account (long-press the account on the accounts screen, delete account). Then set it up this way:

1. Email/Password
2. Manual
3. IMAP
4.

* Incoming: imap-mail.outlook.com, port 993, SSL/TLS should be checked
* Outgoing: smtp-mail.outlook.com, port 587, SSL/TLS should be checked
* POP server name pop-mail.outlook.com, port 995, POP encryption method SSL

 Yahoo  Mail

On April 24, 2002 Yahoo ceased to offer POP access to its free mail service. Introducing instead a yearly payment feature, allowing users POP3 and IMAP server support, along with such benefits as larger file attachment sizes and no adverts.

Sorry to see Yahoo leaving its users to cough up for the privilege of accessing their mail. Understandable, when competing against rivals such as Gmail and Hotmail who hold a large majority of users and were hacked in 2014 as well.


Incoming Mail (IMAP) Server

* Server - imap.mail.yahoo.com
* Port - 993
* Requires SSL - Yes

Outgoing Mail (SMTP) Server

* Server - smtp.mail.yahoo.com
* Port - 465 or 587
* Requires SSL - Yes
* Requires authentication - Yes

Your login info

* Email address - Your full email address (name@domain.com)
* Password - Your account's password
* Requires authentication - Yes


Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a subscription subs fee to have access to SMTP and POP3

* Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
* “Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
* “Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
* “Password” – Your Yahoo Mail password.

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

* Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.


====YAM Yet Another Mailer====

 YAM does not support SSL and most mail providers have now switched to encrypted SMTP/POP3 connections

This email client is POP3 only if the SSL library is available [http://www.freelists.org/list/yam YAM Freelists]

One of the downsides of using a POP3 mailer unfortunately - you have to set an option not to delete the mail if you want it left on the server. IMAP keeps all the emails on the server.

Possible issues

Sending mail issues is probably a matter of using your ISP's SMTP server, though it could also be an SSL issue.


getting a &quot;Couldn't initialise TLSv1 / SSL error

Use of on-line e-mail accounts with this email client is not possible as it lacks the OpenSSL AmiSSl v3 compatible library

 GMail 
Incoming Mail (POP3) Server - requires SSL: pop.gmail.com
Use SSL: Yes
Port: 995

Outgoing Mail (SMTP) Server - requires TLS: smtp.gmail.com (use authentication)
Use Authentication: Yes
Use STARTTLS: Yes (some clients call this SSL)
Port: 465 or 587

Account Name: your Gmail username (including '@gmail.com')
Email Address: your full Gmail email address (username@gmail.com)
Password: your Gmail password

Anyway, the SMTP is pop.gmail.com port 465 and it uses SSLLv3 Authentication. The POP3 settings are for the same server (pop.gmail.com), only on port 995 instead.


 Outlook.com access

&lt;pre &gt;
Outlook.com SMTP server address: smtp.live.com
Outlook.com SMTP user name: Your full Outlook.com email address (not an alias)
Outlook.com SMTP password: Your Outlook.com password
Outlook.com SMTP port: 587
Outlook.com SMTP TLS/SSL encryption required: yes 
&lt;/pre &gt;


 Yahoo  Mail

&lt;pre &gt;
“POP3 Server” – Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
“SMTP Server” – Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.
“Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
“Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
“Password” – Your Yahoo Mail password.
&lt;/pre &gt;

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a monthly fee to have access to SMTP and POP3


 Microsoft Outlook Express Mail 

1. Get the files to your PC.
By whatever method get the files off your Amiga onto your PC. In the YAM folder you have a number of different folders, one for each of your folders in YAM. Inside that is a file usually some numbers such as 332423.283. YAM created a new file for every single email you received.

2. Open up a brand new Outlook Express. Just configure the account to use 127.0.0.1 as mail servers. It doesn't really matter. You will need to manually create any subfolders you used in YAM.

3. You will need to do a mass rename on all your email files from YAM. Just add a .eml to the end of it. Amazing how PCs still rely mostly on the file name so it knows what sort of file it is rather than just looking at it! There are a number of multiple renamers online to download and free too.

4. Go into each of your folders, inbox, sent items etc. And do a select all then drag the files into Outlook Express (to the relevant folder obviously) Amazingly the file format that YAM used is very compatible with .eml standard and viola your emails appear. With correct dates and working attachments.

5. If you want your email into Microsoft Outlook. Open that up and create a new profile and a new blank PST file. Then go into File Import and choose to import from Outlook Express. And the mail will go into there. And viola.. you have your old email from your Amiga in a more modern day format.


===FTP===

Magellan has a great FTP module. It allows transferring files from/to a FTP server over the Internet or the local network and, even if FTP is perceived as a &quot;thing of the past&quot;, its usability is all inside the client. The FTP thing has a nice side effect too, since every Icaros machine can be a FTP server as well, and our files can be easily transferred from an Icaros machine to another with a little configuration effort.

First of all, we need to know the 'server' IP address. Server is the Icaros machine with the file we are about to download on another Icaros machine, that we're going to call 'client'. To do that, move on the server machine and 1) run Prefs/Services to be sure &quot;FTP file transfer&quot; is enabled (if not, enable it and restart Icaros); 2) run a shell and enter this command:

ifconfig -a

Make a note of the IP address for the network interface used by the local area network. For cabled devices, it usually is net0:. Now go on the client machine and run Magellan:

Perform these actions: 1) click on FTP; 2) click on ADDRESS BOOK; 3) click on &quot;New&quot;. 
You can now add a new entry for your Icaros server machine:

1) Choose a name for your server, in order to spot it immediately in the address book. Enter the IP address you got before.

2) click on Custom Options:


1) go to Miscellaneous in the left menu;

2) Ensure &quot;Passive Transfers&quot; is NOT selected;

3) click on Use. We need to deactivate Passive Transfers because YAFS, the FTP server included in Icaros, only allows active transfers at the current stage. Now, we can finally connect to our new file source:


1) Look into the address book for the newly introduced server, be sure that name and IP address are right, and

2) click on Connect. A new lister with server's &quot;MyWorkspace&quot; contents will appear. You can now transfer files over the network choosing a destination among your local (client's) volumes.

Can be adapted to any FTP client on any platform of your choice, just be sure your client allows Active Transfers as well.


===IRC Internet Relay Chat===

Jabberwocky is ideal for one-to-one social media communication, use IRC if you require one to many. 

Just type a message in ''lowercase''' letters and it will be posted to all in the [ AROS irc channel]. Please do not use UPPER CASE as it is a sign of SHOUTING which is annoying.

Other things to type in - replace &lt;message&gt; with a line of text and &lt;nick&gt; with a person's name

&lt;pre&gt;
/help

/list

/who
/whois &lt;nick&gt;

/msg &lt;nick&gt; &lt;message&gt;

/query &lt;nick&gt; 
&lt;message&gt;s
/query

/away &lt;message&gt;
/away

/quit &lt;going away message&gt; 
&lt;/pre&gt;


[http://irchelp.org/irchelp/new2irc.html#smiley Intro guide here]. IRC Primer can be found here in [http://www.irchelp.org/irchelp/ircprimer.html html], [http://www.irchelp.org/irchelp/text/ircprimer.txt TXT], [http://www.kei.com/irc/IRCprimer1.1.ps PostScript].


Issue the command /me &lt;text&gt; where &lt;text&gt; is the text that should follow your nickname.
Example: /me slaps ajk around a bit with a large trout

/nick &lt;newNick&gt;

/nickserv register &lt;password&gt; &lt;email address&gt;

/ns instead of /nickserv, while others might need /msg nickserv

/nickserv identify &lt;password&gt;

Alternatives:
/ns identify &lt;password&gt;
/msg nickserv identify &lt;password&gt;


==== IRC WookieChat ====

WookieChat is the most complete internet client for communication across the IRC Network. WookieChat allows you to swap ideas and communicate in real-time, you can also exchange Files, Documents, Images and everything else using the application's DCC capabilities.


add smilies drawer/directory

 run wookiechat from the shell and set stack to 1000000 e.g. wookiechat stack 1000000

select a server / server window

* nickname 
* user name 
* real name - optional

Once you configure the client with your preferred screen name, you'll want to find a channel to talk in.


servers

* New Server - click on this to add / add extra - change details in section below this click box 
* New Group
* Delete Entry
* Connect to server
* connect in new tab
* perform on connect

Change details

* Servername - change text in this box to one of the below Server: 
* Port number - no need to change
* Server password
* Channel - add #channel from below 
* auto join - can click this 
* nick registration password,

Click Connect to server button above


&lt;pre&gt;
Server: irc.freenode.net
Channel: #aros
&lt;/pre&gt;

irc://irc.freenode.net/aros

&lt;pre&gt;
Server: chat.amigaworld.net 
Channel: #amigaworld or #amigans 
&lt;/pre&gt;

&lt;pre&gt;
On Sunday evenings USA time usually starting around 3PM EDT (1900 UTC)
Server:irc.superhosts.net
Channel #team*amiga  
&lt;/pre&gt;

&lt;pre&gt;
BitlBee and Minbif are IRCd-like gateways to multiple IM networks
Server: im.bitlbee.org 
Port 6667 
Seems to be most useful on WookieChat as you can be connected to several servers at once. One for Bitlbee and any messages that might come through that. One for your normal IRC chat server. 
&lt;/pre&gt;

[http://www.bitlbee.org/main.php/servers.html Other servers],

&lt;pre&gt;
#Amiga.org - irc.synirc.net eu.synirc.net dissonance.nl.eu.synirc.net (IPv6: 2002:5511:1356:0:216:17ff:fe84:68a) 
twilight.de.eu.synirc.net zero.dk.eu.synirc.net us.synirc.net avarice.az.us.synirc.net envy.il.us.synirc.net harpy.mi.us.synirc.net 
liberty.nj.us.synirc.net snowball.mo.us.synirc.net - Ports 6660-6669 7001 (SSL)
&lt;/pre&gt;

&lt;pre&gt;
Multiple server support
&quot;Perform on connect&quot; scripts and channel auto-joins
Automatic Nickserv login
Tabs for channels and private conversations
CTCP PING, TIME, VERSION, SOUND
Incoming and Outgoing DCC SEND file transfers
Colours for different events
Logging and automatic reloading of logs
mIRC colour code filters
Configurable timestamps
GUI for changing channel modes easily
Configurable highlight keywords
URL Grabber window
Optional outgoing swear word filter
Event sounds for tabs opening, highlighted words, and private messages
DCC CHAT support
Doubleclickable URL's
Support for multiple languages using LOCALE
Clone detection
Auto reconnection to Servers upon disconnection
Command aliases
Chat display can be toggled between AmIRC and mIRC style
Counter for Unread messages
Graphical nicklist and graphical smileys with a popup chooser
&lt;/pre&gt;


====IRC Aircos ====

Double click on Aircos icon in Extras:Networking/Apps/Aircos. It has been set up with a guest account for trial purposes. Though ideally, choose a nickname and password for frequent use of irc. 


====IRC and XMPP Jabberwocky====
 Servers are setup and close down at random 
You sign up to a server that someone else has setup and access chat services through them. 

The two ways to access chat from jabberwocky
&lt;pre &gt;
Jabberwocky -&gt; Server -&gt; XMPP -&gt; open and ad-free 
Jabberwocky -&gt; Server -&gt; Transports (Gateways) -&gt; Proprietary closed systems 
&lt;/pre &gt;

The Jabber.org service connects with all IM services that use XMPP, the open standard for instant messaging and presence over the Internet. The services we connect with include Google Talk (closed), Live Journal Talk, Nimbuzz, Ovi, and thousands more. However, you can not connect from Jabber.org to proprietary services like AIM, ICQ, MSN, Skype, or Yahoo because they don’t yet use XMPP components (XEP-0114) '''but''' you can use Jabber.com's servers and IM gateways (MSN, ICQ, Yahoo etc.) instead.

The best way to use jabberwocky is in conjunction with a public jabber server with '''transports''' to your favorite services, like gtalk, Facebook, yahoo, ICQ, AIM, etc.


You have to register with one of the servers, [https://list.jabber.at/ this list] or [http://www.jabberes.org/servers/ another list], [http://xmpp.net/ this security XMPP list],

Unfortunately jabberwocky can only connect to one server at a time so it is best to check what services each server offers. If you set it up with separate Facebook and google talk accounts, for example, sometimes you'll only get one or the other.

Jabberwocky open a window where the Jabber server part is typed in as well as your Nickname and Password.

Jabber ID (JID) identifies you to the server and other users.

Once registered the next step is to goto Jabberwocky's &quot;Windows&quot; menu and select the &quot;Agents&quot; option. The &quot;Agents List&quot; window will open.

Roster (contacts list)

[http://search.wensley.org.uk/ Chatrooms] (MUC) are available

File Transfer - can send and receive files through the Jabber service but not with other services like IRC, ICQ, AIM or Yahoo. All you need is an installed webbrowser and OpenURL.

Clickable URLs - The message window uses Mailtext.mcc and you can set a URL action in the MUI mailtext prefs like SYS:Utils/OpenURL %s NEWWIN.

There is no consistent Skype like (H.323 VoIP) video conferencing available over Jabber. The move from xmpp to Jingle should help but no support on any amiga-like systems at the moment. [http://aminet.net/package/dev/src/AmiPhoneSrc192 AmiPhone] and [http://www.lysator.liu.se/%28frame,faq,nobg,useframes%29/ahi/v4-site/ Speak Freely] was an early attempt voice only contact. SIP and Asterisk are other PBX options.


 Facebook

If you're using the XMPP transport provided by Facebook themselves, chat.facebook.com, it looks like they're now requiring SSL transport. This means jabberwocky method below will no longer work. The best thing to do is to create an ID on a public jabber server which has a Facebook gateway.

&lt;pre &gt;
1. launch jabberwocky
2. if the login window doesn't appear on launch, select 'account' from the jabberwocky menu
3. your jabber ID will be user@chat.facebook.com where user is your user ID
4. your password is your normal facebook password
5. to save this for next time, click the popup gadget next to the ID field

6. click the 'add' button
7. click the 'close' button
8. click the 'connect' button
&lt;/pre &gt;

you're done. you can also click the 'save as default account' button if you want. jabberwocky configured to auto-connect when launching the program, but you can configure as you like. there is amigaguide documentation included with jabberwocky.

[http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=37085&amp;forum=32 Read more here]

for Facebook users, you can log-in directly to Facebook with jabberwocky. just sign in as @chat.facebook.com with your Facebook password as the password


 Twitter

For a few years, there has been added a twitter transport. Servers include [http://jabber.hot-chilli.net/ jabber.hot-chili.net],  and .

An [http://jabber.hot-chilli.net/tag/how-tos/ How-to]

:Read [http://jabber.hot-chilli.net/2010/05/09/twitter-transport-working/ more]

 Instagram 

no support at the moment best to use a web browser based client

 ICQ

The new version (beta) of StriCQ uses a newer ICQ protocol. Most of the ICQ Jabber Transports still use an older ICQ protocol. You can only talk one-way to StriCQ using the older Transports. Only the newer ICQv7 Transport lets you talk both ways to StriCQ. Look at the server lists in the first section to check.

Register on a Jabber server, e.g. this one works: http://www.jabber.de/
Then login into Jabberwocky with the following login data e.g. xxx@jabber.de / Password: xxx Now add your ICQ account under the window-&gt;Agents-&gt;&quot;Register&quot;. Now Jabberwocky connects via the Jabber.de server with your ICQ account.

 Yahoo Messenger

although yahoo! does not use xmpp protocol, you should be able to use the transport methods to gain access and post your replies

 MSN

early months of 2013 Microsoft will ditch MSN Messenger client and force everyone to use Skype...but MSN protocol and servers will keep working as usual for quite a long time....

Occasionally the Messenger servers have been experiencing problems signing in.  You may need to sign in at www.outlook.com and then try again.  It may also take multiple tries to sign in.  (This also affects you if you’re using Skype.)

You have to check each servers' Agents List to see what transports (MSN protocol, ICQ protocol, etc.) are supported or use the list address' provided in the section above. Then register with each transport (IRC, MSN, ICQ, etc.) to which you need access. After registering you can Connect to start chatting.

msn.jabber.com/registered should appear in the window.

From this [http://tech.dir.groups.yahoo.com/group/amiga-jabberwocky/message/1378 JW group] guide which  helps with this process in a clear, step by step procedure.

1. Sign up on MSN's site for a passport account. This typically involves getting a Hotmail address.

2. Log on to the Jabber server of your choice and do the following:

* Select the &quot;Windows/Agents&quot; menu option in Jabberwocky.
* Select the MSN Agent from the list presented by the server.
* Click the Register button to open a new window asking for:
**Username = passort account email address, typically your hotmail address.
**Nick = Screen name to be shown to anyone you add to your buddy list.
**Password = Password for your passport account/hotmail address.
* Click the Register button at the bottom of the new window.

3. If all goes well, you will see the MSN Gateway added to your buddy list. If not, repeat part 2 on another server. Some servers may show MSN in their list of available agents, but have not updated their software for the latest protocols used by MSN.

4. Once you are registered, you can now add people to your buddy list. Note that you need to include the '''msn.''' ahead of the servername so that it knows what gateway agent to use. Some servers may use a slight variation and require '''msg.gate.''' before the server name, so try both to see what works.

If my friend's msn was amiga@hotmail.co.uk and my jabber server was @jabber.meta.net.nz..
then amiga'''%'''hotmail.com@'''msn.'''jabber.meta.net.nz

or another the trick to import MSN contacts is that you don't type the hotmail URL but the passport URL... e.g. Instead of: goodvibe%hotmail.com@msn.jabber.com  You type: goodvibe%passport.com@msn.jabber.com 
And the thing about importing contacts I'm afraid you'll have to do it by hand, one at the time...

 Google Talk

any XMPP server will work, but you have to add your contacts manually. a google talk user is typically either @gmail.com or @talk.google.com. a true gtalk transport is nice because it brings your contacts to you and (can) also support file transfers to/from google talk users.

implement Jingle a set of extensions to the IETF's Extensible Messaging and Presence Protocol (XMPP)

support ended early 2014 as Google moved to Google+ Hangouts which uses it own proprietary format


===Video Player MPlayer===

Many of the menu features (such as doubling) do not work with the current version of mplayer but using

4:3
 mplayer -vf scale=800:600 file.avi

16:9
 mplayer -vf scale=854:480 file.avi

if you want gui use;
 mplayer -gui 1 &lt;other params&gt; file.avi

&lt;pre &gt;
stack 1000000

; using AspireOS 1.xx 
; copy FROM SYS:Extras/Multimedia/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 1.x 
; copy FROM SYS:Tools/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 2.x 
; copy FROM SYS:Utilities/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

cd RAM:MPlayer
run MPlayer -gui &gt; Nil:
;run MPlayer -gui -ao ahi_dev -playlist http://www.radio-paralax.de/listen.pls &gt; Nil: 
&lt;/pre &gt;

$ mplayer rtsp://127.0.0.1:554/sample_300kbit.mp4


MPlayer supports multicast streaming, and rtp/rtsp protocols (it might require [http://www.live555.com/openRTSP/ live555 library] to work with some streams). But you might have to build it where it's disabled. Also, multicast won't work with some AmiTCP-likes. MIAMI supported it, though.

AROS supports IPv4 (old but works) and this includes the needed address space for RTP.

If you mean multicast via RTP - mplayer handles it. You can even force UDP over TCP

-rtsp-stream-over-tcp

If the rtsp Real Time Streaming Protocol  server needs authentification:

-user -passwd


MPlayer - Menu - Open Playlist and load already downloaded .pls or .m3u file - auto starts around 4 percent cache

MPlayer - Menu - Open Stream and copy one of the .pls lines below into space allowed, press OK and press play button on main gui interface


Old 8bit 16bit remixes chip tune game music 
 
http://www.radio-paralax.de/listen.pls 

http://scenesat.com/

http://www.shoutcast.com/radio/Amiga

http://www.theoldcomputer.com/retro_radio/RetroRadio_Main.htm

http://www.kohina.com/

http://www.remix64.com/

http://retrogamer.net/forum/

http://retroasylum.podomatic.com/rss2.xml

http://retrogamesquad.com/

http://www.retronauts.com/

http://monsterfeet.com/noquarter/

http://www.retrogamingradio.com/

http://www.radiofeeds.co.uk/mp3.asp


[[#top|...to the top]]

====ZunePaint==== 

simplified typical workflow

* importing and organizing and photo management
* making global and regional local correction(s) - recalculation is necessary after each adjustment as it is not in real-time 
* exporting your images in the best format available with the preservation of metadata


Whilst achieving 80% of a great photo with just a filter, the remaining 20% comes from a manual fine-tuning of specific image attributes.


For photojournalism, documentary, and event coverage, minimal touching is recommended. Stick to Camera Raw for such shots, and limit changes to level adjustment, sharpness, noise reduction, and white balance correction.

For fashion or portrait shoots, a large amount of adjustment is allowed and usually ends up far from the original. Skin smoothing, blemish removal, eye touch-ups, etc. are common.  Might alter the background a bit to emphasize the subject.

Product photography usually requires a lot of sharpening, spot removal, and focus stacking.

For landscape shots, best results are achieved by doing the maximum amount of preparation before/while taking the shot. No amount of processing can match timing, proper lighting, correct gear, optimal settings, etc. Excessive post-processing might give you a dramatic shot but best avoided in the long term.


* White Balance - Left Amiga or F12 and K and under &quot;Misc color effects&quot; tab with a pull down for White Balance - color temperature also known as AKA tint (movies) or tones (painting) - warm temp raise red reduce green blue - cool raise blue lower red green 
* Exposure - exposure compensation, highlight/shadow recovery
* Noise Reduction - during RAW development or using external software
* Lens Corrections - distortion, vignetting, chromatic aberrations
* Detail - capture sharpening and local contrast enhancement
* Contrast - black point, levels (sliders) and curves tools (F12 and K) 
* Framing - straighten () and crop (F12 and F) 
* Refinements - color adjustments and selective enhancements - Left Amiga or F12 and K for RGB and YUV histogram tabs - 
* Resizing - enlarge for a print or downsize for the web or email (F12 and D) 
* Output Sharpening - customized for your subject matter and print/screen size


White Balance - F12 and K

scan your image for a shade which was meant to be white (neutral with each RGB value being equal) like paper or plastic which is in the same light as the subject of the picture. Use the dropper tool to select this color, similar colours will shift and you will have selected the perfect white balance for your part of the image - for the whole picture make sure RAZ or CLR button at the bottom is pressed before applying to the image above.


Exposure correction

F12 and K - YUV Y luminosity - RGB extra red tint - move red curve slightly down and move blue green curves slightly up

Workflows in practice

* Undo - Right AROS key or F12 and Z 
* Redo - Right AROS key or F12 and R

First flatten your image (if necessary) and then do a rotation until the picture looks level. 
* Crop the picture. Click the selection button and drag a box over the area of the picture you want to keep. Press the crop button and the rest of the photo will be gone. 
* Adjust your saturation, exposure, hue levels, etc., (right AROS Key and K for color correction) until you are happy with the photo. Make sure you zoom in all of the way to 100% and look the photo over, zoom back out and move around. Look for obvious problems with the picture. 
* After coloring and exposure do a sharpen (Right AROS key and E for Convolution and select drop down option needed), e.g. set the matrix to 5x5 (roughly equivalent Amount to 60%) and set the Radius to 1.0. Click OK.


And save your picture


Implemented or would like to see for simplification and ease of use

basic filters (presets) like black and white, monochrome, edge detection (sobel), motion/gaussian blur, 
* negative, sepiatone, retro vintage, night vision, colour tint, color gradient, color temperature, glows, fire, lightning, lens flare, emboss, filmic, pixelate mezzotint, antialias, etc.

adjust / cosmetic tools such as crop, 
* reshaping tools, straighten, smear, smooth, perspective, liquify, bloat, pucker, push pixels in any direction, dispersion, transform like warp, blending with soft light, page-curl, whirl, ripple, fisheye, neon,  etc. 
* red eye fixing, blemish remover, skin smoothing, teeth whitener, make eyes look brighter, desaturate,

effects like oil paint, cartoon, pencil sketch, charcoal, noise/matrix like sharpen/unsharpen, (right AROS key with A for Artistic effects) 
* blend two image, gradient blend, masking blend, explode, implode, custom collage, surreal painting, comic book style, needlepoint, stained glass, watercolor, mosaic, stencil/outline, crayon, chalk, etc.

borders such as 
* dropshadow, rounded, blurred, color tint, picture frame, film strip polaroid, bevelled edge, etc.

brushes e.g.
* frost, smoke, etc.

and manual control of

fix lens issues including vignetting (darkening), color fringing and barrel distortion, and chromatic and geometric aberration -  lens and body profiles

perspective correction

levels - directly modify the levels of the tone-values of an image, by using sliders for highlights, midtones and shadows

curves -  Color Adjustment and Brightness/Contrast

color balance

one single color transparent (alpha channel (color information/selections) for masking and/or blending ) for backgrounds, etc.

Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors

decompose layer into a set of layers with each holding a different type of pattern that is visible within the image

any selection using any selecting tools like lasso tool, marquee tool etc. the selection will temporarily be save to alpha 
If you create your image without transparency then the Alpha channel is not present, but you can add later.

File formats like .psd (Photoshop file has layers, masks etc.  contains edited sensor data. The original sensor data is no longer available) .xcf .raw .hdr

Image Picture Formats
* low dynamic range (JPEG, PNG, TIFF 8-bit), 16-bit (PPM, TIFF), typically as a 16-bit TIFF in either ProPhoto or AdobeRGB colorspace -  TIFF files are also fairly universal – although, if they contain proprietary data, such as Photoshop Adjustment Layers or Smart Filters, then they can only be opened by Photoshop making them proprietary.
* linear high dynamic range (HDR) images (PFM, [http://www.openexr.com/ ILM .EXR], jpg, [http://aminet.net/util/dtype cr2] (canon tiff based), hdr, NEF, CRW, ARW, MRW, ORF, RAF (Fuji), PEF, DCR, SRF, ERF, DNG files are RAW converted to an Adobe proprietary format - a container that can embed the raw file as well as the information needed to open it) 
An old version of [http://archives.aros-exec.org/index.php?function=browse&amp;cat=graphics/convert dcraw]

There is no single RAW file format. Each camera manufacturer has one or more unique RAW formats. RAW files contain the brightness levels data captured by the camera sensor. This data cannot be modified. A second smaller file, separate XML file, or within a database with instructions for the RAW processor to change exposure, saturation etc. The extra data can be changed but the original sensor data is still there. RAW is technically least compatible.

A raw file is high-bit (usually 12 or 14 bits of information) but a camera-generated TIFF file will be usually converted by the camera (compressed, downsampled) to 8 bits. The raw file has no embedded color balance or color space, but the TIFF has both. These three things (smaller bit depth, embedded color balance, and embedded color space) make it so that the TIFF will lose quality more quickly with image adjustments than the raw file. The camera-generated TIFF image is much more like a camera processed JPEG than a raw file. A strong advantage goes to the raw file. The power of RAW files, such as the ability to set any color temperature non-destructively and will contain more tonal values.

The principle of preserving the maximum amount of information to as late as possible in the process. The final conversion - which will always effectively represent a &quot;downsampling&quot; - should prevent as much loss as possible.

Once you save it as TIFF, you throw away some of that data irretrievably. When saving in the lossy JPEG format, you get tremendous file size savings, but you've irreversibly thrown away a lot of image data. As long as you have the RAW file, original or otherwise, you have access to all of the image data as captured.

Keyboard equivalence with Photoshop(tm) would help 

File
PHOTOSHOP	SHORTCUT	GIMP
New	Ctrl+n	New
Open	Ctrl+o	Open
Close	Ctrl+w	Close
Save	Ctrl+s	Save
Save as	Shift+Ctrl+s	Save as
Revert	F12	Revert
Print	Ctrl+p	Print
Exit	Ctrl+q	Quit
 
Edit
PHOTOSHOP	SHORTCUT	GIMP
Undo/Redo (1 level)	Ctrl+z	Undo (Redo is Shift+Ctrl+z)
Cut	Ctrl+x	Cut
Copy	Ctrl+c	Copy
Paste	Ctrl+v	Paste
Paste Into	Shift+Ctrl+v	Paste Into
Fill with FG color	Alt+Backspace	Fill with FG color
Fill with BG color	Control+Backspace	Fill with BG color
 
Image/Colors
PHOTOSHOP	SHORTCUT	GIMP
Levels	Ctrl+l	Levels
Auto Contrast	Shift+Ctrl+Alt+l	Stretch Contrast (same?)
Curves	Ctrl+m	Curves
Color Balance	Ctrl+b	Color Balance
Hue/Saturation	Ctrl+u	Hue-Saturation
Desaturate	Shift+Ctrl+u	Desaturate
Invert	Ctrl+i	Invert
Default Colors	d	Default Colors
Switch Colors	x	Switch Colors
 
Layer
PHOTOSHOP	SHORTCUT	GIMP
New Layer	Shift+Ctrl+n	New Layer
Layer via Copy	Ctrl+j	Duplicate Layer
Bring (layer) to Front	Shift+Ctrl+]	Layer to Top
Send (layer) to Back	Shift+Ctrl+[	Layer to Bottom
Bring (layer) Forward	Ctrl+]	Raise Layer
Send (layer) Backward	Ctrl+[	Lower Layer
Select Top Layer	Shift+Alt+]	Select Top Layer
Select Bottom Layer	Shift+Alt+[	Select Bottom Layer
Select One Layer Forward	Alt+]	Select Previous Layer
Select One Layer Backward	Alt+[	Select Next Layer
Merge Down	Ctrl+e	Merge Down
Merge Visible	Shift+Ctrl+e	Merge Visible
Preserve Transparency	/	Keep Transparency
Cycle Modes Forwards	Shift+=	Next Layer Mode
Cycle Modes Backwards	Shift+-	Previous Layer Mode
 
Select
PHOTOSHOP	SHORTCUT	GIMP
Select All	Ctrl+a	Select All
Deselect	Ctrl+d	Select None
Inverse	Shift+Ctrl+i	Invert
Feather	Ctrl+Alt+d	Feather
 
View
PHOTOSHOP	SHORTCUT	GIMP
Zoom In	Ctrl+=	Zoom In
Zoom Out	Ctrl+-	Zoom Out
Fit on Screen	Ctrl+0	Zoom to Fit Window
Actual Pixels	Ctrl+Alt+0	Zoom 1:1
Show/Hide Extras	Ctrl+h	Toggle Show Selection (close enough?)
Show/Hide Guides	Ctrl+'	Toggle Show Guides
Show/Hide Grid	Ctrl+Alt+'	Toggle Show Grid
Show/Hide Rulers	Ctrl+r	Toggle Show Rulers
Snap	Ctrl+;	Snap to Guides
Scroll View Up	Page Up	Scroll Page Up
Scroll View Down	Page Down	Scroll Page Down
Scroll View Left	Ctrl+Page Up	Scroll Page Left
Scroll View Right	Ctrl+Page Down	Scroll Page Right
 
Window/Dialogs
PHOTOSHOP	SHORTCUT	GIMP
?	F5	Tools Dialog
Color Tab	F6	Colors Dialog
Layers Tab	F7	Layers Dialog
Info Tab	F8	Image Information
 
Tools
PHOTOSHOP	SHORTCUT	GIMP
Rectangular Marquee Tool	m	Rect Select Tool
Elliptical Marquee Tool	Shift+m	Ellipse Select Tool
 	*This is a toggle between 'Elliptical Marquee Tool' and 'Rectangular Marquee Tool' in Photoshop	 
Move Tool	v	Move Tool
Lasso Tool	l	Free Select Tool
Magic Wand Tool	w	Fuzzy Select Tool
Crop Tool	c	Crop &amp; Resize Tool
Airbrush Tool	j	Airbrush Tool
Paintbrush Tool	b	Paintbrush Tool
Clone Stamp Tool	s	Clone Stamp Tool
Eraser Tool	e	Eraser Tool
Gradient Tool	g	Blend Tool
Paint Bucket Tool	Shift+g	Bucket Fill Tool
 	*This is a toggle between 'Paint Bucket Tool' and 'Gradient Tool' in Photoshop	 
Blur Tool	r	Convolve Tool
Dodge Tool	o	DodgeBurn Tool
Type Tool	t	Text Tool
Pen Tool	p	Bezier Select Tool
Eye Dropper Tool	i	Color Picker Tool
Zoom Tool	z	Magnify Tool
Previous Brush	,	Previous Brush
Next Brush	.	Next Brush
First Brush	Shift+&lt;	First Brush
Last Brush	Shift+&gt;	Last Brush
Decrease Brush Size	[	Decrease Brush Size
Increase Brush Size	]	Increase Brush Size
Decrease Brush Hardness	{	Decrease Brush Hardness
Increase Brush Hardness	}	Increase Brush Hardness
 
Help
PHOTOSHOP	SHORTCUT	GIMP
Help	F1	Help
Context Help	Shift+F1	Context Help
 
Misc.
PHOTOSHOP	SHORTCUT	GIMP
Last Filter	Ctrl+f	Repeat Last Filter
?	Shift+Ctrl+f	Reshow Last Filter
Preferences	Ctrl+k	Preferences
Liquify	Shift+Ctrl+x	IWarp (close enough?)
Toggle Quick Mask	q	Toggle Quick Mask


Spotlights - triangle of white opaque shape

Cutting out and/or replacing unwanted background or features - select large areas with the selection option like the Magic Wand tool (aka Color Range) or the Lasso (quick and fast) with feather 2 to soften edge or the pen tool which adds points/lines/Bézier curves (better control but slower), hold down the shift button as you click to add extra points/areas of the subject matter to remove. Increase the tolerance to cover more areas. To subtract from your selection hold down alt as you're clicking. 
* Layer masks are a better way of working than Erase they clip (black hides/hidden white visible/reveal). Clone Stamp can be simulated by   and brushes for other areas. 
* Leave the fine details like hair, fur, etc. to later with lasso and the shift key to draw a line all the way around your subject. Gradient Mapping - Inverse - Mask. i.e. Refine your selected image with edge detection and using the radius and edge options / adjuster (increase/decrease contrast) so that you will capture more fine detail from the background allowing easier removal. 
Remove fringe/halo

saving image as png rather than jpg/jpeg to keep transparency background intact.


Implemented [http://colorizer.org/ colour model representations] [http://paulbourke.net/texture_colour/colourspace/ Mathematical approach] - Photo stills are spatially 2d (h and w), but are colorimetrically 3d (r g and b, or H L S, or Y U V etc.) as well. 
* RGB - split cubed mapped color model for photos and computer graphics hardware using the light spectrum (adding and subtracting) 
* YUV - Y-Lightness U-blue/yellow V-red/cyan (similar to YPbPr and YCbCr) used in the PAL, NTSC, and SECAM composite digital TV color [http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299 video]


Histograms

White balanced (neutral) if the spike happens in the same place in each channel of the RGB graphs. If not, you're not balanced. 
If you have sky you'll see the blue channel further off to the right.

RGB is best one to change colours. These elements RGB is a 3-channel format containing data for Red, Green, and Blue in your photo scale between 0 and 255. The area in a picture that appears to be brighter/whiter contains more red color as compared to the area which is relatively darker. Similarly in the green channel the area that appears to be darker contains less amount of green color as compared to the area that appears to be brighter.  Similarly in the blue channel the area appears to be darker contains less amount of blue color as compared to the area that appears to be brighter. Brightness luminance histogram also matches the green histogram more than any other color - human eye interprets green better e.g. RGB rough ratio 15/55/30%

RGBA (RGB+A, A means alpha channel) .  The alpha channel is used for &quot;alpha compositing&quot;, which can mostly be associated as &quot;opacity&quot;.  AROS deals in RGB with two digits for every color (red, green, blue), in ARGB you have two additional hex digits for the alpha channel.

The shadows are represented by the left third of the graph.  The highlights are represented by the right third.  And the midtones are, of course, in the middle.  The higher the black peaks in the graph, the more pixels are concentrated in that tonal range (total black area). 
By moving the black endpoint, which identifies the shadows (darkness) and a white light endpoint (brightness) up and down either sides of the graph, colors are adjusted based on these points. 
By dragging the central one, can increased the midtones and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .


RGB Curves

* Move left endpoint (black point) up or right endpoint (white point) up brightens 
* Move left endpoint down or right endpoint down darkens

Color Curves

* Dragging up on the Red Curve increases the intensity of the reds in the image but 
* Dragging down on the Red Curve decreases the intensity of the reds and thus increases the apparent intensity of its complimentary color, cyan. Green’s complimentary color is magenta, and blue’s is yellow.
&lt;pre&gt;
 Red &lt;-&gt; Cyan
 Green &lt;-&gt;Magenta
 Blue &lt;-&gt;Yellow 
&lt;/pre&gt;

YUV Best option to analyse and pull out statistical elements of any picture (i.e.  separate luminance data from color data). The line in Y luma tone box represents the brightness of the image with the point in the bottom left been black, and the point in the top right as white.  A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram.   A histogram that is skewed to the right would indicate a picture that is a bit overexposed because most of the color data is on the lighter side (increase exposure with higher value F), while a histogram with the curve on the left shows a picture that is underexposed. This is good information to have when using post-processing software because it shows you not only where the color data exists for a given picture, but also where any data has been clipped (extremes on edges of either side): that is, it does not exist and, therefore, cannot be edited.  By dragging the endpoints of the line and as well as the central one, can increased the dark/shadows, midtones and light/bright parts and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .

The U and V chroma parts show color difference components of the image. It’s useful for checking whether or not the overall chroma is too high, and also whether it’s being limited too much
Can be used to create a negative image but also 
With U (Cb), the higher value you are, the more you're on the blue primary color. If you go to the low values then you're on blue complementary color, i.e. yellow.
With V (Cr), this is the same principle but with Red and Cyan.
e.g. If you push U full blue and V full red, you get magenta. If you push U full yellow and V full Cyan then you get green.

YUV simultaneously adds to one side of the color equation while subtracting from the other.  
using YUV to do color correction can be very problematic because each curve alters the result of each other: the mutual influence between U and V often makes things tricky. You may also be careful in what you do to avoid the raise of noise (which happens very easily). Best results are obtained with little adjustments

sunset that looks uninspiring and needs some color pop especially for the rays over the hill, a subtle contrast raise while setting luma values back to the legal range without hard clipping.


Free royalty pictures, [www.freeimages.com ], [http://imageshack.us/ ], [http://photobucket.com/ ], [http://rawpixels.net/], [], [], [], 


====Lunapaint====

Pixel based drawing app with onion-skin animation function

 Blocking, Shading, Coloring, adding detail 

&lt;pre&gt;
b BRUSH
e ERASER

alt eyedropper 
v layer tool 

z ZOOM / MAGNIFY &lt; &gt; n 
spc panning 
m  marque 
q lasso 
w same color selection / region 
&lt;/pre&gt;

&lt;pre&gt;
, LM RM
v 
V
f  filter 
F 
.  size 

p 
,  pick color 
[] last / next color 
&lt;/pre&gt;


There is not much missing in Lunapaint to be as good as FlipBook and then you have to take into account that Flipbook is considered to be amongst the best and easiest to use animation software out there. Ok to be honest Flipbook has some nice features that require more heavy work but those aren't so much needed right away, things like camera effects, sound, smart fill, export to different movie file formats etc.

Tried Flipbook with my tablet and compared it to Luna. The feeling is the same when sketching. LunaPaint is very responsive/fluent to draw with. Just as Flipbook is, and that responsiveness is something its users have mentioned as one of the positive sides of said software.

 author was learning MUI. Some parts just have to be rewritten with proper MUI classes before new features can be added.

* add [Frame Add] / [Frame Del]
* whole animation feature is impossible to use. If you draw 2 color maybe but if you start coloring your cells then you get in trouble
* pickup the entire image as a brush, not just a selection ? And consequently remove the brush from memory when one doesn't need it anymore. can pick up a brush and put it onto a new image but cropping isn't possible, nor to load/save brushes.
* Undo is something I longed for ages in Lunapaint.
* to import into the current layer, other types of images (e.g. JPEG) besides RAW64.
* implement graphic tablet features support


**GENERAL DRAWING**

Miss it very much:
UNDO
ERASER
COLORPICKER - has to show on palette too which color got picked.
BACKGROUND COLOR -Possibility to select from &quot;New project screen&quot;

Miss it somewhat:
ICON for UNDO
ICON for ERASER
ICON for CLEAR SCREEN ( What can I say? I start over from scratch very often )
BRUSH - possibility to cut out as brush not just copy off image to brush

**ANIMATING**

Miss it very much:
NUMBER OF CELLS - Possibity to change total no. of cells during project
ANIM BRUSH - Possibility to pick up a selected part of cells into an animbrush

Miss it somewhat:
ADD/REMOVE FRAMES: Add/remove single frame

In general LunaPaint is really well done and it feels like a new DeluxePaint version. It works with my tablet. Sure there's much missing of course but things can always be added over time. So there is great potential in LunaPaint that's for sure. Animations could be made in it and maybe put together in QuickVideo, saving in .gif or .mng etc some day.


LAYERS
-Layers names don't get saved globally in animation frames
-Layers order don't change globally in an animation (perhaps as default?).

EXPORTING IMAGES
-Exporting frames to JPG/PNG gives problems with colors. (wrong colors. See my animatiopn --&gt; My robot was blue now it's &quot;gold&quot; ) I think this only happens if you have layers.
-Trying to flatten the layers before export doesn't work if you have animation frames only the one you have visible will flatten properly all other frames are destroyed. (Only one of the layers are visible on them)
-Exporting images filenames should be for example e.g. file0001, file0002...file0010 instead as of now file1, file2...file10

LOAD/SAVE (Preferences)
-Make a setting for the default &quot;Work&quot; folder.

* Destroyed colors if exported image/frame has layers 
* mystic color cycling of the selected color while stepping frames back/forth (annoying)

&lt;pre&gt;
Deluxe Paint II enhanced key shortcuts 
    NOTE: @ denotes the ALT key

    [Technique]

    F1  - Paint
    F2  - Single Colour
    F3  - Replace
    F4  - Smear
    F5  - Shade
    F6  - Cycle
    F7  - Smooth
     M  - Colour Cycle

    [Brush]

     B  - Restore
     O  - Outline
     h  - Halve brush size
     H  - Double brush size
     x  - Flip brush on X axis
     X  - Double brush size on X axis only
     y  - Flip on Y 
     Y  - Double on Y
     z  - Rotate brush 90 degrees
     Z  - Stretch

    [Stencil]

     `  - Stencil On

    [Miscellaneous]

    F9  - Info Bar
    F10 - Selection Bar
    @o  - Co-Ordinates
    @a  - Anti-alias
    @r  - Colourise
    @t  - Translucent
    TAB - Colour Cycle

    [Picture]

     L  - Load
     S  - Save
     j  - Page to Spare(Flip)
     J  - Page to Spare(Copy)
     V  - View Page
     Q  - Quit

    [General Keys]

     m  - Magnify
     &lt;  - Zoom In
     &gt;  - Zoom Out
     [  - Palette Colour Up
     ]  - Palette Colour Down
     (  - Palette Colour Left
     )  - Palette Colour Right
     ,  - Eye Dropper
     .  - Pixel / Brush Toggle
     /  - Symmetry
     |  - Co-Ordinates
    INS - Perspective Control
    +/- - Brush Size (Fine Control)
     w  - Unfilled Polygon
     W  - Filled Polygon
     e  - Unfilled Ellipse
     E  - Filled Ellipse
     r  - Unfilled Rectangle
     R  - Filled Rectangle
     t  - Type/text tool
     a  - Select Font
    u/U - Undo
     d  - Brush
     D  - Filled Non-Uniform Polygon
    f/F - Fill Options
    g/G - Grid
    h/H - Brush Size (Coarse Control)
     K  - Clear
     c  - Unfilled Circle
     C  - Filled Circle
     v  - Line
     b  - Scissor Select and Toggle
     B  - Brush
    {,} - Toggle between two background colours
&lt;/pre&gt;

====Lodepaint====

Pixel based painting artwork app

====Grafx2====

Pixel based painting artwork app aesprite like 

[https://www.youtube.com/watch?v=59Y6OTzNrhk aesprite workflow keys and tablet use], [], 


====Vector Graphics ZuneFIG====

Vector Image Editing of files .svg .ps .eps


*Objects - raise lower rotate flip aligning snapping 
*Path - unify subtract intersect exclude divide 
*Colour - fill stroke 
*Stroke - size 
*Brushes - 
*Layers - 
*Effects - gaussian bevels glows shadows 
*Text    - 
*Transform - 


 AmiFIG ([http://epb.lbl.gov/xfig/frm_introduction.html xfig manual]) 

[[File:MyScreen.png|thumb|left|alt=Showing all Windows open in AmiFIG.|All windows available to AmiFIG.]]

for drawing simple to intermediate vector graphic images for scientific and technical uses and for illustration purposes for those with talent

;Menu options
* Load - fig format but import(s) SVG
* Save - fig format but export(s) eps, ps, pdf, svg and png
* PAN = Ctrl + Arrow keys 
* Deselect all points

There is no selected object until you apply the tool, and the selected object is not highlighted.

;Metrics - to set up page and styles - first window to open on new drawings

;Tools - Drawing Primitives - set Attributes window first before clicking any Tools button(s) 
* Shapes - circles, ellipses, arcs, splines, boxes,  polygon 
* Lines - polylines
* Text &quot;T&quot; button 
* Photos - bitmaps
* Compound - Glue, Break, Scale 
* POINTs - Move, Add, Remove 
* Objects - Move, Copy, Delete, Mirror, Rotate, Paste 
use right mouse button to stop extra lines, shapes being formed and the left mouse to select/deselect tools button(s)
* Rotate - moves in 90 degree turns centered on clicked POINT of a polygon or square

;Attributes which provide change(s) to the above primitives 
* Color
* Line Width
* Line Style
* arrowheads

;Modes 
Choose from freehand, charts, figures, magnet, etc.

;Library - allows .fig clip-art to be stored 
* compound tools to add .fig(s) together

;FIG 3.2 [http://epb.lbl.gov/xfig/fig-format.html Format] as produced by xfig version 3.2.5 
&lt;pre&gt;
Landscape
Center
Inches
Letter 
100.00
Single
-2
1200 2
4 0 0 50 -1 0 12 0.0000 4 135 1050 1050 2475 This is a test.01
&lt;/pre&gt;

# change the text alignment within the textbox. I can choose left, center, or right aligned by either changing the integer in the second column from 0 (left) to 1 or 2 (center, or right). 
# The third integer in the row specifies fontcolor. For instance, 0 is black, but blue is 1 and Green3 is 13.
# The sixth integer in the bottom row specifies fontface. 0 is Times-Roman, but 16 is Helvetica (a MATLAB default).
# The seventh number is fontsize. 12 represents a 12pt fontsize. Changing the fontsize of an item really is as easy as changing that number to 20.
# The next number is the counter-clockwise angle of the text. Notice that I have changed the angle to .7854 (pi/4 rounded to four digits=45 degrees).
# twelfth number is the position according to the standard “x-axis” in Xfig units from the left. Note that 1200 Xfig units is equivalent to once inch.
# thirteenth number is the “y-position” from the top using the same unit convention as before.

* The nested text string is what you entered into the textbox.
* The “01″ present at the end of that line in the .fig file is the closing tag. For instance, a change to \100 appends a @ symbol at the end of the period of that sentence.

; Just to note there are no layers, no 3d functions, no shading, no transparency, no animation


[[#top|...to the top]]

===Audio===


# AHI uses linear panning/balance, which means that in the center, you will get -6dB. If an app uses panning, this is what you will get. Note that apps like Audio Evolution need panning, so they will have this problem.

# When using AHI Hifi modes, mixing is done in 32-bit and sent as 32-bit data to the driver. The Envy24HT driver uses that to output at 24-bit (always).

# For the Envy24/Envy24HT, I've made 16-bit and 24-bit inputs (called Line-in 16-bit, Line-in 24-bit etc.). There is unfortunately no app that can handle 24-bit recording.


====Music Mods====

Digital module (mods) trackers are music creation software using samples and sometimes soundfonts, audio plugins (VST, AU or RTAS), MIDI.

Generally, MODs are similar to MIDI in that they contain note on/off and other sequence messages that control the mod player. Unlike (most) midi files, however, they also contain sound samples that the sequence information actually plays. MOD files can have many channels (classic amiga mods have 4, corresponding to the inbuilt sound channels), but unlike MIDI, each channel can typically play only one note at once. However, since that note might be a sample of a chord, a drumloop or other complex sound, this is not as limiting as it sounds.

Like MIDI, notes will play indefinitely if they're not instructed to end. Most trackers record this information automatically if you play your music in live. If you're using manual note entry, you can enter a note-off command with a keyboard shortcut - usually Caps Lock.

In fact when considering file size MOD is not always the best option. Even a dummy song wastes few kilobytes for nothing when a simple SID tune could be few hundreds bytes and not bigger than 64kB. AHX is another small format, AHX tunes are never larger than 64kB excluding comments.

[https://www.youtube.com/watch?v=rXXsZfwgil Protrekkr] (previously aka [w:Juan_Antonio_Arguelles_Rius|NoiseTrekkr])

If Protrekkr does not start, please check if the Unit 0 has been setup in the AHI prefs and still not, go to the directory utilities/protrekkr and double click on the Protrekkr icon

*Sample
*Note - Effect 
*Track (column) - Pattern - Order

It all starts with the Sample which is used to create Note(s) in a Track (column of a tracker) 
The Note can be changed with an Effect.  A Track of Note(s) can be collected into a Pattern (section of a song) and these can be given Order to create the whole song.

Patience (notes have to be entered one at a time) or playing the bassline on a midi controller (faster - see midi section above).  Best approach is to wait until a melody popped into your head.

*Up-tempo means the track should be reasonably fast, but not super-fast. 
*Groovy and funky imply the track should have some sort of &quot;swing&quot; feel, with plenty of syncopation or off beat emphasis and a recognizable, melodic bass line. 
*Sweet and happy mean upbeat melodies, a major key and avoiding harsh sounds.
*Moody - minor key

First, create a quick bass sound, which is basically a sine wave, but can be hand drawn for a little more variance. It could also work for the melody part, too.

This is usually a bass guitar or some kind of synthesizer bass. The bass line is often forgotten by inexperienced composers, but it plays an important role in a musical piece. Together with the rhythm section the bass line forms the groove of a song. It's the glue between the rhythm section and the melodic layer of a song.

The drums are just pink noise samples, played at different frequencies to get a slightly different sound for the kick, snare, and hihats.

Instruments that fall into the rhythm category are bass drums, snares, hi-hats, toms, cymbals, congas, tambourines, shakers, etc. Any percussive instrument can be used to form part of the rhythm section.

The lead is the instrument that plays the main melody, on top of the chords. There are many instruments that can play a lead section, like a guitar, a piano, a saxophone or a flute. The list is almost endless. There is a lot of overlap with instruments that play chords. Often in one piece an instrument serves both roles. The lead melody is often played at a higher pitch than the chords.

Listened back to what was produced so far, and a counter-melody can be imagined, which can be added with a triangle wave.

To give the ends of phrases some life, you can add a solo part with a crunchy synth. By hitting random notes in the key of G, then edited a few of them.

For the climax of the song, filled out the texture with a gentle high-pitch pad… …and a grungy bass synth.


The arrow at A points at the pattern order list. As you see, the patterns don't have to be in numerical order. This song starts with pattern &quot;00&quot;, then pattern &quot;02&quot;, then &quot;03&quot;, then &quot;01&quot;, etcetera. Patterns may be repeated throughout a song.

The B arrow points at the song title. Below it are the global BPM and speed parameters. These determine the tempo of the song, unless the tempo is altered through effect commands during the song.

The C arrow points at the list of instruments. An instrument may consist of multiple samples. Which sample will be played depends on the note. This can be set in the Instrument Editing screen. Most instruments will consist of just one sample, though. The sample list for the selected instrument can be found under arrow D.

Here's a part of the main editing screen. This is where you put in actual notes. Up to 32 channels can be used, meaning 32 sounds can play simultaneously. The first six channels of pattern &quot;03&quot; at order &quot;02&quot; are shown here. The arrow at A points at the row number. The B arrow points at the note to play, in this case a C4. The column pointed at by the C arrow tells us which instrument is associated with that note, in this case instrument #1 &quot;Kick&quot;.

The column at D is used (mainly) for volume commands. In this case it is left empty which means the instrument should play at its default volume. You can see the volume column being used in channel #6.

The E column tells us which effect to use and any parameters for that effect. In this case it holds the &quot;F&quot; effect, which is a tempo command. The &quot;04&quot; means it should play at tempo 4 (a smaller number means faster).

Base pattern

When I create a new track I start with what I call the base pattern. It is worthwhile to spend some time polishing it as a lot of the ideas in the base pattern will be copied and used in other patterns. At least, that's how I work. Every musician will have his own way of working. In &quot;Wild Bunnies&quot; the base pattern is pattern &quot;03&quot; at order &quot;02&quot;.

In the section about selecting samples I talked about the four different categories of instruments: drums, bass, chords and leads. That's also how I usually go about making the base pattern. I start by making a drum pattern, then add a bass line, place some chords and top it off with a lead. This forms the base pattern from which the rest of the song will grow.


Drums

Here's a screenshot of the first four rows of the base pattern. I usually reserve the first four channels or so for the drum instruments. Right away there are a couple of tricks shown here. In the first channel the kick, or bass drum, plays some notes. Note the alternating F04 and F02 commands. The &quot;F&quot; command alters the tempo of the song and by quickly alternating the tempo; the song will get some kind of &quot;swing&quot; feel.

In the second channel the closed hi-hat plays a fairly simple pattern. Further down in the channel, not shown here, some open hi-hat notes are added for a bit of variation.

In the third and fourth channel the snare sample plays. The &quot;8&quot; command is for panning. One note is panned hard to the left and the other hard to the right. One sample is played a semitone lower than the other. This results in a cool flanging effect. It makes the snare stand out a little more in the mix.


Bass line

There are two different instruments used for the bass line. Instrument #6 is a pretty standard synthesized bass sound. Instrument #A sounds a bit like a slap bass when used with a quick fade out. By using two different instruments the bass line sounds a bit more ”human”. The volume command is used to cut off the notes. However, it is never set to zero. Setting the volume to a very small value will result in a reverb-like effect. This makes the song sound more &quot;live&quot;.

The bass line hints at the chords that will be played and the key the song will be in. In this case the key of the song is D-major, a positive and happy key.


Chords

The D major chords that are being played here are chords stabs; short sounds with a quick decay (fade out). Two different instruments (#8 and #9) are used to form the chords. These instruments are quite similar, but have a slightly different sound, panning and volume decay. Again, the reason for this is to make the sound more human. The volume command is used on some chords to simulate a delay, to achieve more of a live feel. The chords are placed off-beat making for a funky rhythm.


Lead

Finally the lead melody is added. The other instruments are invaluable in holding the track together, but the lead melody is usually what catches people's attention.

A lot of notes and commands are used here, but it looks more complex than it is. A stepwise ascending melody plays in channel 13. Channel 14 and 15 copy this melody, but play it a few rows later at a lower volume. This creates an echo effect. A bit of panning is used on the notes to create some stereo depth. Like with the bass line, instead of cutting off notes the volume is set to low values for a reverb effect. The &quot;461&quot; effect adds a little vibrato to the note, which sounds nice on sustained notes.

Those paying close attention may notice the instrument used here for the lead melody is the same as the one used for the bass line (#6 &quot;Square&quot;), except played two or three octaves higher. This instrument is a looped square wave sample. Each type of wave has its own quirks, but the square wave (shown below) is a really versatile wave form.

Song structure

Good, catchy songs are often carefully structured into sections, some of which are repeated throughout the song with small variations.

A typical pop-song structure is: Intro - Verse - Chorus - Verse - Chorus - Bridge - Chorus.

Other single sectional song structures are

&lt;pre&gt;
Strophic or AAA Song Form - oldest story telling with refrain (often title of the song) repeated in every verse section melody 
AABA Song Form - early popular, jazz and gospel fading during the 1960s 
AB or Verse/Chorus Song Form - songwriting format of choice for modern popular music since the 1960s 
Verse/Chorus/Bridge Song Form
ABAB Song Form
ABAC Song Form
ABCD Song Form
AAB 12-Bar Song Form - three four-bar lines or sub-sections 
8-Bar Song Form
16-Bar Song Form
Hybrid / Compound Song Forms
&lt;/pre&gt;

The most common building blocks are:

#INTRODUCTION(INTRO)
#VERSE
#REFRAIN
#PRE-CHORUS / RISE / CLIMB
#CHORUS
#BRIDGE
#MIDDLE EIGHT
#SOLO / INSTRUMENTAL BREAK
#COLLISION
#CODA / OUTRO
#AD LIB (OFTEN IN CODA / OUTRO)

The chorus usually has more energy than the verse and often has a memorable melody line. As the chorus is repeated the most often during the song, it will be the part that people will remember.

The bridge often marks a change of direction in the song. It is not uncommon to change keys in the bridge, or at least to use a different chord sequence. The bridge is used to build up tension towards the big finale, the last repetition of chorus.


 Playing

RCTRL:                           Play song from row 0.

LSHIFT + RCTRL:                  Play song from current row.

RALT:                            Play pattern from row 0.

LSHIFT + RALT:                   Play pattern from current row.

Left mouse on '&gt;':               Play song from row 0.

Right mouse on '&gt;':              Play song from current row.

Left mouse on '|&gt;':              Play pattern from row 0.

Right mouse on '|&gt;':             Play pattern from current row.

Left mouse on 'Edit/Record':     Edit mode on/off.

Right mouse on 'Edit/Record':    Record mode on/off.


 Editing 


LSHIFT + ESCAPE:                 Switch large patterns view on/off

TAB:                    Go to next track

LSHIFT + TAB:                    Go to prev. track

LCTRL + TAB:                    Go to next note in track

LCTRL + LSHIFT + TAB:           Go to prev. note in track

SPACE:                           Toggle Edit mode On &amp; Off

(Also stop if the song is being played)

SHIFT SPACE:                     Toggle Record mode On &amp; Off

(Wait for a key note to be pressed

or a midi in message to be received)

DOWN ARROW:                      1 Line down

UP ARROW:                        1 Line up

LEFT ARROW:                      1 Row left

RIGHT ARROW:                     1 Row right

PREV. PAGE:                      16 Arrows Up

NEXT PAGE:                       16 Arrows Down

HOME / END:                      Top left / Bottom right of pattern

LCTRL + HOME / END:              First / last track

F5, F6, F7, F8, F9:              Jump to 0, 1/4, 2/4, 3/4, 4/4 lines of the patterns

+ - (Numeric keypad):           Next / Previous pattern

LCTRL + LEFT / RIGHT:           Next / Previous pattern

LCTRL + LALT + LEFT / RIGHT:    Next / Previous position

LALT + LEFT / RIGHT:           Next / Previous instrument

LSHIFT + M:                      Toggle mute state of the current channel

LCTRL + LSHIFT + M:             Solo the current track / Unmute all

LSHIFT + F1 to F11:              Select a tab/panel

LCTRL + 1 to 4:                 Select a copy buffer


 Tracking 

1st and 2nd keys rows:           Upper octave row

3rd and 4th keys rows:           Lower octave row

RSHIFT:                          Insert a note off

/ and * (Numeric keypad)

or F1 F2:                        -1 or +1 octave

INSERT / BACKSPACE:              Insert or Delete a line in current track

or current selected block.

LSHIFT + INSERT / BACKSPACE:     Insert or Delete a line in current pattern

DELETE (NOT BACKSPACE):          Empty a column or a selected block.


 Blocks

(Blocks can also be selected with the mouse by holding the right button and scrolling the pattern with the mouse wheel).


LCTRL + A:          Select entire current track

LCTRL + LSHIFT + A: Select entire current pattern

LALT + A:          Select entire column note in a track

LALT + LSHIFT + A: Select all notes of a track

LCTRL + X:          Cut the selected block and copy it into the block-buffer

LCTRL + C:          Copy the selected block into the block-buffer

LCTRL + V:          Paste the data from the block buffer into the pattern

LCTRL + I:          Interpolate selected data from the first to the last row of a selection

LSHIFT + ARROWS

PREV. PAGE

NEXT PAGE: Select a block

LCTRL + R:          Randomize the select columns of a selection, works similar to CTRL + I (interpolating them)

LCTRL + U:          Transpose the note of a selection to 1 seminote higher

LCTRL + D:          Transpose the note of a selection to 1 seminote lower

LCTRL + LSHIFT + U: Transpose the note of a selection to 1 seminote higher (only for the current instrument)

LCTRL + LSHIFT + D: Transpose the note of a selection to 1 seminote lower  (only for the current instrument)

LCTRL + H:          Transpose the note of a selection to 1 octave higher

LCTRL + L:          Transpose the note of a selection to 1 octave lower

LCTRL + LSHIFT + H: Transpose the note of a selection to 1 octave higher (only for the current instrument)

LCTRL + LSHIFT + L: Transpose the note of a selection to 1 octave lower (only for the current instrument)

LCTRL + W:          Save the current selection into a file


 Misc 


LALT + ENTER:     Switch between full screen / windowed mode

LALT + F4:        Exit program (Windows only)

LCTRL + S:         Save current module

LSHIFT + S:         Switch top right panel to synths list

LSHIFT + I:         Switch top right panel to instruments list


&lt;pre&gt;
C-x   xh xx xx hhhh             Volume 
B-x   xh xx xx hhhh             Jump to 
A#x  xh xx xx hhhh hhhh   Slide 
F-x    xh xx xx hhhh            Tempo 
D-x   xh xx xx hhhh             Pattern Break 
G#x  xh xx xx hhhh
&lt;/pre&gt;

h Hex 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13

d Dec 01 02 03 04 05 06 07 08 09 10  11 12 13 14 15 16 17 18 19

The Set Volume command: C. Input a note, then move the cursor to the effects command column and type a C. Play the pattern, and you shouldn't be able to hear the note you placed the C by. This is because the effect parameters are 00. Change the two zeros to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the pattern again, and the note should come in at full volume.

The Position Jump command next. This is just a B followed by the position in the playing list that you want to jump to. One thing to remember is that the playing list always starts at 0, not 1. This command is usually in Hex.

Onto the volume slide command: A. This is slightly more complex (much more if you're using a newer tracker, if you want to achieve the results here, then set slides to Amiga, not linear), due to the fact it depends on the secondary tempo. For now set a secondary tempo of 06 (you can play around later), load a long or looped sample and input a note or two. A few rows after a note type in the effect command A. For the parameters use 0F. Play back the pattern, and you should notice that when the effect kicks in, the sample drops to a very low volume very quickly. Change the effect parameters to F0, and use a low volume command on the note. Play back the pattern, and when the slide kicks in the volume of the note should increase very quickly.
This because each part of the effect parameters for command A does a different thing. The first number slides the volume up, and the second slides it down. It's not recommended that you use both a volume up and volume down at the same time, due to the fact the tracker only looks for the first number that isn't set to 0. If you specify parameters of 8F, the tracker will see the 8, ignore the F, and slide the volume up. Using a slide up and down at same time just makes you look stupid. Don't do it...

The Set Tempo command: F, is pretty easy to understand. You simply specify the BPM (in Hex) that you want to change to. One important thing to note is that values of lower than 20 (Hex) sets the secondary tempo rather than the primary.

Another useful command is the Pattern Break: D. This will stop the playing of the current pattern and skip to the next one in the playing list. By using parameters of more than 00 you can also specify which line to begin playing from.

Command 3 is Portamento to Note. This slides the currently playing note to another note, at a specified speed. The slide then stops when it reaches the desired note. 
&lt;pre&gt;
   C-2 1 000 - Starts the note playing
   ---      000
   C-3    330 - Starts the slide to C-3 at a speed of 30.
   ---     300 - Continues the slide
   ---     300 - Continues the slide
&lt;/pre&gt;
Once the parameters have been set, the command can be input again without any parameters, and it'll still perform the same function unless you change the parameters. This memory function allows certain commands to function correctly, such as command 5, which is the Portamento to Note and Volume Slide command. Once command 3 has been set up command 5 will simply take the parameters from that and perform a Portamento to Note. Any parameters set up for command 5 itself simply perform a Volume Slide identical to command A at the same time as the Portamento to Note.

This memory function will only operate in the same channel where the original parameters were set up.
There are various other commands which perform two functions at once. They will be described as we come across them.

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  00

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  02

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  05

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  08

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0A

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0D

C-3  04  ..  ..  09  10 ---&gt; C-3  04  ..  ..  09  10

(You can also switch on the Slider Rec to On, and perform parameter-live-recording, such as cutoff transitions, resonance or panning tweaking, etc..)  Note: this command only works for volume/panning and fx datas columns.


The next command we'll look at is the Portamento up/down: 1 and 2. Command 1 slides the pitch up at a specified speed, and 2 slides it down. This command works in a similar way to the volume slide, in that it is dependent on the secondary tempo. Both these commands have a memory dependent on each other, if you set the slide to a speed of 3 with the 1 command, a 2 command with no parameters will use the speed of 3 from the 1 command, and vice versa.

Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just try it, and you'll see what I mean. Parameters are in the format of xy, where x is the speed of the slide, and y is the depth of the slide. One important point to remember is to keep your vibratos subtle and natural so a depth of 3 or less and a reasonably fast speed, around 8, is usually used. Setting the depth too high can make the part sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and Volume Slide command, and it has a memory like command 5, which you already know how to use.

Command 7 is Tremolo. This is similar to vibrato. Rather than changing the pitch it slides the volume. The effect parameters are in exactly the same format.   vibrato effect (0x1dxy) x = speed y = depth (can't be used if arpeggio (0x1b) is turned on) 

&lt;pre&gt;
 C-7 00 .. .. 1B37 &lt;-  Turn Arpeggio effect on
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B38 &lt;- Change datas
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B00 &lt;- Turn it off
&lt;/pre&gt;

Command 9 is Sample Offset. This starts the playback of the sample from a different place than the start. The effect parameters specify the sample offset, but only very roughly. Say you have a sample which is 8765(Hex) bytes long, and you wanted it to play from position 4321(Hex). The effect parameter could only be as accurate as the 43 part, and it would ignore the 21.

Command B is the Playing List/Order Jump command. The parameters specify the position in the Playing List/Order to jump to. When used in conjunction with command D you can specify the position and the line to play from.

Command E is pretty complex, as it is used for a lot of different things, depending on what the first parameter is. Let's take a trip through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a low pass filter, cuts off the highest frequencies being played back. There are very few players and trackers on other system that simulate this function, not that you should need to use it. The second parameter, if set to 1, turns on the filter. If set to 0, the filter gets turned off.

Commands E1/E2 are Fine Portamento Up/Down. Exactly the same functions as commands 1/2, except that they only slide the pitch by a very small amount. These commands have a memory the same as 1/2 as well.

Command E3 sets the Glissando control. If parameters are set to 1 then when using command 3, any sliding will only use the notes in between the original note and the note being slid to. This produces a somewhat jumpier slide than usual. The best way to understand is to try it out for yourself. Produce a slow slide with command 3, listen to it, and then try using E31.

Command E4 is the Set Vibrato Waveform control. This command controls how the vibrato command slides the pitch. Parameters are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to the parameters, the waveform will not be restarted when a new note is played e.g. 5 - Sine without restart.

Command E5 sets the Fine Tune of the instrument being played, but only for the particular note being played. It will override the default Fine Tune for the instrument. The parameters range from 0 to F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives no Fine Tune. If you're using a newer tracker that supports more than -8 to +8 e.g. -128 to +128, these parameters will give a rough Fine Tune, accurate to the nearest 16.

Command E6 is the Jump Loop command. You mark the beginning of the part of a pattern that you want to loop with E60, and then specify with E6x the end of the loop, where x is the number of times you want it to loop.

Command E7 is the Set Tremolo Waveform control. This has exactly the same parameters as command E4, except that it works for Tremolo rather than Vibrato.

Command E9 is for Retriggering the note quickly. The parameter specifies the interval between the retrigs. Use a value of less than the current secondary tempo, or else the note will not get retrigged.

Command EA/B are for Fine Volume Slide Up/Down. Much the same as the normal Volume Slides, except that these are easier to control since they don't depend on the secondary tempo. The parameters specify the amount to slide by e.g. if you have a sample playing at a volume of 08 (Hex) then the effect EA1 will slide this volume to 09 (Hex). A subsequent effect of EB4 would slide this volume down to 05 (Hex).

Command EC is the Note Cut. This sets the volume of the currently playing note to 0 at a specified tick. The parameters should be lower than the secondary tempo or else the effect won't work.

Command ED is the Note Delay. This should be used at the same time as a note is to be played, and the parameters will specify the number of ticks to delay playing the note. Again, keep the parameters lower than the secondary tempo, or the note won't get played!

Command EE is the Pattern Delay. This delays the pattern for the amount of time it would take to play a certain number of rows. The parameters specify how many rows to delay for.

Command EF is the Funk Repeat command. Set the sample loop to 0-1000. When EFx is used, the loop will be moved to 1000- 2000, then to 2000-3000 etc. After 9000-10000 the loop is set back to 0- 1000. The speed of the loop &quot;movement&quot; is defined by x. E is two times as slow as F, D is three times as slow as F etc. EF0 will turn the Funk Repeat off and reset the loop (to 0-1000).

effects 0x41 and 0x42 to control the volumes of the 2 303 units

There is a dedicated panel for synth parameter editing with coherent sections (osc, filter modulation, routing, so on) the interface is much nicer, much better to navigate with customizable colors, the reverb is now customizable (10 delay lines), It accepts newer types of Waves (higher bit rates, at least 24). Has a replay routine.

It's pretty much your basic VA synth. The problem isn't with the sampler being to high it's the synth is tuned two octaves too low, but if you want your samples tuned down just set the base note down 2 octaves (in the instrument panel).

so the synth is basically divided into 3 sections from left to right: oscillators/envelopes, then filter and LFO's, and in the right column you have mod routings and global settings.

for the oscillator section you have two normal oscillators (sine, saw, square, noise), the second of which is tunable, the first one tunes with the key pressed. Attached to OSC 1 is a sub-oscillator, which is a sawtooth wave tuned one octave down. The phase modulation controls the point in the duty cycle at which the oscillator starts. The ADSR envelope sliders (grouped with oscs) are for modulation envelope 1 and 2 respectively. you can use the synth as a sampler by choosing the instrument at the top.

In the filter column, the filter settings are: 1 = lowpass, 2 = highpass, 3 = off. cutoff and resonance. For the LFOs they are LFO 1 and LFO 2, the ADSR sliders in those are for the LFO itself.

For the modulation routings you have ENV 1, LFO 1 for the first slider and ENV 2, LFO 2 for the second, you can cycle through the individual routings there, and you can route each modulation source to multiple destinations of course, which is another big plus for this synth. Finally the glide time is for portamento and master volume, well, the master volume... it can go quite loud.

The sequencer is changed too, It's more like the one in AXS if you've used that, where you can mute tracks to re-use patterns with variation.


&lt;pre&gt;
Support for the following modules formats:
669 (Composer 669, Unis 669), 
AMF (DSMI Advanced Module Format), 
AMF (ASYLUM Music Format V1.0), 
APUN (APlayer), DSM (DSIK internal format), 
FAR (Farandole Composer), 
GDM (General DigiMusic), 
IT (Impulse Tracker), 
IMF (Imago Orpheus), 
MOD (15 and 31 instruments), 
MED (OctaMED), 
MTM (MultiTracker Module editor), 
OKT (Amiga Oktalyzer), 
S3M (Scream Tracker 3), 
STM (Scream Tracker), 
STX (Scream Tracker Music Interface Kit), 
ULT (UltraTracker), 
UNI (MikMod), 
XM (FastTracker 2),
Mid (midi format via timidity)
&lt;/pre&gt;


Possible plugin options include [http://lv2plug.in/ LV2],


====Midi - Musical Instrument Digital Interface====

A midi file typically contains music that plays on up to 16 channels (as per the midi standard), but many notes can simultaneously play on each channel (depending on the limit of the midi hardware playing it).

'''Timidity'''

Although usually already installed, you can uncompress the [http://www.libsdl.org/projects/SDL_mixer/ timidity.tar.gz (14MB)] into a suitable drawer like below's SYS:Extras/Audio/ 
 assign timidity: SYS:Extras/Audio/timidity
added to SYSːs/User-Startup

'''WildMidi playback'''


'''Audio Evolution 4 (2003) 4.0.23 (from 2012)'''


*Sync Menu    - CAMD Receive, Send checked 
*Options Menu - MIDI Machine Control - Midi Bar Display - Select CAMD MIDI in / out - Midi Remote Setup 


MCB Master Control Bus 
*Sending a MIDI start-command and a Song Position Pointer, you can synchronize audio with an external MIDI sequencer (like B&amp;P). 
*B&amp;P Receive, start AE, add AudioEvolution.ptool in Bars&amp;Pipes track, press play / record in AE then press play in Pipes 
*CAMD Receive, receive MIDI start or continue commands via camd.library sync to AE 


*MIDI Machine Control
*Midi Bar Display 
*Select CAMD MIDI in / out
*Midi Remote Setup - open requester for external MIDI controllers to control app mixer and transport controls cc remotely 
 Channel   - mixer(vol, pan, mute, solo), eq, aux, fx, 
 Subgroup  - Volume, Mute, Solo 
 Transport - Start, End, Play, Stop, Record, Rewind, Forward 
 Misc      - Master vol., Bank Down, Bank up 


&lt;pre&gt;
q        - quit 

First 3 already opened when AE started 
F1       - timeline window
F2       - mixer 
F3       - control 
F4       - subgroups 
F5       - aux returns 
F6       - sample list 

i        - Load sample to use 

space    - start/stop play 
b        - reset time 0:00


s        - split mode 
r        - open recording window 
a        - automation edit mode with p panning, m mute and v volume 


[ / ]    - zoom in / out 
:        - previous track
*        - next track 

x c v f  - cut copy paste cross-fade 
g        - snap grid 


&lt;/pre&gt;


 '''[http://bnp.hansfaust.de/ Bars n Pipes sequencer]'''

 BarsnPipes debug ... in shell 

Menu (right mouse)  
*Song        - Songs load and save in .song format but option here to load/save Midi_Files .mid in FORMAT0 or FORMAT1 
*Track       - 
*Edit        -
*Tool        - 
*Timing      - SMTPE Synchronizing 
*Windows     - 
*Preferences - Multiple MIDI-in option 

Windows (some of these are usually already opened when Bars n Pipes starts up for the first time) 
*Workflow -&gt; Tracks, .... Song Construction, Time-line Scoring, Media Madness, Mix Maestro, 
*Control  -&gt; Transport (or mini one), Windows (which collects all the Windows icons together-shortcut), .... Toolbox, Accessories, Metronome, 

Once you have your windows placed on the screen that suits your workflow, Song -&gt; Save as Default will save the positions, colors, icons, etc as you'd like them 

If you need a particular setup of Tracks, Tools, Tempos etc, you save them all as a new song you can load each time 

Right mouse menu -&gt; Preferences -&gt; Environment... -&gt; ScreenMode  - Linkages for Synch (to Slave) usbmidi.out.0 and Send (Master) usbmidi.in.0 - Clock MTC 


'''Tracks'''

#Double-click on B&amp;P's icon. B&amp;P will then open with an empty Song. You can also double-click on a song icon to open a song in B&amp;P.
#Choose a track. The B&amp;P screen will contain a Tracks Window with a number of tracks shown as pipelines (Track 1, Track 2, etc...). To choose a track, simply click on the gray box to show an arrow-icon to highlight it. This icon show whether a track is chosen or not. To the right of the arrow-icon, you can see the icon for the midi-input. If you double-click on this icon you can change the MIDI-in setup.
#Choose Record for the track. To the right of the MIDI-input channel icon you can see a pipe. This leads to another clickable icon with that shows either P, R or M. This stands for Play, Record or Merge. To change the icon, simply click on it. If you choose P, this track can only play the track (you can't record anything). If you choose R, you can record what you play and it overwrites old stuff in the track. If you choose M, you merge new records with old stuff in the track. Choose R now to be able to make a record.
#Chose MIDI-channel. On the most right part of the track you can see an icon with a number in it. This is the MIDI-channel selector. Here you must choose a MIDI-channel that is available on your synthesizer/keyboard. If you choose General MIDI channel 10, most synthesizer will play drum sounds. To the left of this icon is the MIDI-output icon. Double-click on this icon to change the MIDI-output configuration.
#Start recording. The next step is to start recording. You must then find the control buttons (they look like buttons on a CD-player). To be able to make a record. you must click on the R icon. You can simply now press the play button (after you have pressed the R button) and play something on you keyboard. To playback your composition, press the Play button on the control panel.
#Edit track. To edit a track, you simply double click in the middle part of a track. You will then get a new window containing the track, where you can change what you have recorded using tools provided. Take also a look in the drop-down menus for more features.


Videos to help understand [https://www.youtube.com/watch?v=A6gVTX-9900 small intro], [https://www.youtube.com/watch?v=abq_rUTiSA4&amp;t=3s Overview], [https://www.youtube.com/watch?v=ixOVutKsYQo Workplace Setup CC PC Sysex], [https://www.youtube.com/watch?v=dDnJLYPaZTs Import Song], [https://www.youtube.com/watch?v=BC3kkzPLkv4 Tempo Mapping], [https://www.youtube.com/watch?v=sd23kqMYPDs ptool Arpeggi-8], [https://www.youtube.com/watch?v=LDJq-YxgwQg  PlayMidi Song], [https://www.youtube.com/watch?v=DY9Pu5P9TaU Amiga Midi], [https://www.youtube.com/watch?v=abq_rUTiSA4 Learning Amiga bars and Pipes], 

Groups like [https://groups.io/g/barsnpipes/topics this] could help 


'''Tracks window'''

* blue &quot;1 2 3 4 5 6 7 8 Group&quot; and transport tape deck VCR-type controls
* Flags 
* [http://theproblem.alco-rhythm.com/org/bp.html Track 1, Track2, to Track 16, on each Track there are many options that can be activated] 

Each Track has a 

*Left LHS  - Click in grey box to select what Track to work on, Midi-In ptool icon should be here (5pin plug icon), and many more from the Toolbox on the Input Pipeline 
*Middle    - (P, R, M) Play, Record, Merge/Multi before the sequencer line and a blue/red/yellow (Thru Mute Play) Tap 
*Right RHS - Output pipeline, can have icons placed uopn it with the final ptool icon(s) being the 5pin icon symbol for Midi-OUT 

Clogged pipelines may need Esc pressed several times 


'''Toolbox (tools affect the chosen pipeline)'''

After opening the Toolbox window you can add extra Tools (.ptool) for the pipelines like keyboard(virtual), midimonitor, quick patch, transpose, triad, (un)quantize, feedback in/out, velocity etc
 right mouse -&gt; Toolbox menu option -&gt; Install Tool... and navigate to Tool drawer (folder) and select requried .ptool 

Accompany B tool to get some sort of rythmic accompaniment, Rythm Section and Groove Quantize are examples of other tools that make use of rythms
[https://aminet.net/search?query=bars Bars &amp; Pipes pattern format .ptrn] for drawer (folder). Load from the Menu as Track or Group 


'''Accessories (affect the whole app)''' 

Accessories -&gt; Install... and goto the Accessories drawer for .paccess like adding ARexx scripting support 


'''Song Construction'''
&lt;pre&gt;
F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Duplicator 
F5  Eraser 
F6  Toolpad 
F7  Bounding box 
F8  Lock to A-B-A 

A-B-A strip, section, edit flags, white boxes, 

&lt;/pre&gt;


Bars&amp;Pipes Professional offers three track formats; basic song tracks, linear tracks — which don't loop — and finally real‑time tracks. The difference between them is that both song and linear tracks respond to tempo changes, while real‑time tracks use absolute timing, always trigger at the same instant regardless of tempo alterations 

'''Tempo Map'''

F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Eraser 
F5  Curve 
F6  Toolpad 


Compositions

Lyrics, Key, Rhythm, Time Signature 

'''Master Parameters'''

Key, Scale/Mode

'''Track Parameters'''

Dynamics 


'''Time-line Scoring'''


'''Media Madness'''


'''Mix Maestro'''


*ACCESSORIES         Allows the importation of other packages and additional modules 
*CLIPBOARD           Full cut, copy and paste operations, enabling user‑definable clips to be shared between tracks.
*INFORMATION         A complete rundown on the state of the current production and your machine.
*MASTER PARAMETERS   Enables global definition of time signatures, lyrics, scales, chords, dynamics and rhythm changes.
*MEDIA MADNESS       A complete multimedia sequencer which allows samples, stills, animation, etc 
*METRONOME           Tempo feedback via MIDI, internal Amiga audio and colour cycling — all three can be mixed and matched as required.
*MIX MAESTRO         Completely automated mixdown with control for both volume and pan. All fader alterations are memorised by the software 
*RECORD ACTIVATION   Complete specification of the data to be recorded/merged. Allows overdubbing of pitch‑bend, program changes, modulation etc
*SET FLAGS           Numeric positioning of location and edit flags in either SMPTE or musical time 
*SONG CONSTRUCTION   Large‑scale cut and paste of individual measures, verses or chorus, by means of bounding box and drag‑n‑drop mouse selections
*TEMPO MAP           Tempo change using a variety of linear and non‑linear transition curves 
*TEMPO PALETTE       Instant tempo changes courtesy of four user‑definable settings.
*TIMELINE SCORING    Sequencing of a selection of songs over a defined period — ideal for planning an entire set for a live performance.
*TOOLBOX             Selection screen for the hundreds of signal‑processing tools available 
*TRACKS              Opens the main track window to enable recording, editing and the use of tools.
*TRANSPORT           Main playback control window, which also provides access to user‑ defined flags, loop and punch‑in record modes.


Bars and Pipes Pro 2.5 is using internal 4-Byte IDs, to check which kind of data are currently processed.
Especially in all its files the IDs play an important role. The IDs are stored into the file in the same order they are laid out in the memory.

In a Bars 'N' Pipes file (no matter which kind) the ID &quot;NAME&quot; (saved as its ANSI-values) is stored on a big endian system (68k-computer) as &quot;NAME&quot;. On a little endian system (x86 PC computer) as &quot;EMAN&quot;.  The target is to make the AROS-BnP compatible to songs, which were stored on a 68k computer (AMIGA).

If possible, setting MIDI channels for Local Control for your keyboard 

http://www.fromwithin.com/liquidmidi/archive.shtml


MIDI files are essentially a stream of event data. An event can be many things, but typically &quot;note on&quot;, &quot;note off&quot;, &quot;program change&quot;, &quot;controller change&quot;, or messages that instruct a MIDI compatible synth how to play a given bit of music.

* Channel     - 1 to 16 -
* Messages    - PC presets, CC effects like delays, reverbs,  etc 
* Sequencing  - MIDI instruments, Drums, Sound design, 
* Recording   - 
* GUI         - Piano roll or Tracker, Staves and Notes 

MIDI events/messages like step entry e.g. Note On, Note Off 

MIDI events/messages like PB, PC, CC, Mono and Poly After-Touch, Sysex, etc 

MIDI sync - Midi Clocks (SPS Measures), Midi Time Code (h, m, s and frames) SMPTE 

Individual track editing with audition edits so easier to test any changes. Possible to stop track playback, mix clips from the right edit flag and scroll the display using arrow keys. 

Step entry, to extend a selected note hit the space bar and the note grows accordingly. Ability to cancel mouse‑driven edits by simply clicking the right mouse button — at which point everything snaps back into its original form. Lyrics can now be put in with syllable dividers, even across an entire measure or section. Autoranging when you open a edit window, the notes are automatically displayed — working from the lowest upwards. 

Flag editing, shift‑click on a flag immediately open the bounds window, ready for numeric input. Ability to cancel edits using the right‑hand mouse button, plus much improved Bounding Box operations.

Icons other than the BarsnPipes icon -&gt; PUBSCREEN=BarsnPipes (cannot choose modes higher than 8bit 256 colors)

Preferences -&gt; Menu in Tracks window - Send MIDI defaults OFF 

Prefs -&gt; Environment -&gt; screenmode (saved to BarsnPipes.prefs binary file) 

Customization -&gt; pics in gui drawer (folder) - 


Can save as .song files and .mid General Midi 

SMF is a “Standard Midi File”  ([http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html SMF0, SMF1 and SMF2]), [https://github.com/stump/libsmf libsmf], [https://github.com/markc/midicomp MIDIcomp], [https://github.com/MajicDesigns/MD_MIDIFile C++ src], [], [https://github.com/newdigate/midi-smf-reader Midi player], 

* SMF0        All MIDI data is stored in one track only, separated exclusively by the MIDI channel.
* SMF1        The MIDI data is stored in separate tracks/channels.
* SMF2 (rarely used) The MIDI data is stored in separate tracks, which are additionally wrapped in containers, so it's possible to have e.g. several tracks using the same MIDI channels.


Would it be possible to enrich Bars N’Pipes with software synth and sample support along with audio recording and mastering tools like in the named MAC or PC music sequencers?
On the classic AMIGA-OS this is not possible because of missing CPU-power. The hardware of the classic AMIGA is not further developed. So we must say (unfortunately) that those dreams can’t become reality

BarsnPipes is best used with external MIDI-equipment. This can be a keyboard or synthesizer with MIDI-connectors. 

&lt;pre&gt;
MIDI can control 16 channels 
There are USB-MIDI-Interfaces on the market with 16 independent MIDI-lines (multi-port), which can handle 16 MIDI devices independently – 16×16 = 256 independent MIDI-channels or instruments 
handle up to 16 different USB-MIDI-Interfaces (multi-device). That is: 16X16X16 = 4096 independent MIDI-channels – theoretically 
&lt;/pre&gt;

&lt;pre&gt;
Librarian MIDI SYStem EXplorer (sysex) - PatchEditor and used to be supplied as a separate program like PatchMeister but currently not at present 
It should support MIDI.library (PD), BlueRibbon.library (B&amp;P), TriplePlayPlus, and CAMD.library (DeluxeMusic) and 
MIDI information from a device's user manual and configure a custom interface to access parameters for all MIDI products connected to the system 
Supports ALL MIDI events and the Patch/Librarian data is stored in MIDI standard format 
Annette M.Crowling, Missing Link Software, Inc.
&lt;/pre&gt;


Composers
&lt;pre&gt;
[https://x.com/hirasawa/status/1403686519899054086 Susumu Hirasawa] 

&lt;/pre&gt;


&lt;pre&gt;
1988 Todor Fay and his wife Melissa Jordan Gray, who founded the Blue Ribbon Inc
1992 Bars&amp;Pipes Pro published 
November 2000, Todor Fay announcement to release the sourcecode of Bars&amp;Pipes Pro 2.5c beta
end of May 2001, the source of the main program and the sources of some tools and accessories were in a complete and compileable state 
end of October 2009 stop further development of BarsnPipes New for now on all supported systems and made freeware 
2013 Alfred Faust diagnosed with incureable illness, called „Myastenia gravis“ (weak muscles) 
&lt;/pre&gt;


 Protrekkr

How to use Midi In/Out in Protrekkr ?

First of all, midi in &amp; out capabilities of this program are rather limited.

# Go to Misc. Setup section and select a midi in or out device to use (ptk only supports one device at a time).
# Go to instrument section, and select a MIDI PRG (the default is N/A, which means no midi program selected).
# Go to track section and here you can assign a midi channel to each track of ptk.
# Play notes :]. Note off works. F'x' note cut command also works too, and note-volume command (speed) is supported.

Also, you can change midicontrollers in the tracker, using '90' in the panning row:

&lt;pre&gt;
    C-3 02 .. .. 0000....


    --- .. .. 90 xxyy.... &lt;&lt; This will set the value 
    --- .. .. .. 0000....    of the controller n.'xx' to 'yy' (both in hex)
    --- .. .. .. 0000....
&lt;/pre&gt;

So &quot;--- .. .. 90 2040....&quot; will set the controller number $20(32) to $40(64).

You will need the midi implementation table of your gear to know what you can change with midi controller messages.

 N.B. Not all MIDI devices are created equal!

Although the MIDI specification defines a large range of MIDI messages of various kinds, not every MIDI device is required to work in exactly the same way and respond to all the available messages and ways of working. For example, we don't expect a wind synthesiser to work in the same way as a home keyboard.

Some devices, the older ones perhaps, are only able to respond to a single channel. With some of those devices that channel can be altered from the default of 1 (probably) to another channel of the 16 possible.

Other devices, for instance monophonic synthesisers, are capable of producing just one note at a time, on one MIDI channel. Others can produce many notes spread across many channels.

Further devices can respond to, and transmit, &quot;breath controller&quot; data (MIDI controller number 2 (CC#2)) others may respond to the reception of CC#2 but not be able to create and to send it.

A controller keyboard may be capable of sending &quot;expression pedal&quot; data, but another device may not be capable of responding to that message.

Some devices just have the basic GM sound set. The &quot;voice&quot; or &quot;instrument&quot; is selected using a &quot;Program Change&quot; message on its own.

Other devices have a greater selection of voices, usually arranged in &quot;banks&quot;, and the choice of instrument is made by responding to &quot;Bank Select MSB&quot; (MIDI controller 0 (CC#0)), others use &quot;Bank Select LSB&quot; (MIDI controller number 32 (CC#32)), yet others use both MSB and LSB sent one after the other, all followed by the Program Change message. The detailed information about all the different voices will usually be available in a published MIDI Data List.


 MIDI Implementation Chart

But in the User Manual there is sometimes a summary of how the device works, in terms of MIDI, in the chart at the back of the manual, the MIDI Implementation Chart.

If you require two devices to work together you can compare the two implementation charts to see if they are &quot;compatible&quot;. In order to do this we will need to interpret that chart.

The chart is divided into four columns headed &quot;Function&quot;, &quot;Transmitted&quot; (or &quot;Tx&quot;), &quot;Received&quot; (or &quot;Rx&quot;), or more correctly &quot;Recognised&quot;, and finally, &quot;Remarks&quot;.

&lt;pre&gt;
The left hand column defines which MIDI functions are being described.
The 2nd column defines what the device in question is capable of transmitting to another device.
The 3rd column defines what the device is capable of responding to.
The 4th column is for explanations of the values contained within these previous two columns.
&lt;/pre&gt;

There should then be twelve sections, with possibly a thirteenth containing extra &quot;Notes&quot;. Finally there should be an explanation of the four MIDI &quot;modes&quot; and what the &quot;X&quot; and the &quot;O&quot; mean.
&lt;pre&gt;
Mode 1: Omni On, Poly; 
Mode 2: Omni On, Mono; 
Mode 3: Omni Off, Poly; 
Mode 4: Omni Off, Mono.
&lt;/pre&gt;
O means &quot;yes&quot; (implemented), X means &quot;no&quot; (not implemented).

Sometimes you will find a row of asterisks &quot;**************&quot;, these seem to indicate that the data is not applicable in this case. Seen in the transmitted field only (unless you've seen otherwise).

Lastly you may find against some entries an asterisk followed by a number e.g. *1, these will refer you to further information, often on a following page, giving more detail.

Basic Channel
But the very first set of boxes will tell us the &quot;Basic Channel(s)&quot; that the device sends or receives on. 
&quot;Default&quot; is what happens when the device is first turned on, &quot;changed&quot; is what a switch of some kind may allow the device to be set to. 
For many devices e.g. a GM sound module or a home keyboard, this would be 1-16 for both. That is it can handle sending and receiving on all MIDI channels.

On other devices, for example a synthesiser, it may by default only work on channel 1. But the keyboard could be &quot;split&quot; with the lower notes e.g. on channel 2. If the synth has an arppegiator, this may be able to be set to transmit and or receive on yet another channel.
So we might see the default as &quot;1&quot; but the changed as &quot;1-16&quot;.

Modes.
We need to understand Omni On and Off, and Mono and Poly, then we can decipher the four modes.

But first we need to understand that any of these four Mode messages can be sent to any MIDI channel. They don't necessarily apply to the whole device.

If we send an &quot;Omni On&quot; message (CC#125) to a MIDI channel of a device, we are, in effect, asking it to respond to e.g. a Note On / Off message pair, received on any of the sixteen channels. Sound strange? Read it again. Still strange? It certainly is. We normally want a MIDI channel to respond only to Note On / Off messages sent on that channel, not any other. In other words, &quot;Omni Off&quot;.

So &quot;Omni Off&quot; (CC#124) tells a channel of our MIDI device to respond only to messages sent on that MIDI channel.

&quot;Poly&quot; (CC#127) is for e.g. a channel of a polyphonic sound module, or a home keyboard, to be able to respond to many simultaneous Note On / Off message pairs at once and produce musical chords.

&quot;Mono&quot; (CC#126) allows us to set a channel to respond as if it were e.g. a flute or a trumpet, playing just one note at a time. If the device is capable of it, then the overlapping of notes will produce legato playing, that is the attack portion of the second note of two overlapping notes will be removed resulting in a &quot;smoother&quot; transition.

So a channel with a piano voice assigned to it will have Omni Off, Poly On (Mode 3), a channel with a saxophone voice assigned could be Omni Off, Mono On (Mode 4).

We call these combinations the four modes, 1 to 4, as defined above. 
Most modern devices will have their channels set to Mode 3 (Omni Off, Poly) but be switchable, on a per channel basis, to Mode 4 (Omni Off, Mono).

This second section of data will include first its default value i.e. upon device switch on. Then what Mode messages are acceptable, or X if none.

Finally, in the &quot;Altered&quot; field, how a Mode message that can't be implemented will be interpreted. Usually there will just be a row of asterisks effectively meaning nothing will be done if you try to switch to an unimplemented mode.

Note Number
&lt;pre&gt;
The next row will tell us which MIDI notes the device can send or receive, normally 0-127.
The second line, &quot;True Voice&quot; has the following in the MIDI specification: 
&quot;Range of received note numbers falling within the range of true notes produced by the instrument.&quot;
My interpretation is that, for instance, a MIDI piano may be capable of sending all MIDI notes (0 to 127) by transposition, but only responding to the 88 notes (21 to 108) of a real piano. 
&lt;/pre&gt;

Velocity
This will tell us whether the device we're looking at will handle note velocity, and what range from 1-127, or maybe just 64, it transmits or will recognise. So usually &quot;O&quot; plus a range or &quot;X&quot; for not implemented.

After touch
This may have one or two lines two it.
If a one liner the either &quot;O&quot; or &quot;X&quot;, yes or no.
If a two liner then it may include &quot;Keys&quot; or &quot;Poly&quot; and &quot;Channel&quot;.
This will show whether the device will respond to Polyphonic after touch or channel after touch or neither.

Pitch Bend
Again &quot;O&quot; for implemented, &quot;X&quot; for not implemented.
(Many stage pianos will have no pitch bend capability.)
It may also, in the notes section, state whether it will respond to the full 14 bits, or not, as usually encoded by the pitch bend wheel.

Control Change
This is likely to be the largest section of the chart.
It will list all those controllers, starting from CC#0, Bank Select MSB, which the device is capable of sending, and those that it will respond to using &quot;O&quot; or &quot;X&quot; respectively.
You will, almost certainly, get some further explanation of functionality in the remarks column, or in more detail elsewhere in the documentation.

Of course you will need to know what all the various controller numbers do. Lots of the official technical specifications can be found at the [www.midi.org/techspecs/ MMA], with the table of messages and control change [www.midi.org/techspecs/midimessages.php message numbers]

Program Change
Again &quot;O&quot; or &quot;X&quot; in the Transmitted or Recognised column to indicate whether or not the feature is implemented. In addition a range of numbers is shown, typically 0-127, to show what is available.
True # (number): &quot;The range of the program change numbers which correspond to the actual number of patches selected.&quot;

System Exclusive
Used to indicate whether or not the device can send or recognise System Exclusive messages. A short description is often given in the Remarks field followed by a detailed explanation elsewhere in the documentation.

System Common - These include the following:
&lt;pre&gt;
MIDI Time Code Quarter Frame messages (device synchronisation).
Song Position Pointer
Song Select
Tune Request
&lt;/pre&gt;
The section will indicate whether or not the device can send or respond to any of these messages.

System Real Time
These include the following:
&lt;pre&gt;
Timing Clock - often just written as &quot;Clock&quot;
Start
Stop
Continue
&lt;/pre&gt;
These three are usually just referred to as &quot;Commands&quot; and listed.
Again the section will indicate which, if any, of these messages the device can send or respond to.
&lt;pre&gt;
Aux. Messages
Again &quot;O&quot; or &quot;X&quot; for implemented or not.
Aux. = Auxiliary.
Active Sense = Active Sensing.
&lt;/pre&gt;
Often with an explanation of the action of the device.

Notes
The &quot;Notes&quot; section can contain any additional comments to clarify the particular implementation.

Some of the explanations have been drawn directly from the MMA MIDI 1.0 Detailed Specification.
And the detailed explanation of some of the functions will be found there, or in the General MIDI System Level 1 or General MIDI System Level 2 documents also published by the MMA.


 OFFICIAL MIDI SPECIFICATIONS

SUMMARY OF MIDI MESSAGES
Table 1 - Summary of MIDI Messages

The following table lists the major MIDI messages in numerical (binary) order (adapted from &quot;MIDI by the Numbers&quot; by D. Valenti, Electronic Musician 2/88, and updated by the MIDI Manufacturers Association.). This table is intended as an overview of MIDI, and is by no means complete.

WARNING! Details about implementing these messages can dramatically impact compatibility with other products. We strongly recommend consulting the official MIDI Specifications for additional information.

MIDI 1.0 Specification

Message Summary Channel Voice Messages [nnnn = 0-15 (MIDI Channel Number 1-16)]

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1000nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note Off event. 
This message is sent when a note is released (ended). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1001nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note On event. 
This message is sent when a note is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1010nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Polyphonic Key Pressure (Aftertouch). 
This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. (kkkkkkk) is the key (note) number. (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Control Change. 
This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Controller numbers 120-127 are reserved as &quot;Channel Mode Messages&quot; (below). (ccccccc) is the controller number (0-119). (vvvvvvv) is the controller value (0-127).
|-
|&lt;!--Status--&gt;1100nnnn || &lt;!--Data--&gt;0ppppppp || &lt;!--Description--&gt;Program Change. This message sent when the patch number changes. (ppppppp) is the new program number.
|-
|&lt;!--Status--&gt;1101nnnn || &lt;!--Data--&gt;0vvvvvvv || &lt;!--Description--&gt;Channel Pressure (After-touch). This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. This message is different from polyphonic after-touch. Use this message to send the single greatest pressure value (of all the current depressed keys). (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1110nnnn || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Pitch Bend Change. This message is sent to indicate a change in the pitch bender (wheel or lever, typically). The pitch bender is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the receiver, but may be set using RPN 0. (lllllll) are the least significant 7 bits. (mmmmmmm) are the most significant 7 bits.
|}

Channel Mode Messages (See also Control Change, above)

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Channel Mode Messages. 
This the same code as the Control Change (above), but implements Mode control and special message by using reserved controller numbers 120-127. The commands are:
*All Sound Off. When All Sound Off is received all oscillators will turn off, and their volume envelopes are set to zero as soon as possible c = 120, v = 0: All Sound Off
*Reset All Controllers. When Reset All Controllers is received, all controller values are reset to their default values. (See specific Recommended Practices for defaults) c = 121, v = x: Value must only be zero unless otherwise allowed in a specific Recommended Practice.
*Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. 
c = 122, v = 0: Local Control Off
c = 122, v = 127: Local Control On
* All Notes Off. When an All Notes Off is received, all oscillators will turn off. 
c = 123, v = 0: All Notes Off (See text for description of actual mode commands.)
c = 124, v = 0: Omni Mode Off 
c = 125, v = 0: Omni Mode On 
c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) 
c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off)
|}

System Common Messages

System Messages (0xF0)

The final status nybble is a “catch all” for data that doesn’t fit the other statuses. They all use the most significant nybble (4bits) of 0xF, with the least significant nybble indicating the specific category.

The messages are denoted when the MSB of the second nybble is 1. When that bit is a 0, the messages fall into two other subcategories.

System Common

If the MSB of the second second nybble (4 bits) is not set, this indicates a System Common message. Most of these are messages that include some additional data bytes.

System Common Messages
Type Status Byte   Number of Data Bytes      Usage 
&lt;pre&gt;
Time Code Quarter Frame	0xF1	1	Indicates timing using absolute time code, primarily for synthronization with video playback systems. A single location requires eight messages to send the location in an encoded hours:minutes:seconds:frames format*.
Song Position	0xF2	2	Instructs a sequencer to jump to a new position in the song. The data bytes form a 14-bit value that expresses the location as the number of sixteenth notes from the start of the song.
Song Select	0xF3	1	Instructs a sequencer to select a new song. The data byte indicates the song.
Undefined	0xF4	0	
Undefined	0xF5	0	
Tune Request	0xF6	0	Requests that the receiver retunes itself**.
&lt;/pre&gt;
*MIDI Time Code (MTC) is significantly complex. Please see the MIDI Specification
**While modern digital instruments are good at staying in tune, older analog synthesizers were prone to tuning drift. Some analog synthesizers had an automatic tuning operation that could be initiated with this command.


System Exclusive

If you’ve been keeping track, you’ll notice there are two status bytes not yet defined: 0xf0 and 0xf7. These are used by the System Exclusive message, often abbreviated at SysEx. SysEx provides a path to send arbitrary data over a MIDI connection. There is a group of predefined messages for complex data, like fine grained control of MIDI Time code machinery. SysEx is also used to send manufacturer defined data, such as patches, or even firmware updates.

System Exclusive messages are longer than other MIDI messages, and can be any length. The messages are of the following format:

0xF0, 0xID, 0xdd, ...... 0xF7
The message is bookended with distinct bytes.

It opens with the Start Of Exclusive (SOX) data byte, 0xF0.
The next one to three bytes after the start are an identifier.
Values from 0x01 to 0x7C are one-byte vendor IDs, assigned to manufacturers who were involved with MIDI at the beginning.
If the ID is 0x00, it’s a three-byte vendor ID - the next two bytes of the message are the value.
&lt;pre&gt;
ID 0x7D is a placeholder for non-commercial entities.
ID 0x7E indicates a predefined Non-realtime SysEx message.
ID 0x7F indicates a predefined Realtime SysEx message.
&lt;/pre&gt;
After the ID is the data payload, sent as a stream of bytes.
The transfer concludes with the End of Exclusive (EOX) byte, 0xF7.
The payload data must follow the guidelines for MIDI data bytes – the MSB must not be set, so only 7 bits per byte are actually usable. If the MSB is set, it falls into three possible scenarios.

An End of Exclusive byte marks the ordinary termination of the SysEx transfer.
System Real Time messages may occur within the transfer without interrupting it. The recipient should handle them independently of the SysEx transfer.
Other status bytes implicitly terminate the SysEx transfer and signal the start of new messages.
 Some inexpensive USB-to-MIDI interfaces aren’t capable of handling messages longer than four bytes.

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11110000 || &lt;!--Data--&gt;0iiiiiii [0iiiiiii 0iiiiiii]  0ddddddd  --- --- 0ddddddd 11110111 || &lt;!--Description--&gt;System Exclusive. 
This message type allows manufacturers to create their own messages (such as bulk dumps, patch parameters, and other non-spec data) and provides a mechanism for creating additional MIDI Specification messages. The Manufacturer's ID code (assigned by MMA or AMEI) is either 1 byte (0iiiiiii) or 3 bytes (0iiiiiii 0iiiiiii 0iiiiiii). Two of the 1 Byte IDs are reserved for extensions called Universal Exclusive Messages, which are not manufacturer-specific. If a device recognizes the ID code as its own (or as a supported Universal message) it will listen to the rest of the message (0ddddddd). Otherwise, the message will be ignored. (Note: Only Real-Time messages may be interleaved with a System Exclusive.)
|-
|&lt;!--Status--&gt;11110001 || &lt;!--Data--&gt;0nnndddd || &lt;!--Description--&gt;MIDI Time Code Quarter Frame.
nnn = Message Type
dddd = Values
|-
|&lt;!--Status--&gt;11110010 || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Song Position Pointer. 
This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB.
|-
|&lt;!--Status--&gt;11110011 || &lt;!--Data--&gt;0sssssss || &lt;!--Description--&gt;Song Select. 
The Song Select specifies which sequence or song is to be played.
|-
|&lt;!--Status--&gt;11110100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Tune Request. Upon receiving a Tune Request, all analog synthesizers should tune their oscillators.
|-
|&lt;!--Status--&gt;11110111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;End of Exclusive. Used to terminate a System Exclusive dump. 
|}


System Real-Time Messages

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11111000 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Timing Clock. Sent 24 times per quarter note when synchronization is required.
|-
|&lt;!--Status--&gt;11111001 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111010 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Start. Start the current sequence playing. (This message will be followed with Timing Clocks).
|-
|&lt;!--Status--&gt;11111011 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Continue. Continue at the point the sequence was Stopped.
|-
|&lt;!--Status--&gt;11111100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Stop. Stop the current sequence.
|-
|&lt;!--Status--&gt;11111101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Active Sensing. This message is intended to be sent repeatedly to tell the receiver that a connection is alive. Use of this message is optional. When initially received, the receiver will expect to receive another Active Sensing message each 300ms (max), and if it does not then it will assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 
|-
|&lt;!--Status--&gt;11111111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up.
|}


Advanced Messages

Polyphonic Pressure (0xA0) and Channel Pressure (0xD0)

Some MIDI controllers include a feature known as Aftertouch. While a key is being held down, the player can press harder on the key. The controller measures this, and converts it into MIDI messages.

Aftertouch comes in two flavors, with two different status messages.

The first flavor is polyphonic aftertouch, where every key on the controller is capable of sending its own independent pressure information. The messages are of the following format:
&lt;pre&gt;
0xnc, 0xkk, 0xpp
n is the status (0xA)
c is the channel nybble
kk is the key number (0 to 127)
pp is the pressure value (0 to 127)
&lt;/pre&gt;
Polyphonic aftertouch is an uncommon feature, usually found on premium quality instruments, because every key requires a separate pressure sensor, plus the circuitry to read them all.

Much more commonly found is channel aftertouch. Instead of needing a discrete sensor per key, it uses a single, larger sensor to measure pressure on all of the keys as a group. The messages omit the key number, leaving a two-byte format
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xD)
c is the channel number
pp is the pressure value (0 to 127)
&lt;/pre&gt;

Pitch Bend (0xE0)

Many keyboards have a wheel or lever towards the left of the keys for pitch bend control. This control is usually spring-loaded, so it snaps back to the center of its range when released. This allows for both upward and downward bends.

Pitch Bend Wheel

The wheel sends pitch bend messages, of the format
&lt;pre&gt;
0xnc, 0xLL, 0xMM
n is the status (0xE)
c is the channel number
LL is the 7 least-significant bits of the value
MM is the 7 most-significant bits of the value
&lt;/pre&gt;
You’ll notice that the bender data is actually 14 bits long, transmitted as two 7-bit data bytes. This means that the recipient needs to reassemble those bytes using binary manipulation. 14 bits results in an overall range of 214, or 0 to 16,383. Because it defaults to the center of the range, the default value for the bender is halfway through that range, at 8192 (0x2000).

Control Change (0xB0)

In addition to pitch bend, MIDI has provisions for a wider range of expressive controls, sometimes known as continuous controllers, often abbreviated CC. These are transmitted by the remaining knobs and sliders on the keyboard controller shown below.


Continuous Controllers

These controls send the following message format:
&lt;pre&gt;
0xnc, 0xcc, 0xvv
n is the status (0xB)
c is the MIDI channel
cc is the controller number (0-127)
vv is the controller value (0-127)
&lt;/pre&gt;

Typically, the wheel next to the bender sends controller number one, assigned to modulation (or vibrato) depth. It is implemented by most instruments.

The remaining controller number assignments are another point of confusion. The MIDI specification was revised in version 2.0 to assign uses for many of the controllers. However, this implementation is not universal, and there are ranges of unassigned controllers.

On many modern MIDI devices, the controllers are assignable. On the controller keyboard shown in the photos, the various controls can be configured to transmit different controller numbers. Controller numbers can be mapped to particular parameters. Virtual synthesizers frequently allow the user to assign CCs to the on-screen controls. This is very flexible, but it might require configuration on both ends of the link and completely bypasses the assignments in the standard.


Program Change (0xC0)

Most synthesizers have patch storage memory, and can be told to change patches using the following command:
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xc)
c is the channel
pp is the patch number (0-127)
&lt;/pre&gt;
This allows for 128 sounds to be selected, but modern instruments contain many more than 128 patches. Controller #0 is used as an additional layer of addressing, interpreted as a “bank select” command. Selecting a sound on such an instrument might involve two messages: a bank select controller message, then a program change.

Audio &amp; Midi are not synchronized, what I can do ?
Buy a commercial software package but there is a nasty trick to synchronize both. It's a bit hardcore but works for me:

 Simply put one line down to all midi notes on your pattern (use Insert key)
 and go to 'Misc. Setup', adjust the latency and just search a value
 that will make sound sync both audio/midi.

The stock Sin/Saw/Pulse and Rnd waveforms are too simple/common, is there a way to use something more complex/rich ?
You have to ability to redirect the waveforms of the instruments through the synth pipe by selecting the &quot;wav&quot; option for the oscillator you're using for this synth instrument, samples can be used as wavetables to replace the stock signals.


Sound banks like soundfont (sf2) or Kontakt2 are not supported at the moment


====DAW Audio Evolution 4====

Audio Evolution 4 gives you unsurpassed power for digital audio recording and editing on the Amiga. The latest release focusses on time-saving non-linear and non-destructive editing, as seen on other platforms. Besides editing, Audio Evolution 4 offers a wide range of realtime effects, including compression, noise gate, delays, reverb, chorus and 3-band EQ.

Whether you put them as inserts on a channel or use them as auxillaries, the effect parameters are realtime adjustable and can be fully automated. Together with all other mixing parameters, they can even be controlled remotely, using more ergonomic MIDI hardware.

Non-linear editing on the time line, including cut, copy, paste, move, split, trim and crossfade actions

The number of tracks per project(s) is unlimited .... AHI limits you to recording only two at a time. i.e. not on 8 track sound cards like the Juli@ or Phase 88.

sample file import is limited to 16bit AIFF (not AIFC, important distinction as some files from other sources can be AIFC with aiff file extention). and 16bit WAV (pcm only)


Most apps use the Music Unit only but a few apps also use Unit (0-3) instead or as well. 
* Set up AHI prefs so that microphone is available. (Input option near the bottom)


stereo++ allows the audio piece to be placed anywhere and the left-right adjusted to sound positionally right

hifi best for music playback if driver supports this option


Load 16bit .aif .aiff only sample(s) to use not AIFC which can have the same ending. AIFF stands for Audio Interchange File Format 

 sox recital.wav recital.aiff

 sox recital.wav −b 16 recital.aiff channels 1 rate 16k fade 3 norm
 sox input.wav        output.aiff bass −b 16 rate 48k

performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16.

 rec −c 2 radio.aiff trim 0 30:00

records half an hour of stereo audio 

 play existing-file.wav


24bit PCM WAV or AIFF do not work 

*No stream format handling. So no way to pass on an AC3 encoded stream unmodified to the digital outputs through AHI.
*No master volume handling. Each application has to set its own volume. So each driver implements its own custom driver-mixer interface for handling master volumes, mute and preamps.
*Only one output stream. So all input gets mixed into one output.
*No automatic handling of output direction based on connected cables.
*No monitor input selection. Only monitor volume control. 


select the correct input (Don't mistake enabled sound for the correct input.)
The monitor will feedback audio to the lineout and hp out no matter if you have selected the correct input to the ADC. The monitor will provide sound for any valid input. This will result in free mixing when recording from the monitor input instead of mic/line because the monitor itself will provide the hardware mixing for you. Be aware that MIC inputs will give two channel mono. Only Linein will give real stereo.

Now for the not working part. Attempt to record from linein in the AE4 record window, the right channel is noise and the left channel is distorted. Even with the recommended HIFI 16bit Stereo++ mode at 48kHz.


Channels

Monitor

Gain

Inout

Output

Advanced settings - Debugging via serial port


* Options -&gt; Soundcard In/Out
* Options -&gt; SampleRate
* Options -&gt; Preferences

F6 for Sample File List

Setting a grid is easy as is measuring the BPM by marking a section of the sample. Is your kick drum track &quot;not in time&quot; ? If so, you're stumped in AE4 as it has no fancy variable time signatures and definitely no 'track this dodgy rhythm' function like software of the nature of Logic has. So if your drum beat is freeform you will need to work in freeform mode. (Real music is free form anyway).

If the drum *is* accurate and you are just having trouble measuring the time, I usually measure over a range of bars and set the number of beats in range to say 16 as this is more accurate, Then you will need to shift the drum track to match your grid *before* applying the grid. (probably an iterative process as when the grid is active samples snap to it, and when inactive you cannot see it).

AE4 does have ARexx but the functions are more for adding samples at set offsets and starting playback / recording.


These are the usual features found in DAWs...

* Recording digital audio, midi sequencer and mixer 
* virtual VST instruments and plug-ins 
* automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors and music notation editor


* different track views 
* mixer and track layout (but not the same as below) 
* traditional two windows (track and mixer)


Mixing - mixdown

Could not figure out how to select what part I wanted to send to the aux, set it to echo and return. Pretty much the whole echo effect. Or any effect.

Take look at page17 of the manual.

When you open the EQ / Aux send popup window you will see 4 sends. Now from the menu choose the windows menu.

Menus-&gt;Windows-&gt; Aux Returns Window

or press F5

You will see a small window with 4 volume controls and an effects button for each. Click a button and add an effects to that aux channel, then set it up as desired (note the reverb effect has a special AUX setting that improves its use with the aux channel, not compulsory but highly useful). You set the amount of 'return' on the main mix in the Aux Return window, and the amount sent from each main mixer channel in the popup for that channel. Again the aux sends are &quot;prefade&quot; so the volume faders on each channel do not affect them.


Tracking


Effects - fade in

To add some echoes to some vocals, tried to add an effect on a track but did not come out. This is made more complicated as I wanted to mute a vocal but then make it echo at the muting point. Want to have one word of a vocal heard and then echoed off. But when the track is mute the echo is cancelled out.

To correctly understand what is happening here you need to study the figure at the bottom of page 15 on the manual. You will see from that that the effects are applied 'prefade' So the automation you applied will naturally mute the entire signal.

There would be a number of ways to achieve the goal,

You have three real time effects slots, one for smoothing like so

Sample -&gt; Amplify -&gt; Delay

Then automate the gain of the amplify block so that it effectively mutes the sample just before the delay at the appropriate moment, the echo effect should then be heard.

Getting the effects in the right order will require experimentation as they can only be added top down and it's not obvious which order they are applied to the signal, but there only two possibilities, so it wont take long to find out.

Using MUTE can cause clicks to the Amplify can be used to mute more smoothly so that's a secondary advantage.

Signal Processing -


Overdub

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===Office===

====Spreadsheet Leu====

Support for some xlsx, and ods functions 


====Spreadsheet Ignition====

; Needs ABIv1 to be completed before more can be done

File formats supported 
* ascii #?.txt and #?.csv (single sheets with data only). 
* igs and TurboCalc(WIP) #?.tc for all sheets with data, formats and formulas.

There is '''no''' support for xls, xlsx, ods or uos ([http://en.wikipedia.org/wiki/Uniform_Office_Format Uniform Unified Office Format]) at the moment.

* Always use Esc key after editing Spreadsheet cells.
* copy/paste seems to copy the first instance only so go to Edit -&gt; Clipboard to manage the list of remembered actions. 
* Right mouse click on row (1 or 2 or 3) or column header (a or b or c)  to access optimal height or width of the row or column respectively 
* Edit -&gt; Insert -&gt; Row  seems to clear the spreadsheet or clears the rows after the inserted row until undo restores as it should be...

Change Sheet name by  Object -&gt; Sheet -&gt; Properties

Click in the cell which will contain the result, and click '''down arrow button''' to the right of the formula box at the bottom of the spreadsheet and choose the function required from the list provided. Then click on the start cell and click on the bottom right corner, a '''very''' small blob, which allows stretching a bounding box (thick grey outlines) across many cells This grey bounding box can be used to '''copy a formula''' to other cells.

Object -&gt; Cell -&gt; Properties to change cell format - Currency only covers DM and not $, Euro, Renminbi, Yen or Pound etc. 
Shift key and arrow keys selects a range of cells, so that '''formatting can be done to all highlighted cells'''. 
View -&gt; Overview then select ALL with one click (in empty cell in the top left hand corner of the sheet).

Default mode is relative cell referencing e.g. a1+a2 but absolute e.g. $a$1+$a$2 can be entered.

* #sheet-name to '''absolute''' reference another sheet-name cell unless reference() function used.

;Graphs

use shift key and arrow keys to select a bunch of cells to be graph'ed making sure that x axes represents and y axes represents

* value() - 0 value, 1 percent, 2 date, 3 time, 4 unit ...


;Dates 
* Excel starts a running count from the 1st Jan 1900 and Ignition starts from 1st Jan 1AD '''(maybe this needs to change)'''
Set formatting Object -&gt; Cell -&gt; Properties and put date in days


;Time 
Set formatting Object -&gt; Cell -&gt; Properties and put time in seconds taken


;Database (to be done by someone else)

type - standard, reference (bezug), search criterion (suchkriterium), 
* select a bunch of cells and Object -&gt; Database -&gt; Define to set Datenbank (database) and Felder (fields not sure how?) 
* Neu (new) or loschen (delete) to add/remove database headings e.g. Personal, Start Date, Finish Date (one per row?)
* Object -&gt; Database -&gt; Index to add fields (felder) like Surname, First Name, Employee ID, etc. to ?

Filtering done with dbfilter(), dbproduct() and dbposition().

Activities with dbsum(), dbaverage(), dbmin() and dbmax().

Table sorting -


;Scripts (Arexx)

;Excel(TM) to Ignition - commas ''',''' replaced by semi-colons ''';''' to separate values within functions 
*SUM(), 
*AVERAGE(), MAX(), MIN(), INT(), PRODUCT(), MEDIAN(), VAR() becomes Variance(), Percentile(),
*IF(), AND, OR, NOT 
*LEFT(), RIGHT(), MID() becomes MIDDLE(), LEN() becomes LENGTH(), 
*LOWER() becomes LOWERCASE(), UPPER() becomes UPPERCASE(),
* DATE(yyyy,mm,dd) becomes COMPUTEDATE(dd;mm;yyyy), 
*TODAY(), DAY(),WEEK(), MONTH(),=YEAR(TODAY()), 
*EOMONTH() becomes MONTHLENGTH(), 
*NOW() should be date and time becomes time only, SECOND(), MINUTE(), HOUR(),
*DBSUM() becomes DSUM(),


;Missing and possibly useful features/functions needed for ignition to have better support of Excel files 
There is no Merge and Join Text over many cells, no protect and/or freeze row or columns or books but can LOCK sheets, no define bunch of cells as a name, Macros (Arexx?), conditional formatting, no Solver, no Goal Seek, no Format Painter, no AutoFill, no AutoSum function button, no pivot tables, (30 argument limit applies to Excel)

*HLOOKUP(), VLOOKUP(), [http://production-scheduling.com/excel-index-function-most-useful/ INDEX(), MATCH()], CHOOSE(), TEXT(), 
*TRIM(), FIND(), SUBSTITUTE(), CONCATENATE() or &amp;, PROPER(), REPT(), 
*[https://acingexcel.com/excel-sumproduct-function/ SUMPRODUCT()], ROUND(), ROUNDUP(), *ROUNDDOWN(), COUNT(), COUNTA(), SUMIF(), COUNTIF(), COUNTBLANK(), TRUNC(), 
*PMT(), PV(), FV(), POWER(), SQRT(), MODE(), TRUE, FALSE, 
*MODE(), LARGE(), SMALL(), RANK(), STDEV(), 
*DCOUNT(), DCOUNTA(), WEEKDAY(),


;Excel Keyboard [http://dmcritchie.mvps.org/excel/shortx2k.htm shortcuts needed to aid usability in Ignition] 
&lt;pre&gt;
Ctrl Z - Undo

Ctrl D - Fill Down
Ctrl R - Fill right

Ctrl F - Find
Ctrl H - Replace

Ctrl 1 - Formatting of Cells
CTRL SHIFT ~ Apply General Formatting ie a number 
Ctrl ; - Todays Date 

F2 - Edit cell
F4 - toggle cell absolute / relative cell references

&lt;/pre&gt;


====Document Scanning - Scandal====

Scanner usually needs to be connected via a USB port and not via a hub or extension lead.

Check in Trident Prefs -&gt; Devices that the USB Scanner is not bound to anything (e.g. Bindings None)
If not found then reboot the computer and recheck.

Start Scandal, choose Settings from Menu strip at top of screen and in Scanner Driver choose the ?#.device of the scanner (e.g. epson2.device).

The next two boxes - leave empty as they are for morphos SCSI use only
 or put ata.device (use the selection option in bigger box below) and Unit as 0 this is needed for gt68xx

* gt68xx - no editing needed in s/gt68xx.conf but needs a firmware file that corresponds to the scanner [http://www.meier-geinitz.de/sane/gt68xx-backend/ gt68xx firmwares] in sys:s/gt68xx.
* epson2 - Need to edit the file epson2.conf in sys/s that corresponds to the scanner being used

'''Save''' the settings but do not press the Use button (aros freezes)

Back to the Picture Scan window and the right-hand sections.

Click on the '''Information''' tab and press Connect button and the scanner should now be detected.

Go next to the '''Scanner''' tab next to Information Tab should have Color, Black and White, etc. and dpi settings now. Selecting an option Color, B/W etc. can cause dpi settings corruption (especially if the settings are in one line) so set '''dpi first'''. Make sure if Preview is set or not.

In the '''Scan''' Tab, press Scan and the scanner will do its duty. 
Be aware that nothing is saved to disk yet.

In the Save tab, change format JPEG, PNG or IFF DEEP. Tick incremental and base filename if necessary and then click the Save button. The image will now be saved to permanent storage.


The driver ignores a device if it is already bond to another USB class, rejects it from being usable. However, open Trident prefs, select your device and use the right mouse button to open. Select &quot;NONE&quot; to prevent poseidon from touching the device. Now save settings. It should always work now.

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===Emulators===

==== Amiberry ====


==== Amiga Emu - Janus UAE ====

With Amibridge, AROS attempts to make the UAE emulator seem embedded within but it still is acting as an app 

There is no dynarec m68k for each hardware that Aros supports or direct patching of motorola calls to AROS hardware accelerated ones unless the emulator has that included 

Try starting Janus with a priority of -1 like this little script:
&lt;pre&gt;
cd sys:system/AmiBridge/emulator
changetaskpri -1
run janus-uae -f my_uaerc.config &gt;nil:
cd sys:prefs
endcli
&lt;/pre&gt;
This stops Janus hogging all the CPU time.


===Miscellaneous===

====Screensaver Blanker====

Most blankers on the amiga (i.e. aros) run as commodities (they are in the tools/commodities drawer). Double click on blanker.

Control is with an app called Exchange, which you need to run first (double click on app) or  run QUIET sys:tools/commodities/Exchange &gt;NIL: but subsequently can use (Cntrl Alt h).

Icon tool types (may be broken) or command line options 
&lt;pre&gt;
seconds=number 
&lt;/pre&gt;

Once the timing is right then add the following to s:icaros-sequence or s:user-startup

e.g. for 5 minutes

 run QUIET sys:tools/commodities/Blanker seconds=300 &gt;NIL:


*[http://archives.aros-exec.org/index.php?function=showfile&amp;file=graphics/screenblanker/gblanker.i386-aros.zip Garshneblanker] can make Aros unstable or slow. Certain blankers crashes in Icaros 2.0.x like Dragon, Executor.


*[ Acuario AROS version], the aquarium screen saver.

Startup: extras:acuariofv-aros/acuario

Kill: c:break name=extras:acuariofv-aros/acuario

Managed to start Acuario by the Executor blanker.

&lt;pre&gt;
cx_priority=
cx_popkey=    ie CX_POPKEY=&quot;Shift F1&quot; 
cx_popup=Yes or No

&lt;/pre&gt;


&lt;pre&gt;
 Qualifier String    Input Event Class
   ----------------    -----------------
    &quot;lshift&quot;           IEQUALIFIER_LSHIFT
    &quot;rshift&quot;           IEQUALIFIER_RSHIFT
    &quot;capslock&quot;         IEQUALIFIER_CAPSLOCK
    &quot;control&quot;          IEQUALIFIER_CONTROL
    &quot;lalt&quot;             IEQUALIFIER_LALT
    &quot;ralt&quot;             IEQUALIFIER_RALT
    &quot;lcommand&quot;         IEQUALIFIER_LCOMMAND
    &quot;rcommand&quot;         IEQUALIFIER_RCOMMAND
    &quot;numericpad&quot;       IEQUALIFIER_NUMERICPAD
    &quot;repeat&quot;           IEQUALIFIER_REPEAT
    &quot;midbutton&quot;        IEQUALIFIER_MIDBUTTON
    &quot;rbutton&quot;          IEQUALIFIER_RBUTTON
    &quot;leftbutton&quot;       IEQUALIFIER_LEFTBUTTON
    &quot;relativemouse&quot;    IEQUALIFIER_RELATIVEMOUSE
&lt;/pre&gt;


&lt;pre&gt;
    Synonym     Synonym
    String     Identifier
    -------    ----------
    &quot;shift&quot;    IXSYM_SHIFT    /* look for either shift key */
    &quot;caps&quot;     IXSYM_CAPS     /* look for either shift key or capslock */
    &quot;alt&quot;      IXSYM_ALT      /* look for either alt key */

Highmap is one of the following strings:
    &quot;space&quot;, &quot;backspace&quot;, &quot;tab&quot;, &quot;enter&quot;, &quot;return&quot;, &quot;esc&quot;, &quot;del&quot;,
    &quot;up&quot;, &quot;down&quot;, &quot;right&quot;, &quot;left&quot;, &quot;f1&quot;, &quot;f2&quot;, &quot;f3&quot;, &quot;f4&quot;, &quot;f5&quot;,
    &quot;f6&quot;, &quot;f7&quot;, &quot;f8&quot;, &quot;f9&quot;, &quot;f10&quot;, &quot;help&quot;.


&lt;/pre&gt;


[[#top|...to the top]]

==== World Construction Set WCS (Version 2.031) ====

WCS is a fractal landscape software such as Scenery Animator, Vista Pro and Panorama. Open sourced February 2022, World Construction Set [https://3dnature.com/downloads/legacy-software/ legally and for free] and [https://github.com/AlphaPixel/3DNature c source]. 

Announced August 1994 this version dates from April 1996 developed by Gary R. Huber and Chris &quot;Xenon&quot; Hanson&quot; from Questar 

&lt;pre&gt;
Assign &quot;WCSProjects:&quot; &quot;Volume:Dir/Dir/WCSProjects&quot; 
Assign &quot;WCSFrames:&quot;   &quot;Volume:Dir/Dir/WCSFrames&quot; 
&lt;/pre&gt;

&lt;pre&gt;
Load projects .proj by accessing pull down menu Project -&gt; Open then click on CanyonSunset.proj
OK to changing .par file and enlarge Status Log window to show what is happening 
Render by pull down menu Modules -&gt; Render with End equal 1 not 300 then click bottom middle button Render 
&lt;/pre&gt;

[https://www.youtube.com/watch?v=CxQDmf1ZWG0 Youtube walkthrough of above], [], [], 

Also try working with the already built file ColoDemo - Then open with the drop-down menu: Project/Open, then WCSProject:ColoDemo.proj
Which allows you to use altimetric DEM files already included and Loading scene parameters from ColoDemo.par
Once this is done, save everything with a new name to start working exclusively on your project. 
Then drop-down menu and select Save As (&quot;NewName&quot;.proj name), then drop-down menu to open parameter and select Save All ( .par name)


After launching the software, there is a the Module Control Panel composed of five icons. 
It is a dock type shortcut of the first few functions of the drop-down menu 

*Database   - Load (#?.proj), Append, Create, Edit, Save, Dir List (of WCSProject drawer), 
*Data Ops   - Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats  
*Map View   - Database file Loader leading to Map View Control with option to the Database Editor 
*Parameters - Editor for Motion, Color, Ecosystem, Clouds, Waves, management of altimeter files DEM, sclock settings etc 
*Render     - rendering terrain 

These are more in the pull down menu but not in the dock 
*Motion Editor
*Color Editor
*Ecosys Editor 


Simple minimal workflow 
*Load database (1st icon - 1st)
*Set parameters and save .par file (4th icon)
*Render scene (5th icon) 

[https://www.youtube.com/watch?v=ZbTwwR2qcc4 Youtube], [], 

&lt;pre&gt;
.proj new project name which creates a drawer of additional files 

.binary array, ascii array .xyz , z buffer, DTED .dt0, vista 1990s dem, iff  conversion 
.Obj with .elev, .frd with .hdr maps, - digital elevation model (DEM) is a 3D representation of elevation data in various formats 
USGS 7.5MinDEM, 

.par 


&lt;/pre&gt;


Since for the time being no project is loaded, a query window indicates a procedural error when clicking on the rendering icon (right end of the bar). The menu is quite traditional; it varies according to the activity of the windows. To display any altimetric file in the &quot;Mapview&quot; (third icon of the panel), There are three possibilities:

* Loading of a demonstration project.
* The import of a DEM file, followed by texturing and packaging from the &quot;Database-Editor&quot; and the &quot;Color-Editor&quot;.
* The creation of an altimetric file in WCS format, then texturing.


The altimeter file editing (display in the menu) is only made possible if the &quot;Mapview&quot; window is active.

The software is made up of many windows and won't be able to describe them all. Know that &quot;Color-Editor&quot; and the &quot;Data-Editor&quot; comprise sufficient functions for obtaining an almost real rendering quality. You have the possibility of inserting vector objects in the &quot;Data-Editor&quot; (creation of roads, railways, etc.) 


The Map View (MapView) window

*Database - Objects and Topos
*View     - Align, Center, Zoom, Pan, Move 
*Draw     - Maps and distance 
*Object   - Find, highlight, add points, conform topo, duplicate 
*Motion   - Camera, Focus, path, elevation 
*Windows  - DEM designer, Cloud (.cld) and wave (.wve) editor, 


You will notice that by selecting this window and simply moving the pointer to various points on the map you will see latitude and longitude values ​​change, along with the height.
Drop-down menu and Modules, then select MapView and change the width of the window with the map to arrange it in the best way on the screen. With the Auto button the center. Window that then displays the contents of my DEM file, in this case the Grand Canyon. MapView allows you to observe the shape of the landscape from above
 

ZOOM button

Press the Zoom button and then with the pointer position on a point on the map, press the left mouse button and then move to the opposite corner to circumscribe the chosen area and press the left mouse button again, then we will see the enlarged area selected on the map.
Would add that there is a box next to the Zoom button that allows the direct insertion of a value which, the larger it is, the smaller the magnification and the smaller the value, the stronger the magnification. At each numerical change you will need to press the DRAW button to update the view.

PAN button

Under Zoom you will find the PAN button which allows you to move the map at will in all directions by the amount you want. This is done by drawing a line in one direction, then press PAN and point to an area on the map with the pointer and press the left mouse button. At this point, leave it and move the pointer in one direction by drawing a line and press the left mouse button again to trigger the movement of the map on the screen (origin and end points). Do some experiments and then use the Auto button immediately below to recenter everything.
There are parameters such as TOPO, VEC to be left checked and immediately below one that allows different views of the map with the Style command (Single, Multi, Surface, Emboss, Slope, Contour), each with its own particularities to highlight different details.

Now you have the first basics to manage your project visually on the map. Close the MapView window and go further...


Let's start working on ECOSYSTEMS
If we select Emboss from the MapView Style command we will have a clear idea of ​​how the landscape appears, realizing that it is a predominantly desert region of our planet. Therefore we will begin to act on any vegetation present and the appearance of the landscape.
With WCS we will begin to break down the elements of the landscape by assigning defined characteristics. It will be necessary to determine the classes of the ecosystem (Class) with parameters of Elevation Line (maximum altitude), Relative Elevation (arrangement on basins or convexities with respectively positive or negative parameters), Min Slope and Max Slope (slope). WCS offers the possibility of making ecosystems coexist on the same terrain with the UnderEco function, by setting a Density value.


Ecosys Ecosystem Editor

Let's open it from Modules, then Ecosys Editor. In the left pane you will find the list of ecosystems referring to the files present in our project. It will be necessary to clean up that box to leave only the Water and Snow landscapes and a few other predefined ones. We can do this by selecting the items and pressing the Remove button (be careful not for all elements the button is activated, therefore they cannot all be eliminated).
Once this is done we can start adding new ecosystems. Scroll through the various Unused and as soon as the Name item at the top is activated allowing you to write, type the name of your ecosystem, adding the necessary parameters.
&lt;pre&gt;
Ecosystem1: Name: RockBase Class: Rock Density: 80 MinSlope: 15 UnderEco: Terrain
Ecosystem2: Name: RockIncl Clss: Rock Density: 80 MinSlope: 30 UnderEco: Terrain
Ecosystem3: Name: Grass Class Low Veg Density: 50 Height: 1 Elev Line : 1500 Rel El Eff: 5
Max Slope: 10 – Min Slope: 0 UnderEco: Terrain
Ecosistema4: Name: Shrubs Class: Low Veg Density: 40 Height: 8 Elev Line: 3000
Rel El Eff: -2 Max Slope: 20 Min Slope : 5 UnderEco: Terrain
Ecosistema5: Name: Terrain Class: Ground Density: 100 UnderEco: Terrain
&lt;/pre&gt;

Now we need to identify an intermediate ecosystem that guarantees a smooth transition between all, therefore we select as Understory Ecosystem the one called Terrain in all ecosystems, except Snow and Water .
Now we need to 'emerge' the Colorado River in the Canyon and we can do this by raising the sea level to 900 (Sea Level) in the Ecosystem called Water.
Please note that the order of the ecosystem list gives priority to those that come after. So our list must have the following order: Water, Snow, Shrubs, RockIncl, RockBase, Terrain. It is possible to carry out all movements with the Swap button at the bottom. To put order you can also press Short List. Press Keep to confirm all the work done so far with Ecosystem Editor.
Remember every now and then to save both the Project 'Modules/Save' and 'Parameter/Save All'

EcoModels are made up of .etp .fgp .iff8 for each model 


Color Editor

Now it's time to define the colors of our scene and we can do this by going to Modules and then Color Editor. In the list we focus on our ecosystems, created first.
Let's go to the bottom of the list and select the first white space, assigning the name 'empty1', with a color we like and then we will find this element again in other environments... It could serve as an example for other situations!
So we move to 'grass' which already exists and assign the following colors: R 60 G 70 B50
&lt;pre&gt;
'shrubs': R 60 G 80 B 30
'RockIncl' R 110 G 65 B 60
'RockBase' R 110 G 80 B 80
' Terrain' R 150 G 30 B 30
&lt;pre&gt;
Now we can work on pre-existing colors
&lt;pre&gt;
'SunLight' R 150 G 130 B 130
'Haze and Fog' R 190 G 170 B 170
'Horizon' R 209 G 185 B 190
'Zenith' R 140 G 150 B 200
'Water' R 90 G 125 B 170
&lt;/pre&gt;

Ambient R 0 G 0 B 0

So don't forget to close Color Editor by pressing Keep.
Go once again to Ecosystem Editor and assign the corresponding color to each environment by selecting it using the Ecosystem Color button. Press it several times until the correct one appears. Then save the project and parameters again, as done previously.


Motion Editor

Now it's time to take care of the framing, so let's go to Modules and then to Motion Editor. An extremely feature-rich window will open. Following is the list of parameters regarding the Camera, position and other characteristics:
&lt;pre&gt;
-Camera Altitude: 7.0
-Camera Latitude: 36.075
-Camera Longitude: 112.133
-Focus Attitude: -2.0
-Focus Latitude: 36.275
-Focus Longitude: 112.386
-Camera : 512 → rendering window
-Camera Y: 384 → rendering window
-View Arc: 80 → View width in degrees
-Sun Longitude: 172
-Sun Latitude: -0.9
-Haze Start: 3.8
-Haze Range: 78, 5
&lt;/pre&gt;
As soon as the values ​​shown in the relevant sliders have been modified, we will be ready to open the CamView window to observe the wireframe preview. Let's not consider all the controls that will appear.
Well from the Motion Editor if you have selected Camera Altitude and open the CamView panel, you can change the height of the camera by holding down the right mouse button and moving the mouse up and down. To update the view, press the Terrain button in the adjacent window. As soon as you are convinced of the position, confirm again with Keep. You can carry out the same work with the other functions of the camera, such as Focus Altitude...
Let's now see the next positioning step on the Camera map, but let's leave the CamView preview window open while we go to Modules to open the window at the same time MapView. We will thus be able to take advantage of the view from the other together with a subjective one.


From the MapView window, select with the left mouse button and while it is pressed, move the Camera as desired. To update the subjective preview, always click on Terrain.
While with the same procedure you can intervene on the direction of the camera lens, by selecting the cross and with the left button pressed you can choose the desired view. So with the pressure of Terrain I update the Preview. Possibly can enlarge or reduce the Map View using the Zoom button, for greater precision.
Also write that the circle around the cameras indicates the beginning of the haze, there are two types (haze and fog) linked to the altitude. Would also add that the camera height is editable through the Motion Editor panel.


The sun

Let's see that changing the position of the sun from the Motion Editor. Press the SUN button at the bottom right and set the time and the date. Longitude and latitude are automatically obtained by the program. Always open the View Arc command from the Motion Editor panel, an item present in the Parameter List box.

Once again confirm everything with Keep and then save again.


Animation

The animation part is not left-back and also occupies a window. The settings possibilities are enormous. A time line with dragging functions (&quot;slide&quot;, &quot;drag&quot;...) comparable to that of LightWave completes this window. 


A small window is available for positioning the stars as a function of a date, in order to vary the seasons and their various events (and yes...).

At the bottom of the &quot;Motion-Editor&quot;, a &quot;cam-view&quot; function will give you access to a control panel. Different preview modes are possible. The rendering is also accessible through a window. No less than nine pages compose it. At this level, you will be able to determine the backup name of your images (&quot;path&quot;), the type of texture to be calculated, the resolution of the images, activate or deactivate functions such as the depth buffer (&quot;zbuffer&quot;), the blur, the background image, etc.


Once all these parameters have been set, all you have to do is click on the &quot;Render&quot; button.

For rendering go to Modules and then Render. Select the resolution, then under IMA select the name of the image. Move to FRA and indicate the level of fractal detail which of 4 is quite good. Then Keep to confirm and then reopen the window, pressing Render you will see the result. The image will be opened with any viewing program.


Strengths:

* Multi-window.
* Quality of rendering.
* Accuracy.
* Opening, preview and rendering on CyberGraphX screen.
* Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats 
* The &quot;zbuffer&quot; function.

Weaknesses:

* No OpenGL management 
* Calculation time.
* No network computing tool.


====Writing CD / DVD - Frying Pan====

Can be backup DVDs (4GB ISO size limit due to use of FileInfoBlock), create audio cds from mp3's, and put .iso files on discs

If using for the first time - click Drive button and Device set to ata.device and unit to 0 (zero)

Click Tracks Button - Drive 1 - Create New Disc or Import Existing Disc Image (iso bin/cue etc.) - Session File open cue file

If you're making a data cd, with files and drawers from your hard drive, you should be using the ISO Builder.. which is the MUI page on the left. (&quot;Data/Audio Tracks&quot; is on the right).

You should use the &quot;Data/Audio tracks&quot; page if you want to create music cds with AIFF/WAV/MP3 files, or if you download an .iso file, and you want to put it on a cd.

Click WRITE Button - set write speed - click on long Write button

Examples

Easiest way would be to burn a DATA CD, simply go to &quot;Tracks&quot; page &quot;ISO Builder&quot; and &quot;ADD&quot; everything you need to burn.

On the &quot;Write&quot; page i have &quot;Masterize Disc (DAO)&quot;, &quot;Close Disc&quot; and &quot;Eject after Write&quot; set.

One must not &quot;Blank disc before write&quot; if one uses a CDR


AUDIO CD from MP3's are as easy but tricky to deal with. FP only understands one MP3 format, Layer II, everything else will just create empty tracks

Burning bootable CD's works only with .iso files. Go to &quot;Tracks&quot; page and &quot;Data/Audio Tracks&quot; and add the .iso


====odf====

Every ODF file is a collection of several subdocuments within a package (ZIP file), each of which stores part of the complete document.

* content.xml – Document content and automatic styles used in the content.
* styles.xml – Styles used in the document content and automatic styles used in the styles themselves.
* meta.xml – Document meta information, such as the author or the time of the last save action.
* settings.xml – Application-specific settings, such as the window size or printer information.


To read document follow these steps:

* Extracting .ods file.
* Getting content.xml file (which contains sheets data).
* Creating XmlDocument object from content.xml file.
* Creating DataSet (that represent Spreadsheet file).
* With XmlDocument select “table:table” elements, and then create adequate DataTables.
* Parse child’s of “table:table” element and fill DataTables with those data.
* At the end, return DataSet and show it in application’s interface.


To write document follow these steps:

* Extracting template.ods file (.ods file that we use as template).
* Getting content.xml file.
* Creating XmlDocument object from content.xml file.
* Erasing all “table:table” elements from the content.xml file.
* Reading data from our DataSet and composing adequate “table:table” elements.
* Adding “table:table” elements to content.xml file.
* Zipping that file as new .ods file.

XLS file format

The XLS file format contains streams, substreams, and records.

These sheet substreams include worksheets, macro sheets, chart sheets, dialog sheets, and VBA module sheets. 
All the records in an XLS document start with a 2-byte unsigned integer to specify Record Type (rt), and another for Count of Bytes (cb). A record cannot exceed 8224 bytes. If larger than the rest is stored in one or more continue records.

* Workbook stream 
**Globals substream
***BoundSheet8 record - info for Worksheet substream i.e. name, location, type, and visibility. (4bytes the lbPlyPos FilePointer, specifies the position in the Workbook stream where the sheet substream starts) 
**Worksheet substream (sheet) - Cell Table - Row record - Cells (2byte=row 2byte=column 2byte=XF format)
***Blank cell record
***RK cell record 32-bit number. 
***BoolErr cell record (2-byte Bes structure that may be either a Boolean value or an error code)
***Number cell record (64-bit floating-point number)
***LabelSst cell record (4-byte integer that specifies a string in the Shared Strings Table (SST). Specifically, the integer corresponds to the array index in the RGB field of the SST)
***Formula cell record (FormulaValue structure in the 8 bytes that follow the cell structure. The next 6 bytes can be ignored, and the rest of the record is a CellParsedFormula structure that contains the formula itself)
***MulBlank record (first 2 bytes give the row, and the next 2 bytes give the column that the series of blanks starts at. Next, a variable length array of cell structures follows to store formatting information, and the last 2 bytes show what column the series of blanks ends on)
***MulRK record 
***Shared String Table (SST) contains all of the string values in the workbook.

ACCRINT(), ACCRINTM(), AMORDEGRC(), AMORLINC(), 
COUPDAYBS(), COUPDAYS(), COUPDAYSNC(), COUPNCD(), COUPNUM(), COUPPCD(), 
CUMIPMT(), CUMPRINC(), 
DB(), DDB(), DISC(), 
DOLLARDE(), DOLLARFR(), 
DURATION(), EFFECT(), FV(), FVSCHEDULE(), 
INTRATE(), IPMT(), IRR(), ISPMT(), MDURATION(), MIRR(), NOMINAL(), NPER(), NPV(), 
ODDFPRICE(), ODDFYIELD(), ODDLPRICE(), ODDLYIELD(), 
PMT(), PPMT(), PRICE(), PRICEDISC(), PRICEMAT(), PV(), RATE(), 
RECEIVED(), SLN(), SYD(), TBILLEQ(), TBILLPRICE(), TBILLYIELD(), 
VDB(), XIRR(), XNPV(), YIELD(), YIELDDISC(), YIELDMAT(),


&lt;pre&gt;
&lt;/pre&gt;


&lt;pre&gt;
&lt;/pre&gt;

&lt;pre&gt;
&lt;/pre&gt;

{{BookCat}}</text>
      <sha1>oo691f329h34p6fiig0tmb3q24mjla3</sha1>
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    <revision>
      <id>4638111</id>
      <parentid>4638090</parentid>
      <timestamp>2026-05-30T17:38:09Z</timestamp>
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==Introduction==


[[#Graphical Image Editing Art]]
[[#Office Application]]
[[#Audio]]

[[#Misc Application]]
[[#Games &amp; Emulation]]

[[#Application Guides]]

[[#top|...to the top]]


[[#top|...to the top]]

Most apps can be opened on the Workbench (aka publicscreen pubscreen) which is the default display option but can offer a custom one set to your configurations (aka custom screen mode promotion). These custom ones tend to stack so the possible use of A-M/A-N method of switching between full screens and the ability to pull down screens as well 

If you are interested in creating or porting new software, see [http://en.wikibooks.org/wiki/Aros/Developer/Docs here]

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Internet Applications 
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Web Online Browser [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/browser Odyssey 2.0], [https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1175&amp;highlight=odyssey&amp;rowstart=100 Odyssey 3.0], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/comm/www Amelinium], [https://blog.alb42.de/programs/amifox/ amifox] with [https://github.com/alb42/wrp wrp server], IBrowse*, Voyager*, [https://github.com/amigazen/aweb3/ AWeb 3.6 src], [https://github.com/matjam/aweb AWeb Src], [http://aminet.net/package/comm/www/NetSurf-m68k-sources Netsurf], [], 
|&lt;!--AmigaOS4--&gt;[ Odyssey OWB], [ Timberwolf (Firefox port 2011)], [http://amigaworld.net/modules/newbb/viewtopic.php?forum=32&amp;topic_id=32847 OWB-mui], [http://strohmayer.org/owb/ OWB-Reaction], IBrowse*, [http://os4depot.net/index.php?function=showfile&amp;file=network/browser/aweb.lha AWeb], Voyager, [http://www.os4depot.net/index.php?function=browse&amp;cat=network/browser Netsurf], 
|&lt;!--MorphOS--&gt;Wayfarer, [http://fabportnawak.free.fr/owb/ Odyssey OWB], [ Netsurf], IBrowse*, AWeb, [], 
|-
|&lt;!--Sub Menu--&gt;YouTube Viewing and downloading videos 
|&lt;!--AROS--&gt;Odyssey 2.0 can show Youtube webpage, [https://blog.alb42.de/amitube/ Amitube], 
|[https://blog.alb42.de/amitube/ Amitube], [https://github.com/YePpHa/YouTubeCenter/releases or this one], 
|[https://blog.alb42.de/amitube/ Amitube], getVideo, Tubexx, [https://github.com/walkero-gr/aiostreams aiostreams], 
|[ Wayfarer], [https://blog.alb42.de/amitube/ Amitube],Odyssey (OWB), [http://morphos.lukysoft.cz/en/vypis.php?kat=5 getVideo], Tubexx 
|-
|&lt;!--Sub Menu--&gt;E-mailing SMTP POP3 IMAP based 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/email SimpleMail], [http://sourceforge.net/projects/simplemail/files/ src], [https://github.com/jens-maus/yam YAM] 
|&lt;!--Amiga OS--&gt;[http://sourceforge.net/projects/simplemail/files/ SimpleMail], [https://github.com/jens-maus/yam YAM]
|&lt;!--AmigaOS4--&gt;SimpleMail, YAM, 
|&lt;!--MorphOS--&gt; SimpleMail, YAM
|-
|&lt;!--Sub Menu--&gt;IRC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat WookieChat], [https://sourceforge.net/projects/wookiechat/ Wookiechat src], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat AiRcOS], Jabberwocky, 
|&lt;!--Amiga OS--&gt;Wookiechat, AmIRC 
|&lt;!--AmigaOS4--&gt;Wookiechat 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Wookiechat], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 AmIRC], 
|-
|&lt;!--Sub Menu--&gt;Instant Messaging IM like [https://github.com/BlitterStudio/amidon Hollywood lang based Mastodon client], BlueSky AT protocol, Facebook(TM), Twitter X (TM), Bitlbee IRC Gateway and others 
|&lt;!--AROS--&gt;[https://github.com/kaffeine1/telegram-amiga telegram-amiga], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat jabberwocky], 
|&lt;!--Amiga OS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], CLIMM, SabreMSN, jabberwocky, 
|&lt;!--AmigaOS4--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], SabreMSN,
|&lt;!--MorphOS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 PolyglotNG], SabreMSN,
|-
|&lt;!--Sub Menu--&gt;Torrents 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/p2p ArTorr], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;CTorrent, Transmission 
|&lt;!--MorphOS--&gt;MLDonkey, Beehive, [http://morphos.lukysoft.cz/en/vypis.php?kat=5 Transmission], CTorrent, 
|-
|&lt;!--Sub Menu--&gt;FTP 
|&lt;!--AROS--&gt;Plugin included with Dopus Magellan, MarranoFTP, 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/comm/tcp/AmiFTP AmiFTP], AmiTradeCenter, ncFTP, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Pftp], [http://aminet.net/package/comm/tcp/AmiFTP-1.935-OS4 AmiFTP], 
|-
|&lt;!--Sub Menu--&gt;WYSIWYG Web Site Editor
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Internet Radio Streaming Audio [http://www.gnu.org/software/gnump3d/ gnump3d], [http://www.icecast.org/ Icecast2] Server (Broadcast) and Client (Listen), [ mpd], [http://darkice.sourceforge.net/ DarkIce], [http://www.dyne.org/software/muse/ Muse], 
|&lt;!--AROS--&gt;Mplayer (Icecast Client only), 
|&lt;!--Amiga OS--&gt;[https://github.com/sandlbn/TuneFinder TuneFinder C Src], [https://github.com/sandlbn/TuneFinderMUI TuneFinderMUI], [http://amigazeux.net/anr/ AmiNetRadio], [], [], 
|&lt;!--AmigaOS4--&gt;[http://www.tunenet.co.uk/ Tunenet], 
|&lt;!--MorphOS--&gt;Mplayer, AmiNetRadio, 
|-
|&lt;!--Sub Menu--&gt;VoIP (Voice over IP) with SIP Client (Session Initiation Protocol) or Asterisk IAX2 Clients Softphone (skype like) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;AmiPhone with Speak Freely, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Weather Forecast 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ WeatherBar], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench AWeather], []
|&lt;!--Amiga OS--&gt;[http://amigazeux.net/wetter/ Wetter], [https://github.com/emartisoft/AmiWeatherForecasts AmiWeatherForecasts src], 
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/?function=showfile&amp;file=utility/workbench/flipclock.lha FlipClock], 
|&lt;!--MorphOS--&gt;[http://amigazeux.net/wetter/ Wetter], 
|-
|&lt;!--Sub Menu--&gt;Street Road Maps Route Planning GPS Tracking  
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/muimapparium/ MuiMapparium] [https://build.alb42.de/ Build of MuiMapp versions], 
|&lt;!--Amiga OS--&gt;AmiAtlas*, UKRoutePlus*, [http://blog.alb42.de/ AmOSM], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://blog.alb42.de/programs/mapparium/ Mapparium], 
|-
|&lt;!--Sub Menu--&gt;Clock and Date setting from the internet (either ntp or websites) [https://www.timeanddate.com/worldclock/ World Clock], [http://www.time.gov/ NIST], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc ntpsync],  
|&lt;!--Amiga OS--&gt;ntpsync 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Newsgroups
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[http://newscoaster.sourceforge.net/ Newscoaster], [https://github.com/jens-maus/newsrog NewsRog], [ WorldNews], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Graphical Image Editing Art==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Image Editing
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Pixel Raster Artwork [https://github.com/LibreSprite/LibreSprite LibreSprite based on GPL aseprite], [https://github.com/abetusk/hsvhero hsvhero], [], 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/ZunePaint/ ZunePaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit LunaPaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit GrafX2], [ LodePaint needs OpenGL], 
|&lt;!--Amiga OS--&gt;[http://www.amigaforever.com/classic/download.html PPaint], GrafX2, [https://github.com/grovdata/Amiga_Sources/blob/master/software.md DeluxePaint], [http://www.amiforce.de/perfectpaint/perfectpaint.php PerfectPaint], Zoetrope, Brilliance2*, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit LodePaint], GrafX2, 
|&lt;!--MorphOS--&gt;Sketch, Pixel*, GrafX2, [http://morphos.lukysoft.cz/en/vypis.php?kat=3 LunaPaint]
|-
|&lt;!--Sub Menu--&gt;Image viewing 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LookHere], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LoView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer PicShow] , [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--Amiga OS--&gt;PicShow, PicView, Photoalbum,
|&lt;!--AmigaOS4--&gt;WarpView, PicShow, flPhoto, Thumbs, [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album]
|-
|&lt;!--Sub Menu--&gt;Photography retouching / Image Manipulation like Photoshop(tm)  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOEffects], [https://sourceforge.net/projects/zunetools/files/ ZunePaint], [http://sourceforge.net/projects/zunetools/files/ ZuneView], 
|&lt;!--Amiga OS--&gt;[ Tecsoft Video Paint aka TVPaint], Photogenics*, ArtEffect*, ImageFX*, XiPaint, fxPaint, ImageMasterRT, Opalpaint, 
|&lt;!--AmigaOS4--&gt;WarpView, flPhoto, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit Photocrop]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], ImageFX*, 
|-
|&lt;!--Sub Menu--&gt;Manage RAW picture folder galleries like Darktable, RAWtherapy, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Graphic Format Converter - ICC profile support sRGB, Adobe RGB, XYZ and linear RGB 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;GraphicsConverter, ImageStudio, [http://www.coplabs.org/artpro.html ArtPro]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Thumbnail Generator [], 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/shell Thumbnail Generator]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Icon Editor
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/iconedit Archives], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench Icon Toolbox], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/iconedit IconEditor]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Pixel Art Animation 
|&lt;!--AROS--&gt;Lunapaint
|&lt;!--Amiga OS--&gt;PPaint, AnimatED, Scala*, GoldDisk MovieSetter*, Walt Disney's Animation Studio*, ProDAD*, [https://github.com/historicalsource/DeluxePaint DeluxePaint src], Brilliance
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 Titler] 
|-
|&lt;!--Sub Menu--&gt;2D SVG based MovieSetter type 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;MovieSetter*, Fantavision*
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Morphing 
|&lt;!--AROS--&gt;[ GLMorph]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Cad (qcad-&gt;LibreCAD, etc.) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Xcad, MaxonCAD
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Cad like FreeCad, BRL-CAD, OpenSCAD, AvoCADo, etc. using dxf, obj (vertices), blend, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;XCad3d*, DynaCADD*, Cycas, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Model Rendering of glft (json) gbl (png jpg), usdz (USD files with materials, textures, and animations), FBX Filmbox is a proprietary Autodesk format, 
|&lt;!--AROS--&gt;POV-Ray
|&lt;!--Amiga OS--&gt;[http://www.discreetfx.com./amigaproducts.html CINEMA 4D]*, POV-Ray, Lightwave3D*, Real3D*, Caligari24*, Reflections/Monzoom*, [https://github.com/privatosan/RayStorm Raystorm src], Tornado 3D
|&lt;!--AmigaOS4--&gt;Blender, POV-Ray, Yafray
|&lt;!--MorphOS--&gt;Blender, POV-Ray, Yafray
|-
|&lt;!--Sub Menu--&gt;3D Format Converter [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=showfile&amp;file=graphics/convert/ivcon.lha IVCon]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen grabbing display 
|&lt;!--AROS--&gt;[ Screengrabber], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc snapit], [http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record screen recorder], []
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Grab graphics music from apps [https://github.com/Malvineous/ripper6 ripper6], [],
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Office Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Office
!width:10%;|AROS (x86)
!width:10%;|[http://en.wikipedia.org/wiki/Amiga_software Commodore-Amiga OS 3.1] (68k)
!width:10%;|[http://en.wikipedia.org/wiki/AmigaOS_4 Hyperion OS4] (PPC)
!width:10%;|[http://en.wikipedia.org/wiki/MorphOS MorphOS] (PPC)
|-
|&lt;!--Sub Menu--&gt;Word-processing 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=office/wordprocessing Cinnamon Writer], [https://finalwriter.godaddysites.com/ Final Writer 7*], [https://github.com/sodero/MUI-Vim/releases MUI-Vim], [ ], 
|&lt;!--AmigaOS--&gt;[ Softwood FinalCopy II*], Haage AmigaWriter*, Digita WordWorth*, Softwood FinalWriter*, Micro-Systems Excellence 3*, Arnor Protext, Rashumon, [ InterWord], [ KindWords], [WordPerfect], [ New Horizons Flow], [ CygnusEd Pro], [ Micro-systems Scribble], 
|&lt;!--AmigaOS4--&gt;AbiWord, [ CinnamonWriter]
|&lt;!--MorphOS--&gt;[ Cinnamon Writer], [http://www.meta-morphos.org/viewtopic.php?topic=1246&amp;forum=53 scriba], [http://morphos.lukysoft.cz/en/index.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Spreadsheets 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/leu/ Leu], [https://archives.arosworld.org/index.php?function=browse&amp;cat=office/spreadsheet], 
|&lt;!--AmigaOS--&gt;[https://aminet.net/package/biz/spread/ignition-src Ignition Src 1.3], [MaxiPlan 500 Plus], [OXXI Plan/IT v2.0 Speadsheet], [ Superplan], [ Creative Developments TurboCalc], [ ProCalc], [ InterSpread], [Digita DGCalc], [ Gold Disk Advantage], [ Micro-systems Analyze!]
|&lt;!--AmigaOS4--&gt;Gnumeric, [https://ignition-amiga.sourceforge.net/ Ignition], 
|&lt;!--MorphOS--&gt;[ ignition], [http://morphos.lukysoft.cz/en/vypis.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Presentations
|&lt;!--AROS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, 
|&lt;!--Amiga OS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, MediaPoint, PointRider, Scala*, 
|&lt;!--Amiga OS4--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider 
|&lt;!--MorphOS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider
|-
|&lt;!--Sub Menu--&gt;Databases 
|&lt;!--AROS--&gt;[http://sdb.freeforums.org/ SDB], [http://archives.arosworld.org/index.php?function=browse&amp;cat=office/database BeeBase], 
|&lt;!--Amiga OS--&gt;Precision Superbase 4 Pro*, Arnor Prodata*, BeeBase, Datastore, FinalData*, AmigaBase, Fiasco, Twist2*, [Digita DGBase], [], 
|&lt;!--AmigaOS4--&gt;BeeBase, SQLite, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=6 BeeBase], 
|-
|&lt;!--Sub Menu--&gt;PDF Viewing and editing digital signatures 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/arospdf/ ArosPDF via splash], [https://github.com/wattoc/AROS-vpdf vpdf wip], 
|&lt;!--Amiga OS--&gt;APDF 
|&lt;!--AmigaOS4--&gt;AmiPDF 
|&lt;!--MorphOS--&gt;APDF, vPDF, 
|-
|&lt;!--Sub Menu--&gt;Printing 
|&lt;!--AROS--&gt;Postscript 3 laser printers and Ghostscript internal, [ GutenPrint], 
|&lt;!--Amiga OS--&gt;[http://www.irseesoft.de/tp_what.htm TurboPrint]* 
|&lt;!--AmigaOS4--&gt;(some native drivers), 
|&lt;!--MorphOS--&gt;early TurboPrint included, 
|-
|&lt;!--Sub Menu--&gt;Note Taking markdown support like joplin, OneNote, EverNote Notes, xournalpp, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Study and analyse, collect, organize, annotate, cite, and share
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PIM Personal Information Manager - Day Diary Planner Calendar App 
|&lt;!--AROS--&gt;[ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;Digita Organiser*, On The Ball, Everyday Organiser, [ Contact Manager], 
|&lt;!--AmigaOS4--&gt;AOrganiser, 
|&lt;!--MorphOS--&gt;[http://polymere.free.fr/orga_en.html PolyOrga], 
|-
|&lt;!--Sub Menu--&gt;Accounting
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=office/misc ETB], LoanCalc, [ ], [ ], [ ], 
|[ Digita Home Accounts2], Accountant, Small Business Accounts, Account Master, [ Amigabok], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Project Management Research 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;SuperGantt, SuperPlan, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System Wide Dictionary - multilingual [http://sourceforge.net/projects/babiloo/ Babiloo], [http://code.google.com/p/stardict-3/ StarDict], 
|&lt;!--AROS--&gt;[ ],  
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System wide Thesaurus - multi lingual
|&lt;!--AROS--&gt;[ ], 
|Kuma K-Roget*, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Sticky Desktop Notes (post it type) 
|&lt;!--AROS--&gt;[http://aminet.net/package/util/wb/amimemos.i386-aros AmiMemos], [https://aminet.net/package/util/wb/amimemos.src-aros AmiMemos Src], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/util/wb/StickIt-2.00 StickIt v2], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DTP Desktop Publishing 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOPublisher], 
|&lt;!--Amiga OS--&gt;[http://pagestream.org/ Pagestream]*, Professional Pro Page*, Saxon Publisher, Pagesetter, PenPal, 
|&lt;!--AmigaOS4--&gt;[http://pagestream.org/ Pagestream]* 
|&lt;!--MorphOS--&gt;[http://pagestream.org/ Pagestream]* 
|-
|&lt;!--Sub Menu--&gt;Scanning 
|&lt;!--AROS--&gt;[ SCANdal], [], 
|&lt;!--Amiga OS--&gt;FxScan*, ScanQuix* 
|&lt;!--AmigaOS4--&gt;SCANdal (Sane)
|&lt;!--MorphOS--&gt;SCANdal
|-
|&lt;!--Sub Menu--&gt;OCR
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/convert gOCR] 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos-files.net/categories/office/text Tesseract] 
|-
|&lt;!--Sub Menu--&gt;Text Editing
|&lt;!--AROS--&gt;Jano Editor (already installed as Editor), [http://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit EdiSyn], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit Annotate], [https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Vim], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd] [https://github.com/vidarh/FrexxEd src], [ NoWinEd], 
|&lt;!--Amiga OS--&gt;Annotate, MicroGoldED/CubicIDE*, CygnusED*, Turbotext, Protext*, NoWinED, 
|&lt;!--AmigaOS4--&gt;Notepad, Annotate, CygnusED*, NoWinED, 
|&lt;!--MorphOS--&gt;MorphOS ED, NoWinED, GoldED/CubicIDE*, CygnusED*, Annotate, 
|-
|&lt;!--Sub Menu--&gt;Office Fonts [http://sourceforge.net/projects/fontforge/files/fontforge-source/ Font Designer] 
|&lt;!--AROS--&gt;[ ], [ ], 
|&lt;!--Amiga OS--&gt;TypeSmith*, SaxonScript (GetFont Adobe Type 1), 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Drawing Vector
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/amifig/ ZuneFIG previously AmiFIG]
|&lt;!--Amiga OS--&gt;Drawstudio*, ProVector*, ArtExpression*, Professional Draw*, AmiFIG, MetaView, [https://gitlab.com/amigasourcecodepreservation/designworks Design Works Src], [], 
|&lt;!--AmigaOS4--&gt;MindSpace, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit amifig], 
|&lt;!--MorphOS--&gt;SteamDraw, [http://aminet.net/package/gfx/edit/amifig amiFIG], 
|-
|&lt;!--Sub Menu--&gt;video conferencing (jitsi) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;source code hosting
|&lt;!--AROS--&gt;Gitlab, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (server)
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/VNC_Server ArosVNCServer], 
|&lt;!--Amiga OS--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC], [http://dspach.free.fr/amiga/avnc/index.html AVNC]
|&lt;!--AmigaOS4--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC] 
|MorphVNC, vncserver
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (client) login and connect to another machine 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/VNC_Client/ ArosVNC], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc rdesktop], 
|&lt;!--Amiga OS--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://dspach.free.fr/amiga/vva/index.html VVA], [http://www.hd-zone.com/ RDesktop]
|&lt;!--AmigaOS4--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|-
|&lt;!--Sub Menu--&gt;notifications 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Ranchero 
|&lt;!--AmigaOS4--&gt;Ringhio 
|&lt;!--MorphOS--&gt;MagicBeacon 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Audio==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Audio
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing playback Audio like MP3, [https://github.com/chrg127/gmplayer NSF], [https://github.com/kode54/lazyusf miniusf .usflib], [], etc 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer], [ HarmonyPlayer hp], [http://www.a500.org/downloads/audio/index.xhtml playcdda] CDs, [ WildMidi Player], [https://bszili.morphos.me/ UADE mod player], [], [RNOTunes ], [ mp3Player], [], 
|&lt;!--Amiga OS--&gt;AmiNetRadio, AmigaAmp, playOGG, 
|&lt;!--AmigaOS4--&gt;TuneNet, SimplePlay, AmigaAmp, TKPlayer
|AmiNetRadio, Mplayer, Kaya, AmigaAmp
|-
|&lt;!--Sub Menu--&gt;Editing Audio 
|&lt;!--AROS--&gt;[ Audio Evolution 4] 
|&lt;!--Amiga OS--&gt;[ Samplitude Opus Key], [https://sourceforge.net/projects/hd-rec/ HD-Rec Src], [http://www.sonicpulse.de/eng/news.html SoundFX], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/projects/hd-rec/ HD-Rec], AmiSoundED, [http://os4depot.net/?function=showfile&amp;file=audio/record/audioevolution4.lha Audio Evolution 4] 
|[http://www.hd-rec.de/HD-Rec/index.php?site=home HD-Rec], 
|-
|&lt;!--Sub Menu--&gt;Editing Tracker Music
|&lt;!--AROS--&gt;[https://github.com/hitchhikr/protrekkr Protrekkr], [ Schism Tracker], [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/tracker MilkyTracker], [http://www.hivelytracker.com/ HivelyTracker], [ Radium in AROS already],  [http://www.a500.org/downloads/development/index.xhtml libMikMod], 
|&lt;!--Amiga OS--&gt;MilkyTracker, HivelyTracker, DigiBooster, Octamed SoundStudio, 
|&lt;!--AmigaOS4--&gt;MilkyTracker, HivelyTracker, GoatTracker
|MilkyTracker, GoatTracker, DigiBooster, 
|-
|&lt;!--Sub Menu--&gt;Editing Music [], [https://github.com/kmatheussen/camd CAMD] and/or staves and notes manuscript 
|&lt;!--AROS--&gt;[http://bnp.hansfaust.de/ Bars and Pipes for AROS], [ Audio Evolution], [], 
|&lt;!--Amiga OS--&gt;[http://bnp.hansfaust.de/ Bars'n'Pipes], MusicX* David &quot;Talin&quot; Joiner &amp; Craig Weeks (for Notator-X), Deluxe Music Construction 2*, [https://github.com/timoinutilis/midi-sequencer-amigaos Horny c Src], HD-Rec, [https://aminet.net/package/mus/midi/dominatorV1_51 Dominator], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Rockbeat, [http://bnp.hansfaust.de/download.html Bars'n'Pipes], [http://os4depot.net/index.php?function=browse&amp;cat=audio/edit Horny], Audio Evolution 4, 
|&lt;!--MorphOS--&gt;Bars'n'Pipes, 
|-
|&lt;!--Sub Menu--&gt;Sound Sampling 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/record Audio Evolution 4], [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;did=162 Quick Record], [https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc SOX to get AIFF 16bit files], [https://github.com/aros-development-team/AROS/tree/master/workbench/tools/AHIRecord AHIRecord], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/package/mus/edit/AudioEvolution3_src Audio Evolution 3 c src], [ Samplitude-MS Opus Key], Audiomaster IV*, 
|&lt;!--AmigaOS4--&gt;[https://github.com/timoinutilis/phonolith-amigaos phonolith c src], HD-Rec, Audio Evolution 4,
|&lt;!--MorphOS--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Audio Evolution 4,
|-
|&lt;!--Sub Menu--&gt;Live Looping or Audio Misc - Groovebox like
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;CD/DVD burn
|[https://code.google.com/p/amiga-fryingpan/ FryingPan], 
|&lt;!--Amiga OS--&gt;FryingPan, [http://www.estamos.de/makecd/#CurrentVersion MakeCD], 
|&lt;!--AmigaOS4--&gt;FryingPan, AmiDVD, 
|[http://www.amiga.org/forums/printthread.php?t=58736 FryingPan], Jalopeano, 
|-
|&lt;!--Sub Menu--&gt;CD/DVD audio rip
|Lame, [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;cfid=0&amp;did=167 Quick CDrip],
|&lt;!--Amiga OS--&gt;Lame,  
|&lt;!--AmigaOS4--&gt;Lame, 
|Lame,  
|-
|&lt;!--Sub Menu--&gt;MP3 v1 and v2 Tagger
|&lt;!--AROS--&gt;id3ren (v1), [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/edit mp3info], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|
|-
|&lt;!--Sub Menu--&gt;Audio Convert
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc Sox], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/mus/misc/SoundBox SoundBox], [http://aminet.net/package/mus/misc/SoundBoxKey SoundBox Key], [http://aminet.net/package/mus/edit/SampleE SampleE], sox 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DJ mixing jamming 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Radio Automation Software [http://www.rivendellaudio.org/ Rivendell], [http://code.campware.org/projects/livesupport/report/3 Campware LiveSupport], [http://www.sourcefabric.org/en/airtime/ SourceFabric AirTime], [http://www.ohloh.net/p/mediabox404 MediaBox404], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speakers Audio Sonos Mains AC networked wired controlled 
*2005 ZP100 with ZP80 
*2008 Zoneplayer ZP120 (multi-room wireless amp)  ZP90 receiver only with CR100 controller, 
*2009 ZonePlayer S5, 
*2010 BR100 wireless Bridge (no support),   
*2011 Play:3
*2013 Bridge (no support), Play:1,  
*2016 Arc,   Play:1,   
*Beam (Gen 2),   Playbar,  Ray,   Era 100,   Era 300,   Roam,   Move 2,   
*Sub (Gen 3),   Sub Mini,  Five,  Amp  S2 
|&lt;!--AROS--&gt;SonosController 
|&lt;!--Amiga OS--&gt;SonosController
|&lt;!--AmigaOS4--&gt;SonosController
|&lt;!--MorphOS--&gt;SonosController
|-
|&lt;!--Sub Menu--&gt;Smart Speakers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Video Creativity and Production==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Video
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing Video 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer VAMP], [http://www.a500.org/downloads/video/index.xhtml CDXL player], [http://www.a500.org/downloads/video/index.xhtml IffAnimPlay], [], 
|&lt;!--Amiga OS--&gt;Frogger*, AMP2, MPlayer, RiVA*, MooViD*, 
|&lt;!--AmigaOS4--&gt;DvPlayer, MPlayer 
|&lt;!--MorphOS--&gt;MPlayer, Frogger, AMP2, VLC 
|-
|&lt;!--Sub Menu--&gt;Streaming Video and game streaming like OBS studio, Parsec, etc 
|&lt;!--AROS--&gt;Mplayer, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Mplayer, Gnash, Tubexx 
|&lt;!--MorphOS--&gt;Mplayer, OWB, Tubexx
|-
|&lt;!--Sub Menu--&gt;Playing DVD 
|&lt;!--AROS--&gt;[http://a-mc.biz/ AMC]*, Mplayer 
|&lt;!--Amiga OS--&gt;AMP2, Frogger 
|&lt;!--AmigaOS4--&gt;[http://a-mc.biz/ AMC]*, DvPlayer*, AMP2,  
|&lt;!--MorphOS--&gt;Mplayer 
|-
|&lt;!--Sub Menu--&gt;Screen Recording
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record Screenrecorder], [ ], [ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Screenrecorder, 
|-
|&lt;!--Sub Menu--&gt;Create and Edit Individual Video NLE 
|&lt;!--AROS--&gt;[ Mencoder], [ Quick Videos], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit AVIbuild], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc FrameBuild], FFMPEG, 
|&lt;!--Amiga OS--&gt;[ MainConcept Mainactor Broadcast*], [http://en.wikipedia.org/wiki/Video_Toaster Video Toaster*], MacroSystem MovieShop 4.3*, proDAD Adorage*, [ IOSpirit VHI studio]*, [Gold Disk ShowMaker], [], 
|&lt;!--AmigaOS4--&gt;FFMpeg/GUI 
|&lt;!--MorphOS--&gt;Blender, Mencoder, FFmpeg
|-
|&lt;!--Sub Menu--&gt;Subtitle editor 
|&lt;!--AROS--&gt;[https://aminet.net/package/text/edit/Slarti_Arosx86ABIv0 Slarti_Arosx86ABIv0], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;IP-based video production workflows with High Dynamic Range (HDR), 10-bit color collaborative NDI, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Blogging like Lemmy or kbin
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR face recognition for Vtubers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting Live 2D models with Cubism type editor 
&lt;pre&gt;
Model data (cmo3)
Basic motions (can3)
Background image (png)
Set of files for embedding (runtime folder)
• Model data (moc3)
• Motion data (motion3.json)
• Model settings file (model3.json)
• Physics settings file (physics3.json)
• Display auxiliary file (cdi3.json)
&lt;/pre&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting chatters .VRML models - standardized 3D file format for VR avatars 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;V-tubers V-tubing like Vseeface with Openseeface tracker or Vpuppr (virtual puppet project) for 2d / 3d art models rigging rigged LIV 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]


==Misc Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;File Management 
|&lt;!--AROS--&gt;DOpus4, [https://github.com/BlitterStudio/dopus5 DOpus Magellan aka DOpus 5], [ Scalos], [ ], 
|&lt;!--Amiga OS--&gt;DOpus2, DOpus 4, [http://sourceforge.net/projects/dopus5allamigas/files/?source=navbar DOpus Magellan DOpus5], ClassAction, FileMaster, [http://www.amiga.org/forums/showthread.php?t=4897 DirWork 2]*, [https://github.com/RudolphRiedel/DiskMaster2 DiskMaster2 src], 
|&lt;!--AmigaOS4--&gt;DOpus4, DOpus5, Filer, AmiDisk 
|&lt;!--MorphOS--&gt;DOpus4, DOpus5 
|-
|&lt;!--Sub Menu--&gt;File Verification / Repair 
|&lt;!--AROS--&gt;md5 (works in linux compiling shell), [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/filetool workpar2] (PAR2),  [http://zakalwe.fi/~shd/foss/cksfv/files/ compile cksfv from website], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Par2, 
|-
|Application Installer 
|&lt;!--AROS--&gt;[], [ InstallerNG], 
|&lt;!--Amiga OS--&gt;InstallerNG, Grunch, 
|&lt;!--AmigaOS4--&gt;Jack
|&lt;!--MorphOS--&gt;Jack 
|-
|&lt;!--Sub Menu--&gt;Compression archiver [https://github.com/FS-make-simple/paq9a paq9a], [], 
|&lt;!--AROS--&gt;XAD system is a toolkit designed for handling various file and disk archiver
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[https://aminet.net/package/util/pack/decrunchmania_os4 Crunchmania CrM2 depacker], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Binary Hexadecimal Editor 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Zaphod], [],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Repository
|&lt;!--AROS--&gt;[ Git]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Git
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Partition Editor formatter 
|&lt;!--AROS--&gt;[https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1440&amp;highlight=partition&amp;pid=8821#post_8821 QuickPart], [HDToolBox]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Repair
|&lt;!--AROS--&gt;ArSFSDoctor, 
|&lt;!--Amiga OS--&gt; Quarterback Tools, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Multiple File renaming
|&lt;!--AROS--&gt;DOpus 4 or 5, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Anti Virus
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;VChecker, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Random Wallpaper Desktop changer [ DOpus5], [ Scalos],  
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Alarm Clock, Timer, Stopwatch, Countdown 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench DClock], [http://aminet.net/util/time/AlarmClockAROS.lha AlarmClock], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Digital Signage
|&lt;!--AROS--&gt;Hollywood, Hollywood Designer 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fortune Cookie Quotes Sayings 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc AFortune], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Languages 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Fun School, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Mathematics ([http://www-fourier.ujf-grenoble.fr/~parisse/install_en.html Xcas], etc.), 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/scientific mathX] 
|&lt;!--Amiga OS--&gt;Maple V, mathX, Fun School, GCSE Maths, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;Yacas 
|&lt;!--MorphOS--&gt;Yacas 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Misc Application 2==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;System 
|&lt;!--AROS--&gt;[ SysExplorer], [ SysMon], [ Scout], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;OSK On Screen Keyboard
|&lt;!--AROS--&gt;[], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/util/wb/OSK.lha OSK]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Magnifier Magnifying Glass Magnification 
|&lt;!--AROS--&gt;[http://www.onyxsoft.se/files/zoomit.lha ZoomIT], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Comic Book CBR CBZ format reader viewer 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comics], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comicon], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Reader 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#legadon Legadon EPUB],[]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Converter 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Text to Speech tts [https://github.com/JonathanFly/bark-installer Bark], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc flite], 
|&lt;!--Amiga OS--&gt;[http://www.text2speech.com translator], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=search&amp;tool=simple FLite]
|&lt;!--MorphOS--&gt;[http://se.aminet.net/pub/aminet/mus/misc/ FLite]
|-
|&lt;!--Sub Menu--&gt;Speech Voice Recognition Dictation - [http://sourceforge.net/projects/cmusphinx/files/ CMU Sphinx], [http://julius.sourceforge.jp/en_index.php?q=en/index.html Julius], [http://www.isip.piconepress.com/projects/speech/index.html ISIP], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speech Voice Changer [], [], [], [], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fractals
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;ZoneXplorer, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Landscape Rendering 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/raytrace WCS World Construction Set], 
|&lt;!--Amiga OS--&gt;[ Vista Pro], [http://en.wikipedia.org/wiki/World_Construction_Set World Construction Set]
|&lt;!--AmigaOS4--&gt;[ WCS World Construction Set],
|&lt;!--MorphOS--&gt;[ WCS World Construction Set],
|-
|&lt;!--Sub Menu--&gt;Astronomy [https://sourceforge.net/projects/skychart/ skychart freepascal], [], [], 
|&lt;!--AROS--&gt;[ Digital Almanac (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/search?query=planetarium Aminet search], [http://aminet.net/misc/sci/DA3V56ISO.zip Digital Almanac], [https://aminet.net/package/misc/sci/da3sourceV58 Src c V58], [ Galileo renamed to Distant Suns]*, [], 
|&lt;!--AmigaOS4--&gt;[http://sourceforge.net/projects/digital-almanac/ Digital Almanac], Distant Suns*, [http://www.digitaluniverse.org.uk/ Digital Universe]*,
|&lt;!--MorphOS--&gt;[http://www.aminet.net/misc/sci/da3.lha Digital Almanac], [http://www.aminet.net/package/misc/sci/da3-mos-src Src c V56], 
|-
|&lt;!--Sub Menu--&gt;Astrology [https://sourceforge.net/projects/skylendar/ skylendar], [https://github.com/CruiserOne/Astrolog Astrolog], [https://www.astrolog.org/astrolog/astfile.htm Astrology alt site], [https://saravali.github.io/download.html Maitreya], [https://github.com/alamahant/Asteria Asteria], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PCB design
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Genealogy History Family Tree Ancestry Records (FreeBMD, FreeREG, and FreeCEN file formats or GEDCOM GenTree)
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; [ Origins], [ Your Family Tree], [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Display Blanker screensaver 
|&lt;!--AROS--&gt;Blanker Commodity (built in), [https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/screenblanker GarshneBlanker], [http://sourceforge.net/projects/gblanker/ GBlanker Src], [], 
|&lt;!--Amiga OS--&gt;MultiCX, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;ModernArt Blanker, 
|-
|&lt;!--Sub Menu--&gt;Maths Graph Function Plotting
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#MUIPlot MUIPlot], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;App Utility Launcher Dock toolbar  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/docky BoingBar], [], 
|&lt;!--Amiga OS--&gt;[https://github.com/adkennan/DockBot Dockbot],
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Printer [https://github.com/OrcaSlicer/OrcaSlicer OrcaSlicer]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;BASIC Computer Language 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/language Basic4SDL], [ Ace Basic], [ X-AMOS], [SDLBasic], [ Alvyn], 
|&lt;!--Amiga OS--&gt;[http://www.amiforce.de/main.php Amiblitz 3], [http://amos.condor.serverpro3.com/AmosProManual/contents/c1.html Amos Pro], [http://aminet.net/package/dev/basic/ace24dist ACE Basic], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;sdlBasic
|-
|&lt;!--Sub Menu--&gt;C/C++ IDE 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd], [https://github.com/vidarh/FrexxEd FrexxEd src], Annotate, Murks, 
|&lt;!--Amiga OS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Annotate, 
|&lt;!--AmigaOS4--&gt;CodeBench , [https://gitlab.com/boemann/codecraft CodeCraft], 
|&lt;!--MorphOS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Anontate, 
|-
|&lt;!--Sub Menu--&gt;Computer Languages Translation [https://tetracorp.github.io/guide/reverse-engineering-amiga.html ], [https://amigasourcecodepreservation.gitlab.io/amiga-assembler-insider-guide/ ], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://bitbucket.org/rhinoid/convert68000toc/src/main/ convert m68k seka asm-one to c], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Gui Creators
|&lt;!--AROS--&gt;[ MuiBuilder], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[ MuiBuilder],  
|-
|&lt;!--Sub Menu--&gt;Catalog .cd .ct Editors 
|&lt;!--AROS--&gt;FlexCat
|&lt;!--Amiga OS--&gt;[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|&lt;!--AmigaOS4--&gt;[http://aminet.net/package/dev/misc/simplecat SimpleCat], FlexCat
|[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|-
|&lt;!--Sub Menu--&gt;HAM amateur radio  [], [], [], [https://cemaxecuter.com/ Dragon OS], [https://github.com/km4ack/73Linux with 73 link update], [https://www.youtube.com/watch?v=YAL5KNePRSg video for], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://www.amigarealm.com/amiga/amicomms/comm4.htm Comm4], [https://www.amigarealm.com/archives/comms/aarug/ TNC Terminal Node Controller with packets over serial connections on Yaesu or Woxum handheld], [https://aminet.net/comm/misc AmiCom], [ with 7Plus file encoder/decoder], [ mksstv], [ RTTYam], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Games &amp; Emulation==

Some emulators/games require OpenGL to function and to adjust ahi prefs channels, frequency and unit0 and unit1 and 
[http://aros.sourceforge.net/documentation/users/shell/changetaskpri.php changetaskpri -1]

Rom patching  https://www.marcrobledo.com/RomPatcher.js/ https://www.romhacking.net/patch/ (ips, ups, bps, etc) and this other site supports the latter formats https://hack64.net/tools/patcher.php 

Free public domain roms for use with emulators can be found [http://www.pdroms.de/ here] as most of the rest are covered by copyright rules. If you like to read about old games see [http://retrogamingtimes.com/ here] and [http://www.armchairarcade.com/neo/ here] and a [http://www.vintagecomputing.com/ blog] about old computers. Possibly some of the [http://www.answers.com/topic/list-of-best-selling-computer-and-video-games best selling] of all time. [http://en.wikipedia.org/wiki/List_of_computer_system_emulators Wiki] with emulated systems list.

[https://archive.gamehistory.org/ Archive of VGHF], [https://library.gamehistory.org/ Video Game History Foundation Library search]


{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Emulation]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Games Emulation Amstrad CPC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [ Caprice32 (OpenGL &amp; pure SDL)], [ Arnold], [https://retroshowcase.gr/cpcbox-master/], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Apple2 and 2GS
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Arcade
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Mame], [ SI Emu (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;Mame, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem xmame], amiarcadia, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 Mame], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 2600 [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Stella], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 5200 [https://github.com/wavemotion-dave/A5200DS A5200DS], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 7800
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 400 800 130XL [https://github.com/wavemotion-dave/A8DS A8DS], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Atari800], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Lynx
|&lt;!--AROS--&gt;[http://myfreefilehosting.com/f/6366e11bdf_1.93MB Handy (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Jaguar
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Bandai Wonderswan 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation BBC Micro and Acorn Electron [http://beehttps://bem-unix.bbcmicro.com/download.html BeebEm], [http://b-em.bbcmicro.com/ B-Em], [http://elkulator.acornelectron.co.uk/ Elkulator], [http://electrem.emuunlim.com/ ElectrEm], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Dragon 32 and Tandy CoCo [http://www.6809.org.uk/xroar/ xroar], [], 
|&lt;!--AROS--&gt;[], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C16 Plus4
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C64
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Vice (ABIv0 only)], [], 
|&lt;!--Amiga OS--&gt;Frodo, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem viceplus], 
|&lt;!--MorphOS--&gt;Vice, 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore Amiga
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Janus UAE], Emumiga, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer UAE], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 UAE], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Japanese MSX MSX2 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Intelivision
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Colecovision and Adam
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Milton Bradley (MB) Vectrex [ Vectrex OpenGL], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation PICO8 Pico-8 fantasy video game console [https://github.com/egordorichev/pemsa-sdl/ pemsa-sdl], [https://github.com/jtothebell/fake-08 fake-08], [https://github.com/Epicpkmn11/fake-08/tree/wip fake-08 fork], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo Gameboy
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem vba no sound], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem vba]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo NES
|&lt;!--AROS--&gt;[ EmiNES], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Fceu], [https://github.com/takahirox/nes-js?tab=readme-ov-file nes-js], [https://github.com/bfirsh/jsnes jsnes], [https://github.com/angelo-wf/NesJs NesJs], 
|&lt;!--Amiga OS--&gt;AmiNES, [http://www.dridus.com/~nyef/darcnes/ darcNES], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem amines]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo SNES
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Zsnes], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem warpsnes]
|&lt;!--MorphOS--&gt;[http://fabportnawak.free.fr/snes/ Snes9x], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo N64 
*HLE and plugins [ mupen64], [https://github.com/ares-emulator/ares ares], [https://github.com/N64Recomp/N64Recomp N64Recomp], [https://github.com/rt64/rt64 rt64], [https://github.com/simple64/simple64 Simple64], 
*LLE [], 
|&lt;!--AROS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+],
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+], [http://aminet.net/package/misc/emu/tr-981125_src TR64], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Gamecube Wii]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Wii U]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/yuzu-emu Nintendo Switch]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation NEC PC Engine 
|&lt;!--AROS--&gt;[], [], [https://github.com/yhzmr442/jspce js-pce], 
|[http://www.hugo.fr.fm/ Hugo], [http://mednafen.sourceforge.net/ Mednafen], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem tgemu]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Master System (SMS)
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Dega], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem sms], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem osmose]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Genesis/Megadrive
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem gp no sound], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem DGen], 
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/genplus-gx/ Genplus], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem genesisplus]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Saturn 
*HLE [https://mednafen.github.io/ mednafen], [http://yabause.org/ yabause], [], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;[http://yabause.org/ Yabause], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Dreamcast 
*HLE [https://github.com/flyinghead/flycast  flycast], [https://code.google.com/archive/p/nulldc/downloads NullDC], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair ZX80 and ZX81 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair Spectrum 
|[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Fuse (crackly sound)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer SimCoupe], [ FBZX slow], [https://jsspeccy.zxdemo.org/ jsspeccy], [http://torinak.com/qaop/games qaop], 
|&lt;!--Amiga OS--&gt;[http://www.lasernet.plus.com/ Asp], [http://www.zophar.net/sinclair.html Speculator], [http://www.worldofspectrum.org/x128/index.html X128], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair QL
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/misc/emu/QDOS4amiga1 QDOS4amiga]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation SNK NeoGeo Pocket
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem gngeo], NeoPop, 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sony PlayStation
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem FPSE], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem FPSE]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS2]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS3]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://vita3k.org/ Sony Vita]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/shadps4-emu/shadPS4 PS4]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation [http://en.wikipedia.org/wiki/Tangerine_Computer_Systems Tangerine] Oric and Atmos 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Oricutron]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem Oricutron]
|&lt;!--MorphOS--&gt;[http://aminet.net/package/misc/emu/oricutron Oricutron]
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 99/4 99/4A [https://github.com/wavemotion-dave/DS994a DS994a], [], [https://js99er.net/#/ js99er], [], [http://aminet.net/package/misc/emu/TI4Amiga TI4Amiga], [http://aminet.net/package/misc/emu/TI4Amiga_src TI4Amiga src in c], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation HP 38G 40GS 48 49G/50G Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 58 83 84 85 86 - 89 92 Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [https://www.rockpapershotgun.com/ General]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Games [https://www.trackawesomelist.com/michelpereira/awesome-open-source-games/ Open Source and others] || AROS || Amiga OS || Amiga OS4 || Morphos 
|-
|&lt;!--Sub Menu--&gt;Games Action like [https://github.com/BSzili/OpenLara/tree/amiga/src source of openlara SDL2], [https://github.com/opentomb/OpenTomb opentomb], [https://github.com/LostArtefacts/TRX TRX formerly Tomb1Main], [https://github.com/TombEngine TombEngine], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Thrust], [https://github.com/fragglet/sdl-sopwith sdl sopwith], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action BOH], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Adventure like [http://dotg.sourceforge.net/ DMJ], [https://github.com/kromenak/gengine Gabriel Knight 3], [http://www.sarien.net/ Sierra Sarien], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/adventure dmagnetic], [https://archives.arosworld.org/?function=browse&amp;cat=emulation/misc ScummVM], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying frotz infocom], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Board like [https://github.com/aperture-software/colditz-escape escape from colditz], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/board], [http://amigan.1emu.net/releases Africa]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Cards 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/card ], [], 
|&lt;!--AmigaOS--&gt;[http://home.arcor.de/amigasolitaire/e/welcome.html Reko], [https://github.com/samskivert/beschei-en beschei Src], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Misc [https://github.com/michelpereira/awesome-open-source-games Awesome open], [https://github.com/bobeff/open-source-games General Open Source], [https://github.com/SAT-R/sa2 Sonic Advance 2], [https://github.com/velorek1/cwordle Wordle type], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games FPS like [https://aminet.net/package/game/shoot/D1X_Rebirth_AGA Descent D1X src], [https://github.com/DescentDevelopers/Descent3 Descent 3], [https://github.com/Fewnity/Counter-Strike-Nintendo-DS Counter-Strike-Nintendo-DS], [https://github.com/Aleph-One-Marathon/alephone Bungie Marathon 1994], [https://github.com/ZDoom/gzdoom gzdoom], [], 
|&lt;!--AROS--&gt;Doom, Quake, [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Quake 3 Arena (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Assault Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube 2 Sauerbraten (OpenGL)], [http://fodquake.net/test/ FodQuake QuakeWorld], [ Duke Nukem 3D], [ Darkplaces Nexuiz Xonotic], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Doom 3 SDL (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Hexenworld and Hexen 2], [ Aliens vs Predator Gold 2000 (openGL)], [ Odamex (openGL doom)], 
|&lt;!--Amiga OS--&gt;Doom, Quake, AB3D, Fears, Breathless, 
|&lt;!--AmigaOS4--&gt;Doom, Quake, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12 Doom], Quake, Quake 3 Arena, [https://github.com/OpenXRay/xray-16 S.T.A.L.K.E.R Xray]
|-
|&lt;!--Sub Menu--&gt;Games MMORG like 
|&lt;!--AROS--&gt;[ Eternal Lands (OpenGL)],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Platform like 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform], [ Maze of Galious], [ Gish]*(openGL), [ Mega Mario], 
[http://www.gianas-return.de/ Giana's Return], [http://www.sqrxz.de/ Sqrxz], [.html Aquaria]*(openGL), 
[http://www.sqrxz2.de/ Sqrxz 2], [http://www.sqrxz.de/sqrxz-3/ Sqrxz 3], [http://www.sqrxz.de/sqrxz-4/ Sqrxz 4], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform Cave Story], [https://bszili.morphos.me/ Frogatto], [https://bszili.morphos.me/ OpenJazz], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Puzzle [https://github.com/mariopartyrd/marioparty4/tree/port Party], [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle], [ Cubosphere (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle Candy Crisis], [http://bszili.morphos.me/ TailTale], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Racing [ Trigger Rally], [ VDrift], [http://www.ultimatestunts.nl/index.php?page=2&amp;lang=en Ultimate Stunts], [http://maniadrive.raydium.org/ Mania Drive], [https://github.com/plowteam/donut Simpsons Hit and Run], [], 
|&lt;!--AROS--&gt;[ Super Tux Kart (OpenGL)], [http://www.dusabledanslherbe.eu/AROSPage/F1Spirit.30.html F1 Spirit (OpenGL)], [http://bszili.morphos.me/index.html MultiRacer], [https://bszili.morphos.me/ Speed Dreams], [], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://bszili.morphos.me/index.html Speed Dreams], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12], [http://bszili.morphos.me/index.html TORCS], 
|-
|&lt;!--Sub Menu--&gt;Games 1st first person DRPG [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/OpenEnroth/OpenEnroth OpenEnroth MM], []
|&lt;!--AROS--&gt;[https://github.com/BSzili/aros-stuff Arx Libertatis], [http://www.playfuljs.com/a-first-person-engine-in-265-lines/ js raycaster], [https://github.com/Dorthu/es6-crpg webgl], [https://github.com/sonountaleban/AmiShockolate System Shock], [], [], 
|&lt;!--AmigaOS--&gt;Phantasie, Faery Tale, Dungeon Master, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 3rd third person action CRPG  [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/alexbatalov/fallout1-ce fallout ce], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games isometric RPG [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/topics/dungeon?l=javascript Dungeon], [], [https://github.com/clintbellanger/heroine-dusk JS Dusk], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying nethack], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying GemRB], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games card based RPG [https://github.com/open-duelyst/duelyst Duelyst], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Rhythm, Beat, Step [], [], [https://clonehero.net/ clonehero], [https://github.com/MatteoGodzilla/Dj-Engine Dj-Engine], 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc Frets on Fire], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Shoot Em Ups [http://www.mhgames.org/oldies/formido/ Formido], [http://code.google.com/p/violetland/ Violetland], 
||&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Open Tyrian], [http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], [ Alien Blaster], [https://github.com/OpenFodder/openfodder OpenFodder], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Simulations [http://scp.indiegames.us/ Freespace 2], [http://www.heptargon.de/gl-117/gl-117.html GL117], [http://code.google.com/p/corsix-th/ Theme Hospital], [http://code.google.com/p/freerct/ Rollercoaster Tycoon], [http://hedgewars.org/ Hedgewars], [https://github.com/raceintospace/raceintospace raceintospace], [https://github.com/Return-To-The-Roots RTTR Settlers 2], [https://github.com/OoliteProject/oolite oolite elite], [https://github.com/fesh0r/newkind newkind elite], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;SimCity, SimAnt, Sim Hospital, Theme Park, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Life Sim [https://github.com/ACreTeam/forest Animal Crossing], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Strategy [http://rtsgus.org/ RTSgus], [http://wargus.sourceforge.net/ Wargus], [http://stargus.sourceforge.net/ Stargus], [https://github.com/KD-lab-Open-Source/Perimeter Perimeter], [https://matty77.itch.io/conflict-3049 conflict-3049], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy MegaGlest (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy UFO:AI (OpenGL)], [http://play.freeciv.org/ FreeCiv], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Horror [https://github.com/Mikompilation/MikuPan Fatal Frame], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Sandbox Voxel Open World Exploration [https://github.com/UnknownShadow200/ClassiCube Classicube],[http://www.michaelfogleman.com/craft/ Craft], [https://github.com/tothpaul/DelphiCraft DelphiCraft],[https://www.minetest.net/ Luanti formerly Minetest], [ infiniminer], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Battle Royale [https://bruh.io/ Play.Bruh.io], [https://www.coolmathgames.com/0-copter Copter Royale], [https://surviv.io/ Surviv.io], [https://nuggetroyale.io/#Ketchup Nugget Royale], [https://miniroyale2.io/ Miniroyale2.io], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Tower Defense [https://chriscourses.github.io/tower-defense/ HTML5], [https://github.com/SBardak/Tower-Defense-Game TD C++], [https://github.com/bdoms/love_defense LUA and LOVE], [https://github.com/HyOsori/Osori-WebGame HTML5], [https://github.com/PascalCorpsman/ConfigTD ConfigTD Pascal], [https://github.com/GloriousEggroll/wine-ge-custom Wine], []
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Visual Novel Engines [https://github.com/Kirilllive/tuesday-js Tuesday JS], [ Lua + LOVE], [https://github.com/weetabix-su/renpsp-dev RenPSP], [https://github.com/Galladite27/ONScripter-EN ONScripter-EN], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Reality VR [https://gitlab.com/madsbuvi/openmw openmw vr], [https://github.com/Team-Beef-Studios/BeefRaiderXR BeefRaiderXR], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Table Top VTT [ Roll20], [https://www.owlbear.rodeo/ owlbear rodeo], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Computer assisted TableTop TTRPG OSR [https://www.rpgsolo.com/play.php RPGSolo], [https://github.com/fpsvogel/solo-ttrpgs Solo TTRPG], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 2D 3D Engines [https://github.com/fegennari/3DWorld 3DWorld], [https://github.com/GarageGames/Torque3D Torque3D], [https://github.com/gameplay3d/GamePlay GamePlay 3D],  [https://www.babylonjs.com/ BabylonJS ], [ Godot], [ Ogre], [ Crystal Space], [], [], [], 
|&lt;!--AROS--&gt;[https://www.arkhamdev.net/wiki.htm?id=agx Arkham Development antiryadgx 8.9 lts with register], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games C based game frameworks [https://github.com/orangeduck/Corange Corange], [https://github.com/scottcgi/Mojoc Mojoc], [https://orx-project.org/ Orx], [https://github.com/ioquake/ioq3 Quake 3], [https://www.mapeditor.org/ Tiled], [https://www.raylib.com/ 2d Raylib], [https://github.com/Rabios/awesome-raylib other raylib], [https://github.com/MrFrenik/gunslinger Gunslinger], [https://o3de.org/ o3d], [http://archives.aros-exec.org/index.php?function=browse&amp;cat=development/library GLFW], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/library Raylib 5], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Pinball [https://github.com/vpinball/vpinball vpinball], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|}


==Application Guides==

[[#top|...to the top]]

===Web Browser===

OWB is now at version 2.0 (which got an engine refresh, from July 2015 to February 2019) and 3.0.

This latest version has a good support for many/most web sites, even YouTube web page now works. 

This improved compatibility comes at the expense of higher RAM usage (now 1GB RAM is the absolute minimum). 

Also, keep in mind that the lack of a JIT (Just-In-Time) JS compiler on the 32 bit version, makes the web surfing a bit slow. 

Only the 64 bit version of OWB 2.0 will have JIT enabled, thus benefitting of more speed. There are tooltypes that can be added to the icon to provide further features JIT, MSE etc 


Certificates from [https://curl.se/docs/caextract.html ca certs], 


DNS tracking blocking with [https://easylist.to/easylist/easylist.txt easylist.txt] in PROGDIR:Conf before starting browser with enabled AdBlock [https://github.com/easylist/easylist/tree/master easylist], [https://gitlab.com/eyeo anti abp], [https://firebog.net/ big blocklist], [https://github.com/StevenBlack/hosts Steves], [], [], 

This can be enabled with OWB Odyssey with Windows -&gt; Content Blocking and Windows -&gt; Messages and enter 

 https://www.youtube.com/api/stats/ads*
 https://www.youtube.com/pagead/adview*
 https://www.youtube.com#@##player-ads*

into your custom filters 


Element blocker browser extension might be needed for [https://github.com/easylist/easylist/wiki/Youtube-Issues youtube], [ mid roll], [ pre roll], [ ],  


OWB speed is much better when running from RAM Disk, the best way is to add the below into your S:User-Startup which copies OWB drawer from Extras:Internet/OWB to RAM Disk: 

So add this :
&lt;pre&gt;
copy Extras:Internet/OWB Ram:OWB/ ALL CLONE &gt;NIL:
copy Extras:Internet/OWB.info Ram: &gt;NIL:
&lt;/pre&gt;
Open RAM Disk and open OWB drawer and double click on OWB icon so that the above icon tooltypes are activated 

Problems are that the copy time is long (around 20 seconds added in the background), but we can make it faster if we delete useless files from the OWB drawer (docs, …)
If you don’t copy the drawer back onto the HD, you won’t save your cache, cookies, passwords… So you need a script for it.


Error messages 

SSL error &quot;cant verify with ca-certificates&quot;, check bios clock time date is correct 

Error 6, try checking networking prefs settings and Save / Use preferences again or a '''few times''' otherwise the network chipset may not be compatible with Aros 


[https://www.google.com/search?q=%s&amp;udm=14 Google search without AI overview] 


===E-mail===

 YAM does not support SSL and most mail providers now switched to encrypted SMTP/POP3 connections


====SimpleMail====

SimpleMail supports IMAP and appears to work with GMail, but it's never been reliable enough, it can crash with large mailboxes.

Please read more on this [http://www.freelists.org/list/simplemail-usr User list]


 GMail

Be sure to activate the pop3 usage in your gmail account setup / configuration first.

pop3: 
pop.gmail.com
Use SSL: Yes
Port: 995

smtp:
smtp.gmail.com (with authentication)
Use Authentication: Yes
Use SSL: Yes
Port: 465 or 587


 Hotmail/MSN/outlook/Microsoft Mail mid-2017, all outlook.com accounts will be migrated to Office 365 / Exchange

Most users are currently on POP which does not allow showing folders and many other features (technical limitations of POP3). With Microsoft IMAP you will get folders, sync read/unread, and show flags. You still won't get push though, as Microsoft has not turned on the IMAP Idle command as at Sept 2013.

If you want to try it, you need to first remove (you can't edit) your pop account (long-press the account on the accounts screen, delete account). Then set it up this way:

1. Email/Password
2. Manual
3. IMAP
4.

* Incoming: imap-mail.outlook.com, port 993, SSL/TLS should be checked
* Outgoing: smtp-mail.outlook.com, port 587, SSL/TLS should be checked
* POP server name pop-mail.outlook.com, port 995, POP encryption method SSL

 Yahoo  Mail

On April 24, 2002 Yahoo ceased to offer POP access to its free mail service. Introducing instead a yearly payment feature, allowing users POP3 and IMAP server support, along with such benefits as larger file attachment sizes and no adverts.

Sorry to see Yahoo leaving its users to cough up for the privilege of accessing their mail. Understandable, when competing against rivals such as Gmail and Hotmail who hold a large majority of users and were hacked in 2014 as well.


Incoming Mail (IMAP) Server

* Server - imap.mail.yahoo.com
* Port - 993
* Requires SSL - Yes

Outgoing Mail (SMTP) Server

* Server - smtp.mail.yahoo.com
* Port - 465 or 587
* Requires SSL - Yes
* Requires authentication - Yes

Your login info

* Email address - Your full email address (name@domain.com)
* Password - Your account's password
* Requires authentication - Yes


Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a subscription subs fee to have access to SMTP and POP3

* Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
* “Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
* “Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
* “Password” – Your Yahoo Mail password.

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

* Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.


====YAM Yet Another Mailer====

 YAM does not support SSL and most mail providers have now switched to encrypted SMTP/POP3 connections

This email client is POP3 only if the SSL library is available [http://www.freelists.org/list/yam YAM Freelists]

One of the downsides of using a POP3 mailer unfortunately - you have to set an option not to delete the mail if you want it left on the server. IMAP keeps all the emails on the server.

Possible issues

Sending mail issues is probably a matter of using your ISP's SMTP server, though it could also be an SSL issue.


getting a &quot;Couldn't initialise TLSv1 / SSL error

Use of on-line e-mail accounts with this email client is not possible as it lacks the OpenSSL AmiSSl v3 compatible library

 GMail 
Incoming Mail (POP3) Server - requires SSL: pop.gmail.com
Use SSL: Yes
Port: 995

Outgoing Mail (SMTP) Server - requires TLS: smtp.gmail.com (use authentication)
Use Authentication: Yes
Use STARTTLS: Yes (some clients call this SSL)
Port: 465 or 587

Account Name: your Gmail username (including '@gmail.com')
Email Address: your full Gmail email address (username@gmail.com)
Password: your Gmail password

Anyway, the SMTP is pop.gmail.com port 465 and it uses SSLLv3 Authentication. The POP3 settings are for the same server (pop.gmail.com), only on port 995 instead.


 Outlook.com access

&lt;pre &gt;
Outlook.com SMTP server address: smtp.live.com
Outlook.com SMTP user name: Your full Outlook.com email address (not an alias)
Outlook.com SMTP password: Your Outlook.com password
Outlook.com SMTP port: 587
Outlook.com SMTP TLS/SSL encryption required: yes 
&lt;/pre &gt;


 Yahoo  Mail

&lt;pre &gt;
“POP3 Server” – Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
“SMTP Server” – Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.
“Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
“Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
“Password” – Your Yahoo Mail password.
&lt;/pre &gt;

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a monthly fee to have access to SMTP and POP3


 Microsoft Outlook Express Mail 

1. Get the files to your PC.
By whatever method get the files off your Amiga onto your PC. In the YAM folder you have a number of different folders, one for each of your folders in YAM. Inside that is a file usually some numbers such as 332423.283. YAM created a new file for every single email you received.

2. Open up a brand new Outlook Express. Just configure the account to use 127.0.0.1 as mail servers. It doesn't really matter. You will need to manually create any subfolders you used in YAM.

3. You will need to do a mass rename on all your email files from YAM. Just add a .eml to the end of it. Amazing how PCs still rely mostly on the file name so it knows what sort of file it is rather than just looking at it! There are a number of multiple renamers online to download and free too.

4. Go into each of your folders, inbox, sent items etc. And do a select all then drag the files into Outlook Express (to the relevant folder obviously) Amazingly the file format that YAM used is very compatible with .eml standard and viola your emails appear. With correct dates and working attachments.

5. If you want your email into Microsoft Outlook. Open that up and create a new profile and a new blank PST file. Then go into File Import and choose to import from Outlook Express. And the mail will go into there. And viola.. you have your old email from your Amiga in a more modern day format.


===FTP===

Magellan has a great FTP module. It allows transferring files from/to a FTP server over the Internet or the local network and, even if FTP is perceived as a &quot;thing of the past&quot;, its usability is all inside the client. The FTP thing has a nice side effect too, since every Icaros machine can be a FTP server as well, and our files can be easily transferred from an Icaros machine to another with a little configuration effort.

First of all, we need to know the 'server' IP address. Server is the Icaros machine with the file we are about to download on another Icaros machine, that we're going to call 'client'. To do that, move on the server machine and 1) run Prefs/Services to be sure &quot;FTP file transfer&quot; is enabled (if not, enable it and restart Icaros); 2) run a shell and enter this command:

ifconfig -a

Make a note of the IP address for the network interface used by the local area network. For cabled devices, it usually is net0:. Now go on the client machine and run Magellan:

Perform these actions: 1) click on FTP; 2) click on ADDRESS BOOK; 3) click on &quot;New&quot;. 
You can now add a new entry for your Icaros server machine:

1) Choose a name for your server, in order to spot it immediately in the address book. Enter the IP address you got before.

2) click on Custom Options:


1) go to Miscellaneous in the left menu;

2) Ensure &quot;Passive Transfers&quot; is NOT selected;

3) click on Use. We need to deactivate Passive Transfers because YAFS, the FTP server included in Icaros, only allows active transfers at the current stage. Now, we can finally connect to our new file source:


1) Look into the address book for the newly introduced server, be sure that name and IP address are right, and

2) click on Connect. A new lister with server's &quot;MyWorkspace&quot; contents will appear. You can now transfer files over the network choosing a destination among your local (client's) volumes.

Can be adapted to any FTP client on any platform of your choice, just be sure your client allows Active Transfers as well.


===IRC Internet Relay Chat===

Jabberwocky is ideal for one-to-one social media communication, use IRC if you require one to many. 

Just type a message in ''lowercase''' letters and it will be posted to all in the [ AROS irc channel]. Please do not use UPPER CASE as it is a sign of SHOUTING which is annoying.

Other things to type in - replace &lt;message&gt; with a line of text and &lt;nick&gt; with a person's name

&lt;pre&gt;
/help

/list

/who
/whois &lt;nick&gt;

/msg &lt;nick&gt; &lt;message&gt;

/query &lt;nick&gt; 
&lt;message&gt;s
/query

/away &lt;message&gt;
/away

/quit &lt;going away message&gt; 
&lt;/pre&gt;


[http://irchelp.org/irchelp/new2irc.html#smiley Intro guide here]. IRC Primer can be found here in [http://www.irchelp.org/irchelp/ircprimer.html html], [http://www.irchelp.org/irchelp/text/ircprimer.txt TXT], [http://www.kei.com/irc/IRCprimer1.1.ps PostScript].


Issue the command /me &lt;text&gt; where &lt;text&gt; is the text that should follow your nickname.
Example: /me slaps ajk around a bit with a large trout

/nick &lt;newNick&gt;

/nickserv register &lt;password&gt; &lt;email address&gt;

/ns instead of /nickserv, while others might need /msg nickserv

/nickserv identify &lt;password&gt;

Alternatives:
/ns identify &lt;password&gt;
/msg nickserv identify &lt;password&gt;


==== IRC WookieChat ====

WookieChat is the most complete internet client for communication across the IRC Network. WookieChat allows you to swap ideas and communicate in real-time, you can also exchange Files, Documents, Images and everything else using the application's DCC capabilities.


add smilies drawer/directory

 run wookiechat from the shell and set stack to 1000000 e.g. wookiechat stack 1000000

select a server / server window

* nickname 
* user name 
* real name - optional

Once you configure the client with your preferred screen name, you'll want to find a channel to talk in.


servers

* New Server - click on this to add / add extra - change details in section below this click box 
* New Group
* Delete Entry
* Connect to server
* connect in new tab
* perform on connect

Change details

* Servername - change text in this box to one of the below Server: 
* Port number - no need to change
* Server password
* Channel - add #channel from below 
* auto join - can click this 
* nick registration password,

Click Connect to server button above


&lt;pre&gt;
Server: irc.freenode.net
Channel: #aros
&lt;/pre&gt;

irc://irc.freenode.net/aros

&lt;pre&gt;
Server: chat.amigaworld.net 
Channel: #amigaworld or #amigans 
&lt;/pre&gt;

&lt;pre&gt;
On Sunday evenings USA time usually starting around 3PM EDT (1900 UTC)
Server:irc.superhosts.net
Channel #team*amiga  
&lt;/pre&gt;

&lt;pre&gt;
BitlBee and Minbif are IRCd-like gateways to multiple IM networks
Server: im.bitlbee.org 
Port 6667 
Seems to be most useful on WookieChat as you can be connected to several servers at once. One for Bitlbee and any messages that might come through that. One for your normal IRC chat server. 
&lt;/pre&gt;

[http://www.bitlbee.org/main.php/servers.html Other servers],

&lt;pre&gt;
#Amiga.org - irc.synirc.net eu.synirc.net dissonance.nl.eu.synirc.net (IPv6: 2002:5511:1356:0:216:17ff:fe84:68a) 
twilight.de.eu.synirc.net zero.dk.eu.synirc.net us.synirc.net avarice.az.us.synirc.net envy.il.us.synirc.net harpy.mi.us.synirc.net 
liberty.nj.us.synirc.net snowball.mo.us.synirc.net - Ports 6660-6669 7001 (SSL)
&lt;/pre&gt;

&lt;pre&gt;
Multiple server support
&quot;Perform on connect&quot; scripts and channel auto-joins
Automatic Nickserv login
Tabs for channels and private conversations
CTCP PING, TIME, VERSION, SOUND
Incoming and Outgoing DCC SEND file transfers
Colours for different events
Logging and automatic reloading of logs
mIRC colour code filters
Configurable timestamps
GUI for changing channel modes easily
Configurable highlight keywords
URL Grabber window
Optional outgoing swear word filter
Event sounds for tabs opening, highlighted words, and private messages
DCC CHAT support
Doubleclickable URL's
Support for multiple languages using LOCALE
Clone detection
Auto reconnection to Servers upon disconnection
Command aliases
Chat display can be toggled between AmIRC and mIRC style
Counter for Unread messages
Graphical nicklist and graphical smileys with a popup chooser
&lt;/pre&gt;


====IRC Aircos ====

Double click on Aircos icon in Extras:Networking/Apps/Aircos. It has been set up with a guest account for trial purposes. Though ideally, choose a nickname and password for frequent use of irc. 


====IRC and XMPP Jabberwocky====
 Servers are setup and close down at random 
You sign up to a server that someone else has setup and access chat services through them. 

The two ways to access chat from jabberwocky
&lt;pre &gt;
Jabberwocky -&gt; Server -&gt; XMPP -&gt; open and ad-free 
Jabberwocky -&gt; Server -&gt; Transports (Gateways) -&gt; Proprietary closed systems 
&lt;/pre &gt;

The Jabber.org service connects with all IM services that use XMPP, the open standard for instant messaging and presence over the Internet. The services we connect with include Google Talk (closed), Live Journal Talk, Nimbuzz, Ovi, and thousands more. However, you can not connect from Jabber.org to proprietary services like AIM, ICQ, MSN, Skype, or Yahoo because they don’t yet use XMPP components (XEP-0114) '''but''' you can use Jabber.com's servers and IM gateways (MSN, ICQ, Yahoo etc.) instead.

The best way to use jabberwocky is in conjunction with a public jabber server with '''transports''' to your favorite services, like gtalk, Facebook, yahoo, ICQ, AIM, etc.


You have to register with one of the servers, [https://list.jabber.at/ this list] or [http://www.jabberes.org/servers/ another list], [http://xmpp.net/ this security XMPP list],

Unfortunately jabberwocky can only connect to one server at a time so it is best to check what services each server offers. If you set it up with separate Facebook and google talk accounts, for example, sometimes you'll only get one or the other.

Jabberwocky open a window where the Jabber server part is typed in as well as your Nickname and Password.

Jabber ID (JID) identifies you to the server and other users.

Once registered the next step is to goto Jabberwocky's &quot;Windows&quot; menu and select the &quot;Agents&quot; option. The &quot;Agents List&quot; window will open.

Roster (contacts list)

[http://search.wensley.org.uk/ Chatrooms] (MUC) are available

File Transfer - can send and receive files through the Jabber service but not with other services like IRC, ICQ, AIM or Yahoo. All you need is an installed webbrowser and OpenURL.

Clickable URLs - The message window uses Mailtext.mcc and you can set a URL action in the MUI mailtext prefs like SYS:Utils/OpenURL %s NEWWIN.

There is no consistent Skype like (H.323 VoIP) video conferencing available over Jabber. The move from xmpp to Jingle should help but no support on any amiga-like systems at the moment. [http://aminet.net/package/dev/src/AmiPhoneSrc192 AmiPhone] and [http://www.lysator.liu.se/%28frame,faq,nobg,useframes%29/ahi/v4-site/ Speak Freely] was an early attempt voice only contact. SIP and Asterisk are other PBX options.


 Facebook

If you're using the XMPP transport provided by Facebook themselves, chat.facebook.com, it looks like they're now requiring SSL transport. This means jabberwocky method below will no longer work. The best thing to do is to create an ID on a public jabber server which has a Facebook gateway.

&lt;pre &gt;
1. launch jabberwocky
2. if the login window doesn't appear on launch, select 'account' from the jabberwocky menu
3. your jabber ID will be user@chat.facebook.com where user is your user ID
4. your password is your normal facebook password
5. to save this for next time, click the popup gadget next to the ID field

6. click the 'add' button
7. click the 'close' button
8. click the 'connect' button
&lt;/pre &gt;

you're done. you can also click the 'save as default account' button if you want. jabberwocky configured to auto-connect when launching the program, but you can configure as you like. there is amigaguide documentation included with jabberwocky.

[http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=37085&amp;forum=32 Read more here]

for Facebook users, you can log-in directly to Facebook with jabberwocky. just sign in as @chat.facebook.com with your Facebook password as the password


 Twitter

For a few years, there has been added a twitter transport. Servers include [http://jabber.hot-chilli.net/ jabber.hot-chili.net],  and .

An [http://jabber.hot-chilli.net/tag/how-tos/ How-to]

:Read [http://jabber.hot-chilli.net/2010/05/09/twitter-transport-working/ more]

 Instagram 

no support at the moment best to use a web browser based client

 ICQ

The new version (beta) of StriCQ uses a newer ICQ protocol. Most of the ICQ Jabber Transports still use an older ICQ protocol. You can only talk one-way to StriCQ using the older Transports. Only the newer ICQv7 Transport lets you talk both ways to StriCQ. Look at the server lists in the first section to check.

Register on a Jabber server, e.g. this one works: http://www.jabber.de/
Then login into Jabberwocky with the following login data e.g. xxx@jabber.de / Password: xxx Now add your ICQ account under the window-&gt;Agents-&gt;&quot;Register&quot;. Now Jabberwocky connects via the Jabber.de server with your ICQ account.

 Yahoo Messenger

although yahoo! does not use xmpp protocol, you should be able to use the transport methods to gain access and post your replies

 MSN

early months of 2013 Microsoft will ditch MSN Messenger client and force everyone to use Skype...but MSN protocol and servers will keep working as usual for quite a long time....

Occasionally the Messenger servers have been experiencing problems signing in.  You may need to sign in at www.outlook.com and then try again.  It may also take multiple tries to sign in.  (This also affects you if you’re using Skype.)

You have to check each servers' Agents List to see what transports (MSN protocol, ICQ protocol, etc.) are supported or use the list address' provided in the section above. Then register with each transport (IRC, MSN, ICQ, etc.) to which you need access. After registering you can Connect to start chatting.

msn.jabber.com/registered should appear in the window.

From this [http://tech.dir.groups.yahoo.com/group/amiga-jabberwocky/message/1378 JW group] guide which  helps with this process in a clear, step by step procedure.

1. Sign up on MSN's site for a passport account. This typically involves getting a Hotmail address.

2. Log on to the Jabber server of your choice and do the following:

* Select the &quot;Windows/Agents&quot; menu option in Jabberwocky.
* Select the MSN Agent from the list presented by the server.
* Click the Register button to open a new window asking for:
**Username = passort account email address, typically your hotmail address.
**Nick = Screen name to be shown to anyone you add to your buddy list.
**Password = Password for your passport account/hotmail address.
* Click the Register button at the bottom of the new window.

3. If all goes well, you will see the MSN Gateway added to your buddy list. If not, repeat part 2 on another server. Some servers may show MSN in their list of available agents, but have not updated their software for the latest protocols used by MSN.

4. Once you are registered, you can now add people to your buddy list. Note that you need to include the '''msn.''' ahead of the servername so that it knows what gateway agent to use. Some servers may use a slight variation and require '''msg.gate.''' before the server name, so try both to see what works.

If my friend's msn was amiga@hotmail.co.uk and my jabber server was @jabber.meta.net.nz..
then amiga'''%'''hotmail.com@'''msn.'''jabber.meta.net.nz

or another the trick to import MSN contacts is that you don't type the hotmail URL but the passport URL... e.g. Instead of: goodvibe%hotmail.com@msn.jabber.com  You type: goodvibe%passport.com@msn.jabber.com 
And the thing about importing contacts I'm afraid you'll have to do it by hand, one at the time...

 Google Talk

any XMPP server will work, but you have to add your contacts manually. a google talk user is typically either @gmail.com or @talk.google.com. a true gtalk transport is nice because it brings your contacts to you and (can) also support file transfers to/from google talk users.

implement Jingle a set of extensions to the IETF's Extensible Messaging and Presence Protocol (XMPP)

support ended early 2014 as Google moved to Google+ Hangouts which uses it own proprietary format


===Video Player MPlayer===

Many of the menu features (such as doubling) do not work with the current version of mplayer but using

4:3
 mplayer -vf scale=800:600 file.avi

16:9
 mplayer -vf scale=854:480 file.avi

if you want gui use;
 mplayer -gui 1 &lt;other params&gt; file.avi

&lt;pre &gt;
stack 1000000

; using AspireOS 1.xx 
; copy FROM SYS:Extras/Multimedia/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 1.x 
; copy FROM SYS:Tools/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 2.x 
; copy FROM SYS:Utilities/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

cd RAM:MPlayer
run MPlayer -gui &gt; Nil:
;run MPlayer -gui -ao ahi_dev -playlist http://www.radio-paralax.de/listen.pls &gt; Nil: 
&lt;/pre &gt;

$ mplayer rtsp://127.0.0.1:554/sample_300kbit.mp4


MPlayer supports multicast streaming, and rtp/rtsp protocols (it might require [http://www.live555.com/openRTSP/ live555 library] to work with some streams). But you might have to build it where it's disabled. Also, multicast won't work with some AmiTCP-likes. MIAMI supported it, though.

AROS supports IPv4 (old but works) and this includes the needed address space for RTP.

If you mean multicast via RTP - mplayer handles it. You can even force UDP over TCP

-rtsp-stream-over-tcp

If the rtsp Real Time Streaming Protocol  server needs authentification:

-user -passwd


MPlayer - Menu - Open Playlist and load already downloaded .pls or .m3u file - auto starts around 4 percent cache

MPlayer - Menu - Open Stream and copy one of the .pls lines below into space allowed, press OK and press play button on main gui interface


Old 8bit 16bit remixes chip tune game music 
 
http://www.radio-paralax.de/listen.pls 

http://scenesat.com/

http://www.shoutcast.com/radio/Amiga

http://www.theoldcomputer.com/retro_radio/RetroRadio_Main.htm

http://www.kohina.com/

http://www.remix64.com/

http://retrogamer.net/forum/

http://retroasylum.podomatic.com/rss2.xml

http://retrogamesquad.com/

http://www.retronauts.com/

http://monsterfeet.com/noquarter/

http://www.retrogamingradio.com/

http://www.radiofeeds.co.uk/mp3.asp


[[#top|...to the top]]

====ZunePaint==== 

simplified typical workflow

* importing and organizing and photo management
* making global and regional local correction(s) - recalculation is necessary after each adjustment as it is not in real-time 
* exporting your images in the best format available with the preservation of metadata


Whilst achieving 80% of a great photo with just a filter, the remaining 20% comes from a manual fine-tuning of specific image attributes.


For photojournalism, documentary, and event coverage, minimal touching is recommended. Stick to Camera Raw for such shots, and limit changes to level adjustment, sharpness, noise reduction, and white balance correction.

For fashion or portrait shoots, a large amount of adjustment is allowed and usually ends up far from the original. Skin smoothing, blemish removal, eye touch-ups, etc. are common.  Might alter the background a bit to emphasize the subject.

Product photography usually requires a lot of sharpening, spot removal, and focus stacking.

For landscape shots, best results are achieved by doing the maximum amount of preparation before/while taking the shot. No amount of processing can match timing, proper lighting, correct gear, optimal settings, etc. Excessive post-processing might give you a dramatic shot but best avoided in the long term.


* White Balance - Left Amiga or F12 and K and under &quot;Misc color effects&quot; tab with a pull down for White Balance - color temperature also known as AKA tint (movies) or tones (painting) - warm temp raise red reduce green blue - cool raise blue lower red green 
* Exposure - exposure compensation, highlight/shadow recovery
* Noise Reduction - during RAW development or using external software
* Lens Corrections - distortion, vignetting, chromatic aberrations
* Detail - capture sharpening and local contrast enhancement
* Contrast - black point, levels (sliders) and curves tools (F12 and K) 
* Framing - straighten () and crop (F12 and F) 
* Refinements - color adjustments and selective enhancements - Left Amiga or F12 and K for RGB and YUV histogram tabs - 
* Resizing - enlarge for a print or downsize for the web or email (F12 and D) 
* Output Sharpening - customized for your subject matter and print/screen size


White Balance - F12 and K

scan your image for a shade which was meant to be white (neutral with each RGB value being equal) like paper or plastic which is in the same light as the subject of the picture. Use the dropper tool to select this color, similar colours will shift and you will have selected the perfect white balance for your part of the image - for the whole picture make sure RAZ or CLR button at the bottom is pressed before applying to the image above.


Exposure correction

F12 and K - YUV Y luminosity - RGB extra red tint - move red curve slightly down and move blue green curves slightly up

Workflows in practice

* Undo - Right AROS key or F12 and Z 
* Redo - Right AROS key or F12 and R

First flatten your image (if necessary) and then do a rotation until the picture looks level. 
* Crop the picture. Click the selection button and drag a box over the area of the picture you want to keep. Press the crop button and the rest of the photo will be gone. 
* Adjust your saturation, exposure, hue levels, etc., (right AROS Key and K for color correction) until you are happy with the photo. Make sure you zoom in all of the way to 100% and look the photo over, zoom back out and move around. Look for obvious problems with the picture. 
* After coloring and exposure do a sharpen (Right AROS key and E for Convolution and select drop down option needed), e.g. set the matrix to 5x5 (roughly equivalent Amount to 60%) and set the Radius to 1.0. Click OK.


And save your picture


Implemented or would like to see for simplification and ease of use

basic filters (presets) like black and white, monochrome, edge detection (sobel), motion/gaussian blur, 
* negative, sepiatone, retro vintage, night vision, colour tint, color gradient, color temperature, glows, fire, lightning, lens flare, emboss, filmic, pixelate mezzotint, antialias, etc.

adjust / cosmetic tools such as crop, 
* reshaping tools, straighten, smear, smooth, perspective, liquify, bloat, pucker, push pixels in any direction, dispersion, transform like warp, blending with soft light, page-curl, whirl, ripple, fisheye, neon,  etc. 
* red eye fixing, blemish remover, skin smoothing, teeth whitener, make eyes look brighter, desaturate,

effects like oil paint, cartoon, pencil sketch, charcoal, noise/matrix like sharpen/unsharpen, (right AROS key with A for Artistic effects) 
* blend two image, gradient blend, masking blend, explode, implode, custom collage, surreal painting, comic book style, needlepoint, stained glass, watercolor, mosaic, stencil/outline, crayon, chalk, etc.

borders such as 
* dropshadow, rounded, blurred, color tint, picture frame, film strip polaroid, bevelled edge, etc.

brushes e.g.
* frost, smoke, etc.

and manual control of

fix lens issues including vignetting (darkening), color fringing and barrel distortion, and chromatic and geometric aberration -  lens and body profiles

perspective correction

levels - directly modify the levels of the tone-values of an image, by using sliders for highlights, midtones and shadows

curves -  Color Adjustment and Brightness/Contrast

color balance

one single color transparent (alpha channel (color information/selections) for masking and/or blending ) for backgrounds, etc.

Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors

decompose layer into a set of layers with each holding a different type of pattern that is visible within the image

any selection using any selecting tools like lasso tool, marquee tool etc. the selection will temporarily be save to alpha 
If you create your image without transparency then the Alpha channel is not present, but you can add later.

File formats like .psd (Photoshop file has layers, masks etc.  contains edited sensor data. The original sensor data is no longer available) .xcf .raw .hdr

Image Picture Formats
* low dynamic range (JPEG, PNG, TIFF 8-bit), 16-bit (PPM, TIFF), typically as a 16-bit TIFF in either ProPhoto or AdobeRGB colorspace -  TIFF files are also fairly universal – although, if they contain proprietary data, such as Photoshop Adjustment Layers or Smart Filters, then they can only be opened by Photoshop making them proprietary.
* linear high dynamic range (HDR) images (PFM, [http://www.openexr.com/ ILM .EXR], jpg, [http://aminet.net/util/dtype cr2] (canon tiff based), hdr, NEF, CRW, ARW, MRW, ORF, RAF (Fuji), PEF, DCR, SRF, ERF, DNG files are RAW converted to an Adobe proprietary format - a container that can embed the raw file as well as the information needed to open it) 
An old version of [http://archives.aros-exec.org/index.php?function=browse&amp;cat=graphics/convert dcraw]

There is no single RAW file format. Each camera manufacturer has one or more unique RAW formats. RAW files contain the brightness levels data captured by the camera sensor. This data cannot be modified. A second smaller file, separate XML file, or within a database with instructions for the RAW processor to change exposure, saturation etc. The extra data can be changed but the original sensor data is still there. RAW is technically least compatible.

A raw file is high-bit (usually 12 or 14 bits of information) but a camera-generated TIFF file will be usually converted by the camera (compressed, downsampled) to 8 bits. The raw file has no embedded color balance or color space, but the TIFF has both. These three things (smaller bit depth, embedded color balance, and embedded color space) make it so that the TIFF will lose quality more quickly with image adjustments than the raw file. The camera-generated TIFF image is much more like a camera processed JPEG than a raw file. A strong advantage goes to the raw file. The power of RAW files, such as the ability to set any color temperature non-destructively and will contain more tonal values.

The principle of preserving the maximum amount of information to as late as possible in the process. The final conversion - which will always effectively represent a &quot;downsampling&quot; - should prevent as much loss as possible.

Once you save it as TIFF, you throw away some of that data irretrievably. When saving in the lossy JPEG format, you get tremendous file size savings, but you've irreversibly thrown away a lot of image data. As long as you have the RAW file, original or otherwise, you have access to all of the image data as captured.

Keyboard equivalence with Photoshop(tm) would help 

File
PHOTOSHOP	SHORTCUT	GIMP
New	Ctrl+n	New
Open	Ctrl+o	Open
Close	Ctrl+w	Close
Save	Ctrl+s	Save
Save as	Shift+Ctrl+s	Save as
Revert	F12	Revert
Print	Ctrl+p	Print
Exit	Ctrl+q	Quit
 
Edit
PHOTOSHOP	SHORTCUT	GIMP
Undo/Redo (1 level)	Ctrl+z	Undo (Redo is Shift+Ctrl+z)
Cut	Ctrl+x	Cut
Copy	Ctrl+c	Copy
Paste	Ctrl+v	Paste
Paste Into	Shift+Ctrl+v	Paste Into
Fill with FG color	Alt+Backspace	Fill with FG color
Fill with BG color	Control+Backspace	Fill with BG color
 
Image/Colors
PHOTOSHOP	SHORTCUT	GIMP
Levels	Ctrl+l	Levels
Auto Contrast	Shift+Ctrl+Alt+l	Stretch Contrast (same?)
Curves	Ctrl+m	Curves
Color Balance	Ctrl+b	Color Balance
Hue/Saturation	Ctrl+u	Hue-Saturation
Desaturate	Shift+Ctrl+u	Desaturate
Invert	Ctrl+i	Invert
Default Colors	d	Default Colors
Switch Colors	x	Switch Colors
 
Layer
PHOTOSHOP	SHORTCUT	GIMP
New Layer	Shift+Ctrl+n	New Layer
Layer via Copy	Ctrl+j	Duplicate Layer
Bring (layer) to Front	Shift+Ctrl+]	Layer to Top
Send (layer) to Back	Shift+Ctrl+[	Layer to Bottom
Bring (layer) Forward	Ctrl+]	Raise Layer
Send (layer) Backward	Ctrl+[	Lower Layer
Select Top Layer	Shift+Alt+]	Select Top Layer
Select Bottom Layer	Shift+Alt+[	Select Bottom Layer
Select One Layer Forward	Alt+]	Select Previous Layer
Select One Layer Backward	Alt+[	Select Next Layer
Merge Down	Ctrl+e	Merge Down
Merge Visible	Shift+Ctrl+e	Merge Visible
Preserve Transparency	/	Keep Transparency
Cycle Modes Forwards	Shift+=	Next Layer Mode
Cycle Modes Backwards	Shift+-	Previous Layer Mode
 
Select
PHOTOSHOP	SHORTCUT	GIMP
Select All	Ctrl+a	Select All
Deselect	Ctrl+d	Select None
Inverse	Shift+Ctrl+i	Invert
Feather	Ctrl+Alt+d	Feather
 
View
PHOTOSHOP	SHORTCUT	GIMP
Zoom In	Ctrl+=	Zoom In
Zoom Out	Ctrl+-	Zoom Out
Fit on Screen	Ctrl+0	Zoom to Fit Window
Actual Pixels	Ctrl+Alt+0	Zoom 1:1
Show/Hide Extras	Ctrl+h	Toggle Show Selection (close enough?)
Show/Hide Guides	Ctrl+'	Toggle Show Guides
Show/Hide Grid	Ctrl+Alt+'	Toggle Show Grid
Show/Hide Rulers	Ctrl+r	Toggle Show Rulers
Snap	Ctrl+;	Snap to Guides
Scroll View Up	Page Up	Scroll Page Up
Scroll View Down	Page Down	Scroll Page Down
Scroll View Left	Ctrl+Page Up	Scroll Page Left
Scroll View Right	Ctrl+Page Down	Scroll Page Right
 
Window/Dialogs
PHOTOSHOP	SHORTCUT	GIMP
?	F5	Tools Dialog
Color Tab	F6	Colors Dialog
Layers Tab	F7	Layers Dialog
Info Tab	F8	Image Information
 
Tools
PHOTOSHOP	SHORTCUT	GIMP
Rectangular Marquee Tool	m	Rect Select Tool
Elliptical Marquee Tool	Shift+m	Ellipse Select Tool
 	*This is a toggle between 'Elliptical Marquee Tool' and 'Rectangular Marquee Tool' in Photoshop	 
Move Tool	v	Move Tool
Lasso Tool	l	Free Select Tool
Magic Wand Tool	w	Fuzzy Select Tool
Crop Tool	c	Crop &amp; Resize Tool
Airbrush Tool	j	Airbrush Tool
Paintbrush Tool	b	Paintbrush Tool
Clone Stamp Tool	s	Clone Stamp Tool
Eraser Tool	e	Eraser Tool
Gradient Tool	g	Blend Tool
Paint Bucket Tool	Shift+g	Bucket Fill Tool
 	*This is a toggle between 'Paint Bucket Tool' and 'Gradient Tool' in Photoshop	 
Blur Tool	r	Convolve Tool
Dodge Tool	o	DodgeBurn Tool
Type Tool	t	Text Tool
Pen Tool	p	Bezier Select Tool
Eye Dropper Tool	i	Color Picker Tool
Zoom Tool	z	Magnify Tool
Previous Brush	,	Previous Brush
Next Brush	.	Next Brush
First Brush	Shift+&lt;	First Brush
Last Brush	Shift+&gt;	Last Brush
Decrease Brush Size	[	Decrease Brush Size
Increase Brush Size	]	Increase Brush Size
Decrease Brush Hardness	{	Decrease Brush Hardness
Increase Brush Hardness	}	Increase Brush Hardness
 
Help
PHOTOSHOP	SHORTCUT	GIMP
Help	F1	Help
Context Help	Shift+F1	Context Help
 
Misc.
PHOTOSHOP	SHORTCUT	GIMP
Last Filter	Ctrl+f	Repeat Last Filter
?	Shift+Ctrl+f	Reshow Last Filter
Preferences	Ctrl+k	Preferences
Liquify	Shift+Ctrl+x	IWarp (close enough?)
Toggle Quick Mask	q	Toggle Quick Mask


Spotlights - triangle of white opaque shape

Cutting out and/or replacing unwanted background or features - select large areas with the selection option like the Magic Wand tool (aka Color Range) or the Lasso (quick and fast) with feather 2 to soften edge or the pen tool which adds points/lines/Bézier curves (better control but slower), hold down the shift button as you click to add extra points/areas of the subject matter to remove. Increase the tolerance to cover more areas. To subtract from your selection hold down alt as you're clicking. 
* Layer masks are a better way of working than Erase they clip (black hides/hidden white visible/reveal). Clone Stamp can be simulated by   and brushes for other areas. 
* Leave the fine details like hair, fur, etc. to later with lasso and the shift key to draw a line all the way around your subject. Gradient Mapping - Inverse - Mask. i.e. Refine your selected image with edge detection and using the radius and edge options / adjuster (increase/decrease contrast) so that you will capture more fine detail from the background allowing easier removal. 
Remove fringe/halo

saving image as png rather than jpg/jpeg to keep transparency background intact.


Implemented [http://colorizer.org/ colour model representations] [http://paulbourke.net/texture_colour/colourspace/ Mathematical approach] - Photo stills are spatially 2d (h and w), but are colorimetrically 3d (r g and b, or H L S, or Y U V etc.) as well. 
* RGB - split cubed mapped color model for photos and computer graphics hardware using the light spectrum (adding and subtracting) 
* YUV - Y-Lightness U-blue/yellow V-red/cyan (similar to YPbPr and YCbCr) used in the PAL, NTSC, and SECAM composite digital TV color [http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299 video]


Histograms

White balanced (neutral) if the spike happens in the same place in each channel of the RGB graphs. If not, you're not balanced. 
If you have sky you'll see the blue channel further off to the right.

RGB is best one to change colours. These elements RGB is a 3-channel format containing data for Red, Green, and Blue in your photo scale between 0 and 255. The area in a picture that appears to be brighter/whiter contains more red color as compared to the area which is relatively darker. Similarly in the green channel the area that appears to be darker contains less amount of green color as compared to the area that appears to be brighter.  Similarly in the blue channel the area appears to be darker contains less amount of blue color as compared to the area that appears to be brighter. Brightness luminance histogram also matches the green histogram more than any other color - human eye interprets green better e.g. RGB rough ratio 15/55/30%

RGBA (RGB+A, A means alpha channel) .  The alpha channel is used for &quot;alpha compositing&quot;, which can mostly be associated as &quot;opacity&quot;.  AROS deals in RGB with two digits for every color (red, green, blue), in ARGB you have two additional hex digits for the alpha channel.

The shadows are represented by the left third of the graph.  The highlights are represented by the right third.  And the midtones are, of course, in the middle.  The higher the black peaks in the graph, the more pixels are concentrated in that tonal range (total black area). 
By moving the black endpoint, which identifies the shadows (darkness) and a white light endpoint (brightness) up and down either sides of the graph, colors are adjusted based on these points. 
By dragging the central one, can increased the midtones and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .


RGB Curves

* Move left endpoint (black point) up or right endpoint (white point) up brightens 
* Move left endpoint down or right endpoint down darkens

Color Curves

* Dragging up on the Red Curve increases the intensity of the reds in the image but 
* Dragging down on the Red Curve decreases the intensity of the reds and thus increases the apparent intensity of its complimentary color, cyan. Green’s complimentary color is magenta, and blue’s is yellow.
&lt;pre&gt;
 Red &lt;-&gt; Cyan
 Green &lt;-&gt;Magenta
 Blue &lt;-&gt;Yellow 
&lt;/pre&gt;

YUV Best option to analyse and pull out statistical elements of any picture (i.e.  separate luminance data from color data). The line in Y luma tone box represents the brightness of the image with the point in the bottom left been black, and the point in the top right as white.  A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram.   A histogram that is skewed to the right would indicate a picture that is a bit overexposed because most of the color data is on the lighter side (increase exposure with higher value F), while a histogram with the curve on the left shows a picture that is underexposed. This is good information to have when using post-processing software because it shows you not only where the color data exists for a given picture, but also where any data has been clipped (extremes on edges of either side): that is, it does not exist and, therefore, cannot be edited.  By dragging the endpoints of the line and as well as the central one, can increased the dark/shadows, midtones and light/bright parts and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .

The U and V chroma parts show color difference components of the image. It’s useful for checking whether or not the overall chroma is too high, and also whether it’s being limited too much
Can be used to create a negative image but also 
With U (Cb), the higher value you are, the more you're on the blue primary color. If you go to the low values then you're on blue complementary color, i.e. yellow.
With V (Cr), this is the same principle but with Red and Cyan.
e.g. If you push U full blue and V full red, you get magenta. If you push U full yellow and V full Cyan then you get green.

YUV simultaneously adds to one side of the color equation while subtracting from the other.  
using YUV to do color correction can be very problematic because each curve alters the result of each other: the mutual influence between U and V often makes things tricky. You may also be careful in what you do to avoid the raise of noise (which happens very easily). Best results are obtained with little adjustments

sunset that looks uninspiring and needs some color pop especially for the rays over the hill, a subtle contrast raise while setting luma values back to the legal range without hard clipping.


Free royalty pictures, [www.freeimages.com ], [http://imageshack.us/ ], [http://photobucket.com/ ], [http://rawpixels.net/], [], [], [], 


====Lunapaint====

Pixel based drawing app with onion-skin animation function

 Blocking, Shading, Coloring, adding detail 

&lt;pre&gt;
b BRUSH
e ERASER

alt eyedropper 
v layer tool 

z ZOOM / MAGNIFY &lt; &gt; n 
spc panning 
m  marque 
q lasso 
w same color selection / region 
&lt;/pre&gt;

&lt;pre&gt;
, LM RM
v 
V
f  filter 
F 
.  size 

p 
,  pick color 
[] last / next color 
&lt;/pre&gt;


There is not much missing in Lunapaint to be as good as FlipBook and then you have to take into account that Flipbook is considered to be amongst the best and easiest to use animation software out there. Ok to be honest Flipbook has some nice features that require more heavy work but those aren't so much needed right away, things like camera effects, sound, smart fill, export to different movie file formats etc.

Tried Flipbook with my tablet and compared it to Luna. The feeling is the same when sketching. LunaPaint is very responsive/fluent to draw with. Just as Flipbook is, and that responsiveness is something its users have mentioned as one of the positive sides of said software.

 author was learning MUI. Some parts just have to be rewritten with proper MUI classes before new features can be added.

* add [Frame Add] / [Frame Del]
* whole animation feature is impossible to use. If you draw 2 color maybe but if you start coloring your cells then you get in trouble
* pickup the entire image as a brush, not just a selection ? And consequently remove the brush from memory when one doesn't need it anymore. can pick up a brush and put it onto a new image but cropping isn't possible, nor to load/save brushes.
* Undo is something I longed for ages in Lunapaint.
* to import into the current layer, other types of images (e.g. JPEG) besides RAW64.
* implement graphic tablet features support


**GENERAL DRAWING**

Miss it very much:
UNDO
ERASER
COLORPICKER - has to show on palette too which color got picked.
BACKGROUND COLOR -Possibility to select from &quot;New project screen&quot;

Miss it somewhat:
ICON for UNDO
ICON for ERASER
ICON for CLEAR SCREEN ( What can I say? I start over from scratch very often )
BRUSH - possibility to cut out as brush not just copy off image to brush

**ANIMATING**

Miss it very much:
NUMBER OF CELLS - Possibity to change total no. of cells during project
ANIM BRUSH - Possibility to pick up a selected part of cells into an animbrush

Miss it somewhat:
ADD/REMOVE FRAMES: Add/remove single frame

In general LunaPaint is really well done and it feels like a new DeluxePaint version. It works with my tablet. Sure there's much missing of course but things can always be added over time. So there is great potential in LunaPaint that's for sure. Animations could be made in it and maybe put together in QuickVideo, saving in .gif or .mng etc some day.


LAYERS
-Layers names don't get saved globally in animation frames
-Layers order don't change globally in an animation (perhaps as default?).

EXPORTING IMAGES
-Exporting frames to JPG/PNG gives problems with colors. (wrong colors. See my animatiopn --&gt; My robot was blue now it's &quot;gold&quot; ) I think this only happens if you have layers.
-Trying to flatten the layers before export doesn't work if you have animation frames only the one you have visible will flatten properly all other frames are destroyed. (Only one of the layers are visible on them)
-Exporting images filenames should be for example e.g. file0001, file0002...file0010 instead as of now file1, file2...file10

LOAD/SAVE (Preferences)
-Make a setting for the default &quot;Work&quot; folder.

* Destroyed colors if exported image/frame has layers 
* mystic color cycling of the selected color while stepping frames back/forth (annoying)

&lt;pre&gt;
Deluxe Paint II enhanced key shortcuts 
    NOTE: @ denotes the ALT key

    [Technique]

    F1  - Paint
    F2  - Single Colour
    F3  - Replace
    F4  - Smear
    F5  - Shade
    F6  - Cycle
    F7  - Smooth
     M  - Colour Cycle

    [Brush]

     B  - Restore
     O  - Outline
     h  - Halve brush size
     H  - Double brush size
     x  - Flip brush on X axis
     X  - Double brush size on X axis only
     y  - Flip on Y 
     Y  - Double on Y
     z  - Rotate brush 90 degrees
     Z  - Stretch

    [Stencil]

     `  - Stencil On

    [Miscellaneous]

    F9  - Info Bar
    F10 - Selection Bar
    @o  - Co-Ordinates
    @a  - Anti-alias
    @r  - Colourise
    @t  - Translucent
    TAB - Colour Cycle

    [Picture]

     L  - Load
     S  - Save
     j  - Page to Spare(Flip)
     J  - Page to Spare(Copy)
     V  - View Page
     Q  - Quit

    [General Keys]

     m  - Magnify
     &lt;  - Zoom In
     &gt;  - Zoom Out
     [  - Palette Colour Up
     ]  - Palette Colour Down
     (  - Palette Colour Left
     )  - Palette Colour Right
     ,  - Eye Dropper
     .  - Pixel / Brush Toggle
     /  - Symmetry
     |  - Co-Ordinates
    INS - Perspective Control
    +/- - Brush Size (Fine Control)
     w  - Unfilled Polygon
     W  - Filled Polygon
     e  - Unfilled Ellipse
     E  - Filled Ellipse
     r  - Unfilled Rectangle
     R  - Filled Rectangle
     t  - Type/text tool
     a  - Select Font
    u/U - Undo
     d  - Brush
     D  - Filled Non-Uniform Polygon
    f/F - Fill Options
    g/G - Grid
    h/H - Brush Size (Coarse Control)
     K  - Clear
     c  - Unfilled Circle
     C  - Filled Circle
     v  - Line
     b  - Scissor Select and Toggle
     B  - Brush
    {,} - Toggle between two background colours
&lt;/pre&gt;

====Lodepaint====

Pixel based painting artwork app

====Grafx2====

Pixel based painting artwork app aesprite like 

[https://www.youtube.com/watch?v=59Y6OTzNrhk aesprite workflow keys and tablet use], [], 


====Vector Graphics ZuneFIG====

Vector Image Editing of files .svg .ps .eps


*Objects - raise lower rotate flip aligning snapping 
*Path - unify subtract intersect exclude divide 
*Colour - fill stroke 
*Stroke - size 
*Brushes - 
*Layers - 
*Effects - gaussian bevels glows shadows 
*Text    - 
*Transform - 


 AmiFIG ([http://epb.lbl.gov/xfig/frm_introduction.html xfig manual]) 

[[File:MyScreen.png|thumb|left|alt=Showing all Windows open in AmiFIG.|All windows available to AmiFIG.]]

for drawing simple to intermediate vector graphic images for scientific and technical uses and for illustration purposes for those with talent

;Menu options
* Load - fig format but import(s) SVG
* Save - fig format but export(s) eps, ps, pdf, svg and png
* PAN = Ctrl + Arrow keys 
* Deselect all points

There is no selected object until you apply the tool, and the selected object is not highlighted.

;Metrics - to set up page and styles - first window to open on new drawings

;Tools - Drawing Primitives - set Attributes window first before clicking any Tools button(s) 
* Shapes - circles, ellipses, arcs, splines, boxes,  polygon 
* Lines - polylines
* Text &quot;T&quot; button 
* Photos - bitmaps
* Compound - Glue, Break, Scale 
* POINTs - Move, Add, Remove 
* Objects - Move, Copy, Delete, Mirror, Rotate, Paste 
use right mouse button to stop extra lines, shapes being formed and the left mouse to select/deselect tools button(s)
* Rotate - moves in 90 degree turns centered on clicked POINT of a polygon or square

;Attributes which provide change(s) to the above primitives 
* Color
* Line Width
* Line Style
* arrowheads

;Modes 
Choose from freehand, charts, figures, magnet, etc.

;Library - allows .fig clip-art to be stored 
* compound tools to add .fig(s) together

;FIG 3.2 [http://epb.lbl.gov/xfig/fig-format.html Format] as produced by xfig version 3.2.5 
&lt;pre&gt;
Landscape
Center
Inches
Letter 
100.00
Single
-2
1200 2
4 0 0 50 -1 0 12 0.0000 4 135 1050 1050 2475 This is a test.01
&lt;/pre&gt;

# change the text alignment within the textbox. I can choose left, center, or right aligned by either changing the integer in the second column from 0 (left) to 1 or 2 (center, or right). 
# The third integer in the row specifies fontcolor. For instance, 0 is black, but blue is 1 and Green3 is 13.
# The sixth integer in the bottom row specifies fontface. 0 is Times-Roman, but 16 is Helvetica (a MATLAB default).
# The seventh number is fontsize. 12 represents a 12pt fontsize. Changing the fontsize of an item really is as easy as changing that number to 20.
# The next number is the counter-clockwise angle of the text. Notice that I have changed the angle to .7854 (pi/4 rounded to four digits=45 degrees).
# twelfth number is the position according to the standard “x-axis” in Xfig units from the left. Note that 1200 Xfig units is equivalent to once inch.
# thirteenth number is the “y-position” from the top using the same unit convention as before.

* The nested text string is what you entered into the textbox.
* The “01″ present at the end of that line in the .fig file is the closing tag. For instance, a change to \100 appends a @ symbol at the end of the period of that sentence.

; Just to note there are no layers, no 3d functions, no shading, no transparency, no animation


[[#top|...to the top]]

===Audio===


# AHI uses linear panning/balance, which means that in the center, you will get -6dB. If an app uses panning, this is what you will get. Note that apps like Audio Evolution need panning, so they will have this problem.

# When using AHI Hifi modes, mixing is done in 32-bit and sent as 32-bit data to the driver. The Envy24HT driver uses that to output at 24-bit (always).

# For the Envy24/Envy24HT, I've made 16-bit and 24-bit inputs (called Line-in 16-bit, Line-in 24-bit etc.). There is unfortunately no app that can handle 24-bit recording.


====Music Mods====

Digital module (mods) trackers are music creation software using samples and sometimes soundfonts, audio plugins (VST, AU or RTAS), MIDI.

Generally, MODs are similar to MIDI in that they contain note on/off and other sequence messages that control the mod player. Unlike (most) midi files, however, they also contain sound samples that the sequence information actually plays. MOD files can have many channels (classic amiga mods have 4, corresponding to the inbuilt sound channels), but unlike MIDI, each channel can typically play only one note at once. However, since that note might be a sample of a chord, a drumloop or other complex sound, this is not as limiting as it sounds.

Like MIDI, notes will play indefinitely if they're not instructed to end. Most trackers record this information automatically if you play your music in live. If you're using manual note entry, you can enter a note-off command with a keyboard shortcut - usually Caps Lock.

In fact when considering file size MOD is not always the best option. Even a dummy song wastes few kilobytes for nothing when a simple SID tune could be few hundreds bytes and not bigger than 64kB. AHX is another small format, AHX tunes are never larger than 64kB excluding comments.

[https://www.youtube.com/watch?v=rXXsZfwgil Protrekkr] (previously aka [w:Juan_Antonio_Arguelles_Rius|NoiseTrekkr])

If Protrekkr does not start, please check if the Unit 0 has been setup in the AHI prefs and still not, go to the directory utilities/protrekkr and double click on the Protrekkr icon

*Sample
*Note - Effect 
*Track (column) - Pattern - Order

It all starts with the Sample which is used to create Note(s) in a Track (column of a tracker) 
The Note can be changed with an Effect.  A Track of Note(s) can be collected into a Pattern (section of a song) and these can be given Order to create the whole song.

Patience (notes have to be entered one at a time) or playing the bassline on a midi controller (faster - see midi section above).  Best approach is to wait until a melody popped into your head.

*Up-tempo means the track should be reasonably fast, but not super-fast. 
*Groovy and funky imply the track should have some sort of &quot;swing&quot; feel, with plenty of syncopation or off beat emphasis and a recognizable, melodic bass line. 
*Sweet and happy mean upbeat melodies, a major key and avoiding harsh sounds.
*Moody - minor key

First, create a quick bass sound, which is basically a sine wave, but can be hand drawn for a little more variance. It could also work for the melody part, too.

This is usually a bass guitar or some kind of synthesizer bass. The bass line is often forgotten by inexperienced composers, but it plays an important role in a musical piece. Together with the rhythm section the bass line forms the groove of a song. It's the glue between the rhythm section and the melodic layer of a song.

The drums are just pink noise samples, played at different frequencies to get a slightly different sound for the kick, snare, and hihats.

Instruments that fall into the rhythm category are bass drums, snares, hi-hats, toms, cymbals, congas, tambourines, shakers, etc. Any percussive instrument can be used to form part of the rhythm section.

The lead is the instrument that plays the main melody, on top of the chords. There are many instruments that can play a lead section, like a guitar, a piano, a saxophone or a flute. The list is almost endless. There is a lot of overlap with instruments that play chords. Often in one piece an instrument serves both roles. The lead melody is often played at a higher pitch than the chords.

Listened back to what was produced so far, and a counter-melody can be imagined, which can be added with a triangle wave.

To give the ends of phrases some life, you can add a solo part with a crunchy synth. By hitting random notes in the key of G, then edited a few of them.

For the climax of the song, filled out the texture with a gentle high-pitch pad… …and a grungy bass synth.


The arrow at A points at the pattern order list. As you see, the patterns don't have to be in numerical order. This song starts with pattern &quot;00&quot;, then pattern &quot;02&quot;, then &quot;03&quot;, then &quot;01&quot;, etcetera. Patterns may be repeated throughout a song.

The B arrow points at the song title. Below it are the global BPM and speed parameters. These determine the tempo of the song, unless the tempo is altered through effect commands during the song.

The C arrow points at the list of instruments. An instrument may consist of multiple samples. Which sample will be played depends on the note. This can be set in the Instrument Editing screen. Most instruments will consist of just one sample, though. The sample list for the selected instrument can be found under arrow D.

Here's a part of the main editing screen. This is where you put in actual notes. Up to 32 channels can be used, meaning 32 sounds can play simultaneously. The first six channels of pattern &quot;03&quot; at order &quot;02&quot; are shown here. The arrow at A points at the row number. The B arrow points at the note to play, in this case a C4. The column pointed at by the C arrow tells us which instrument is associated with that note, in this case instrument #1 &quot;Kick&quot;.

The column at D is used (mainly) for volume commands. In this case it is left empty which means the instrument should play at its default volume. You can see the volume column being used in channel #6.

The E column tells us which effect to use and any parameters for that effect. In this case it holds the &quot;F&quot; effect, which is a tempo command. The &quot;04&quot; means it should play at tempo 4 (a smaller number means faster).

Base pattern

When I create a new track I start with what I call the base pattern. It is worthwhile to spend some time polishing it as a lot of the ideas in the base pattern will be copied and used in other patterns. At least, that's how I work. Every musician will have his own way of working. In &quot;Wild Bunnies&quot; the base pattern is pattern &quot;03&quot; at order &quot;02&quot;.

In the section about selecting samples I talked about the four different categories of instruments: drums, bass, chords and leads. That's also how I usually go about making the base pattern. I start by making a drum pattern, then add a bass line, place some chords and top it off with a lead. This forms the base pattern from which the rest of the song will grow.


Drums

Here's a screenshot of the first four rows of the base pattern. I usually reserve the first four channels or so for the drum instruments. Right away there are a couple of tricks shown here. In the first channel the kick, or bass drum, plays some notes. Note the alternating F04 and F02 commands. The &quot;F&quot; command alters the tempo of the song and by quickly alternating the tempo; the song will get some kind of &quot;swing&quot; feel.

In the second channel the closed hi-hat plays a fairly simple pattern. Further down in the channel, not shown here, some open hi-hat notes are added for a bit of variation.

In the third and fourth channel the snare sample plays. The &quot;8&quot; command is for panning. One note is panned hard to the left and the other hard to the right. One sample is played a semitone lower than the other. This results in a cool flanging effect. It makes the snare stand out a little more in the mix.


Bass line

There are two different instruments used for the bass line. Instrument #6 is a pretty standard synthesized bass sound. Instrument #A sounds a bit like a slap bass when used with a quick fade out. By using two different instruments the bass line sounds a bit more ”human”. The volume command is used to cut off the notes. However, it is never set to zero. Setting the volume to a very small value will result in a reverb-like effect. This makes the song sound more &quot;live&quot;.

The bass line hints at the chords that will be played and the key the song will be in. In this case the key of the song is D-major, a positive and happy key.


Chords

The D major chords that are being played here are chords stabs; short sounds with a quick decay (fade out). Two different instruments (#8 and #9) are used to form the chords. These instruments are quite similar, but have a slightly different sound, panning and volume decay. Again, the reason for this is to make the sound more human. The volume command is used on some chords to simulate a delay, to achieve more of a live feel. The chords are placed off-beat making for a funky rhythm.


Lead

Finally the lead melody is added. The other instruments are invaluable in holding the track together, but the lead melody is usually what catches people's attention.

A lot of notes and commands are used here, but it looks more complex than it is. A stepwise ascending melody plays in channel 13. Channel 14 and 15 copy this melody, but play it a few rows later at a lower volume. This creates an echo effect. A bit of panning is used on the notes to create some stereo depth. Like with the bass line, instead of cutting off notes the volume is set to low values for a reverb effect. The &quot;461&quot; effect adds a little vibrato to the note, which sounds nice on sustained notes.

Those paying close attention may notice the instrument used here for the lead melody is the same as the one used for the bass line (#6 &quot;Square&quot;), except played two or three octaves higher. This instrument is a looped square wave sample. Each type of wave has its own quirks, but the square wave (shown below) is a really versatile wave form.

Song structure

Good, catchy songs are often carefully structured into sections, some of which are repeated throughout the song with small variations.

A typical pop-song structure is: Intro - Verse - Chorus - Verse - Chorus - Bridge - Chorus.

Other single sectional song structures are

&lt;pre&gt;
Strophic or AAA Song Form - oldest story telling with refrain (often title of the song) repeated in every verse section melody 
AABA Song Form - early popular, jazz and gospel fading during the 1960s 
AB or Verse/Chorus Song Form - songwriting format of choice for modern popular music since the 1960s 
Verse/Chorus/Bridge Song Form
ABAB Song Form
ABAC Song Form
ABCD Song Form
AAB 12-Bar Song Form - three four-bar lines or sub-sections 
8-Bar Song Form
16-Bar Song Form
Hybrid / Compound Song Forms
&lt;/pre&gt;

The most common building blocks are:

#INTRODUCTION(INTRO)
#VERSE
#REFRAIN
#PRE-CHORUS / RISE / CLIMB
#CHORUS
#BRIDGE
#MIDDLE EIGHT
#SOLO / INSTRUMENTAL BREAK
#COLLISION
#CODA / OUTRO
#AD LIB (OFTEN IN CODA / OUTRO)

The chorus usually has more energy than the verse and often has a memorable melody line. As the chorus is repeated the most often during the song, it will be the part that people will remember.

The bridge often marks a change of direction in the song. It is not uncommon to change keys in the bridge, or at least to use a different chord sequence. The bridge is used to build up tension towards the big finale, the last repetition of chorus.


 Playing

RCTRL:                           Play song from row 0.

LSHIFT + RCTRL:                  Play song from current row.

RALT:                            Play pattern from row 0.

LSHIFT + RALT:                   Play pattern from current row.

Left mouse on '&gt;':               Play song from row 0.

Right mouse on '&gt;':              Play song from current row.

Left mouse on '|&gt;':              Play pattern from row 0.

Right mouse on '|&gt;':             Play pattern from current row.

Left mouse on 'Edit/Record':     Edit mode on/off.

Right mouse on 'Edit/Record':    Record mode on/off.


 Editing 


LSHIFT + ESCAPE:                 Switch large patterns view on/off

TAB:                    Go to next track

LSHIFT + TAB:                    Go to prev. track

LCTRL + TAB:                    Go to next note in track

LCTRL + LSHIFT + TAB:           Go to prev. note in track

SPACE:                           Toggle Edit mode On &amp; Off

(Also stop if the song is being played)

SHIFT SPACE:                     Toggle Record mode On &amp; Off

(Wait for a key note to be pressed

or a midi in message to be received)

DOWN ARROW:                      1 Line down

UP ARROW:                        1 Line up

LEFT ARROW:                      1 Row left

RIGHT ARROW:                     1 Row right

PREV. PAGE:                      16 Arrows Up

NEXT PAGE:                       16 Arrows Down

HOME / END:                      Top left / Bottom right of pattern

LCTRL + HOME / END:              First / last track

F5, F6, F7, F8, F9:              Jump to 0, 1/4, 2/4, 3/4, 4/4 lines of the patterns

+ - (Numeric keypad):           Next / Previous pattern

LCTRL + LEFT / RIGHT:           Next / Previous pattern

LCTRL + LALT + LEFT / RIGHT:    Next / Previous position

LALT + LEFT / RIGHT:           Next / Previous instrument

LSHIFT + M:                      Toggle mute state of the current channel

LCTRL + LSHIFT + M:             Solo the current track / Unmute all

LSHIFT + F1 to F11:              Select a tab/panel

LCTRL + 1 to 4:                 Select a copy buffer


 Tracking 

1st and 2nd keys rows:           Upper octave row

3rd and 4th keys rows:           Lower octave row

RSHIFT:                          Insert a note off

/ and * (Numeric keypad)

or F1 F2:                        -1 or +1 octave

INSERT / BACKSPACE:              Insert or Delete a line in current track

or current selected block.

LSHIFT + INSERT / BACKSPACE:     Insert or Delete a line in current pattern

DELETE (NOT BACKSPACE):          Empty a column or a selected block.


 Blocks

(Blocks can also be selected with the mouse by holding the right button and scrolling the pattern with the mouse wheel).


LCTRL + A:          Select entire current track

LCTRL + LSHIFT + A: Select entire current pattern

LALT + A:          Select entire column note in a track

LALT + LSHIFT + A: Select all notes of a track

LCTRL + X:          Cut the selected block and copy it into the block-buffer

LCTRL + C:          Copy the selected block into the block-buffer

LCTRL + V:          Paste the data from the block buffer into the pattern

LCTRL + I:          Interpolate selected data from the first to the last row of a selection

LSHIFT + ARROWS

PREV. PAGE

NEXT PAGE: Select a block

LCTRL + R:          Randomize the select columns of a selection, works similar to CTRL + I (interpolating them)

LCTRL + U:          Transpose the note of a selection to 1 seminote higher

LCTRL + D:          Transpose the note of a selection to 1 seminote lower

LCTRL + LSHIFT + U: Transpose the note of a selection to 1 seminote higher (only for the current instrument)

LCTRL + LSHIFT + D: Transpose the note of a selection to 1 seminote lower  (only for the current instrument)

LCTRL + H:          Transpose the note of a selection to 1 octave higher

LCTRL + L:          Transpose the note of a selection to 1 octave lower

LCTRL + LSHIFT + H: Transpose the note of a selection to 1 octave higher (only for the current instrument)

LCTRL + LSHIFT + L: Transpose the note of a selection to 1 octave lower (only for the current instrument)

LCTRL + W:          Save the current selection into a file


 Misc 


LALT + ENTER:     Switch between full screen / windowed mode

LALT + F4:        Exit program (Windows only)

LCTRL + S:         Save current module

LSHIFT + S:         Switch top right panel to synths list

LSHIFT + I:         Switch top right panel to instruments list


&lt;pre&gt;
C-x   xh xx xx hhhh             Volume 
B-x   xh xx xx hhhh             Jump to 
A#x  xh xx xx hhhh hhhh   Slide 
F-x    xh xx xx hhhh            Tempo 
D-x   xh xx xx hhhh             Pattern Break 
G#x  xh xx xx hhhh
&lt;/pre&gt;

h Hex 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13

d Dec 01 02 03 04 05 06 07 08 09 10  11 12 13 14 15 16 17 18 19

The Set Volume command: C. Input a note, then move the cursor to the effects command column and type a C. Play the pattern, and you shouldn't be able to hear the note you placed the C by. This is because the effect parameters are 00. Change the two zeros to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the pattern again, and the note should come in at full volume.

The Position Jump command next. This is just a B followed by the position in the playing list that you want to jump to. One thing to remember is that the playing list always starts at 0, not 1. This command is usually in Hex.

Onto the volume slide command: A. This is slightly more complex (much more if you're using a newer tracker, if you want to achieve the results here, then set slides to Amiga, not linear), due to the fact it depends on the secondary tempo. For now set a secondary tempo of 06 (you can play around later), load a long or looped sample and input a note or two. A few rows after a note type in the effect command A. For the parameters use 0F. Play back the pattern, and you should notice that when the effect kicks in, the sample drops to a very low volume very quickly. Change the effect parameters to F0, and use a low volume command on the note. Play back the pattern, and when the slide kicks in the volume of the note should increase very quickly.
This because each part of the effect parameters for command A does a different thing. The first number slides the volume up, and the second slides it down. It's not recommended that you use both a volume up and volume down at the same time, due to the fact the tracker only looks for the first number that isn't set to 0. If you specify parameters of 8F, the tracker will see the 8, ignore the F, and slide the volume up. Using a slide up and down at same time just makes you look stupid. Don't do it...

The Set Tempo command: F, is pretty easy to understand. You simply specify the BPM (in Hex) that you want to change to. One important thing to note is that values of lower than 20 (Hex) sets the secondary tempo rather than the primary.

Another useful command is the Pattern Break: D. This will stop the playing of the current pattern and skip to the next one in the playing list. By using parameters of more than 00 you can also specify which line to begin playing from.

Command 3 is Portamento to Note. This slides the currently playing note to another note, at a specified speed. The slide then stops when it reaches the desired note. 
&lt;pre&gt;
   C-2 1 000 - Starts the note playing
   ---      000
   C-3    330 - Starts the slide to C-3 at a speed of 30.
   ---     300 - Continues the slide
   ---     300 - Continues the slide
&lt;/pre&gt;
Once the parameters have been set, the command can be input again without any parameters, and it'll still perform the same function unless you change the parameters. This memory function allows certain commands to function correctly, such as command 5, which is the Portamento to Note and Volume Slide command. Once command 3 has been set up command 5 will simply take the parameters from that and perform a Portamento to Note. Any parameters set up for command 5 itself simply perform a Volume Slide identical to command A at the same time as the Portamento to Note.

This memory function will only operate in the same channel where the original parameters were set up.
There are various other commands which perform two functions at once. They will be described as we come across them.

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  00

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  02

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  05

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  08

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0A

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0D

C-3  04  ..  ..  09  10 ---&gt; C-3  04  ..  ..  09  10

(You can also switch on the Slider Rec to On, and perform parameter-live-recording, such as cutoff transitions, resonance or panning tweaking, etc..)  Note: this command only works for volume/panning and fx datas columns.


The next command we'll look at is the Portamento up/down: 1 and 2. Command 1 slides the pitch up at a specified speed, and 2 slides it down. This command works in a similar way to the volume slide, in that it is dependent on the secondary tempo. Both these commands have a memory dependent on each other, if you set the slide to a speed of 3 with the 1 command, a 2 command with no parameters will use the speed of 3 from the 1 command, and vice versa.

Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just try it, and you'll see what I mean. Parameters are in the format of xy, where x is the speed of the slide, and y is the depth of the slide. One important point to remember is to keep your vibratos subtle and natural so a depth of 3 or less and a reasonably fast speed, around 8, is usually used. Setting the depth too high can make the part sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and Volume Slide command, and it has a memory like command 5, which you already know how to use.

Command 7 is Tremolo. This is similar to vibrato. Rather than changing the pitch it slides the volume. The effect parameters are in exactly the same format.   vibrato effect (0x1dxy) x = speed y = depth (can't be used if arpeggio (0x1b) is turned on) 

&lt;pre&gt;
 C-7 00 .. .. 1B37 &lt;-  Turn Arpeggio effect on
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B38 &lt;- Change datas
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B00 &lt;- Turn it off
&lt;/pre&gt;

Command 9 is Sample Offset. This starts the playback of the sample from a different place than the start. The effect parameters specify the sample offset, but only very roughly. Say you have a sample which is 8765(Hex) bytes long, and you wanted it to play from position 4321(Hex). The effect parameter could only be as accurate as the 43 part, and it would ignore the 21.

Command B is the Playing List/Order Jump command. The parameters specify the position in the Playing List/Order to jump to. When used in conjunction with command D you can specify the position and the line to play from.

Command E is pretty complex, as it is used for a lot of different things, depending on what the first parameter is. Let's take a trip through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a low pass filter, cuts off the highest frequencies being played back. There are very few players and trackers on other system that simulate this function, not that you should need to use it. The second parameter, if set to 1, turns on the filter. If set to 0, the filter gets turned off.

Commands E1/E2 are Fine Portamento Up/Down. Exactly the same functions as commands 1/2, except that they only slide the pitch by a very small amount. These commands have a memory the same as 1/2 as well.

Command E3 sets the Glissando control. If parameters are set to 1 then when using command 3, any sliding will only use the notes in between the original note and the note being slid to. This produces a somewhat jumpier slide than usual. The best way to understand is to try it out for yourself. Produce a slow slide with command 3, listen to it, and then try using E31.

Command E4 is the Set Vibrato Waveform control. This command controls how the vibrato command slides the pitch. Parameters are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to the parameters, the waveform will not be restarted when a new note is played e.g. 5 - Sine without restart.

Command E5 sets the Fine Tune of the instrument being played, but only for the particular note being played. It will override the default Fine Tune for the instrument. The parameters range from 0 to F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives no Fine Tune. If you're using a newer tracker that supports more than -8 to +8 e.g. -128 to +128, these parameters will give a rough Fine Tune, accurate to the nearest 16.

Command E6 is the Jump Loop command. You mark the beginning of the part of a pattern that you want to loop with E60, and then specify with E6x the end of the loop, where x is the number of times you want it to loop.

Command E7 is the Set Tremolo Waveform control. This has exactly the same parameters as command E4, except that it works for Tremolo rather than Vibrato.

Command E9 is for Retriggering the note quickly. The parameter specifies the interval between the retrigs. Use a value of less than the current secondary tempo, or else the note will not get retrigged.

Command EA/B are for Fine Volume Slide Up/Down. Much the same as the normal Volume Slides, except that these are easier to control since they don't depend on the secondary tempo. The parameters specify the amount to slide by e.g. if you have a sample playing at a volume of 08 (Hex) then the effect EA1 will slide this volume to 09 (Hex). A subsequent effect of EB4 would slide this volume down to 05 (Hex).

Command EC is the Note Cut. This sets the volume of the currently playing note to 0 at a specified tick. The parameters should be lower than the secondary tempo or else the effect won't work.

Command ED is the Note Delay. This should be used at the same time as a note is to be played, and the parameters will specify the number of ticks to delay playing the note. Again, keep the parameters lower than the secondary tempo, or the note won't get played!

Command EE is the Pattern Delay. This delays the pattern for the amount of time it would take to play a certain number of rows. The parameters specify how many rows to delay for.

Command EF is the Funk Repeat command. Set the sample loop to 0-1000. When EFx is used, the loop will be moved to 1000- 2000, then to 2000-3000 etc. After 9000-10000 the loop is set back to 0- 1000. The speed of the loop &quot;movement&quot; is defined by x. E is two times as slow as F, D is three times as slow as F etc. EF0 will turn the Funk Repeat off and reset the loop (to 0-1000).

effects 0x41 and 0x42 to control the volumes of the 2 303 units

There is a dedicated panel for synth parameter editing with coherent sections (osc, filter modulation, routing, so on) the interface is much nicer, much better to navigate with customizable colors, the reverb is now customizable (10 delay lines), It accepts newer types of Waves (higher bit rates, at least 24). Has a replay routine.

It's pretty much your basic VA synth. The problem isn't with the sampler being to high it's the synth is tuned two octaves too low, but if you want your samples tuned down just set the base note down 2 octaves (in the instrument panel).

so the synth is basically divided into 3 sections from left to right: oscillators/envelopes, then filter and LFO's, and in the right column you have mod routings and global settings.

for the oscillator section you have two normal oscillators (sine, saw, square, noise), the second of which is tunable, the first one tunes with the key pressed. Attached to OSC 1 is a sub-oscillator, which is a sawtooth wave tuned one octave down. The phase modulation controls the point in the duty cycle at which the oscillator starts. The ADSR envelope sliders (grouped with oscs) are for modulation envelope 1 and 2 respectively. you can use the synth as a sampler by choosing the instrument at the top.

In the filter column, the filter settings are: 1 = lowpass, 2 = highpass, 3 = off. cutoff and resonance. For the LFOs they are LFO 1 and LFO 2, the ADSR sliders in those are for the LFO itself.

For the modulation routings you have ENV 1, LFO 1 for the first slider and ENV 2, LFO 2 for the second, you can cycle through the individual routings there, and you can route each modulation source to multiple destinations of course, which is another big plus for this synth. Finally the glide time is for portamento and master volume, well, the master volume... it can go quite loud.

The sequencer is changed too, It's more like the one in AXS if you've used that, where you can mute tracks to re-use patterns with variation.


&lt;pre&gt;
Support for the following modules formats:
669 (Composer 669, Unis 669), 
AMF (DSMI Advanced Module Format), 
AMF (ASYLUM Music Format V1.0), 
APUN (APlayer), DSM (DSIK internal format), 
FAR (Farandole Composer), 
GDM (General DigiMusic), 
IT (Impulse Tracker), 
IMF (Imago Orpheus), 
MOD (15 and 31 instruments), 
MED (OctaMED), 
MTM (MultiTracker Module editor), 
OKT (Amiga Oktalyzer), 
S3M (Scream Tracker 3), 
STM (Scream Tracker), 
STX (Scream Tracker Music Interface Kit), 
ULT (UltraTracker), 
UNI (MikMod), 
XM (FastTracker 2),
Mid (midi format via timidity)
&lt;/pre&gt;


Possible plugin options include [http://lv2plug.in/ LV2],


====Midi - Musical Instrument Digital Interface====

A midi file typically contains music that plays on up to 16 channels (as per the midi standard), but many notes can simultaneously play on each channel (depending on the limit of the midi hardware playing it).

'''Timidity'''

Although usually already installed, you can uncompress the [http://www.libsdl.org/projects/SDL_mixer/ timidity.tar.gz (14MB)] into a suitable drawer like below's SYS:Extras/Audio/ 
 assign timidity: SYS:Extras/Audio/timidity
added to SYSːs/User-Startup

'''WildMidi playback'''


'''Audio Evolution 4 (2003) 4.0.23 (from 2012)'''


*Sync Menu    - CAMD Receive, Send checked 
*Options Menu - MIDI Machine Control - Midi Bar Display - Select CAMD MIDI in / out - Midi Remote Setup 


MCB Master Control Bus 
*Sending a MIDI start-command and a Song Position Pointer, you can synchronize audio with an external MIDI sequencer (like B&amp;P). 
*B&amp;P Receive, start AE, add AudioEvolution.ptool in Bars&amp;Pipes track, press play / record in AE then press play in Pipes 
*CAMD Receive, receive MIDI start or continue commands via camd.library sync to AE 


*MIDI Machine Control
*Midi Bar Display 
*Select CAMD MIDI in / out
*Midi Remote Setup - open requester for external MIDI controllers to control app mixer and transport controls cc remotely 
 Channel   - mixer(vol, pan, mute, solo), eq, aux, fx, 
 Subgroup  - Volume, Mute, Solo 
 Transport - Start, End, Play, Stop, Record, Rewind, Forward 
 Misc      - Master vol., Bank Down, Bank up 


&lt;pre&gt;
q        - quit 

First 3 already opened when AE started 
F1       - timeline window
F2       - mixer 
F3       - control 
F4       - subgroups 
F5       - aux returns 
F6       - sample list 

i        - Load sample to use 

space    - start/stop play 
b        - reset time 0:00


s        - split mode 
r        - open recording window 
a        - automation edit mode with p panning, m mute and v volume 


[ / ]    - zoom in / out 
:        - previous track
*        - next track 

x c v f  - cut copy paste cross-fade 
g        - snap grid 


&lt;/pre&gt;


 '''[http://bnp.hansfaust.de/ Bars n Pipes sequencer]'''

 BarsnPipes debug ... in shell 

Menu (right mouse)  
*Song        - Songs load and save in .song format but option here to load/save Midi_Files .mid in FORMAT0 or FORMAT1 
*Track       - 
*Edit        -
*Tool        - 
*Timing      - SMTPE Synchronizing 
*Windows     - 
*Preferences - Multiple MIDI-in option 

Windows (some of these are usually already opened when Bars n Pipes starts up for the first time) 
*Workflow -&gt; Tracks, .... Song Construction, Time-line Scoring, Media Madness, Mix Maestro, 
*Control  -&gt; Transport (or mini one), Windows (which collects all the Windows icons together-shortcut), .... Toolbox, Accessories, Metronome, 

Once you have your windows placed on the screen that suits your workflow, Song -&gt; Save as Default will save the positions, colors, icons, etc as you'd like them 

If you need a particular setup of Tracks, Tools, Tempos etc, you save them all as a new song you can load each time 

Right mouse menu -&gt; Preferences -&gt; Environment... -&gt; ScreenMode  - Linkages for Synch (to Slave) usbmidi.out.0 and Send (Master) usbmidi.in.0 - Clock MTC 


'''Tracks'''

#Double-click on B&amp;P's icon. B&amp;P will then open with an empty Song. You can also double-click on a song icon to open a song in B&amp;P.
#Choose a track. The B&amp;P screen will contain a Tracks Window with a number of tracks shown as pipelines (Track 1, Track 2, etc...). To choose a track, simply click on the gray box to show an arrow-icon to highlight it. This icon show whether a track is chosen or not. To the right of the arrow-icon, you can see the icon for the midi-input. If you double-click on this icon you can change the MIDI-in setup.
#Choose Record for the track. To the right of the MIDI-input channel icon you can see a pipe. This leads to another clickable icon with that shows either P, R or M. This stands for Play, Record or Merge. To change the icon, simply click on it. If you choose P, this track can only play the track (you can't record anything). If you choose R, you can record what you play and it overwrites old stuff in the track. If you choose M, you merge new records with old stuff in the track. Choose R now to be able to make a record.
#Chose MIDI-channel. On the most right part of the track you can see an icon with a number in it. This is the MIDI-channel selector. Here you must choose a MIDI-channel that is available on your synthesizer/keyboard. If you choose General MIDI channel 10, most synthesizer will play drum sounds. To the left of this icon is the MIDI-output icon. Double-click on this icon to change the MIDI-output configuration.
#Start recording. The next step is to start recording. You must then find the control buttons (they look like buttons on a CD-player). To be able to make a record. you must click on the R icon. You can simply now press the play button (after you have pressed the R button) and play something on you keyboard. To playback your composition, press the Play button on the control panel.
#Edit track. To edit a track, you simply double click in the middle part of a track. You will then get a new window containing the track, where you can change what you have recorded using tools provided. Take also a look in the drop-down menus for more features.


Videos to help understand [https://www.youtube.com/watch?v=A6gVTX-9900 small intro], [https://www.youtube.com/watch?v=abq_rUTiSA4&amp;t=3s Overview], [https://www.youtube.com/watch?v=ixOVutKsYQo Workplace Setup CC PC Sysex], [https://www.youtube.com/watch?v=dDnJLYPaZTs Import Song], [https://www.youtube.com/watch?v=BC3kkzPLkv4 Tempo Mapping], [https://www.youtube.com/watch?v=sd23kqMYPDs ptool Arpeggi-8], [https://www.youtube.com/watch?v=LDJq-YxgwQg  PlayMidi Song], [https://www.youtube.com/watch?v=DY9Pu5P9TaU Amiga Midi], [https://www.youtube.com/watch?v=abq_rUTiSA4 Learning Amiga bars and Pipes], 

Groups like [https://groups.io/g/barsnpipes/topics this] could help 


'''Tracks window'''

* blue &quot;1 2 3 4 5 6 7 8 Group&quot; and transport tape deck VCR-type controls
* Flags 
* [http://theproblem.alco-rhythm.com/org/bp.html Track 1, Track2, to Track 16, on each Track there are many options that can be activated] 

Each Track has a 

*Left LHS  - Click in grey box to select what Track to work on, Midi-In ptool icon should be here (5pin plug icon), and many more from the Toolbox on the Input Pipeline 
*Middle    - (P, R, M) Play, Record, Merge/Multi before the sequencer line and a blue/red/yellow (Thru Mute Play) Tap 
*Right RHS - Output pipeline, can have icons placed uopn it with the final ptool icon(s) being the 5pin icon symbol for Midi-OUT 

Clogged pipelines may need Esc pressed several times 


'''Toolbox (tools affect the chosen pipeline)'''

After opening the Toolbox window you can add extra Tools (.ptool) for the pipelines like keyboard(virtual), midimonitor, quick patch, transpose, triad, (un)quantize, feedback in/out, velocity etc
 right mouse -&gt; Toolbox menu option -&gt; Install Tool... and navigate to Tool drawer (folder) and select requried .ptool 

Accompany B tool to get some sort of rythmic accompaniment, Rythm Section and Groove Quantize are examples of other tools that make use of rythms
[https://aminet.net/search?query=bars Bars &amp; Pipes pattern format .ptrn] for drawer (folder). Load from the Menu as Track or Group 


'''Accessories (affect the whole app)''' 

Accessories -&gt; Install... and goto the Accessories drawer for .paccess like adding ARexx scripting support 


'''Song Construction'''
&lt;pre&gt;
F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Duplicator 
F5  Eraser 
F6  Toolpad 
F7  Bounding box 
F8  Lock to A-B-A 

A-B-A strip, section, edit flags, white boxes, 

&lt;/pre&gt;


Bars&amp;Pipes Professional offers three track formats; basic song tracks, linear tracks — which don't loop — and finally real‑time tracks. The difference between them is that both song and linear tracks respond to tempo changes, while real‑time tracks use absolute timing, always trigger at the same instant regardless of tempo alterations 

'''Tempo Map'''

F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Eraser 
F5  Curve 
F6  Toolpad 


Compositions

Lyrics, Key, Rhythm, Time Signature 

'''Master Parameters'''

Key, Scale/Mode

'''Track Parameters'''

Dynamics 


'''Time-line Scoring'''


'''Media Madness'''


'''Mix Maestro'''


*ACCESSORIES         Allows the importation of other packages and additional modules 
*CLIPBOARD           Full cut, copy and paste operations, enabling user‑definable clips to be shared between tracks.
*INFORMATION         A complete rundown on the state of the current production and your machine.
*MASTER PARAMETERS   Enables global definition of time signatures, lyrics, scales, chords, dynamics and rhythm changes.
*MEDIA MADNESS       A complete multimedia sequencer which allows samples, stills, animation, etc 
*METRONOME           Tempo feedback via MIDI, internal Amiga audio and colour cycling — all three can be mixed and matched as required.
*MIX MAESTRO         Completely automated mixdown with control for both volume and pan. All fader alterations are memorised by the software 
*RECORD ACTIVATION   Complete specification of the data to be recorded/merged. Allows overdubbing of pitch‑bend, program changes, modulation etc
*SET FLAGS           Numeric positioning of location and edit flags in either SMPTE or musical time 
*SONG CONSTRUCTION   Large‑scale cut and paste of individual measures, verses or chorus, by means of bounding box and drag‑n‑drop mouse selections
*TEMPO MAP           Tempo change using a variety of linear and non‑linear transition curves 
*TEMPO PALETTE       Instant tempo changes courtesy of four user‑definable settings.
*TIMELINE SCORING    Sequencing of a selection of songs over a defined period — ideal for planning an entire set for a live performance.
*TOOLBOX             Selection screen for the hundreds of signal‑processing tools available 
*TRACKS              Opens the main track window to enable recording, editing and the use of tools.
*TRANSPORT           Main playback control window, which also provides access to user‑ defined flags, loop and punch‑in record modes.


Bars and Pipes Pro 2.5 is using internal 4-Byte IDs, to check which kind of data are currently processed.
Especially in all its files the IDs play an important role. The IDs are stored into the file in the same order they are laid out in the memory.

In a Bars 'N' Pipes file (no matter which kind) the ID &quot;NAME&quot; (saved as its ANSI-values) is stored on a big endian system (68k-computer) as &quot;NAME&quot;. On a little endian system (x86 PC computer) as &quot;EMAN&quot;.  The target is to make the AROS-BnP compatible to songs, which were stored on a 68k computer (AMIGA).

If possible, setting MIDI channels for Local Control for your keyboard 

http://www.fromwithin.com/liquidmidi/archive.shtml


MIDI files are essentially a stream of event data. An event can be many things, but typically &quot;note on&quot;, &quot;note off&quot;, &quot;program change&quot;, &quot;controller change&quot;, or messages that instruct a MIDI compatible synth how to play a given bit of music.

* Channel     - 1 to 16 -
* Messages    - PC presets, CC effects like delays, reverbs,  etc 
* Sequencing  - MIDI instruments, Drums, Sound design, 
* Recording   - 
* GUI         - Piano roll or Tracker, Staves and Notes 

MIDI events/messages like step entry e.g. Note On, Note Off 

MIDI events/messages like PB, PC, CC, Mono and Poly After-Touch, Sysex, etc 

MIDI sync - Midi Clocks (SPS Measures), Midi Time Code (h, m, s and frames) SMPTE 

Individual track editing with audition edits so easier to test any changes. Possible to stop track playback, mix clips from the right edit flag and scroll the display using arrow keys. 

Step entry, to extend a selected note hit the space bar and the note grows accordingly. Ability to cancel mouse‑driven edits by simply clicking the right mouse button — at which point everything snaps back into its original form. Lyrics can now be put in with syllable dividers, even across an entire measure or section. Autoranging when you open a edit window, the notes are automatically displayed — working from the lowest upwards. 

Flag editing, shift‑click on a flag immediately open the bounds window, ready for numeric input. Ability to cancel edits using the right‑hand mouse button, plus much improved Bounding Box operations.

Icons other than the BarsnPipes icon -&gt; PUBSCREEN=BarsnPipes (cannot choose modes higher than 8bit 256 colors)

Preferences -&gt; Menu in Tracks window - Send MIDI defaults OFF 

Prefs -&gt; Environment -&gt; screenmode (saved to BarsnPipes.prefs binary file) 

Customization -&gt; pics in gui drawer (folder) - 


Can save as .song files and .mid General Midi 

SMF is a “Standard Midi File”  ([http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html SMF0, SMF1 and SMF2]), [https://github.com/stump/libsmf libsmf], [https://github.com/markc/midicomp MIDIcomp], [https://github.com/MajicDesigns/MD_MIDIFile C++ src], [], [https://github.com/newdigate/midi-smf-reader Midi player], 

* SMF0        All MIDI data is stored in one track only, separated exclusively by the MIDI channel.
* SMF1        The MIDI data is stored in separate tracks/channels.
* SMF2 (rarely used) The MIDI data is stored in separate tracks, which are additionally wrapped in containers, so it's possible to have e.g. several tracks using the same MIDI channels.


Would it be possible to enrich Bars N’Pipes with software synth and sample support along with audio recording and mastering tools like in the named MAC or PC music sequencers?
On the classic AMIGA-OS this is not possible because of missing CPU-power. The hardware of the classic AMIGA is not further developed. So we must say (unfortunately) that those dreams can’t become reality

BarsnPipes is best used with external MIDI-equipment. This can be a keyboard or synthesizer with MIDI-connectors. 

&lt;pre&gt;
MIDI can control 16 channels 
There are USB-MIDI-Interfaces on the market with 16 independent MIDI-lines (multi-port), which can handle 16 MIDI devices independently – 16×16 = 256 independent MIDI-channels or instruments 
handle up to 16 different USB-MIDI-Interfaces (multi-device). That is: 16X16X16 = 4096 independent MIDI-channels – theoretically 
&lt;/pre&gt;

&lt;pre&gt;
Librarian MIDI SYStem EXplorer (sysex) - PatchEditor and used to be supplied as a separate program like PatchMeister but currently not at present 
It should support MIDI.library (PD), BlueRibbon.library (B&amp;P), TriplePlayPlus, and CAMD.library (DeluxeMusic) and 
MIDI information from a device's user manual and configure a custom interface to access parameters for all MIDI products connected to the system 
Supports ALL MIDI events and the Patch/Librarian data is stored in MIDI standard format 
Annette M.Crowling, Missing Link Software, Inc.
&lt;/pre&gt;


Composers
&lt;pre&gt;
[https://x.com/hirasawa/status/1403686519899054086 Susumu Hirasawa] 

&lt;/pre&gt;


&lt;pre&gt;
1988 Todor Fay and his wife Melissa Jordan Gray, who founded the Blue Ribbon Inc
1992 Bars&amp;Pipes Pro published 
November 2000, Todor Fay announcement to release the sourcecode of Bars&amp;Pipes Pro 2.5c beta
end of May 2001, the source of the main program and the sources of some tools and accessories were in a complete and compileable state 
end of October 2009 stop further development of BarsnPipes New for now on all supported systems and made freeware 
2013 Alfred Faust diagnosed with incureable illness, called „Myastenia gravis“ (weak muscles) 
&lt;/pre&gt;


 Protrekkr

How to use Midi In/Out in Protrekkr ?

First of all, midi in &amp; out capabilities of this program are rather limited.

# Go to Misc. Setup section and select a midi in or out device to use (ptk only supports one device at a time).
# Go to instrument section, and select a MIDI PRG (the default is N/A, which means no midi program selected).
# Go to track section and here you can assign a midi channel to each track of ptk.
# Play notes :]. Note off works. F'x' note cut command also works too, and note-volume command (speed) is supported.

Also, you can change midicontrollers in the tracker, using '90' in the panning row:

&lt;pre&gt;
    C-3 02 .. .. 0000....


    --- .. .. 90 xxyy.... &lt;&lt; This will set the value 
    --- .. .. .. 0000....    of the controller n.'xx' to 'yy' (both in hex)
    --- .. .. .. 0000....
&lt;/pre&gt;

So &quot;--- .. .. 90 2040....&quot; will set the controller number $20(32) to $40(64).

You will need the midi implementation table of your gear to know what you can change with midi controller messages.

 N.B. Not all MIDI devices are created equal!

Although the MIDI specification defines a large range of MIDI messages of various kinds, not every MIDI device is required to work in exactly the same way and respond to all the available messages and ways of working. For example, we don't expect a wind synthesiser to work in the same way as a home keyboard.

Some devices, the older ones perhaps, are only able to respond to a single channel. With some of those devices that channel can be altered from the default of 1 (probably) to another channel of the 16 possible.

Other devices, for instance monophonic synthesisers, are capable of producing just one note at a time, on one MIDI channel. Others can produce many notes spread across many channels.

Further devices can respond to, and transmit, &quot;breath controller&quot; data (MIDI controller number 2 (CC#2)) others may respond to the reception of CC#2 but not be able to create and to send it.

A controller keyboard may be capable of sending &quot;expression pedal&quot; data, but another device may not be capable of responding to that message.

Some devices just have the basic GM sound set. The &quot;voice&quot; or &quot;instrument&quot; is selected using a &quot;Program Change&quot; message on its own.

Other devices have a greater selection of voices, usually arranged in &quot;banks&quot;, and the choice of instrument is made by responding to &quot;Bank Select MSB&quot; (MIDI controller 0 (CC#0)), others use &quot;Bank Select LSB&quot; (MIDI controller number 32 (CC#32)), yet others use both MSB and LSB sent one after the other, all followed by the Program Change message. The detailed information about all the different voices will usually be available in a published MIDI Data List.


 MIDI Implementation Chart

But in the User Manual there is sometimes a summary of how the device works, in terms of MIDI, in the chart at the back of the manual, the MIDI Implementation Chart.

If you require two devices to work together you can compare the two implementation charts to see if they are &quot;compatible&quot;. In order to do this we will need to interpret that chart.

The chart is divided into four columns headed &quot;Function&quot;, &quot;Transmitted&quot; (or &quot;Tx&quot;), &quot;Received&quot; (or &quot;Rx&quot;), or more correctly &quot;Recognised&quot;, and finally, &quot;Remarks&quot;.

&lt;pre&gt;
The left hand column defines which MIDI functions are being described.
The 2nd column defines what the device in question is capable of transmitting to another device.
The 3rd column defines what the device is capable of responding to.
The 4th column is for explanations of the values contained within these previous two columns.
&lt;/pre&gt;

There should then be twelve sections, with possibly a thirteenth containing extra &quot;Notes&quot;. Finally there should be an explanation of the four MIDI &quot;modes&quot; and what the &quot;X&quot; and the &quot;O&quot; mean.
&lt;pre&gt;
Mode 1: Omni On, Poly; 
Mode 2: Omni On, Mono; 
Mode 3: Omni Off, Poly; 
Mode 4: Omni Off, Mono.
&lt;/pre&gt;
O means &quot;yes&quot; (implemented), X means &quot;no&quot; (not implemented).

Sometimes you will find a row of asterisks &quot;**************&quot;, these seem to indicate that the data is not applicable in this case. Seen in the transmitted field only (unless you've seen otherwise).

Lastly you may find against some entries an asterisk followed by a number e.g. *1, these will refer you to further information, often on a following page, giving more detail.

Basic Channel
But the very first set of boxes will tell us the &quot;Basic Channel(s)&quot; that the device sends or receives on. 
&quot;Default&quot; is what happens when the device is first turned on, &quot;changed&quot; is what a switch of some kind may allow the device to be set to. 
For many devices e.g. a GM sound module or a home keyboard, this would be 1-16 for both. That is it can handle sending and receiving on all MIDI channels.

On other devices, for example a synthesiser, it may by default only work on channel 1. But the keyboard could be &quot;split&quot; with the lower notes e.g. on channel 2. If the synth has an arppegiator, this may be able to be set to transmit and or receive on yet another channel.
So we might see the default as &quot;1&quot; but the changed as &quot;1-16&quot;.

Modes.
We need to understand Omni On and Off, and Mono and Poly, then we can decipher the four modes.

But first we need to understand that any of these four Mode messages can be sent to any MIDI channel. They don't necessarily apply to the whole device.

If we send an &quot;Omni On&quot; message (CC#125) to a MIDI channel of a device, we are, in effect, asking it to respond to e.g. a Note On / Off message pair, received on any of the sixteen channels. Sound strange? Read it again. Still strange? It certainly is. We normally want a MIDI channel to respond only to Note On / Off messages sent on that channel, not any other. In other words, &quot;Omni Off&quot;.

So &quot;Omni Off&quot; (CC#124) tells a channel of our MIDI device to respond only to messages sent on that MIDI channel.

&quot;Poly&quot; (CC#127) is for e.g. a channel of a polyphonic sound module, or a home keyboard, to be able to respond to many simultaneous Note On / Off message pairs at once and produce musical chords.

&quot;Mono&quot; (CC#126) allows us to set a channel to respond as if it were e.g. a flute or a trumpet, playing just one note at a time. If the device is capable of it, then the overlapping of notes will produce legato playing, that is the attack portion of the second note of two overlapping notes will be removed resulting in a &quot;smoother&quot; transition.

So a channel with a piano voice assigned to it will have Omni Off, Poly On (Mode 3), a channel with a saxophone voice assigned could be Omni Off, Mono On (Mode 4).

We call these combinations the four modes, 1 to 4, as defined above. 
Most modern devices will have their channels set to Mode 3 (Omni Off, Poly) but be switchable, on a per channel basis, to Mode 4 (Omni Off, Mono).

This second section of data will include first its default value i.e. upon device switch on. Then what Mode messages are acceptable, or X if none.

Finally, in the &quot;Altered&quot; field, how a Mode message that can't be implemented will be interpreted. Usually there will just be a row of asterisks effectively meaning nothing will be done if you try to switch to an unimplemented mode.

Note Number
&lt;pre&gt;
The next row will tell us which MIDI notes the device can send or receive, normally 0-127.
The second line, &quot;True Voice&quot; has the following in the MIDI specification: 
&quot;Range of received note numbers falling within the range of true notes produced by the instrument.&quot;
My interpretation is that, for instance, a MIDI piano may be capable of sending all MIDI notes (0 to 127) by transposition, but only responding to the 88 notes (21 to 108) of a real piano. 
&lt;/pre&gt;

Velocity
This will tell us whether the device we're looking at will handle note velocity, and what range from 1-127, or maybe just 64, it transmits or will recognise. So usually &quot;O&quot; plus a range or &quot;X&quot; for not implemented.

After touch
This may have one or two lines two it.
If a one liner the either &quot;O&quot; or &quot;X&quot;, yes or no.
If a two liner then it may include &quot;Keys&quot; or &quot;Poly&quot; and &quot;Channel&quot;.
This will show whether the device will respond to Polyphonic after touch or channel after touch or neither.

Pitch Bend
Again &quot;O&quot; for implemented, &quot;X&quot; for not implemented.
(Many stage pianos will have no pitch bend capability.)
It may also, in the notes section, state whether it will respond to the full 14 bits, or not, as usually encoded by the pitch bend wheel.

Control Change
This is likely to be the largest section of the chart.
It will list all those controllers, starting from CC#0, Bank Select MSB, which the device is capable of sending, and those that it will respond to using &quot;O&quot; or &quot;X&quot; respectively.
You will, almost certainly, get some further explanation of functionality in the remarks column, or in more detail elsewhere in the documentation.

Of course you will need to know what all the various controller numbers do. Lots of the official technical specifications can be found at the [www.midi.org/techspecs/ MMA], with the table of messages and control change [www.midi.org/techspecs/midimessages.php message numbers]

Program Change
Again &quot;O&quot; or &quot;X&quot; in the Transmitted or Recognised column to indicate whether or not the feature is implemented. In addition a range of numbers is shown, typically 0-127, to show what is available.
True # (number): &quot;The range of the program change numbers which correspond to the actual number of patches selected.&quot;

System Exclusive
Used to indicate whether or not the device can send or recognise System Exclusive messages. A short description is often given in the Remarks field followed by a detailed explanation elsewhere in the documentation.

System Common - These include the following:
&lt;pre&gt;
MIDI Time Code Quarter Frame messages (device synchronisation).
Song Position Pointer
Song Select
Tune Request
&lt;/pre&gt;
The section will indicate whether or not the device can send or respond to any of these messages.

System Real Time
These include the following:
&lt;pre&gt;
Timing Clock - often just written as &quot;Clock&quot;
Start
Stop
Continue
&lt;/pre&gt;
These three are usually just referred to as &quot;Commands&quot; and listed.
Again the section will indicate which, if any, of these messages the device can send or respond to.
&lt;pre&gt;
Aux. Messages
Again &quot;O&quot; or &quot;X&quot; for implemented or not.
Aux. = Auxiliary.
Active Sense = Active Sensing.
&lt;/pre&gt;
Often with an explanation of the action of the device.

Notes
The &quot;Notes&quot; section can contain any additional comments to clarify the particular implementation.

Some of the explanations have been drawn directly from the MMA MIDI 1.0 Detailed Specification.
And the detailed explanation of some of the functions will be found there, or in the General MIDI System Level 1 or General MIDI System Level 2 documents also published by the MMA.


 OFFICIAL MIDI SPECIFICATIONS

SUMMARY OF MIDI MESSAGES
Table 1 - Summary of MIDI Messages

The following table lists the major MIDI messages in numerical (binary) order (adapted from &quot;MIDI by the Numbers&quot; by D. Valenti, Electronic Musician 2/88, and updated by the MIDI Manufacturers Association.). This table is intended as an overview of MIDI, and is by no means complete.

WARNING! Details about implementing these messages can dramatically impact compatibility with other products. We strongly recommend consulting the official MIDI Specifications for additional information.

MIDI 1.0 Specification

Message Summary Channel Voice Messages [nnnn = 0-15 (MIDI Channel Number 1-16)]

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1000nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note Off event. 
This message is sent when a note is released (ended). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1001nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note On event. 
This message is sent when a note is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1010nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Polyphonic Key Pressure (Aftertouch). 
This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. (kkkkkkk) is the key (note) number. (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Control Change. 
This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Controller numbers 120-127 are reserved as &quot;Channel Mode Messages&quot; (below). (ccccccc) is the controller number (0-119). (vvvvvvv) is the controller value (0-127).
|-
|&lt;!--Status--&gt;1100nnnn || &lt;!--Data--&gt;0ppppppp || &lt;!--Description--&gt;Program Change. This message sent when the patch number changes. (ppppppp) is the new program number.
|-
|&lt;!--Status--&gt;1101nnnn || &lt;!--Data--&gt;0vvvvvvv || &lt;!--Description--&gt;Channel Pressure (After-touch). This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. This message is different from polyphonic after-touch. Use this message to send the single greatest pressure value (of all the current depressed keys). (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1110nnnn || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Pitch Bend Change. This message is sent to indicate a change in the pitch bender (wheel or lever, typically). The pitch bender is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the receiver, but may be set using RPN 0. (lllllll) are the least significant 7 bits. (mmmmmmm) are the most significant 7 bits.
|}

Channel Mode Messages (See also Control Change, above)

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Channel Mode Messages. 
This the same code as the Control Change (above), but implements Mode control and special message by using reserved controller numbers 120-127. The commands are:
*All Sound Off. When All Sound Off is received all oscillators will turn off, and their volume envelopes are set to zero as soon as possible c = 120, v = 0: All Sound Off
*Reset All Controllers. When Reset All Controllers is received, all controller values are reset to their default values. (See specific Recommended Practices for defaults) c = 121, v = x: Value must only be zero unless otherwise allowed in a specific Recommended Practice.
*Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. 
c = 122, v = 0: Local Control Off
c = 122, v = 127: Local Control On
* All Notes Off. When an All Notes Off is received, all oscillators will turn off. 
c = 123, v = 0: All Notes Off (See text for description of actual mode commands.)
c = 124, v = 0: Omni Mode Off 
c = 125, v = 0: Omni Mode On 
c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) 
c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off)
|}

System Common Messages

System Messages (0xF0)

The final status nybble is a “catch all” for data that doesn’t fit the other statuses. They all use the most significant nybble (4bits) of 0xF, with the least significant nybble indicating the specific category.

The messages are denoted when the MSB of the second nybble is 1. When that bit is a 0, the messages fall into two other subcategories.

System Common

If the MSB of the second second nybble (4 bits) is not set, this indicates a System Common message. Most of these are messages that include some additional data bytes.

System Common Messages
Type Status Byte   Number of Data Bytes      Usage 
&lt;pre&gt;
Time Code Quarter Frame	0xF1	1	Indicates timing using absolute time code, primarily for synthronization with video playback systems. A single location requires eight messages to send the location in an encoded hours:minutes:seconds:frames format*.
Song Position	0xF2	2	Instructs a sequencer to jump to a new position in the song. The data bytes form a 14-bit value that expresses the location as the number of sixteenth notes from the start of the song.
Song Select	0xF3	1	Instructs a sequencer to select a new song. The data byte indicates the song.
Undefined	0xF4	0	
Undefined	0xF5	0	
Tune Request	0xF6	0	Requests that the receiver retunes itself**.
&lt;/pre&gt;
*MIDI Time Code (MTC) is significantly complex. Please see the MIDI Specification
**While modern digital instruments are good at staying in tune, older analog synthesizers were prone to tuning drift. Some analog synthesizers had an automatic tuning operation that could be initiated with this command.


System Exclusive

If you’ve been keeping track, you’ll notice there are two status bytes not yet defined: 0xf0 and 0xf7. These are used by the System Exclusive message, often abbreviated at SysEx. SysEx provides a path to send arbitrary data over a MIDI connection. There is a group of predefined messages for complex data, like fine grained control of MIDI Time code machinery. SysEx is also used to send manufacturer defined data, such as patches, or even firmware updates.

System Exclusive messages are longer than other MIDI messages, and can be any length. The messages are of the following format:

0xF0, 0xID, 0xdd, ...... 0xF7
The message is bookended with distinct bytes.

It opens with the Start Of Exclusive (SOX) data byte, 0xF0.
The next one to three bytes after the start are an identifier.
Values from 0x01 to 0x7C are one-byte vendor IDs, assigned to manufacturers who were involved with MIDI at the beginning.
If the ID is 0x00, it’s a three-byte vendor ID - the next two bytes of the message are the value.
&lt;pre&gt;
ID 0x7D is a placeholder for non-commercial entities.
ID 0x7E indicates a predefined Non-realtime SysEx message.
ID 0x7F indicates a predefined Realtime SysEx message.
&lt;/pre&gt;
After the ID is the data payload, sent as a stream of bytes.
The transfer concludes with the End of Exclusive (EOX) byte, 0xF7.
The payload data must follow the guidelines for MIDI data bytes – the MSB must not be set, so only 7 bits per byte are actually usable. If the MSB is set, it falls into three possible scenarios.

An End of Exclusive byte marks the ordinary termination of the SysEx transfer.
System Real Time messages may occur within the transfer without interrupting it. The recipient should handle them independently of the SysEx transfer.
Other status bytes implicitly terminate the SysEx transfer and signal the start of new messages.
 Some inexpensive USB-to-MIDI interfaces aren’t capable of handling messages longer than four bytes.

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11110000 || &lt;!--Data--&gt;0iiiiiii [0iiiiiii 0iiiiiii]  0ddddddd  --- --- 0ddddddd 11110111 || &lt;!--Description--&gt;System Exclusive. 
This message type allows manufacturers to create their own messages (such as bulk dumps, patch parameters, and other non-spec data) and provides a mechanism for creating additional MIDI Specification messages. The Manufacturer's ID code (assigned by MMA or AMEI) is either 1 byte (0iiiiiii) or 3 bytes (0iiiiiii 0iiiiiii 0iiiiiii). Two of the 1 Byte IDs are reserved for extensions called Universal Exclusive Messages, which are not manufacturer-specific. If a device recognizes the ID code as its own (or as a supported Universal message) it will listen to the rest of the message (0ddddddd). Otherwise, the message will be ignored. (Note: Only Real-Time messages may be interleaved with a System Exclusive.)
|-
|&lt;!--Status--&gt;11110001 || &lt;!--Data--&gt;0nnndddd || &lt;!--Description--&gt;MIDI Time Code Quarter Frame.
nnn = Message Type
dddd = Values
|-
|&lt;!--Status--&gt;11110010 || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Song Position Pointer. 
This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB.
|-
|&lt;!--Status--&gt;11110011 || &lt;!--Data--&gt;0sssssss || &lt;!--Description--&gt;Song Select. 
The Song Select specifies which sequence or song is to be played.
|-
|&lt;!--Status--&gt;11110100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Tune Request. Upon receiving a Tune Request, all analog synthesizers should tune their oscillators.
|-
|&lt;!--Status--&gt;11110111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;End of Exclusive. Used to terminate a System Exclusive dump. 
|}


System Real-Time Messages

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11111000 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Timing Clock. Sent 24 times per quarter note when synchronization is required.
|-
|&lt;!--Status--&gt;11111001 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111010 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Start. Start the current sequence playing. (This message will be followed with Timing Clocks).
|-
|&lt;!--Status--&gt;11111011 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Continue. Continue at the point the sequence was Stopped.
|-
|&lt;!--Status--&gt;11111100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Stop. Stop the current sequence.
|-
|&lt;!--Status--&gt;11111101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Active Sensing. This message is intended to be sent repeatedly to tell the receiver that a connection is alive. Use of this message is optional. When initially received, the receiver will expect to receive another Active Sensing message each 300ms (max), and if it does not then it will assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 
|-
|&lt;!--Status--&gt;11111111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up.
|}


Advanced Messages

Polyphonic Pressure (0xA0) and Channel Pressure (0xD0)

Some MIDI controllers include a feature known as Aftertouch. While a key is being held down, the player can press harder on the key. The controller measures this, and converts it into MIDI messages.

Aftertouch comes in two flavors, with two different status messages.

The first flavor is polyphonic aftertouch, where every key on the controller is capable of sending its own independent pressure information. The messages are of the following format:
&lt;pre&gt;
0xnc, 0xkk, 0xpp
n is the status (0xA)
c is the channel nybble
kk is the key number (0 to 127)
pp is the pressure value (0 to 127)
&lt;/pre&gt;
Polyphonic aftertouch is an uncommon feature, usually found on premium quality instruments, because every key requires a separate pressure sensor, plus the circuitry to read them all.

Much more commonly found is channel aftertouch. Instead of needing a discrete sensor per key, it uses a single, larger sensor to measure pressure on all of the keys as a group. The messages omit the key number, leaving a two-byte format
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xD)
c is the channel number
pp is the pressure value (0 to 127)
&lt;/pre&gt;

Pitch Bend (0xE0)

Many keyboards have a wheel or lever towards the left of the keys for pitch bend control. This control is usually spring-loaded, so it snaps back to the center of its range when released. This allows for both upward and downward bends.

Pitch Bend Wheel

The wheel sends pitch bend messages, of the format
&lt;pre&gt;
0xnc, 0xLL, 0xMM
n is the status (0xE)
c is the channel number
LL is the 7 least-significant bits of the value
MM is the 7 most-significant bits of the value
&lt;/pre&gt;
You’ll notice that the bender data is actually 14 bits long, transmitted as two 7-bit data bytes. This means that the recipient needs to reassemble those bytes using binary manipulation. 14 bits results in an overall range of 214, or 0 to 16,383. Because it defaults to the center of the range, the default value for the bender is halfway through that range, at 8192 (0x2000).

Control Change (0xB0)

In addition to pitch bend, MIDI has provisions for a wider range of expressive controls, sometimes known as continuous controllers, often abbreviated CC. These are transmitted by the remaining knobs and sliders on the keyboard controller shown below.


Continuous Controllers

These controls send the following message format:
&lt;pre&gt;
0xnc, 0xcc, 0xvv
n is the status (0xB)
c is the MIDI channel
cc is the controller number (0-127)
vv is the controller value (0-127)
&lt;/pre&gt;

Typically, the wheel next to the bender sends controller number one, assigned to modulation (or vibrato) depth. It is implemented by most instruments.

The remaining controller number assignments are another point of confusion. The MIDI specification was revised in version 2.0 to assign uses for many of the controllers. However, this implementation is not universal, and there are ranges of unassigned controllers.

On many modern MIDI devices, the controllers are assignable. On the controller keyboard shown in the photos, the various controls can be configured to transmit different controller numbers. Controller numbers can be mapped to particular parameters. Virtual synthesizers frequently allow the user to assign CCs to the on-screen controls. This is very flexible, but it might require configuration on both ends of the link and completely bypasses the assignments in the standard.


Program Change (0xC0)

Most synthesizers have patch storage memory, and can be told to change patches using the following command:
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xc)
c is the channel
pp is the patch number (0-127)
&lt;/pre&gt;
This allows for 128 sounds to be selected, but modern instruments contain many more than 128 patches. Controller #0 is used as an additional layer of addressing, interpreted as a “bank select” command. Selecting a sound on such an instrument might involve two messages: a bank select controller message, then a program change.

Audio &amp; Midi are not synchronized, what I can do ?
Buy a commercial software package but there is a nasty trick to synchronize both. It's a bit hardcore but works for me:

 Simply put one line down to all midi notes on your pattern (use Insert key)
 and go to 'Misc. Setup', adjust the latency and just search a value
 that will make sound sync both audio/midi.

The stock Sin/Saw/Pulse and Rnd waveforms are too simple/common, is there a way to use something more complex/rich ?
You have to ability to redirect the waveforms of the instruments through the synth pipe by selecting the &quot;wav&quot; option for the oscillator you're using for this synth instrument, samples can be used as wavetables to replace the stock signals.


Sound banks like soundfont (sf2) or Kontakt2 are not supported at the moment


====DAW Audio Evolution 4====

Audio Evolution 4 gives you unsurpassed power for digital audio recording and editing on the Amiga. The latest release focusses on time-saving non-linear and non-destructive editing, as seen on other platforms. Besides editing, Audio Evolution 4 offers a wide range of realtime effects, including compression, noise gate, delays, reverb, chorus and 3-band EQ.

Whether you put them as inserts on a channel or use them as auxillaries, the effect parameters are realtime adjustable and can be fully automated. Together with all other mixing parameters, they can even be controlled remotely, using more ergonomic MIDI hardware.

Non-linear editing on the time line, including cut, copy, paste, move, split, trim and crossfade actions

The number of tracks per project(s) is unlimited .... AHI limits you to recording only two at a time. i.e. not on 8 track sound cards like the Juli@ or Phase 88.

sample file import is limited to 16bit AIFF (not AIFC, important distinction as some files from other sources can be AIFC with aiff file extention). and 16bit WAV (pcm only)


Most apps use the Music Unit only but a few apps also use Unit (0-3) instead or as well. 
* Set up AHI prefs so that microphone is available. (Input option near the bottom)


stereo++ allows the audio piece to be placed anywhere and the left-right adjusted to sound positionally right

hifi best for music playback if driver supports this option


Load 16bit .aif .aiff only sample(s) to use not AIFC which can have the same ending. AIFF stands for Audio Interchange File Format 

 sox recital.wav recital.aiff

 sox recital.wav −b 16 recital.aiff channels 1 rate 16k fade 3 norm
 sox input.wav        output.aiff bass −b 16 rate 48k

performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16.

 rec −c 2 radio.aiff trim 0 30:00

records half an hour of stereo audio 

 play existing-file.wav


24bit PCM WAV or AIFF do not work 

*No stream format handling. So no way to pass on an AC3 encoded stream unmodified to the digital outputs through AHI.
*No master volume handling. Each application has to set its own volume. So each driver implements its own custom driver-mixer interface for handling master volumes, mute and preamps.
*Only one output stream. So all input gets mixed into one output.
*No automatic handling of output direction based on connected cables.
*No monitor input selection. Only monitor volume control. 


select the correct input (Don't mistake enabled sound for the correct input.)
The monitor will feedback audio to the lineout and hp out no matter if you have selected the correct input to the ADC. The monitor will provide sound for any valid input. This will result in free mixing when recording from the monitor input instead of mic/line because the monitor itself will provide the hardware mixing for you. Be aware that MIC inputs will give two channel mono. Only Linein will give real stereo.

Now for the not working part. Attempt to record from linein in the AE4 record window, the right channel is noise and the left channel is distorted. Even with the recommended HIFI 16bit Stereo++ mode at 48kHz.


Channels

Monitor

Gain

Inout

Output

Advanced settings - Debugging via serial port


* Options -&gt; Soundcard In/Out
* Options -&gt; SampleRate
* Options -&gt; Preferences

F6 for Sample File List

Setting a grid is easy as is measuring the BPM by marking a section of the sample. Is your kick drum track &quot;not in time&quot; ? If so, you're stumped in AE4 as it has no fancy variable time signatures and definitely no 'track this dodgy rhythm' function like software of the nature of Logic has. So if your drum beat is freeform you will need to work in freeform mode. (Real music is free form anyway).

If the drum *is* accurate and you are just having trouble measuring the time, I usually measure over a range of bars and set the number of beats in range to say 16 as this is more accurate, Then you will need to shift the drum track to match your grid *before* applying the grid. (probably an iterative process as when the grid is active samples snap to it, and when inactive you cannot see it).

AE4 does have ARexx but the functions are more for adding samples at set offsets and starting playback / recording.


These are the usual features found in DAWs...

* Recording digital audio, midi sequencer and mixer 
* virtual VST instruments and plug-ins 
* automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors and music notation editor


* different track views 
* mixer and track layout (but not the same as below) 
* traditional two windows (track and mixer)


Mixing - mixdown

Could not figure out how to select what part I wanted to send to the aux, set it to echo and return. Pretty much the whole echo effect. Or any effect.

Take look at page17 of the manual.

When you open the EQ / Aux send popup window you will see 4 sends. Now from the menu choose the windows menu.

Menus-&gt;Windows-&gt; Aux Returns Window

or press F5

You will see a small window with 4 volume controls and an effects button for each. Click a button and add an effects to that aux channel, then set it up as desired (note the reverb effect has a special AUX setting that improves its use with the aux channel, not compulsory but highly useful). You set the amount of 'return' on the main mix in the Aux Return window, and the amount sent from each main mixer channel in the popup for that channel. Again the aux sends are &quot;prefade&quot; so the volume faders on each channel do not affect them.


Tracking


Effects - fade in

To add some echoes to some vocals, tried to add an effect on a track but did not come out. This is made more complicated as I wanted to mute a vocal but then make it echo at the muting point. Want to have one word of a vocal heard and then echoed off. But when the track is mute the echo is cancelled out.

To correctly understand what is happening here you need to study the figure at the bottom of page 15 on the manual. You will see from that that the effects are applied 'prefade' So the automation you applied will naturally mute the entire signal.

There would be a number of ways to achieve the goal,

You have three real time effects slots, one for smoothing like so

Sample -&gt; Amplify -&gt; Delay

Then automate the gain of the amplify block so that it effectively mutes the sample just before the delay at the appropriate moment, the echo effect should then be heard.

Getting the effects in the right order will require experimentation as they can only be added top down and it's not obvious which order they are applied to the signal, but there only two possibilities, so it wont take long to find out.

Using MUTE can cause clicks to the Amplify can be used to mute more smoothly so that's a secondary advantage.

Signal Processing -


Overdub

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===Office===

====Spreadsheet Leu====

Support for some xlsx, and ods functions 


====Spreadsheet Ignition====

; Needs ABIv1 to be completed before more can be done

File formats supported 
* ascii #?.txt and #?.csv (single sheets with data only). 
* igs and TurboCalc(WIP) #?.tc for all sheets with data, formats and formulas.

There is '''no''' support for xls, xlsx, ods or uos ([http://en.wikipedia.org/wiki/Uniform_Office_Format Uniform Unified Office Format]) at the moment.

* Always use Esc key after editing Spreadsheet cells.
* copy/paste seems to copy the first instance only so go to Edit -&gt; Clipboard to manage the list of remembered actions. 
* Right mouse click on row (1 or 2 or 3) or column header (a or b or c)  to access optimal height or width of the row or column respectively 
* Edit -&gt; Insert -&gt; Row  seems to clear the spreadsheet or clears the rows after the inserted row until undo restores as it should be...

Change Sheet name by  Object -&gt; Sheet -&gt; Properties

Click in the cell which will contain the result, and click '''down arrow button''' to the right of the formula box at the bottom of the spreadsheet and choose the function required from the list provided. Then click on the start cell and click on the bottom right corner, a '''very''' small blob, which allows stretching a bounding box (thick grey outlines) across many cells This grey bounding box can be used to '''copy a formula''' to other cells.

Object -&gt; Cell -&gt; Properties to change cell format - Currency only covers DM and not $, Euro, Renminbi, Yen or Pound etc. 
Shift key and arrow keys selects a range of cells, so that '''formatting can be done to all highlighted cells'''. 
View -&gt; Overview then select ALL with one click (in empty cell in the top left hand corner of the sheet).

Default mode is relative cell referencing e.g. a1+a2 but absolute e.g. $a$1+$a$2 can be entered.

* #sheet-name to '''absolute''' reference another sheet-name cell unless reference() function used.

;Graphs

use shift key and arrow keys to select a bunch of cells to be graph'ed making sure that x axes represents and y axes represents

* value() - 0 value, 1 percent, 2 date, 3 time, 4 unit ...


;Dates 
* Excel starts a running count from the 1st Jan 1900 and Ignition starts from 1st Jan 1AD '''(maybe this needs to change)'''
Set formatting Object -&gt; Cell -&gt; Properties and put date in days


;Time 
Set formatting Object -&gt; Cell -&gt; Properties and put time in seconds taken


;Database (to be done by someone else)

type - standard, reference (bezug), search criterion (suchkriterium), 
* select a bunch of cells and Object -&gt; Database -&gt; Define to set Datenbank (database) and Felder (fields not sure how?) 
* Neu (new) or loschen (delete) to add/remove database headings e.g. Personal, Start Date, Finish Date (one per row?)
* Object -&gt; Database -&gt; Index to add fields (felder) like Surname, First Name, Employee ID, etc. to ?

Filtering done with dbfilter(), dbproduct() and dbposition().

Activities with dbsum(), dbaverage(), dbmin() and dbmax().

Table sorting -


;Scripts (Arexx)

;Excel(TM) to Ignition - commas ''',''' replaced by semi-colons ''';''' to separate values within functions 
*SUM(), 
*AVERAGE(), MAX(), MIN(), INT(), PRODUCT(), MEDIAN(), VAR() becomes Variance(), Percentile(),
*IF(), AND, OR, NOT 
*LEFT(), RIGHT(), MID() becomes MIDDLE(), LEN() becomes LENGTH(), 
*LOWER() becomes LOWERCASE(), UPPER() becomes UPPERCASE(),
* DATE(yyyy,mm,dd) becomes COMPUTEDATE(dd;mm;yyyy), 
*TODAY(), DAY(),WEEK(), MONTH(),=YEAR(TODAY()), 
*EOMONTH() becomes MONTHLENGTH(), 
*NOW() should be date and time becomes time only, SECOND(), MINUTE(), HOUR(),
*DBSUM() becomes DSUM(),


;Missing and possibly useful features/functions needed for ignition to have better support of Excel files 
There is no Merge and Join Text over many cells, no protect and/or freeze row or columns or books but can LOCK sheets, no define bunch of cells as a name, Macros (Arexx?), conditional formatting, no Solver, no Goal Seek, no Format Painter, no AutoFill, no AutoSum function button, no pivot tables, (30 argument limit applies to Excel)

*HLOOKUP(), VLOOKUP(), [http://production-scheduling.com/excel-index-function-most-useful/ INDEX(), MATCH()], CHOOSE(), TEXT(), 
*TRIM(), FIND(), SUBSTITUTE(), CONCATENATE() or &amp;, PROPER(), REPT(), 
*[https://acingexcel.com/excel-sumproduct-function/ SUMPRODUCT()], ROUND(), ROUNDUP(), *ROUNDDOWN(), COUNT(), COUNTA(), SUMIF(), COUNTIF(), COUNTBLANK(), TRUNC(), 
*PMT(), PV(), FV(), POWER(), SQRT(), MODE(), TRUE, FALSE, 
*MODE(), LARGE(), SMALL(), RANK(), STDEV(), 
*DCOUNT(), DCOUNTA(), WEEKDAY(),


;Excel Keyboard [http://dmcritchie.mvps.org/excel/shortx2k.htm shortcuts needed to aid usability in Ignition] 
&lt;pre&gt;
Ctrl Z - Undo

Ctrl D - Fill Down
Ctrl R - Fill right

Ctrl F - Find
Ctrl H - Replace

Ctrl 1 - Formatting of Cells
CTRL SHIFT ~ Apply General Formatting ie a number 
Ctrl ; - Todays Date 

F2 - Edit cell
F4 - toggle cell absolute / relative cell references

&lt;/pre&gt;


====Document Scanning - Scandal====

Scanner usually needs to be connected via a USB port and not via a hub or extension lead.

Check in Trident Prefs -&gt; Devices that the USB Scanner is not bound to anything (e.g. Bindings None)
If not found then reboot the computer and recheck.

Start Scandal, choose Settings from Menu strip at top of screen and in Scanner Driver choose the ?#.device of the scanner (e.g. epson2.device).

The next two boxes - leave empty as they are for morphos SCSI use only
 or put ata.device (use the selection option in bigger box below) and Unit as 0 this is needed for gt68xx

* gt68xx - no editing needed in s/gt68xx.conf but needs a firmware file that corresponds to the scanner [http://www.meier-geinitz.de/sane/gt68xx-backend/ gt68xx firmwares] in sys:s/gt68xx.
* epson2 - Need to edit the file epson2.conf in sys/s that corresponds to the scanner being used

'''Save''' the settings but do not press the Use button (aros freezes)

Back to the Picture Scan window and the right-hand sections.

Click on the '''Information''' tab and press Connect button and the scanner should now be detected.

Go next to the '''Scanner''' tab next to Information Tab should have Color, Black and White, etc. and dpi settings now. Selecting an option Color, B/W etc. can cause dpi settings corruption (especially if the settings are in one line) so set '''dpi first'''. Make sure if Preview is set or not.

In the '''Scan''' Tab, press Scan and the scanner will do its duty. 
Be aware that nothing is saved to disk yet.

In the Save tab, change format JPEG, PNG or IFF DEEP. Tick incremental and base filename if necessary and then click the Save button. The image will now be saved to permanent storage.


The driver ignores a device if it is already bond to another USB class, rejects it from being usable. However, open Trident prefs, select your device and use the right mouse button to open. Select &quot;NONE&quot; to prevent poseidon from touching the device. Now save settings. It should always work now.

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===Emulators===

==== Amiberry ====


==== Amiga Emu - Janus UAE ====

With Amibridge, AROS attempts to make the UAE emulator seem embedded within but it still is acting as an app 

There is no dynarec m68k for each hardware that Aros supports or direct patching of motorola calls to AROS hardware accelerated ones unless the emulator has that included 

Try starting Janus with a priority of -1 like this little script:
&lt;pre&gt;
cd sys:system/AmiBridge/emulator
changetaskpri -1
run janus-uae -f my_uaerc.config &gt;nil:
cd sys:prefs
endcli
&lt;/pre&gt;
This stops Janus hogging all the CPU time.


===Miscellaneous===

====Screensaver Blanker====

Most blankers on the amiga (i.e. aros) run as commodities (they are in the tools/commodities drawer). Double click on blanker.

Control is with an app called Exchange, which you need to run first (double click on app) or  run QUIET sys:tools/commodities/Exchange &gt;NIL: but subsequently can use (Cntrl Alt h).

Icon tool types (may be broken) or command line options 
&lt;pre&gt;
seconds=number 
&lt;/pre&gt;

Once the timing is right then add the following to s:icaros-sequence or s:user-startup

e.g. for 5 minutes

 run QUIET sys:tools/commodities/Blanker seconds=300 &gt;NIL:


*[http://archives.aros-exec.org/index.php?function=showfile&amp;file=graphics/screenblanker/gblanker.i386-aros.zip Garshneblanker] can make Aros unstable or slow. Certain blankers crashes in Icaros 2.0.x like Dragon, Executor.


*[ Acuario AROS version], the aquarium screen saver.

Startup: extras:acuariofv-aros/acuario

Kill: c:break name=extras:acuariofv-aros/acuario

Managed to start Acuario by the Executor blanker.

&lt;pre&gt;
cx_priority=
cx_popkey=    ie CX_POPKEY=&quot;Shift F1&quot; 
cx_popup=Yes or No

&lt;/pre&gt;


&lt;pre&gt;
 Qualifier String    Input Event Class
   ----------------    -----------------
    &quot;lshift&quot;           IEQUALIFIER_LSHIFT
    &quot;rshift&quot;           IEQUALIFIER_RSHIFT
    &quot;capslock&quot;         IEQUALIFIER_CAPSLOCK
    &quot;control&quot;          IEQUALIFIER_CONTROL
    &quot;lalt&quot;             IEQUALIFIER_LALT
    &quot;ralt&quot;             IEQUALIFIER_RALT
    &quot;lcommand&quot;         IEQUALIFIER_LCOMMAND
    &quot;rcommand&quot;         IEQUALIFIER_RCOMMAND
    &quot;numericpad&quot;       IEQUALIFIER_NUMERICPAD
    &quot;repeat&quot;           IEQUALIFIER_REPEAT
    &quot;midbutton&quot;        IEQUALIFIER_MIDBUTTON
    &quot;rbutton&quot;          IEQUALIFIER_RBUTTON
    &quot;leftbutton&quot;       IEQUALIFIER_LEFTBUTTON
    &quot;relativemouse&quot;    IEQUALIFIER_RELATIVEMOUSE
&lt;/pre&gt;


&lt;pre&gt;
    Synonym     Synonym
    String     Identifier
    -------    ----------
    &quot;shift&quot;    IXSYM_SHIFT    /* look for either shift key */
    &quot;caps&quot;     IXSYM_CAPS     /* look for either shift key or capslock */
    &quot;alt&quot;      IXSYM_ALT      /* look for either alt key */

Highmap is one of the following strings:
    &quot;space&quot;, &quot;backspace&quot;, &quot;tab&quot;, &quot;enter&quot;, &quot;return&quot;, &quot;esc&quot;, &quot;del&quot;,
    &quot;up&quot;, &quot;down&quot;, &quot;right&quot;, &quot;left&quot;, &quot;f1&quot;, &quot;f2&quot;, &quot;f3&quot;, &quot;f4&quot;, &quot;f5&quot;,
    &quot;f6&quot;, &quot;f7&quot;, &quot;f8&quot;, &quot;f9&quot;, &quot;f10&quot;, &quot;help&quot;.


&lt;/pre&gt;


[[#top|...to the top]]

==== World Construction Set WCS (Version 2.031) ====

WCS is a fractal landscape software such as Scenery Animator, Vista Pro and Panorama. Open sourced February 2022, World Construction Set [https://3dnature.com/downloads/legacy-software/ legally and for free] and [https://github.com/AlphaPixel/3DNature c source]. 

Announced August 1994 this version dates from April 1996 developed by Gary R. Huber and Chris &quot;Xenon&quot; Hanson&quot; from Questar 

&lt;pre&gt;
Assign &quot;WCSProjects:&quot; &quot;Volume:Dir/Dir/WCSProjects&quot; 
Assign &quot;WCSFrames:&quot;   &quot;Volume:Dir/Dir/WCSFrames&quot; 
&lt;/pre&gt;

&lt;pre&gt;
Load projects .proj by accessing pull down menu Project -&gt; Open then click on CanyonSunset.proj
OK to changing .par file and enlarge Status Log window to show what is happening 
Render by pull down menu Modules -&gt; Render with End equal 1 not 300 then click bottom middle button Render 
&lt;/pre&gt;

[https://www.youtube.com/watch?v=CxQDmf1ZWG0 Youtube walkthrough of above], [], [], 

Also try working with the already built file ColoDemo - Then open with the drop-down menu: Project/Open, then WCSProject:ColoDemo.proj
Which allows you to use altimetric DEM files already included and Loading scene parameters from ColoDemo.par
Once this is done, save everything with a new name to start working exclusively on your project. 
Then drop-down menu and select Save As (&quot;NewName&quot;.proj name), then drop-down menu to open parameter and select Save All ( .par name)


After launching the software, there is a the Module Control Panel composed of five icons. 
It is a dock type shortcut of the first few functions of the drop-down menu 

*Database   - Load (#?.proj), Append, Create, Edit, Save, Dir List (of WCSProject drawer), 
*Data Ops   - Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats  
*Map View   - Database file Loader leading to Map View Control with option to the Database Editor 
*Parameters - Editor for Motion, Color, Ecosystem, Clouds, Waves, management of altimeter files DEM, sclock settings etc 
*Render     - rendering terrain 

These are more in the pull down menu but not in the dock 
*Motion Editor
*Color Editor
*Ecosys Editor 


Simple minimal workflow 
*Load database (1st icon - 1st)
*Set parameters and save .par file (4th icon)
*Render scene (5th icon) 

[https://www.youtube.com/watch?v=ZbTwwR2qcc4 Youtube], [], 

&lt;pre&gt;
.proj new project name which creates a drawer of additional files 

.binary array, ascii array .xyz , z buffer, DTED .dt0, vista 1990s dem, iff  conversion 
.Obj with .elev, .frd with .hdr maps, - digital elevation model (DEM) is a 3D representation of elevation data in various formats 
USGS 7.5MinDEM, 

.par 


&lt;/pre&gt;


Since for the time being no project is loaded, a query window indicates a procedural error when clicking on the rendering icon (right end of the bar). The menu is quite traditional; it varies according to the activity of the windows. To display any altimetric file in the &quot;Mapview&quot; (third icon of the panel), There are three possibilities:

* Loading of a demonstration project.
* The import of a DEM file, followed by texturing and packaging from the &quot;Database-Editor&quot; and the &quot;Color-Editor&quot;.
* The creation of an altimetric file in WCS format, then texturing.


The altimeter file editing (display in the menu) is only made possible if the &quot;Mapview&quot; window is active.

The software is made up of many windows and won't be able to describe them all. Know that &quot;Color-Editor&quot; and the &quot;Data-Editor&quot; comprise sufficient functions for obtaining an almost real rendering quality. You have the possibility of inserting vector objects in the &quot;Data-Editor&quot; (creation of roads, railways, etc.) 


The Map View (MapView) window

*Database - Objects and Topos
*View     - Align, Center, Zoom, Pan, Move 
*Draw     - Maps and distance 
*Object   - Find, highlight, add points, conform topo, duplicate 
*Motion   - Camera, Focus, path, elevation 
*Windows  - DEM designer, Cloud (.cld) and wave (.wve) editor, 


You will notice that by selecting this window and simply moving the pointer to various points on the map you will see latitude and longitude values ​​change, along with the height.
Drop-down menu and Modules, then select MapView and change the width of the window with the map to arrange it in the best way on the screen. With the Auto button the center. Window that then displays the contents of my DEM file, in this case the Grand Canyon. MapView allows you to observe the shape of the landscape from above
 

ZOOM button

Press the Zoom button and then with the pointer position on a point on the map, press the left mouse button and then move to the opposite corner to circumscribe the chosen area and press the left mouse button again, then we will see the enlarged area selected on the map.
Would add that there is a box next to the Zoom button that allows the direct insertion of a value which, the larger it is, the smaller the magnification and the smaller the value, the stronger the magnification. At each numerical change you will need to press the DRAW button to update the view.

PAN button

Under Zoom you will find the PAN button which allows you to move the map at will in all directions by the amount you want. This is done by drawing a line in one direction, then press PAN and point to an area on the map with the pointer and press the left mouse button. At this point, leave it and move the pointer in one direction by drawing a line and press the left mouse button again to trigger the movement of the map on the screen (origin and end points). Do some experiments and then use the Auto button immediately below to recenter everything.
There are parameters such as TOPO, VEC to be left checked and immediately below one that allows different views of the map with the Style command (Single, Multi, Surface, Emboss, Slope, Contour), each with its own particularities to highlight different details.

Now you have the first basics to manage your project visually on the map. Close the MapView window and go further...


Let's start working on ECOSYSTEMS
If we select Emboss from the MapView Style command we will have a clear idea of ​​how the landscape appears, realizing that it is a predominantly desert region of our planet. Therefore we will begin to act on any vegetation present and the appearance of the landscape.
With WCS we will begin to break down the elements of the landscape by assigning defined characteristics. It will be necessary to determine the classes of the ecosystem (Class) with parameters of Elevation Line (maximum altitude), Relative Elevation (arrangement on basins or convexities with respectively positive or negative parameters), Min Slope and Max Slope (slope). WCS offers the possibility of making ecosystems coexist on the same terrain with the UnderEco function, by setting a Density value.


Ecosys Ecosystem Editor

Let's open it from Modules, then Ecosys Editor. In the left pane you will find the list of ecosystems referring to the files present in our project. It will be necessary to clean up that box to leave only the Water and Snow landscapes and a few other predefined ones. We can do this by selecting the items and pressing the Remove button (be careful not for all elements the button is activated, therefore they cannot all be eliminated).
Once this is done we can start adding new ecosystems. Scroll through the various Unused and as soon as the Name item at the top is activated allowing you to write, type the name of your ecosystem, adding the necessary parameters.
&lt;pre&gt;
Ecosystem1: Name: RockBase Class: Rock Density: 80 MinSlope: 15 UnderEco: Terrain
Ecosystem2: Name: RockIncl Clss: Rock Density: 80 MinSlope: 30 UnderEco: Terrain
Ecosystem3: Name: Grass Class Low Veg Density: 50 Height: 1 Elev Line : 1500 Rel El Eff: 5
Max Slope: 10 – Min Slope: 0 UnderEco: Terrain
Ecosistema4: Name: Shrubs Class: Low Veg Density: 40 Height: 8 Elev Line: 3000
Rel El Eff: -2 Max Slope: 20 Min Slope : 5 UnderEco: Terrain
Ecosistema5: Name: Terrain Class: Ground Density: 100 UnderEco: Terrain
&lt;/pre&gt;

Now we need to identify an intermediate ecosystem that guarantees a smooth transition between all, therefore we select as Understory Ecosystem the one called Terrain in all ecosystems, except Snow and Water .
Now we need to 'emerge' the Colorado River in the Canyon and we can do this by raising the sea level to 900 (Sea Level) in the Ecosystem called Water.
Please note that the order of the ecosystem list gives priority to those that come after. So our list must have the following order: Water, Snow, Shrubs, RockIncl, RockBase, Terrain. It is possible to carry out all movements with the Swap button at the bottom. To put order you can also press Short List. Press Keep to confirm all the work done so far with Ecosystem Editor.
Remember every now and then to save both the Project 'Modules/Save' and 'Parameter/Save All'

EcoModels are made up of .etp .fgp .iff8 for each model 


Color Editor

Now it's time to define the colors of our scene and we can do this by going to Modules and then Color Editor. In the list we focus on our ecosystems, created first.
Let's go to the bottom of the list and select the first white space, assigning the name 'empty1', with a color we like and then we will find this element again in other environments... It could serve as an example for other situations!
So we move to 'grass' which already exists and assign the following colors: R 60 G 70 B50
&lt;pre&gt;
'shrubs': R 60 G 80 B 30
'RockIncl' R 110 G 65 B 60
'RockBase' R 110 G 80 B 80
' Terrain' R 150 G 30 B 30
&lt;pre&gt;
Now we can work on pre-existing colors
&lt;pre&gt;
'SunLight' R 150 G 130 B 130
'Haze and Fog' R 190 G 170 B 170
'Horizon' R 209 G 185 B 190
'Zenith' R 140 G 150 B 200
'Water' R 90 G 125 B 170
&lt;/pre&gt;

Ambient R 0 G 0 B 0

So don't forget to close Color Editor by pressing Keep.
Go once again to Ecosystem Editor and assign the corresponding color to each environment by selecting it using the Ecosystem Color button. Press it several times until the correct one appears. Then save the project and parameters again, as done previously.


Motion Editor

Now it's time to take care of the framing, so let's go to Modules and then to Motion Editor. An extremely feature-rich window will open. Following is the list of parameters regarding the Camera, position and other characteristics:
&lt;pre&gt;
-Camera Altitude: 7.0
-Camera Latitude: 36.075
-Camera Longitude: 112.133
-Focus Attitude: -2.0
-Focus Latitude: 36.275
-Focus Longitude: 112.386
-Camera : 512 → rendering window
-Camera Y: 384 → rendering window
-View Arc: 80 → View width in degrees
-Sun Longitude: 172
-Sun Latitude: -0.9
-Haze Start: 3.8
-Haze Range: 78, 5
&lt;/pre&gt;
As soon as the values ​​shown in the relevant sliders have been modified, we will be ready to open the CamView window to observe the wireframe preview. Let's not consider all the controls that will appear.
Well from the Motion Editor if you have selected Camera Altitude and open the CamView panel, you can change the height of the camera by holding down the right mouse button and moving the mouse up and down. To update the view, press the Terrain button in the adjacent window. As soon as you are convinced of the position, confirm again with Keep. You can carry out the same work with the other functions of the camera, such as Focus Altitude...
Let's now see the next positioning step on the Camera map, but let's leave the CamView preview window open while we go to Modules to open the window at the same time MapView. We will thus be able to take advantage of the view from the other together with a subjective one.


From the MapView window, select with the left mouse button and while it is pressed, move the Camera as desired. To update the subjective preview, always click on Terrain.
While with the same procedure you can intervene on the direction of the camera lens, by selecting the cross and with the left button pressed you can choose the desired view. So with the pressure of Terrain I update the Preview. Possibly can enlarge or reduce the Map View using the Zoom button, for greater precision.
Also write that the circle around the cameras indicates the beginning of the haze, there are two types (haze and fog) linked to the altitude. Would also add that the camera height is editable through the Motion Editor panel.


The sun

Let's see that changing the position of the sun from the Motion Editor. Press the SUN button at the bottom right and set the time and the date. Longitude and latitude are automatically obtained by the program. Always open the View Arc command from the Motion Editor panel, an item present in the Parameter List box.

Once again confirm everything with Keep and then save again.


Animation

The animation part is not left-back and also occupies a window. The settings possibilities are enormous. A time line with dragging functions (&quot;slide&quot;, &quot;drag&quot;...) comparable to that of LightWave completes this window. 


A small window is available for positioning the stars as a function of a date, in order to vary the seasons and their various events (and yes...).

At the bottom of the &quot;Motion-Editor&quot;, a &quot;cam-view&quot; function will give you access to a control panel. Different preview modes are possible. The rendering is also accessible through a window. No less than nine pages compose it. At this level, you will be able to determine the backup name of your images (&quot;path&quot;), the type of texture to be calculated, the resolution of the images, activate or deactivate functions such as the depth buffer (&quot;zbuffer&quot;), the blur, the background image, etc.


Once all these parameters have been set, all you have to do is click on the &quot;Render&quot; button.

For rendering go to Modules and then Render. Select the resolution, then under IMA select the name of the image. Move to FRA and indicate the level of fractal detail which of 4 is quite good. Then Keep to confirm and then reopen the window, pressing Render you will see the result. The image will be opened with any viewing program.


Strengths:

* Multi-window.
* Quality of rendering.
* Accuracy.
* Opening, preview and rendering on CyberGraphX screen.
* Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats 
* The &quot;zbuffer&quot; function.

Weaknesses:

* No OpenGL management 
* Calculation time.
* No network computing tool.


====Writing CD / DVD - Frying Pan====

Can be backup DVDs (4GB ISO size limit due to use of FileInfoBlock), create audio cds from mp3's, and put .iso files on discs

If using for the first time - click Drive button and Device set to ata.device and unit to 0 (zero)

Click Tracks Button - Drive 1 - Create New Disc or Import Existing Disc Image (iso bin/cue etc.) - Session File open cue file

If you're making a data cd, with files and drawers from your hard drive, you should be using the ISO Builder.. which is the MUI page on the left. (&quot;Data/Audio Tracks&quot; is on the right).

You should use the &quot;Data/Audio tracks&quot; page if you want to create music cds with AIFF/WAV/MP3 files, or if you download an .iso file, and you want to put it on a cd.

Click WRITE Button - set write speed - click on long Write button

Examples

Easiest way would be to burn a DATA CD, simply go to &quot;Tracks&quot; page &quot;ISO Builder&quot; and &quot;ADD&quot; everything you need to burn.

On the &quot;Write&quot; page i have &quot;Masterize Disc (DAO)&quot;, &quot;Close Disc&quot; and &quot;Eject after Write&quot; set.

One must not &quot;Blank disc before write&quot; if one uses a CDR


AUDIO CD from MP3's are as easy but tricky to deal with. FP only understands one MP3 format, Layer II, everything else will just create empty tracks

Burning bootable CD's works only with .iso files. Go to &quot;Tracks&quot; page and &quot;Data/Audio Tracks&quot; and add the .iso


====odf====

Every ODF file is a collection of several subdocuments within a package (ZIP file), each of which stores part of the complete document.

* content.xml – Document content and automatic styles used in the content.
* styles.xml – Styles used in the document content and automatic styles used in the styles themselves.
* meta.xml – Document meta information, such as the author or the time of the last save action.
* settings.xml – Application-specific settings, such as the window size or printer information.


To read document follow these steps:

* Extracting .ods file.
* Getting content.xml file (which contains sheets data).
* Creating XmlDocument object from content.xml file.
* Creating DataSet (that represent Spreadsheet file).
* With XmlDocument select “table:table” elements, and then create adequate DataTables.
* Parse child’s of “table:table” element and fill DataTables with those data.
* At the end, return DataSet and show it in application’s interface.


To write document follow these steps:

* Extracting template.ods file (.ods file that we use as template).
* Getting content.xml file.
* Creating XmlDocument object from content.xml file.
* Erasing all “table:table” elements from the content.xml file.
* Reading data from our DataSet and composing adequate “table:table” elements.
* Adding “table:table” elements to content.xml file.
* Zipping that file as new .ods file.

XLS file format

The XLS file format contains streams, substreams, and records.

These sheet substreams include worksheets, macro sheets, chart sheets, dialog sheets, and VBA module sheets. 
All the records in an XLS document start with a 2-byte unsigned integer to specify Record Type (rt), and another for Count of Bytes (cb). A record cannot exceed 8224 bytes. If larger than the rest is stored in one or more continue records.

* Workbook stream 
**Globals substream
***BoundSheet8 record - info for Worksheet substream i.e. name, location, type, and visibility. (4bytes the lbPlyPos FilePointer, specifies the position in the Workbook stream where the sheet substream starts) 
**Worksheet substream (sheet) - Cell Table - Row record - Cells (2byte=row 2byte=column 2byte=XF format)
***Blank cell record
***RK cell record 32-bit number. 
***BoolErr cell record (2-byte Bes structure that may be either a Boolean value or an error code)
***Number cell record (64-bit floating-point number)
***LabelSst cell record (4-byte integer that specifies a string in the Shared Strings Table (SST). Specifically, the integer corresponds to the array index in the RGB field of the SST)
***Formula cell record (FormulaValue structure in the 8 bytes that follow the cell structure. The next 6 bytes can be ignored, and the rest of the record is a CellParsedFormula structure that contains the formula itself)
***MulBlank record (first 2 bytes give the row, and the next 2 bytes give the column that the series of blanks starts at. Next, a variable length array of cell structures follows to store formatting information, and the last 2 bytes show what column the series of blanks ends on)
***MulRK record 
***Shared String Table (SST) contains all of the string values in the workbook.

ACCRINT(), ACCRINTM(), AMORDEGRC(), AMORLINC(), 
COUPDAYBS(), COUPDAYS(), COUPDAYSNC(), COUPNCD(), COUPNUM(), COUPPCD(), 
CUMIPMT(), CUMPRINC(), 
DB(), DDB(), DISC(), 
DOLLARDE(), DOLLARFR(), 
DURATION(), EFFECT(), FV(), FVSCHEDULE(), 
INTRATE(), IPMT(), IRR(), ISPMT(), MDURATION(), MIRR(), NOMINAL(), NPER(), NPV(), 
ODDFPRICE(), ODDFYIELD(), ODDLPRICE(), ODDLYIELD(), 
PMT(), PPMT(), PRICE(), PRICEDISC(), PRICEMAT(), PV(), RATE(), 
RECEIVED(), SLN(), SYD(), TBILLEQ(), TBILLPRICE(), TBILLYIELD(), 
VDB(), XIRR(), XNPV(), YIELD(), YIELDDISC(), YIELDMAT(),


&lt;pre&gt;
&lt;/pre&gt;


&lt;pre&gt;
&lt;/pre&gt;

&lt;pre&gt;
&lt;/pre&gt;

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==Introduction==


[[#Graphical Image Editing Art]]
[[#Office Application]]
[[#Audio]]

[[#Misc Application]]
[[#Games &amp; Emulation]]

[[#Application Guides]]

[[#top|...to the top]]


[[#top|...to the top]]

Most apps can be opened on the Workbench (aka publicscreen pubscreen) which is the default display option but can offer a custom one set to your configurations (aka custom screen mode promotion). These custom ones tend to stack so the possible use of A-M/A-N method of switching between full screens and the ability to pull down screens as well 

If you are interested in creating or porting new software, see [http://en.wikibooks.org/wiki/Aros/Developer/Docs here]

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Internet Applications 
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Web Online Browser [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/browser Odyssey 2.0], [https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1175&amp;highlight=odyssey&amp;rowstart=100 Odyssey 3.0], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/comm/www Amelinium], [https://blog.alb42.de/programs/amifox/ amifox] with [https://github.com/alb42/wrp wrp server], IBrowse*, Voyager*, [https://github.com/amigazen/aweb3/ AWeb 3.6 src], [https://github.com/matjam/aweb AWeb Src], [http://aminet.net/package/comm/www/NetSurf-m68k-sources Netsurf], [], 
|&lt;!--AmigaOS4--&gt;[ Odyssey OWB], [ Timberwolf (Firefox port 2011)], [http://amigaworld.net/modules/newbb/viewtopic.php?forum=32&amp;topic_id=32847 OWB-mui], [http://strohmayer.org/owb/ OWB-Reaction], IBrowse*, [http://os4depot.net/index.php?function=showfile&amp;file=network/browser/aweb.lha AWeb], Voyager, [http://www.os4depot.net/index.php?function=browse&amp;cat=network/browser Netsurf], 
|&lt;!--MorphOS--&gt;Wayfarer, [http://fabportnawak.free.fr/owb/ Odyssey OWB], [ Netsurf], IBrowse*, AWeb, [], 
|-
|&lt;!--Sub Menu--&gt;YouTube Viewing and downloading videos 
|&lt;!--AROS--&gt;Odyssey 2.0 can show Youtube webpage, [https://blog.alb42.de/amitube/ Amitube], 
|[https://blog.alb42.de/amitube/ Amitube], [https://github.com/YePpHa/YouTubeCenter/releases or this one], 
|[https://blog.alb42.de/amitube/ Amitube], getVideo, Tubexx, [https://github.com/walkero-gr/aiostreams aiostreams], 
|[ Wayfarer], [https://blog.alb42.de/amitube/ Amitube],Odyssey (OWB), [http://morphos.lukysoft.cz/en/vypis.php?kat=5 getVideo], Tubexx 
|-
|&lt;!--Sub Menu--&gt;E-mailing SMTP POP3 IMAP based 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/email SimpleMail], [http://sourceforge.net/projects/simplemail/files/ src], [https://github.com/jens-maus/yam YAM] 
|&lt;!--Amiga OS--&gt;[http://sourceforge.net/projects/simplemail/files/ SimpleMail], [https://github.com/jens-maus/yam YAM]
|&lt;!--AmigaOS4--&gt;SimpleMail, YAM, 
|&lt;!--MorphOS--&gt; SimpleMail, YAM
|-
|&lt;!--Sub Menu--&gt;IRC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat WookieChat], [https://sourceforge.net/projects/wookiechat/ Wookiechat src], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat AiRcOS], Jabberwocky, 
|&lt;!--Amiga OS--&gt;Wookiechat, AmIRC 
|&lt;!--AmigaOS4--&gt;Wookiechat 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Wookiechat], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 AmIRC], 
|-
|&lt;!--Sub Menu--&gt;Instant Messaging IM like [https://github.com/BlitterStudio/amidon Hollywood lang based Mastodon client], BlueSky AT protocol, Facebook(TM), Twitter X (TM), Bitlbee IRC Gateway and others 
|&lt;!--AROS--&gt;[https://github.com/kaffeine1/telegram-amiga telegram-amiga], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat jabberwocky], 
|&lt;!--Amiga OS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], CLIMM, SabreMSN, jabberwocky, 
|&lt;!--AmigaOS4--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], SabreMSN,
|&lt;!--MorphOS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 PolyglotNG], SabreMSN,
|-
|&lt;!--Sub Menu--&gt;Torrents 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/p2p ArTorr], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;CTorrent, Transmission 
|&lt;!--MorphOS--&gt;MLDonkey, Beehive, [http://morphos.lukysoft.cz/en/vypis.php?kat=5 Transmission], CTorrent, 
|-
|&lt;!--Sub Menu--&gt;FTP 
|&lt;!--AROS--&gt;Plugin included with Dopus Magellan, MarranoFTP, 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/comm/tcp/AmiFTP AmiFTP], AmiTradeCenter, ncFTP, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Pftp], [http://aminet.net/package/comm/tcp/AmiFTP-1.935-OS4 AmiFTP], 
|-
|&lt;!--Sub Menu--&gt;WYSIWYG Web Site Editor
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Internet Radio Streaming Audio [http://www.gnu.org/software/gnump3d/ gnump3d], [http://www.icecast.org/ Icecast2] Server (Broadcast) and Client (Listen), [ mpd], [http://darkice.sourceforge.net/ DarkIce], [http://www.dyne.org/software/muse/ Muse], 
|&lt;!--AROS--&gt;Mplayer (Icecast Client only), 
|&lt;!--Amiga OS--&gt;[https://github.com/sandlbn/TuneFinder TuneFinder C Src], [https://github.com/sandlbn/TuneFinderMUI TuneFinderMUI], [http://amigazeux.net/anr/ AmiNetRadio], [], [], 
|&lt;!--AmigaOS4--&gt;[http://www.tunenet.co.uk/ Tunenet], 
|&lt;!--MorphOS--&gt;Mplayer, AmiNetRadio, 
|-
|&lt;!--Sub Menu--&gt;VoIP (Voice over IP) with SIP Client (Session Initiation Protocol) or Asterisk IAX2 Clients Softphone (skype like) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;AmiPhone with Speak Freely, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Weather Forecast 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ WeatherBar], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench AWeather], []
|&lt;!--Amiga OS--&gt;[http://amigazeux.net/wetter/ Wetter], [https://github.com/emartisoft/AmiWeatherForecasts AmiWeatherForecasts src], 
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/?function=showfile&amp;file=utility/workbench/flipclock.lha FlipClock], 
|&lt;!--MorphOS--&gt;[http://amigazeux.net/wetter/ Wetter], 
|-
|&lt;!--Sub Menu--&gt;Street Road Maps Route Planning GPS Tracking  
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/muimapparium/ MuiMapparium] [https://build.alb42.de/ Build of MuiMapp versions], 
|&lt;!--Amiga OS--&gt;AmiAtlas*, UKRoutePlus*, [http://blog.alb42.de/ AmOSM], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://blog.alb42.de/programs/mapparium/ Mapparium], 
|-
|&lt;!--Sub Menu--&gt;Clock and Date setting from the internet (either ntp or websites) [https://www.timeanddate.com/worldclock/ World Clock], [http://www.time.gov/ NIST], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc ntpsync],  
|&lt;!--Amiga OS--&gt;ntpsync 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Newsgroups
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[http://newscoaster.sourceforge.net/ Newscoaster], [https://github.com/jens-maus/newsrog NewsRog], [ WorldNews], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Graphical Image Editing Art==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Image Editing
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Pixel Raster Artwork [https://github.com/LibreSprite/LibreSprite LibreSprite based on GPL aseprite], [https://github.com/abetusk/hsvhero hsvhero], [], 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/ZunePaint/ ZunePaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit LunaPaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit GrafX2], [ LodePaint needs OpenGL], 
|&lt;!--Amiga OS--&gt;[http://www.amigaforever.com/classic/download.html PPaint], GrafX2, [https://github.com/grovdata/Amiga_Sources/blob/master/software.md DeluxePaint], [http://www.amiforce.de/perfectpaint/perfectpaint.php PerfectPaint], Zoetrope, Brilliance2*, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit LodePaint], GrafX2, 
|&lt;!--MorphOS--&gt;Sketch, Pixel*, GrafX2, [http://morphos.lukysoft.cz/en/vypis.php?kat=3 LunaPaint]
|-
|&lt;!--Sub Menu--&gt;Image viewing 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LookHere], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LoView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer PicShow] , [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--Amiga OS--&gt;PicShow, PicView, Photoalbum,
|&lt;!--AmigaOS4--&gt;WarpView, PicShow, flPhoto, Thumbs, [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album]
|-
|&lt;!--Sub Menu--&gt;Photography retouching / Image Manipulation like Photoshop(tm)  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOEffects], [https://sourceforge.net/projects/zunetools/files/ ZunePaint], [http://sourceforge.net/projects/zunetools/files/ ZuneView], 
|&lt;!--Amiga OS--&gt;[ Tecsoft Video Paint aka TVPaint], Photogenics*, ArtEffect*, ImageFX*, XiPaint, fxPaint, ImageMasterRT, Opalpaint, 
|&lt;!--AmigaOS4--&gt;WarpView, flPhoto, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit Photocrop]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], ImageFX*, 
|-
|&lt;!--Sub Menu--&gt;Manage RAW picture folder galleries like Darktable, RAWtherapy, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Graphic Format Converter - ICC profile support sRGB, Adobe RGB, XYZ and linear RGB 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;GraphicsConverter, ImageStudio, [http://www.coplabs.org/artpro.html ArtPro]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Thumbnail Generator [], 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/shell Thumbnail Generator]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Icon Editor
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/iconedit Archives], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench Icon Toolbox], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/iconedit IconEditor]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Pixel Art Animation 
|&lt;!--AROS--&gt;Lunapaint
|&lt;!--Amiga OS--&gt;PPaint, AnimatED, Scala*, GoldDisk MovieSetter*, Walt Disney's Animation Studio*, ProDAD*, [https://github.com/historicalsource/DeluxePaint DeluxePaint src], Brilliance
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 Titler] 
|-
|&lt;!--Sub Menu--&gt;2D SVG based MovieSetter type 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;MovieSetter*, Fantavision*
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Morphing 
|&lt;!--AROS--&gt;[ GLMorph]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Cad (qcad-&gt;LibreCAD, etc.) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Xcad, MaxonCAD
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Cad like FreeCad, BRL-CAD, OpenSCAD, AvoCADo, etc. using dxf, obj (vertices), blend, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;XCad3d*, DynaCADD*, Cycas, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Model Rendering of glft (json) gbl (png jpg), usdz (USD files with materials, textures, and animations), FBX Filmbox is a proprietary Autodesk format, 
|&lt;!--AROS--&gt;POV-Ray
|&lt;!--Amiga OS--&gt;[http://www.discreetfx.com./amigaproducts.html CINEMA 4D]*, POV-Ray, Lightwave3D*, Real3D*, Caligari24*, Reflections/Monzoom*, [https://github.com/privatosan/RayStorm Raystorm src], Tornado 3D
|&lt;!--AmigaOS4--&gt;Blender, POV-Ray, Yafray
|&lt;!--MorphOS--&gt;Blender, POV-Ray, Yafray
|-
|&lt;!--Sub Menu--&gt;3D Format Converter [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=showfile&amp;file=graphics/convert/ivcon.lha IVCon]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen grabbing display 
|&lt;!--AROS--&gt;[ Screengrabber], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc snapit], [http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record screen recorder], []
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Grab graphics music from apps [https://github.com/Malvineous/ripper6 ripper6], [],
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Office Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Office
!width:10%;|AROS (x86)
!width:10%;|[http://en.wikipedia.org/wiki/Amiga_software Commodore-Amiga OS 3.1] (68k)
!width:10%;|[http://en.wikipedia.org/wiki/AmigaOS_4 Hyperion OS4] (PPC)
!width:10%;|[http://en.wikipedia.org/wiki/MorphOS MorphOS] (PPC)
|-
|&lt;!--Sub Menu--&gt;Word-processing 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=office/wordprocessing Cinnamon Writer], [https://finalwriter.godaddysites.com/ Final Writer 7*], [https://github.com/sodero/MUI-Vim/releases MUI-Vim], [ ], 
|&lt;!--AmigaOS--&gt;[ Softwood FinalCopy II*], Haage AmigaWriter*, Digita WordWorth*, Softwood FinalWriter*, Micro-Systems Excellence 3*, Arnor Protext, Rashumon, [ InterWord], [ KindWords], [WordPerfect], [ New Horizons Flow], [ CygnusEd Pro], [ Micro-systems Scribble], 
|&lt;!--AmigaOS4--&gt;AbiWord, [ CinnamonWriter]
|&lt;!--MorphOS--&gt;[ Cinnamon Writer], [http://www.meta-morphos.org/viewtopic.php?topic=1246&amp;forum=53 scriba], [http://morphos.lukysoft.cz/en/index.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Spreadsheets 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/leu/ Leu], [https://archives.arosworld.org/index.php?function=browse&amp;cat=office/spreadsheet], 
|&lt;!--AmigaOS--&gt;[https://aminet.net/package/biz/spread/ignition-src Ignition Src 1.3], [MaxiPlan 500 Plus], [OXXI Plan/IT v2.0 Speadsheet], [ Superplan], [ Creative Developments TurboCalc], [ ProCalc], [ InterSpread], [Digita DGCalc], [ Gold Disk Advantage], [ Micro-systems Analyze!]
|&lt;!--AmigaOS4--&gt;Gnumeric, [https://ignition-amiga.sourceforge.net/ Ignition], 
|&lt;!--MorphOS--&gt;[ ignition], [http://morphos.lukysoft.cz/en/vypis.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Presentations
|&lt;!--AROS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, 
|&lt;!--Amiga OS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, MediaPoint, PointRider, Scala*, 
|&lt;!--Amiga OS4--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider 
|&lt;!--MorphOS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider
|-
|&lt;!--Sub Menu--&gt;Databases 
|&lt;!--AROS--&gt;[http://sdb.freeforums.org/ SDB], [http://archives.arosworld.org/index.php?function=browse&amp;cat=office/database BeeBase], 
|&lt;!--Amiga OS--&gt;Precision Superbase 4 Pro*, Arnor Prodata*, BeeBase, Datastore, FinalData*, AmigaBase, Fiasco, Twist2*, [Digita DGBase], [], 
|&lt;!--AmigaOS4--&gt;BeeBase, SQLite, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=6 BeeBase], 
|-
|&lt;!--Sub Menu--&gt;PDF Viewing and editing digital signatures 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/arospdf/ ArosPDF via splash], [https://github.com/wattoc/AROS-vpdf vpdf wip], 
|&lt;!--Amiga OS--&gt;APDF 
|&lt;!--AmigaOS4--&gt;AmiPDF 
|&lt;!--MorphOS--&gt;APDF, vPDF, 
|-
|&lt;!--Sub Menu--&gt;Printing 
|&lt;!--AROS--&gt;Postscript 3 laser printers and Ghostscript internal, [ GutenPrint], 
|&lt;!--Amiga OS--&gt;[http://www.irseesoft.de/tp_what.htm TurboPrint]* 
|&lt;!--AmigaOS4--&gt;(some native drivers), 
|&lt;!--MorphOS--&gt;early TurboPrint included, 
|-
|&lt;!--Sub Menu--&gt;Note Taking markdown support like joplin, OneNote, EverNote Notes, xournalpp, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Study and analyse, collect, organize, annotate, cite, and share
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PIM Personal Information Manager - Day Diary Planner Calendar App 
|&lt;!--AROS--&gt;[ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;Digita Organiser*, On The Ball, Everyday Organiser, [ Contact Manager], 
|&lt;!--AmigaOS4--&gt;AOrganiser, 
|&lt;!--MorphOS--&gt;[http://polymere.free.fr/orga_en.html PolyOrga], 
|-
|&lt;!--Sub Menu--&gt;Accounting
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=office/misc ETB], LoanCalc, [ ], [ ], [ ], 
|[ Digita Home Accounts2], Accountant, Small Business Accounts, Account Master, [ Amigabok], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Project Management Research 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;SuperGantt, SuperPlan, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System Wide Dictionary - multilingual [http://sourceforge.net/projects/babiloo/ Babiloo], [http://code.google.com/p/stardict-3/ StarDict], 
|&lt;!--AROS--&gt;[ ],  
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System wide Thesaurus - multi lingual
|&lt;!--AROS--&gt;[ ], 
|Kuma K-Roget*, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Sticky Desktop Notes (post it type) 
|&lt;!--AROS--&gt;[http://aminet.net/package/util/wb/amimemos.i386-aros AmiMemos], [https://aminet.net/package/util/wb/amimemos.src-aros AmiMemos Src], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/util/wb/StickIt-2.00 StickIt v2], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DTP Desktop Publishing 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOPublisher], 
|&lt;!--Amiga OS--&gt;[http://pagestream.org/ Pagestream]*, Professional Pro Page*, Saxon Publisher, Pagesetter, PenPal, 
|&lt;!--AmigaOS4--&gt;[http://pagestream.org/ Pagestream]* 
|&lt;!--MorphOS--&gt;[http://pagestream.org/ Pagestream]* 
|-
|&lt;!--Sub Menu--&gt;Scanning 
|&lt;!--AROS--&gt;[ SCANdal], [], 
|&lt;!--Amiga OS--&gt;FxScan*, ScanQuix* 
|&lt;!--AmigaOS4--&gt;SCANdal (Sane)
|&lt;!--MorphOS--&gt;SCANdal
|-
|&lt;!--Sub Menu--&gt;OCR
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/convert gOCR] 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos-files.net/categories/office/text Tesseract] 
|-
|&lt;!--Sub Menu--&gt;Text Editing
|&lt;!--AROS--&gt;Jano Editor (already installed as Editor), [http://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit EdiSyn], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit Annotate], [https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Vim], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd] [https://github.com/vidarh/FrexxEd src], [ NoWinEd], 
|&lt;!--Amiga OS--&gt;Annotate, MicroGoldED/CubicIDE*, CygnusED*, Turbotext, Protext*, NoWinED, 
|&lt;!--AmigaOS4--&gt;Notepad, Annotate, CygnusED*, NoWinED, 
|&lt;!--MorphOS--&gt;MorphOS ED, NoWinED, GoldED/CubicIDE*, CygnusED*, Annotate, 
|-
|&lt;!--Sub Menu--&gt;Office Fonts [http://sourceforge.net/projects/fontforge/files/fontforge-source/ Font Designer] 
|&lt;!--AROS--&gt;[ ], [ ], 
|&lt;!--Amiga OS--&gt;TypeSmith*, SaxonScript (GetFont Adobe Type 1), 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Drawing Vector
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/amifig/ ZuneFIG previously AmiFIG]
|&lt;!--Amiga OS--&gt;Drawstudio*, ProVector*, ArtExpression*, Professional Draw*, AmiFIG, MetaView, [https://gitlab.com/amigasourcecodepreservation/designworks Design Works Src], [], 
|&lt;!--AmigaOS4--&gt;MindSpace, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit amifig], 
|&lt;!--MorphOS--&gt;SteamDraw, [http://aminet.net/package/gfx/edit/amifig amiFIG], 
|-
|&lt;!--Sub Menu--&gt;video conferencing (jitsi) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;source code hosting
|&lt;!--AROS--&gt;Gitlab, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (server)
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/VNC_Server ArosVNCServer], 
|&lt;!--Amiga OS--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC], [http://dspach.free.fr/amiga/avnc/index.html AVNC]
|&lt;!--AmigaOS4--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC] 
|MorphVNC, vncserver
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (client) login and connect to another machine 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/VNC_Client/ ArosVNC], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc rdesktop], 
|&lt;!--Amiga OS--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://dspach.free.fr/amiga/vva/index.html VVA], [http://www.hd-zone.com/ RDesktop]
|&lt;!--AmigaOS4--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|-
|&lt;!--Sub Menu--&gt;notifications 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Ranchero 
|&lt;!--AmigaOS4--&gt;Ringhio 
|&lt;!--MorphOS--&gt;MagicBeacon 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Audio==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Audio
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing playback Audio like MP3, [https://github.com/chrg127/gmplayer NSF], [https://github.com/kode54/lazyusf miniusf .usflib], [], etc 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer], [ HarmonyPlayer hp], [http://www.a500.org/downloads/audio/index.xhtml playcdda] CDs, [ WildMidi Player], [https://bszili.morphos.me/ UADE mod player], [], [RNOTunes ], [ mp3Player], [], 
|&lt;!--Amiga OS--&gt;AmiNetRadio, AmigaAmp, playOGG, 
|&lt;!--AmigaOS4--&gt;TuneNet, SimplePlay, AmigaAmp, TKPlayer
|AmiNetRadio, Mplayer, Kaya, AmigaAmp
|-
|&lt;!--Sub Menu--&gt;Editing Audio 
|&lt;!--AROS--&gt;[ Audio Evolution 4] 
|&lt;!--Amiga OS--&gt;[ Samplitude Opus Key], [https://sourceforge.net/projects/hd-rec/ HD-Rec Src], [http://www.sonicpulse.de/eng/news.html SoundFX], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/projects/hd-rec/ HD-Rec], AmiSoundED, [http://os4depot.net/?function=showfile&amp;file=audio/record/audioevolution4.lha Audio Evolution 4] 
|[http://www.hd-rec.de/HD-Rec/index.php?site=home HD-Rec], 
|-
|&lt;!--Sub Menu--&gt;Editing Tracker Music
|&lt;!--AROS--&gt;[https://github.com/hitchhikr/protrekkr Protrekkr], [ Schism Tracker], [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/tracker MilkyTracker], [http://www.hivelytracker.com/ HivelyTracker], [ Radium in AROS already],  [http://www.a500.org/downloads/development/index.xhtml libMikMod], 
|&lt;!--Amiga OS--&gt;MilkyTracker, HivelyTracker, DigiBooster, Octamed SoundStudio, 
|&lt;!--AmigaOS4--&gt;MilkyTracker, HivelyTracker, GoatTracker
|MilkyTracker, GoatTracker, DigiBooster, 
|-
|&lt;!--Sub Menu--&gt;Editing Music [], [https://github.com/kmatheussen/camd CAMD] and/or staves and notes manuscript 
|&lt;!--AROS--&gt;[http://bnp.hansfaust.de/ Bars and Pipes for AROS], [ Audio Evolution], [], 
|&lt;!--Amiga OS--&gt;[http://bnp.hansfaust.de/ Bars'n'Pipes], MusicX* David &quot;Talin&quot; Joiner &amp; Craig Weeks (for Notator-X), Deluxe Music Construction 2*, [https://github.com/timoinutilis/midi-sequencer-amigaos Horny c Src], HD-Rec, [https://aminet.net/package/mus/midi/dominatorV1_51 Dominator], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Rockbeat, [http://bnp.hansfaust.de/download.html Bars'n'Pipes], [http://os4depot.net/index.php?function=browse&amp;cat=audio/edit Horny], Audio Evolution 4, 
|&lt;!--MorphOS--&gt;Bars'n'Pipes, 
|-
|&lt;!--Sub Menu--&gt;Sound Sampling 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/record Audio Evolution 4], [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;did=162 Quick Record], [https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc SOX to get AIFF 16bit files], [https://github.com/aros-development-team/AROS/tree/master/workbench/tools/AHIRecord AHIRecord], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/package/mus/edit/AudioEvolution3_src Audio Evolution 3 c src], [ Samplitude-MS Opus Key], Audiomaster IV*, 
|&lt;!--AmigaOS4--&gt;[https://github.com/timoinutilis/phonolith-amigaos phonolith c src], HD-Rec, Audio Evolution 4,
|&lt;!--MorphOS--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Audio Evolution 4,
|-
|&lt;!--Sub Menu--&gt;Live Looping or Audio Misc - Groovebox like
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;CD/DVD burn
|[https://code.google.com/p/amiga-fryingpan/ FryingPan], 
|&lt;!--Amiga OS--&gt;FryingPan, [http://www.estamos.de/makecd/#CurrentVersion MakeCD], 
|&lt;!--AmigaOS4--&gt;FryingPan, AmiDVD, 
|[http://www.amiga.org/forums/printthread.php?t=58736 FryingPan], Jalopeano, 
|-
|&lt;!--Sub Menu--&gt;CD/DVD audio rip
|Lame, [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;cfid=0&amp;did=167 Quick CDrip],
|&lt;!--Amiga OS--&gt;Lame,  
|&lt;!--AmigaOS4--&gt;Lame, 
|Lame,  
|-
|&lt;!--Sub Menu--&gt;MP3 v1 and v2 Tagger
|&lt;!--AROS--&gt;id3ren (v1), [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/edit mp3info], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|
|-
|&lt;!--Sub Menu--&gt;Audio Convert
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc Sox], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/mus/misc/SoundBox SoundBox], [http://aminet.net/package/mus/misc/SoundBoxKey SoundBox Key], [http://aminet.net/package/mus/edit/SampleE SampleE], sox 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DJ mixing jamming 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Radio Automation Software [http://www.rivendellaudio.org/ Rivendell], [http://code.campware.org/projects/livesupport/report/3 Campware LiveSupport], [http://www.sourcefabric.org/en/airtime/ SourceFabric AirTime], [http://www.ohloh.net/p/mediabox404 MediaBox404], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speakers Audio Sonos Mains AC networked wired controlled 
*2005 ZP100 with ZP80 
*2008 Zoneplayer ZP120 (multi-room wireless amp)  ZP90 receiver only with CR100 controller, 
*2009 ZonePlayer S5, 
*2010 BR100 wireless Bridge (no support),   
*2011 Play:3
*2013 Bridge (no support), Play:1,  
*2016 Arc,   Play:1,   
*Beam (Gen 2),   Playbar,  Ray,   Era 100,   Era 300,   Roam,   Move 2,   
*Sub (Gen 3),   Sub Mini,  Five,  Amp  S2 
|&lt;!--AROS--&gt;SonosController 
|&lt;!--Amiga OS--&gt;SonosController
|&lt;!--AmigaOS4--&gt;SonosController
|&lt;!--MorphOS--&gt;SonosController
|-
|&lt;!--Sub Menu--&gt;Smart Speakers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Video Creativity and Production==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Video
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing Video 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer VAMP], [http://www.a500.org/downloads/video/index.xhtml CDXL player], [http://www.a500.org/downloads/video/index.xhtml IffAnimPlay], [], 
|&lt;!--Amiga OS--&gt;Frogger*, AMP2, MPlayer, RiVA*, MooViD*, 
|&lt;!--AmigaOS4--&gt;DvPlayer, MPlayer 
|&lt;!--MorphOS--&gt;MPlayer, Frogger, AMP2, VLC 
|-
|&lt;!--Sub Menu--&gt;Streaming Video and game streaming like OBS studio, Parsec, etc 
|&lt;!--AROS--&gt;Mplayer, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Mplayer, Gnash, Tubexx 
|&lt;!--MorphOS--&gt;Mplayer, OWB, Tubexx
|-
|&lt;!--Sub Menu--&gt;Playing DVD 
|&lt;!--AROS--&gt;[http://a-mc.biz/ AMC]*, Mplayer 
|&lt;!--Amiga OS--&gt;AMP2, Frogger 
|&lt;!--AmigaOS4--&gt;[http://a-mc.biz/ AMC]*, DvPlayer*, AMP2,  
|&lt;!--MorphOS--&gt;Mplayer 
|-
|&lt;!--Sub Menu--&gt;Screen Recording
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record Screenrecorder], [ ], [ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Screenrecorder, 
|-
|&lt;!--Sub Menu--&gt;Create and Edit Individual Video NLE 
|&lt;!--AROS--&gt;[ Mencoder], [ Quick Videos], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit AVIbuild], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc FrameBuild], FFMPEG, 
|&lt;!--Amiga OS--&gt;[ MainConcept Mainactor Broadcast*], [http://en.wikipedia.org/wiki/Video_Toaster Video Toaster*], MacroSystem MovieShop 4.3*, proDAD Adorage*, [ IOSpirit VHI studio]*, [Gold Disk ShowMaker], [], 
|&lt;!--AmigaOS4--&gt;FFMpeg/GUI 
|&lt;!--MorphOS--&gt;Blender, Mencoder, FFmpeg
|-
|&lt;!--Sub Menu--&gt;Subtitle editor 
|&lt;!--AROS--&gt;[https://aminet.net/package/text/edit/Slarti_Arosx86ABIv0 Slarti_Arosx86ABIv0], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;IP-based video production workflows with High Dynamic Range (HDR), 10-bit color collaborative NDI, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Blogging like Lemmy or kbin
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR face recognition for Vtubers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting Live 2D models with Cubism type editor 
&lt;pre&gt;
Model data (cmo3)
Basic motions (can3)
Background image (png)
Set of files for embedding (runtime folder)
• Model data (moc3)
• Motion data (motion3.json)
• Model settings file (model3.json)
• Physics settings file (physics3.json)
• Display auxiliary file (cdi3.json)
&lt;/pre&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting chatters .VRML models - standardized 3D file format for VR avatars 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;V-tubers V-tubing like Vseeface with Openseeface tracker or Vpuppr (virtual puppet project) for 2d / 3d art models rigging rigged LIV 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]


==Misc Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;File Management 
|&lt;!--AROS--&gt;DOpus4, [https://github.com/BlitterStudio/dopus5 DOpus Magellan aka DOpus 5], [ Scalos], [ ], 
|&lt;!--Amiga OS--&gt;DOpus2, DOpus 4, [http://sourceforge.net/projects/dopus5allamigas/files/?source=navbar DOpus Magellan DOpus5], ClassAction, FileMaster, [http://www.amiga.org/forums/showthread.php?t=4897 DirWork 2]*, [https://github.com/RudolphRiedel/DiskMaster2 DiskMaster2 src], 
|&lt;!--AmigaOS4--&gt;DOpus4, DOpus5, Filer, AmiDisk 
|&lt;!--MorphOS--&gt;DOpus4, DOpus5 
|-
|&lt;!--Sub Menu--&gt;File Verification / Repair 
|&lt;!--AROS--&gt;md5 (works in linux compiling shell), [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/filetool workpar2] (PAR2),  [http://zakalwe.fi/~shd/foss/cksfv/files/ compile cksfv from website], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Par2, 
|-
|Application Installer 
|&lt;!--AROS--&gt;[], [ InstallerNG], 
|&lt;!--Amiga OS--&gt;InstallerNG, Grunch, 
|&lt;!--AmigaOS4--&gt;Jack
|&lt;!--MorphOS--&gt;Jack 
|-
|&lt;!--Sub Menu--&gt;Compression archiver [https://github.com/FS-make-simple/paq9a paq9a], [], 
|&lt;!--AROS--&gt;XAD system is a toolkit designed for handling various file and disk archiver
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[https://aminet.net/package/util/pack/decrunchmania_os4 Crunchmania CrM2 depacker], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Binary Hexadecimal Editor 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Zaphod], [],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Repository
|&lt;!--AROS--&gt;[ Git]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Git
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Partition Editor formatter 
|&lt;!--AROS--&gt;[https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1440&amp;highlight=partition&amp;pid=8821#post_8821 QuickPart], [HDToolBox]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Repair
|&lt;!--AROS--&gt;ArSFSDoctor, 
|&lt;!--Amiga OS--&gt; Quarterback Tools, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Multiple File renaming
|&lt;!--AROS--&gt;DOpus 4 or 5, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Anti Virus
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;VChecker, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Random Wallpaper Desktop changer [ DOpus5], [ Scalos],  
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Alarm Clock, Timer, Stopwatch, Countdown 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench DClock], [http://aminet.net/util/time/AlarmClockAROS.lha AlarmClock], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fortune Cookie Quotes Sayings 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc AFortune], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;C/C++ IDE 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd], [https://github.com/vidarh/FrexxEd FrexxEd src], Annotate, Murks, 
|&lt;!--Amiga OS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Annotate, 
|&lt;!--AmigaOS4--&gt;CodeBench , [https://gitlab.com/boemann/codecraft CodeCraft], 
|&lt;!--MorphOS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Anontate, 
|-
|&lt;!--Sub Menu--&gt;Computer Languages Translation [https://tetracorp.github.io/guide/reverse-engineering-amiga.html ], [https://amigasourcecodepreservation.gitlab.io/amiga-assembler-insider-guide/ ], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://bitbucket.org/rhinoid/convert68000toc/src/main/ convert m68k seka asm-one to c], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Gui Creators
|&lt;!--AROS--&gt;[ MuiBuilder], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[ MuiBuilder],  
|-
|&lt;!--Sub Menu--&gt;Catalog .cd .ct Editors 
|&lt;!--AROS--&gt;FlexCat
|&lt;!--Amiga OS--&gt;[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|&lt;!--AmigaOS4--&gt;[http://aminet.net/package/dev/misc/simplecat SimpleCat], FlexCat
|[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Misc Application 2==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;System 
|&lt;!--AROS--&gt;[ SysExplorer], [ SysMon], [ Scout], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;OSK On Screen Keyboard
|&lt;!--AROS--&gt;[], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/util/wb/OSK.lha OSK]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Magnifier Magnifying Glass Magnification 
|&lt;!--AROS--&gt;[http://www.onyxsoft.se/files/zoomit.lha ZoomIT], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Comic Book CBR CBZ format reader viewer 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comics], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comicon], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Reader 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#legadon Legadon EPUB],[]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Converter 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Text to Speech tts [https://github.com/JonathanFly/bark-installer Bark], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc flite], 
|&lt;!--Amiga OS--&gt;[http://www.text2speech.com translator], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=search&amp;tool=simple FLite]
|&lt;!--MorphOS--&gt;[http://se.aminet.net/pub/aminet/mus/misc/ FLite]
|-
|&lt;!--Sub Menu--&gt;Speech Voice Recognition Dictation - [http://sourceforge.net/projects/cmusphinx/files/ CMU Sphinx], [http://julius.sourceforge.jp/en_index.php?q=en/index.html Julius], [http://www.isip.piconepress.com/projects/speech/index.html ISIP], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speech Voice Changer [], [], [], [], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fractals
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;ZoneXplorer, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Landscape Rendering 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/raytrace WCS World Construction Set], 
|&lt;!--Amiga OS--&gt;[ Vista Pro], [http://en.wikipedia.org/wiki/World_Construction_Set World Construction Set]
|&lt;!--AmigaOS4--&gt;[ WCS World Construction Set],
|&lt;!--MorphOS--&gt;[ WCS World Construction Set],
|-
|&lt;!--Sub Menu--&gt;Astronomy [https://sourceforge.net/projects/skychart/ skychart freepascal], [], [], 
|&lt;!--AROS--&gt;[ Digital Almanac (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/search?query=planetarium Aminet search], [http://aminet.net/misc/sci/DA3V56ISO.zip Digital Almanac], [https://aminet.net/package/misc/sci/da3sourceV58 Src c V58], [ Galileo renamed to Distant Suns]*, [], 
|&lt;!--AmigaOS4--&gt;[http://sourceforge.net/projects/digital-almanac/ Digital Almanac], Distant Suns*, [http://www.digitaluniverse.org.uk/ Digital Universe]*,
|&lt;!--MorphOS--&gt;[http://www.aminet.net/misc/sci/da3.lha Digital Almanac], [http://www.aminet.net/package/misc/sci/da3-mos-src Src c V56], 
|-
|&lt;!--Sub Menu--&gt;Astrology [https://sourceforge.net/projects/skylendar/ skylendar], [https://github.com/CruiserOne/Astrolog Astrolog], [https://www.astrolog.org/astrolog/astfile.htm Astrology alt site], [https://saravali.github.io/download.html Maitreya], [https://github.com/alamahant/Asteria Asteria], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PCB design
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Digital Signage
|&lt;!--AROS--&gt;Hollywood, Hollywood Designer 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Genealogy History Family Tree Ancestry Records (FreeBMD, FreeREG, and FreeCEN file formats or GEDCOM GenTree)
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; [ Origins], [ Your Family Tree], [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Display Blanker screensaver 
|&lt;!--AROS--&gt;Blanker Commodity (built in), [https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/screenblanker GarshneBlanker], [http://sourceforge.net/projects/gblanker/ GBlanker Src], [], 
|&lt;!--Amiga OS--&gt;MultiCX, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;ModernArt Blanker, 
|-
|&lt;!--Sub Menu--&gt;Languages 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Fun School, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Mathematics ([http://www-fourier.ujf-grenoble.fr/~parisse/install_en.html Xcas], etc.), 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/scientific mathX] 
|&lt;!--Amiga OS--&gt;Maple V, mathX, Fun School, GCSE Maths, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;Yacas 
|&lt;!--MorphOS--&gt;Yacas 
|-
|&lt;!--Sub Menu--&gt;Maths Graph Function Plotting
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#MUIPlot MUIPlot], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;App Utility Launcher Dock toolbar  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/docky BoingBar], [], 
|&lt;!--Amiga OS--&gt;[https://github.com/adkennan/DockBot Dockbot],
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Printer [https://github.com/OrcaSlicer/OrcaSlicer OrcaSlicer]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;BASIC Computer Language 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/language Basic4SDL], [ Ace Basic], [ X-AMOS], [SDLBasic], [ Alvyn], 
|&lt;!--Amiga OS--&gt;[http://www.amiforce.de/main.php Amiblitz 3], [http://amos.condor.serverpro3.com/AmosProManual/contents/c1.html Amos Pro], [http://aminet.net/package/dev/basic/ace24dist ACE Basic], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;sdlBasic
|-
|&lt;!--Sub Menu--&gt;HAM amateur radio  [], [], [], [https://cemaxecuter.com/ Dragon OS], [https://github.com/km4ack/73Linux with 73 link update], [https://www.youtube.com/watch?v=YAL5KNePRSg video for], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://www.amigarealm.com/amiga/amicomms/comm4.htm Comm4], [https://www.amigarealm.com/archives/comms/aarug/ TNC Terminal Node Controller with packets over serial connections on Yaesu or Woxum handheld], [https://aminet.net/comm/misc AmiCom], [ with 7Plus file encoder/decoder], [ mksstv], [ RTTYam], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Games &amp; Emulation==

Some emulators/games require OpenGL to function and to adjust ahi prefs channels, frequency and unit0 and unit1 and 
[http://aros.sourceforge.net/documentation/users/shell/changetaskpri.php changetaskpri -1]

Rom patching  https://www.marcrobledo.com/RomPatcher.js/ https://www.romhacking.net/patch/ (ips, ups, bps, etc) and this other site supports the latter formats https://hack64.net/tools/patcher.php 

Free public domain roms for use with emulators can be found [http://www.pdroms.de/ here] as most of the rest are covered by copyright rules. If you like to read about old games see [http://retrogamingtimes.com/ here] and [http://www.armchairarcade.com/neo/ here] and a [http://www.vintagecomputing.com/ blog] about old computers. Possibly some of the [http://www.answers.com/topic/list-of-best-selling-computer-and-video-games best selling] of all time. [http://en.wikipedia.org/wiki/List_of_computer_system_emulators Wiki] with emulated systems list.

[https://archive.gamehistory.org/ Archive of VGHF], [https://library.gamehistory.org/ Video Game History Foundation Library search]


{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Emulation]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Games Emulation Amstrad CPC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [ Caprice32 (OpenGL &amp; pure SDL)], [ Arnold], [https://retroshowcase.gr/cpcbox-master/], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Apple2 and 2GS
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Arcade
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Mame], [ SI Emu (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;Mame, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem xmame], amiarcadia, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 Mame], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 2600 [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Stella], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 5200 [https://github.com/wavemotion-dave/A5200DS A5200DS], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 7800
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 400 800 130XL [https://github.com/wavemotion-dave/A8DS A8DS], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Atari800], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Lynx
|&lt;!--AROS--&gt;[http://myfreefilehosting.com/f/6366e11bdf_1.93MB Handy (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Jaguar
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Bandai Wonderswan 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation BBC Micro and Acorn Electron [http://beehttps://bem-unix.bbcmicro.com/download.html BeebEm], [http://b-em.bbcmicro.com/ B-Em], [http://elkulator.acornelectron.co.uk/ Elkulator], [http://electrem.emuunlim.com/ ElectrEm], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Dragon 32 and Tandy CoCo [http://www.6809.org.uk/xroar/ xroar], [], 
|&lt;!--AROS--&gt;[], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C16 Plus4
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C64
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Vice (ABIv0 only)], [], 
|&lt;!--Amiga OS--&gt;Frodo, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem viceplus], 
|&lt;!--MorphOS--&gt;Vice, 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore Amiga
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Janus UAE], Emumiga, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer UAE], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 UAE], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Japanese MSX MSX2 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Intelivision
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Colecovision and Adam
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Milton Bradley (MB) Vectrex [ Vectrex OpenGL], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation PICO8 Pico-8 fantasy video game console [https://github.com/egordorichev/pemsa-sdl/ pemsa-sdl], [https://github.com/jtothebell/fake-08 fake-08], [https://github.com/Epicpkmn11/fake-08/tree/wip fake-08 fork], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo Gameboy
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem vba no sound], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem vba]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo NES
|&lt;!--AROS--&gt;[ EmiNES], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Fceu], [https://github.com/takahirox/nes-js?tab=readme-ov-file nes-js], [https://github.com/bfirsh/jsnes jsnes], [https://github.com/angelo-wf/NesJs NesJs], 
|&lt;!--Amiga OS--&gt;AmiNES, [http://www.dridus.com/~nyef/darcnes/ darcNES], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem amines]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo SNES
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Zsnes], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem warpsnes]
|&lt;!--MorphOS--&gt;[http://fabportnawak.free.fr/snes/ Snes9x], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo N64 
*HLE and plugins [ mupen64], [https://github.com/ares-emulator/ares ares], [https://github.com/N64Recomp/N64Recomp N64Recomp], [https://github.com/rt64/rt64 rt64], [https://github.com/simple64/simple64 Simple64], 
*LLE [], 
|&lt;!--AROS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+],
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+], [http://aminet.net/package/misc/emu/tr-981125_src TR64], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Gamecube Wii]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Wii U]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/yuzu-emu Nintendo Switch]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation NEC PC Engine 
|&lt;!--AROS--&gt;[], [], [https://github.com/yhzmr442/jspce js-pce], 
|[http://www.hugo.fr.fm/ Hugo], [http://mednafen.sourceforge.net/ Mednafen], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem tgemu]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Master System (SMS)
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Dega], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem sms], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem osmose]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Genesis/Megadrive
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem gp no sound], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem DGen], 
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/genplus-gx/ Genplus], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem genesisplus]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Saturn 
*HLE [https://mednafen.github.io/ mednafen], [http://yabause.org/ yabause], [], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;[http://yabause.org/ Yabause], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Dreamcast 
*HLE [https://github.com/flyinghead/flycast  flycast], [https://code.google.com/archive/p/nulldc/downloads NullDC], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair ZX80 and ZX81 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair Spectrum 
|[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Fuse (crackly sound)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer SimCoupe], [ FBZX slow], [https://jsspeccy.zxdemo.org/ jsspeccy], [http://torinak.com/qaop/games qaop], 
|&lt;!--Amiga OS--&gt;[http://www.lasernet.plus.com/ Asp], [http://www.zophar.net/sinclair.html Speculator], [http://www.worldofspectrum.org/x128/index.html X128], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair QL
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/misc/emu/QDOS4amiga1 QDOS4amiga]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation SNK NeoGeo Pocket
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem gngeo], NeoPop, 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sony PlayStation
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem FPSE], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem FPSE]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS2]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS3]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://vita3k.org/ Sony Vita]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/shadps4-emu/shadPS4 PS4]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation [http://en.wikipedia.org/wiki/Tangerine_Computer_Systems Tangerine] Oric and Atmos 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Oricutron]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem Oricutron]
|&lt;!--MorphOS--&gt;[http://aminet.net/package/misc/emu/oricutron Oricutron]
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 99/4 99/4A [https://github.com/wavemotion-dave/DS994a DS994a], [], [https://js99er.net/#/ js99er], [], [http://aminet.net/package/misc/emu/TI4Amiga TI4Amiga], [http://aminet.net/package/misc/emu/TI4Amiga_src TI4Amiga src in c], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation HP 38G 40GS 48 49G/50G Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 58 83 84 85 86 - 89 92 Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [https://www.rockpapershotgun.com/ General]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Games [https://www.trackawesomelist.com/michelpereira/awesome-open-source-games/ Open Source and others] || AROS || Amiga OS || Amiga OS4 || Morphos 
|-
|&lt;!--Sub Menu--&gt;Games Action like [https://github.com/BSzili/OpenLara/tree/amiga/src source of openlara SDL2], [https://github.com/opentomb/OpenTomb opentomb], [https://github.com/LostArtefacts/TRX TRX formerly Tomb1Main], [https://github.com/TombEngine TombEngine], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Thrust], [https://github.com/fragglet/sdl-sopwith sdl sopwith], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action BOH], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Adventure like [http://dotg.sourceforge.net/ DMJ], [https://github.com/kromenak/gengine Gabriel Knight 3], [http://www.sarien.net/ Sierra Sarien], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/adventure dmagnetic], [https://archives.arosworld.org/?function=browse&amp;cat=emulation/misc ScummVM], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying frotz infocom], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Board like [https://github.com/aperture-software/colditz-escape escape from colditz], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/board], [http://amigan.1emu.net/releases Africa]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Cards 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/card ], [], 
|&lt;!--AmigaOS--&gt;[http://home.arcor.de/amigasolitaire/e/welcome.html Reko], [https://github.com/samskivert/beschei-en beschei Src], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Misc [https://github.com/michelpereira/awesome-open-source-games Awesome open], [https://github.com/bobeff/open-source-games General Open Source], [https://github.com/SAT-R/sa2 Sonic Advance 2], [https://github.com/velorek1/cwordle Wordle type], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games FPS like [https://aminet.net/package/game/shoot/D1X_Rebirth_AGA Descent D1X src], [https://github.com/DescentDevelopers/Descent3 Descent 3], [https://github.com/Fewnity/Counter-Strike-Nintendo-DS Counter-Strike-Nintendo-DS], [https://github.com/Aleph-One-Marathon/alephone Bungie Marathon 1994], [https://github.com/ZDoom/gzdoom gzdoom], [], 
|&lt;!--AROS--&gt;Doom, Quake, [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Quake 3 Arena (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Assault Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube 2 Sauerbraten (OpenGL)], [http://fodquake.net/test/ FodQuake QuakeWorld], [ Duke Nukem 3D], [ Darkplaces Nexuiz Xonotic], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Doom 3 SDL (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Hexenworld and Hexen 2], [ Aliens vs Predator Gold 2000 (openGL)], [ Odamex (openGL doom)], 
|&lt;!--Amiga OS--&gt;Doom, Quake, AB3D, Fears, Breathless, 
|&lt;!--AmigaOS4--&gt;Doom, Quake, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12 Doom], Quake, Quake 3 Arena, [https://github.com/OpenXRay/xray-16 S.T.A.L.K.E.R Xray]
|-
|&lt;!--Sub Menu--&gt;Games MMORG like 
|&lt;!--AROS--&gt;[ Eternal Lands (OpenGL)],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Platform like 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform], [ Maze of Galious], [ Gish]*(openGL), [ Mega Mario], 
[http://www.gianas-return.de/ Giana's Return], [http://www.sqrxz.de/ Sqrxz], [.html Aquaria]*(openGL), 
[http://www.sqrxz2.de/ Sqrxz 2], [http://www.sqrxz.de/sqrxz-3/ Sqrxz 3], [http://www.sqrxz.de/sqrxz-4/ Sqrxz 4], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform Cave Story], [https://bszili.morphos.me/ Frogatto], [https://bszili.morphos.me/ OpenJazz], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Puzzle [https://github.com/mariopartyrd/marioparty4/tree/port Party], [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle], [ Cubosphere (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle Candy Crisis], [http://bszili.morphos.me/ TailTale], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Racing [ Trigger Rally], [ VDrift], [http://www.ultimatestunts.nl/index.php?page=2&amp;lang=en Ultimate Stunts], [http://maniadrive.raydium.org/ Mania Drive], [https://github.com/plowteam/donut Simpsons Hit and Run], [], 
|&lt;!--AROS--&gt;[ Super Tux Kart (OpenGL)], [http://www.dusabledanslherbe.eu/AROSPage/F1Spirit.30.html F1 Spirit (OpenGL)], [http://bszili.morphos.me/index.html MultiRacer], [https://bszili.morphos.me/ Speed Dreams], [], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://bszili.morphos.me/index.html Speed Dreams], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12], [http://bszili.morphos.me/index.html TORCS], 
|-
|&lt;!--Sub Menu--&gt;Games 1st first person DRPG [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/OpenEnroth/OpenEnroth OpenEnroth MM], []
|&lt;!--AROS--&gt;[https://github.com/BSzili/aros-stuff Arx Libertatis], [http://www.playfuljs.com/a-first-person-engine-in-265-lines/ js raycaster], [https://github.com/Dorthu/es6-crpg webgl], [https://github.com/sonountaleban/AmiShockolate System Shock], [], [], 
|&lt;!--AmigaOS--&gt;Phantasie, Faery Tale, Dungeon Master, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 3rd third person action CRPG  [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/alexbatalov/fallout1-ce fallout ce], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games isometric RPG [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/topics/dungeon?l=javascript Dungeon], [], [https://github.com/clintbellanger/heroine-dusk JS Dusk], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying nethack], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying GemRB], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games card based RPG [https://github.com/open-duelyst/duelyst Duelyst], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Rhythm, Beat, Step [], [], [https://clonehero.net/ clonehero], [https://github.com/MatteoGodzilla/Dj-Engine Dj-Engine], 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc Frets on Fire], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Shoot Em Ups [http://www.mhgames.org/oldies/formido/ Formido], [http://code.google.com/p/violetland/ Violetland], 
||&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Open Tyrian], [http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], [ Alien Blaster], [https://github.com/OpenFodder/openfodder OpenFodder], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Simulations [http://scp.indiegames.us/ Freespace 2], [http://www.heptargon.de/gl-117/gl-117.html GL117], [http://code.google.com/p/corsix-th/ Theme Hospital], [http://code.google.com/p/freerct/ Rollercoaster Tycoon], [http://hedgewars.org/ Hedgewars], [https://github.com/raceintospace/raceintospace raceintospace], [https://github.com/Return-To-The-Roots RTTR Settlers 2], [https://github.com/OoliteProject/oolite oolite elite], [https://github.com/fesh0r/newkind newkind elite], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;SimCity, SimAnt, Sim Hospital, Theme Park, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Life Sim [https://github.com/ACreTeam/forest Animal Crossing], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Strategy [http://rtsgus.org/ RTSgus], [http://wargus.sourceforge.net/ Wargus], [http://stargus.sourceforge.net/ Stargus], [https://github.com/KD-lab-Open-Source/Perimeter Perimeter], [https://matty77.itch.io/conflict-3049 conflict-3049], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy MegaGlest (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy UFO:AI (OpenGL)], [http://play.freeciv.org/ FreeCiv], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Horror [https://github.com/Mikompilation/MikuPan Fatal Frame], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Sandbox Voxel Open World Exploration [https://github.com/UnknownShadow200/ClassiCube Classicube],[http://www.michaelfogleman.com/craft/ Craft], [https://github.com/tothpaul/DelphiCraft DelphiCraft],[https://www.minetest.net/ Luanti formerly Minetest], [ infiniminer], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Battle Royale [https://bruh.io/ Play.Bruh.io], [https://www.coolmathgames.com/0-copter Copter Royale], [https://surviv.io/ Surviv.io], [https://nuggetroyale.io/#Ketchup Nugget Royale], [https://miniroyale2.io/ Miniroyale2.io], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Tower Defense [https://chriscourses.github.io/tower-defense/ HTML5], [https://github.com/SBardak/Tower-Defense-Game TD C++], [https://github.com/bdoms/love_defense LUA and LOVE], [https://github.com/HyOsori/Osori-WebGame HTML5], [https://github.com/PascalCorpsman/ConfigTD ConfigTD Pascal], [https://github.com/GloriousEggroll/wine-ge-custom Wine], []
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Visual Novel Engines [https://github.com/Kirilllive/tuesday-js Tuesday JS], [ Lua + LOVE], [https://github.com/weetabix-su/renpsp-dev RenPSP], [https://github.com/Galladite27/ONScripter-EN ONScripter-EN], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Reality VR [https://gitlab.com/madsbuvi/openmw openmw vr], [https://github.com/Team-Beef-Studios/BeefRaiderXR BeefRaiderXR], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Table Top VTT [ Roll20], [https://www.owlbear.rodeo/ owlbear rodeo], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Computer assisted TableTop TTRPG OSR [https://www.rpgsolo.com/play.php RPGSolo], [https://github.com/fpsvogel/solo-ttrpgs Solo TTRPG], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 2D 3D Engines [https://github.com/fegennari/3DWorld 3DWorld], [https://github.com/GarageGames/Torque3D Torque3D], [https://github.com/gameplay3d/GamePlay GamePlay 3D],  [https://www.babylonjs.com/ BabylonJS ], [ Godot], [ Ogre], [ Crystal Space], [], [], [], 
|&lt;!--AROS--&gt;[https://www.arkhamdev.net/wiki.htm?id=agx Arkham Development antiryadgx 8.9 lts with register], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games C based game frameworks [https://github.com/orangeduck/Corange Corange], [https://github.com/scottcgi/Mojoc Mojoc], [https://orx-project.org/ Orx], [https://github.com/ioquake/ioq3 Quake 3], [https://www.mapeditor.org/ Tiled], [https://www.raylib.com/ 2d Raylib], [https://github.com/Rabios/awesome-raylib other raylib], [https://github.com/MrFrenik/gunslinger Gunslinger], [https://o3de.org/ o3d], [http://archives.aros-exec.org/index.php?function=browse&amp;cat=development/library GLFW], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/library Raylib 5], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Pinball [https://github.com/vpinball/vpinball vpinball], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|}


==Application Guides==

[[#top|...to the top]]

===Web Browser===

OWB is now at version 2.0 (which got an engine refresh, from July 2015 to February 2019) and 3.0.

This latest version has a good support for many/most web sites, even YouTube web page now works. 

This improved compatibility comes at the expense of higher RAM usage (now 1GB RAM is the absolute minimum). 

Also, keep in mind that the lack of a JIT (Just-In-Time) JS compiler on the 32 bit version, makes the web surfing a bit slow. 

Only the 64 bit version of OWB 2.0 will have JIT enabled, thus benefitting of more speed. There are tooltypes that can be added to the icon to provide further features JIT, MSE etc 


Certificates from [https://curl.se/docs/caextract.html ca certs], 


DNS tracking blocking with [https://easylist.to/easylist/easylist.txt easylist.txt] in PROGDIR:Conf before starting browser with enabled AdBlock [https://github.com/easylist/easylist/tree/master easylist], [https://gitlab.com/eyeo anti abp], [https://firebog.net/ big blocklist], [https://github.com/StevenBlack/hosts Steves], [], [], 

This can be enabled with OWB Odyssey with Windows -&gt; Content Blocking and Windows -&gt; Messages and enter 

 https://www.youtube.com/api/stats/ads*
 https://www.youtube.com/pagead/adview*
 https://www.youtube.com#@##player-ads*

into your custom filters 


Element blocker browser extension might be needed for [https://github.com/easylist/easylist/wiki/Youtube-Issues youtube], [ mid roll], [ pre roll], [ ],  


OWB speed is much better when running from RAM Disk, the best way is to add the below into your S:User-Startup which copies OWB drawer from Extras:Internet/OWB to RAM Disk: 

So add this :
&lt;pre&gt;
copy Extras:Internet/OWB Ram:OWB/ ALL CLONE &gt;NIL:
copy Extras:Internet/OWB.info Ram: &gt;NIL:
&lt;/pre&gt;
Open RAM Disk and open OWB drawer and double click on OWB icon so that the above icon tooltypes are activated 

Problems are that the copy time is long (around 20 seconds added in the background), but we can make it faster if we delete useless files from the OWB drawer (docs, …)
If you don’t copy the drawer back onto the HD, you won’t save your cache, cookies, passwords… So you need a script for it.


Error messages 

SSL error &quot;cant verify with ca-certificates&quot;, check bios clock time date is correct 

Error 6, try checking networking prefs settings and Save / Use preferences again or a '''few times''' otherwise the network chipset may not be compatible with Aros 


[https://www.google.com/search?q=%s&amp;udm=14 Google search without AI overview] 


===E-mail===

 YAM does not support SSL and most mail providers now switched to encrypted SMTP/POP3 connections


====SimpleMail====

SimpleMail supports IMAP and appears to work with GMail, but it's never been reliable enough, it can crash with large mailboxes.

Please read more on this [http://www.freelists.org/list/simplemail-usr User list]


 GMail

Be sure to activate the pop3 usage in your gmail account setup / configuration first.

pop3: 
pop.gmail.com
Use SSL: Yes
Port: 995

smtp:
smtp.gmail.com (with authentication)
Use Authentication: Yes
Use SSL: Yes
Port: 465 or 587


 Hotmail/MSN/outlook/Microsoft Mail mid-2017, all outlook.com accounts will be migrated to Office 365 / Exchange

Most users are currently on POP which does not allow showing folders and many other features (technical limitations of POP3). With Microsoft IMAP you will get folders, sync read/unread, and show flags. You still won't get push though, as Microsoft has not turned on the IMAP Idle command as at Sept 2013.

If you want to try it, you need to first remove (you can't edit) your pop account (long-press the account on the accounts screen, delete account). Then set it up this way:

1. Email/Password
2. Manual
3. IMAP
4.

* Incoming: imap-mail.outlook.com, port 993, SSL/TLS should be checked
* Outgoing: smtp-mail.outlook.com, port 587, SSL/TLS should be checked
* POP server name pop-mail.outlook.com, port 995, POP encryption method SSL

 Yahoo  Mail

On April 24, 2002 Yahoo ceased to offer POP access to its free mail service. Introducing instead a yearly payment feature, allowing users POP3 and IMAP server support, along with such benefits as larger file attachment sizes and no adverts.

Sorry to see Yahoo leaving its users to cough up for the privilege of accessing their mail. Understandable, when competing against rivals such as Gmail and Hotmail who hold a large majority of users and were hacked in 2014 as well.


Incoming Mail (IMAP) Server

* Server - imap.mail.yahoo.com
* Port - 993
* Requires SSL - Yes

Outgoing Mail (SMTP) Server

* Server - smtp.mail.yahoo.com
* Port - 465 or 587
* Requires SSL - Yes
* Requires authentication - Yes

Your login info

* Email address - Your full email address (name@domain.com)
* Password - Your account's password
* Requires authentication - Yes


Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a subscription subs fee to have access to SMTP and POP3

* Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
* “Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
* “Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
* “Password” – Your Yahoo Mail password.

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

* Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.


====YAM Yet Another Mailer====

 YAM does not support SSL and most mail providers have now switched to encrypted SMTP/POP3 connections

This email client is POP3 only if the SSL library is available [http://www.freelists.org/list/yam YAM Freelists]

One of the downsides of using a POP3 mailer unfortunately - you have to set an option not to delete the mail if you want it left on the server. IMAP keeps all the emails on the server.

Possible issues

Sending mail issues is probably a matter of using your ISP's SMTP server, though it could also be an SSL issue.


getting a &quot;Couldn't initialise TLSv1 / SSL error

Use of on-line e-mail accounts with this email client is not possible as it lacks the OpenSSL AmiSSl v3 compatible library

 GMail 
Incoming Mail (POP3) Server - requires SSL: pop.gmail.com
Use SSL: Yes
Port: 995

Outgoing Mail (SMTP) Server - requires TLS: smtp.gmail.com (use authentication)
Use Authentication: Yes
Use STARTTLS: Yes (some clients call this SSL)
Port: 465 or 587

Account Name: your Gmail username (including '@gmail.com')
Email Address: your full Gmail email address (username@gmail.com)
Password: your Gmail password

Anyway, the SMTP is pop.gmail.com port 465 and it uses SSLLv3 Authentication. The POP3 settings are for the same server (pop.gmail.com), only on port 995 instead.


 Outlook.com access

&lt;pre &gt;
Outlook.com SMTP server address: smtp.live.com
Outlook.com SMTP user name: Your full Outlook.com email address (not an alias)
Outlook.com SMTP password: Your Outlook.com password
Outlook.com SMTP port: 587
Outlook.com SMTP TLS/SSL encryption required: yes 
&lt;/pre &gt;


 Yahoo  Mail

&lt;pre &gt;
“POP3 Server” – Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
“SMTP Server” – Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.
“Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
“Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
“Password” – Your Yahoo Mail password.
&lt;/pre &gt;

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a monthly fee to have access to SMTP and POP3


 Microsoft Outlook Express Mail 

1. Get the files to your PC.
By whatever method get the files off your Amiga onto your PC. In the YAM folder you have a number of different folders, one for each of your folders in YAM. Inside that is a file usually some numbers such as 332423.283. YAM created a new file for every single email you received.

2. Open up a brand new Outlook Express. Just configure the account to use 127.0.0.1 as mail servers. It doesn't really matter. You will need to manually create any subfolders you used in YAM.

3. You will need to do a mass rename on all your email files from YAM. Just add a .eml to the end of it. Amazing how PCs still rely mostly on the file name so it knows what sort of file it is rather than just looking at it! There are a number of multiple renamers online to download and free too.

4. Go into each of your folders, inbox, sent items etc. And do a select all then drag the files into Outlook Express (to the relevant folder obviously) Amazingly the file format that YAM used is very compatible with .eml standard and viola your emails appear. With correct dates and working attachments.

5. If you want your email into Microsoft Outlook. Open that up and create a new profile and a new blank PST file. Then go into File Import and choose to import from Outlook Express. And the mail will go into there. And viola.. you have your old email from your Amiga in a more modern day format.


===FTP===

Magellan has a great FTP module. It allows transferring files from/to a FTP server over the Internet or the local network and, even if FTP is perceived as a &quot;thing of the past&quot;, its usability is all inside the client. The FTP thing has a nice side effect too, since every Icaros machine can be a FTP server as well, and our files can be easily transferred from an Icaros machine to another with a little configuration effort.

First of all, we need to know the 'server' IP address. Server is the Icaros machine with the file we are about to download on another Icaros machine, that we're going to call 'client'. To do that, move on the server machine and 1) run Prefs/Services to be sure &quot;FTP file transfer&quot; is enabled (if not, enable it and restart Icaros); 2) run a shell and enter this command:

ifconfig -a

Make a note of the IP address for the network interface used by the local area network. For cabled devices, it usually is net0:. Now go on the client machine and run Magellan:

Perform these actions: 1) click on FTP; 2) click on ADDRESS BOOK; 3) click on &quot;New&quot;. 
You can now add a new entry for your Icaros server machine:

1) Choose a name for your server, in order to spot it immediately in the address book. Enter the IP address you got before.

2) click on Custom Options:


1) go to Miscellaneous in the left menu;

2) Ensure &quot;Passive Transfers&quot; is NOT selected;

3) click on Use. We need to deactivate Passive Transfers because YAFS, the FTP server included in Icaros, only allows active transfers at the current stage. Now, we can finally connect to our new file source:


1) Look into the address book for the newly introduced server, be sure that name and IP address are right, and

2) click on Connect. A new lister with server's &quot;MyWorkspace&quot; contents will appear. You can now transfer files over the network choosing a destination among your local (client's) volumes.

Can be adapted to any FTP client on any platform of your choice, just be sure your client allows Active Transfers as well.


===IRC Internet Relay Chat===

Jabberwocky is ideal for one-to-one social media communication, use IRC if you require one to many. 

Just type a message in ''lowercase''' letters and it will be posted to all in the [ AROS irc channel]. Please do not use UPPER CASE as it is a sign of SHOUTING which is annoying.

Other things to type in - replace &lt;message&gt; with a line of text and &lt;nick&gt; with a person's name

&lt;pre&gt;
/help

/list

/who
/whois &lt;nick&gt;

/msg &lt;nick&gt; &lt;message&gt;

/query &lt;nick&gt; 
&lt;message&gt;s
/query

/away &lt;message&gt;
/away

/quit &lt;going away message&gt; 
&lt;/pre&gt;


[http://irchelp.org/irchelp/new2irc.html#smiley Intro guide here]. IRC Primer can be found here in [http://www.irchelp.org/irchelp/ircprimer.html html], [http://www.irchelp.org/irchelp/text/ircprimer.txt TXT], [http://www.kei.com/irc/IRCprimer1.1.ps PostScript].


Issue the command /me &lt;text&gt; where &lt;text&gt; is the text that should follow your nickname.
Example: /me slaps ajk around a bit with a large trout

/nick &lt;newNick&gt;

/nickserv register &lt;password&gt; &lt;email address&gt;

/ns instead of /nickserv, while others might need /msg nickserv

/nickserv identify &lt;password&gt;

Alternatives:
/ns identify &lt;password&gt;
/msg nickserv identify &lt;password&gt;


==== IRC WookieChat ====

WookieChat is the most complete internet client for communication across the IRC Network. WookieChat allows you to swap ideas and communicate in real-time, you can also exchange Files, Documents, Images and everything else using the application's DCC capabilities.


add smilies drawer/directory

 run wookiechat from the shell and set stack to 1000000 e.g. wookiechat stack 1000000

select a server / server window

* nickname 
* user name 
* real name - optional

Once you configure the client with your preferred screen name, you'll want to find a channel to talk in.


servers

* New Server - click on this to add / add extra - change details in section below this click box 
* New Group
* Delete Entry
* Connect to server
* connect in new tab
* perform on connect

Change details

* Servername - change text in this box to one of the below Server: 
* Port number - no need to change
* Server password
* Channel - add #channel from below 
* auto join - can click this 
* nick registration password,

Click Connect to server button above


&lt;pre&gt;
Server: irc.freenode.net
Channel: #aros
&lt;/pre&gt;

irc://irc.freenode.net/aros

&lt;pre&gt;
Server: chat.amigaworld.net 
Channel: #amigaworld or #amigans 
&lt;/pre&gt;

&lt;pre&gt;
On Sunday evenings USA time usually starting around 3PM EDT (1900 UTC)
Server:irc.superhosts.net
Channel #team*amiga  
&lt;/pre&gt;

&lt;pre&gt;
BitlBee and Minbif are IRCd-like gateways to multiple IM networks
Server: im.bitlbee.org 
Port 6667 
Seems to be most useful on WookieChat as you can be connected to several servers at once. One for Bitlbee and any messages that might come through that. One for your normal IRC chat server. 
&lt;/pre&gt;

[http://www.bitlbee.org/main.php/servers.html Other servers],

&lt;pre&gt;
#Amiga.org - irc.synirc.net eu.synirc.net dissonance.nl.eu.synirc.net (IPv6: 2002:5511:1356:0:216:17ff:fe84:68a) 
twilight.de.eu.synirc.net zero.dk.eu.synirc.net us.synirc.net avarice.az.us.synirc.net envy.il.us.synirc.net harpy.mi.us.synirc.net 
liberty.nj.us.synirc.net snowball.mo.us.synirc.net - Ports 6660-6669 7001 (SSL)
&lt;/pre&gt;

&lt;pre&gt;
Multiple server support
&quot;Perform on connect&quot; scripts and channel auto-joins
Automatic Nickserv login
Tabs for channels and private conversations
CTCP PING, TIME, VERSION, SOUND
Incoming and Outgoing DCC SEND file transfers
Colours for different events
Logging and automatic reloading of logs
mIRC colour code filters
Configurable timestamps
GUI for changing channel modes easily
Configurable highlight keywords
URL Grabber window
Optional outgoing swear word filter
Event sounds for tabs opening, highlighted words, and private messages
DCC CHAT support
Doubleclickable URL's
Support for multiple languages using LOCALE
Clone detection
Auto reconnection to Servers upon disconnection
Command aliases
Chat display can be toggled between AmIRC and mIRC style
Counter for Unread messages
Graphical nicklist and graphical smileys with a popup chooser
&lt;/pre&gt;


====IRC Aircos ====

Double click on Aircos icon in Extras:Networking/Apps/Aircos. It has been set up with a guest account for trial purposes. Though ideally, choose a nickname and password for frequent use of irc. 


====IRC and XMPP Jabberwocky====
 Servers are setup and close down at random 
You sign up to a server that someone else has setup and access chat services through them. 

The two ways to access chat from jabberwocky
&lt;pre &gt;
Jabberwocky -&gt; Server -&gt; XMPP -&gt; open and ad-free 
Jabberwocky -&gt; Server -&gt; Transports (Gateways) -&gt; Proprietary closed systems 
&lt;/pre &gt;

The Jabber.org service connects with all IM services that use XMPP, the open standard for instant messaging and presence over the Internet. The services we connect with include Google Talk (closed), Live Journal Talk, Nimbuzz, Ovi, and thousands more. However, you can not connect from Jabber.org to proprietary services like AIM, ICQ, MSN, Skype, or Yahoo because they don’t yet use XMPP components (XEP-0114) '''but''' you can use Jabber.com's servers and IM gateways (MSN, ICQ, Yahoo etc.) instead.

The best way to use jabberwocky is in conjunction with a public jabber server with '''transports''' to your favorite services, like gtalk, Facebook, yahoo, ICQ, AIM, etc.


You have to register with one of the servers, [https://list.jabber.at/ this list] or [http://www.jabberes.org/servers/ another list], [http://xmpp.net/ this security XMPP list],

Unfortunately jabberwocky can only connect to one server at a time so it is best to check what services each server offers. If you set it up with separate Facebook and google talk accounts, for example, sometimes you'll only get one or the other.

Jabberwocky open a window where the Jabber server part is typed in as well as your Nickname and Password.

Jabber ID (JID) identifies you to the server and other users.

Once registered the next step is to goto Jabberwocky's &quot;Windows&quot; menu and select the &quot;Agents&quot; option. The &quot;Agents List&quot; window will open.

Roster (contacts list)

[http://search.wensley.org.uk/ Chatrooms] (MUC) are available

File Transfer - can send and receive files through the Jabber service but not with other services like IRC, ICQ, AIM or Yahoo. All you need is an installed webbrowser and OpenURL.

Clickable URLs - The message window uses Mailtext.mcc and you can set a URL action in the MUI mailtext prefs like SYS:Utils/OpenURL %s NEWWIN.

There is no consistent Skype like (H.323 VoIP) video conferencing available over Jabber. The move from xmpp to Jingle should help but no support on any amiga-like systems at the moment. [http://aminet.net/package/dev/src/AmiPhoneSrc192 AmiPhone] and [http://www.lysator.liu.se/%28frame,faq,nobg,useframes%29/ahi/v4-site/ Speak Freely] was an early attempt voice only contact. SIP and Asterisk are other PBX options.


 Facebook

If you're using the XMPP transport provided by Facebook themselves, chat.facebook.com, it looks like they're now requiring SSL transport. This means jabberwocky method below will no longer work. The best thing to do is to create an ID on a public jabber server which has a Facebook gateway.

&lt;pre &gt;
1. launch jabberwocky
2. if the login window doesn't appear on launch, select 'account' from the jabberwocky menu
3. your jabber ID will be user@chat.facebook.com where user is your user ID
4. your password is your normal facebook password
5. to save this for next time, click the popup gadget next to the ID field

6. click the 'add' button
7. click the 'close' button
8. click the 'connect' button
&lt;/pre &gt;

you're done. you can also click the 'save as default account' button if you want. jabberwocky configured to auto-connect when launching the program, but you can configure as you like. there is amigaguide documentation included with jabberwocky.

[http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=37085&amp;forum=32 Read more here]

for Facebook users, you can log-in directly to Facebook with jabberwocky. just sign in as @chat.facebook.com with your Facebook password as the password


 Twitter

For a few years, there has been added a twitter transport. Servers include [http://jabber.hot-chilli.net/ jabber.hot-chili.net],  and .

An [http://jabber.hot-chilli.net/tag/how-tos/ How-to]

:Read [http://jabber.hot-chilli.net/2010/05/09/twitter-transport-working/ more]

 Instagram 

no support at the moment best to use a web browser based client

 ICQ

The new version (beta) of StriCQ uses a newer ICQ protocol. Most of the ICQ Jabber Transports still use an older ICQ protocol. You can only talk one-way to StriCQ using the older Transports. Only the newer ICQv7 Transport lets you talk both ways to StriCQ. Look at the server lists in the first section to check.

Register on a Jabber server, e.g. this one works: http://www.jabber.de/
Then login into Jabberwocky with the following login data e.g. xxx@jabber.de / Password: xxx Now add your ICQ account under the window-&gt;Agents-&gt;&quot;Register&quot;. Now Jabberwocky connects via the Jabber.de server with your ICQ account.

 Yahoo Messenger

although yahoo! does not use xmpp protocol, you should be able to use the transport methods to gain access and post your replies

 MSN

early months of 2013 Microsoft will ditch MSN Messenger client and force everyone to use Skype...but MSN protocol and servers will keep working as usual for quite a long time....

Occasionally the Messenger servers have been experiencing problems signing in.  You may need to sign in at www.outlook.com and then try again.  It may also take multiple tries to sign in.  (This also affects you if you’re using Skype.)

You have to check each servers' Agents List to see what transports (MSN protocol, ICQ protocol, etc.) are supported or use the list address' provided in the section above. Then register with each transport (IRC, MSN, ICQ, etc.) to which you need access. After registering you can Connect to start chatting.

msn.jabber.com/registered should appear in the window.

From this [http://tech.dir.groups.yahoo.com/group/amiga-jabberwocky/message/1378 JW group] guide which  helps with this process in a clear, step by step procedure.

1. Sign up on MSN's site for a passport account. This typically involves getting a Hotmail address.

2. Log on to the Jabber server of your choice and do the following:

* Select the &quot;Windows/Agents&quot; menu option in Jabberwocky.
* Select the MSN Agent from the list presented by the server.
* Click the Register button to open a new window asking for:
**Username = passort account email address, typically your hotmail address.
**Nick = Screen name to be shown to anyone you add to your buddy list.
**Password = Password for your passport account/hotmail address.
* Click the Register button at the bottom of the new window.

3. If all goes well, you will see the MSN Gateway added to your buddy list. If not, repeat part 2 on another server. Some servers may show MSN in their list of available agents, but have not updated their software for the latest protocols used by MSN.

4. Once you are registered, you can now add people to your buddy list. Note that you need to include the '''msn.''' ahead of the servername so that it knows what gateway agent to use. Some servers may use a slight variation and require '''msg.gate.''' before the server name, so try both to see what works.

If my friend's msn was amiga@hotmail.co.uk and my jabber server was @jabber.meta.net.nz..
then amiga'''%'''hotmail.com@'''msn.'''jabber.meta.net.nz

or another the trick to import MSN contacts is that you don't type the hotmail URL but the passport URL... e.g. Instead of: goodvibe%hotmail.com@msn.jabber.com  You type: goodvibe%passport.com@msn.jabber.com 
And the thing about importing contacts I'm afraid you'll have to do it by hand, one at the time...

 Google Talk

any XMPP server will work, but you have to add your contacts manually. a google talk user is typically either @gmail.com or @talk.google.com. a true gtalk transport is nice because it brings your contacts to you and (can) also support file transfers to/from google talk users.

implement Jingle a set of extensions to the IETF's Extensible Messaging and Presence Protocol (XMPP)

support ended early 2014 as Google moved to Google+ Hangouts which uses it own proprietary format


===Video Player MPlayer===

Many of the menu features (such as doubling) do not work with the current version of mplayer but using

4:3
 mplayer -vf scale=800:600 file.avi

16:9
 mplayer -vf scale=854:480 file.avi

if you want gui use;
 mplayer -gui 1 &lt;other params&gt; file.avi

&lt;pre &gt;
stack 1000000

; using AspireOS 1.xx 
; copy FROM SYS:Extras/Multimedia/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 1.x 
; copy FROM SYS:Tools/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 2.x 
; copy FROM SYS:Utilities/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

cd RAM:MPlayer
run MPlayer -gui &gt; Nil:
;run MPlayer -gui -ao ahi_dev -playlist http://www.radio-paralax.de/listen.pls &gt; Nil: 
&lt;/pre &gt;

$ mplayer rtsp://127.0.0.1:554/sample_300kbit.mp4


MPlayer supports multicast streaming, and rtp/rtsp protocols (it might require [http://www.live555.com/openRTSP/ live555 library] to work with some streams). But you might have to build it where it's disabled. Also, multicast won't work with some AmiTCP-likes. MIAMI supported it, though.

AROS supports IPv4 (old but works) and this includes the needed address space for RTP.

If you mean multicast via RTP - mplayer handles it. You can even force UDP over TCP

-rtsp-stream-over-tcp

If the rtsp Real Time Streaming Protocol  server needs authentification:

-user -passwd


MPlayer - Menu - Open Playlist and load already downloaded .pls or .m3u file - auto starts around 4 percent cache

MPlayer - Menu - Open Stream and copy one of the .pls lines below into space allowed, press OK and press play button on main gui interface


Old 8bit 16bit remixes chip tune game music 
 
http://www.radio-paralax.de/listen.pls 

http://scenesat.com/

http://www.shoutcast.com/radio/Amiga

http://www.theoldcomputer.com/retro_radio/RetroRadio_Main.htm

http://www.kohina.com/

http://www.remix64.com/

http://retrogamer.net/forum/

http://retroasylum.podomatic.com/rss2.xml

http://retrogamesquad.com/

http://www.retronauts.com/

http://monsterfeet.com/noquarter/

http://www.retrogamingradio.com/

http://www.radiofeeds.co.uk/mp3.asp


[[#top|...to the top]]

====ZunePaint==== 

simplified typical workflow

* importing and organizing and photo management
* making global and regional local correction(s) - recalculation is necessary after each adjustment as it is not in real-time 
* exporting your images in the best format available with the preservation of metadata


Whilst achieving 80% of a great photo with just a filter, the remaining 20% comes from a manual fine-tuning of specific image attributes.


For photojournalism, documentary, and event coverage, minimal touching is recommended. Stick to Camera Raw for such shots, and limit changes to level adjustment, sharpness, noise reduction, and white balance correction.

For fashion or portrait shoots, a large amount of adjustment is allowed and usually ends up far from the original. Skin smoothing, blemish removal, eye touch-ups, etc. are common.  Might alter the background a bit to emphasize the subject.

Product photography usually requires a lot of sharpening, spot removal, and focus stacking.

For landscape shots, best results are achieved by doing the maximum amount of preparation before/while taking the shot. No amount of processing can match timing, proper lighting, correct gear, optimal settings, etc. Excessive post-processing might give you a dramatic shot but best avoided in the long term.


* White Balance - Left Amiga or F12 and K and under &quot;Misc color effects&quot; tab with a pull down for White Balance - color temperature also known as AKA tint (movies) or tones (painting) - warm temp raise red reduce green blue - cool raise blue lower red green 
* Exposure - exposure compensation, highlight/shadow recovery
* Noise Reduction - during RAW development or using external software
* Lens Corrections - distortion, vignetting, chromatic aberrations
* Detail - capture sharpening and local contrast enhancement
* Contrast - black point, levels (sliders) and curves tools (F12 and K) 
* Framing - straighten () and crop (F12 and F) 
* Refinements - color adjustments and selective enhancements - Left Amiga or F12 and K for RGB and YUV histogram tabs - 
* Resizing - enlarge for a print or downsize for the web or email (F12 and D) 
* Output Sharpening - customized for your subject matter and print/screen size


White Balance - F12 and K

scan your image for a shade which was meant to be white (neutral with each RGB value being equal) like paper or plastic which is in the same light as the subject of the picture. Use the dropper tool to select this color, similar colours will shift and you will have selected the perfect white balance for your part of the image - for the whole picture make sure RAZ or CLR button at the bottom is pressed before applying to the image above.


Exposure correction

F12 and K - YUV Y luminosity - RGB extra red tint - move red curve slightly down and move blue green curves slightly up

Workflows in practice

* Undo - Right AROS key or F12 and Z 
* Redo - Right AROS key or F12 and R

First flatten your image (if necessary) and then do a rotation until the picture looks level. 
* Crop the picture. Click the selection button and drag a box over the area of the picture you want to keep. Press the crop button and the rest of the photo will be gone. 
* Adjust your saturation, exposure, hue levels, etc., (right AROS Key and K for color correction) until you are happy with the photo. Make sure you zoom in all of the way to 100% and look the photo over, zoom back out and move around. Look for obvious problems with the picture. 
* After coloring and exposure do a sharpen (Right AROS key and E for Convolution and select drop down option needed), e.g. set the matrix to 5x5 (roughly equivalent Amount to 60%) and set the Radius to 1.0. Click OK.


And save your picture


Implemented or would like to see for simplification and ease of use

basic filters (presets) like black and white, monochrome, edge detection (sobel), motion/gaussian blur, 
* negative, sepiatone, retro vintage, night vision, colour tint, color gradient, color temperature, glows, fire, lightning, lens flare, emboss, filmic, pixelate mezzotint, antialias, etc.

adjust / cosmetic tools such as crop, 
* reshaping tools, straighten, smear, smooth, perspective, liquify, bloat, pucker, push pixels in any direction, dispersion, transform like warp, blending with soft light, page-curl, whirl, ripple, fisheye, neon,  etc. 
* red eye fixing, blemish remover, skin smoothing, teeth whitener, make eyes look brighter, desaturate,

effects like oil paint, cartoon, pencil sketch, charcoal, noise/matrix like sharpen/unsharpen, (right AROS key with A for Artistic effects) 
* blend two image, gradient blend, masking blend, explode, implode, custom collage, surreal painting, comic book style, needlepoint, stained glass, watercolor, mosaic, stencil/outline, crayon, chalk, etc.

borders such as 
* dropshadow, rounded, blurred, color tint, picture frame, film strip polaroid, bevelled edge, etc.

brushes e.g.
* frost, smoke, etc.

and manual control of

fix lens issues including vignetting (darkening), color fringing and barrel distortion, and chromatic and geometric aberration -  lens and body profiles

perspective correction

levels - directly modify the levels of the tone-values of an image, by using sliders for highlights, midtones and shadows

curves -  Color Adjustment and Brightness/Contrast

color balance

one single color transparent (alpha channel (color information/selections) for masking and/or blending ) for backgrounds, etc.

Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors

decompose layer into a set of layers with each holding a different type of pattern that is visible within the image

any selection using any selecting tools like lasso tool, marquee tool etc. the selection will temporarily be save to alpha 
If you create your image without transparency then the Alpha channel is not present, but you can add later.

File formats like .psd (Photoshop file has layers, masks etc.  contains edited sensor data. The original sensor data is no longer available) .xcf .raw .hdr

Image Picture Formats
* low dynamic range (JPEG, PNG, TIFF 8-bit), 16-bit (PPM, TIFF), typically as a 16-bit TIFF in either ProPhoto or AdobeRGB colorspace -  TIFF files are also fairly universal – although, if they contain proprietary data, such as Photoshop Adjustment Layers or Smart Filters, then they can only be opened by Photoshop making them proprietary.
* linear high dynamic range (HDR) images (PFM, [http://www.openexr.com/ ILM .EXR], jpg, [http://aminet.net/util/dtype cr2] (canon tiff based), hdr, NEF, CRW, ARW, MRW, ORF, RAF (Fuji), PEF, DCR, SRF, ERF, DNG files are RAW converted to an Adobe proprietary format - a container that can embed the raw file as well as the information needed to open it) 
An old version of [http://archives.aros-exec.org/index.php?function=browse&amp;cat=graphics/convert dcraw]

There is no single RAW file format. Each camera manufacturer has one or more unique RAW formats. RAW files contain the brightness levels data captured by the camera sensor. This data cannot be modified. A second smaller file, separate XML file, or within a database with instructions for the RAW processor to change exposure, saturation etc. The extra data can be changed but the original sensor data is still there. RAW is technically least compatible.

A raw file is high-bit (usually 12 or 14 bits of information) but a camera-generated TIFF file will be usually converted by the camera (compressed, downsampled) to 8 bits. The raw file has no embedded color balance or color space, but the TIFF has both. These three things (smaller bit depth, embedded color balance, and embedded color space) make it so that the TIFF will lose quality more quickly with image adjustments than the raw file. The camera-generated TIFF image is much more like a camera processed JPEG than a raw file. A strong advantage goes to the raw file. The power of RAW files, such as the ability to set any color temperature non-destructively and will contain more tonal values.

The principle of preserving the maximum amount of information to as late as possible in the process. The final conversion - which will always effectively represent a &quot;downsampling&quot; - should prevent as much loss as possible.

Once you save it as TIFF, you throw away some of that data irretrievably. When saving in the lossy JPEG format, you get tremendous file size savings, but you've irreversibly thrown away a lot of image data. As long as you have the RAW file, original or otherwise, you have access to all of the image data as captured.

Keyboard equivalence with Photoshop(tm) would help 

File
PHOTOSHOP	SHORTCUT	GIMP
New	Ctrl+n	New
Open	Ctrl+o	Open
Close	Ctrl+w	Close
Save	Ctrl+s	Save
Save as	Shift+Ctrl+s	Save as
Revert	F12	Revert
Print	Ctrl+p	Print
Exit	Ctrl+q	Quit
 
Edit
PHOTOSHOP	SHORTCUT	GIMP
Undo/Redo (1 level)	Ctrl+z	Undo (Redo is Shift+Ctrl+z)
Cut	Ctrl+x	Cut
Copy	Ctrl+c	Copy
Paste	Ctrl+v	Paste
Paste Into	Shift+Ctrl+v	Paste Into
Fill with FG color	Alt+Backspace	Fill with FG color
Fill with BG color	Control+Backspace	Fill with BG color
 
Image/Colors
PHOTOSHOP	SHORTCUT	GIMP
Levels	Ctrl+l	Levels
Auto Contrast	Shift+Ctrl+Alt+l	Stretch Contrast (same?)
Curves	Ctrl+m	Curves
Color Balance	Ctrl+b	Color Balance
Hue/Saturation	Ctrl+u	Hue-Saturation
Desaturate	Shift+Ctrl+u	Desaturate
Invert	Ctrl+i	Invert
Default Colors	d	Default Colors
Switch Colors	x	Switch Colors
 
Layer
PHOTOSHOP	SHORTCUT	GIMP
New Layer	Shift+Ctrl+n	New Layer
Layer via Copy	Ctrl+j	Duplicate Layer
Bring (layer) to Front	Shift+Ctrl+]	Layer to Top
Send (layer) to Back	Shift+Ctrl+[	Layer to Bottom
Bring (layer) Forward	Ctrl+]	Raise Layer
Send (layer) Backward	Ctrl+[	Lower Layer
Select Top Layer	Shift+Alt+]	Select Top Layer
Select Bottom Layer	Shift+Alt+[	Select Bottom Layer
Select One Layer Forward	Alt+]	Select Previous Layer
Select One Layer Backward	Alt+[	Select Next Layer
Merge Down	Ctrl+e	Merge Down
Merge Visible	Shift+Ctrl+e	Merge Visible
Preserve Transparency	/	Keep Transparency
Cycle Modes Forwards	Shift+=	Next Layer Mode
Cycle Modes Backwards	Shift+-	Previous Layer Mode
 
Select
PHOTOSHOP	SHORTCUT	GIMP
Select All	Ctrl+a	Select All
Deselect	Ctrl+d	Select None
Inverse	Shift+Ctrl+i	Invert
Feather	Ctrl+Alt+d	Feather
 
View
PHOTOSHOP	SHORTCUT	GIMP
Zoom In	Ctrl+=	Zoom In
Zoom Out	Ctrl+-	Zoom Out
Fit on Screen	Ctrl+0	Zoom to Fit Window
Actual Pixels	Ctrl+Alt+0	Zoom 1:1
Show/Hide Extras	Ctrl+h	Toggle Show Selection (close enough?)
Show/Hide Guides	Ctrl+'	Toggle Show Guides
Show/Hide Grid	Ctrl+Alt+'	Toggle Show Grid
Show/Hide Rulers	Ctrl+r	Toggle Show Rulers
Snap	Ctrl+;	Snap to Guides
Scroll View Up	Page Up	Scroll Page Up
Scroll View Down	Page Down	Scroll Page Down
Scroll View Left	Ctrl+Page Up	Scroll Page Left
Scroll View Right	Ctrl+Page Down	Scroll Page Right
 
Window/Dialogs
PHOTOSHOP	SHORTCUT	GIMP
?	F5	Tools Dialog
Color Tab	F6	Colors Dialog
Layers Tab	F7	Layers Dialog
Info Tab	F8	Image Information
 
Tools
PHOTOSHOP	SHORTCUT	GIMP
Rectangular Marquee Tool	m	Rect Select Tool
Elliptical Marquee Tool	Shift+m	Ellipse Select Tool
 	*This is a toggle between 'Elliptical Marquee Tool' and 'Rectangular Marquee Tool' in Photoshop	 
Move Tool	v	Move Tool
Lasso Tool	l	Free Select Tool
Magic Wand Tool	w	Fuzzy Select Tool
Crop Tool	c	Crop &amp; Resize Tool
Airbrush Tool	j	Airbrush Tool
Paintbrush Tool	b	Paintbrush Tool
Clone Stamp Tool	s	Clone Stamp Tool
Eraser Tool	e	Eraser Tool
Gradient Tool	g	Blend Tool
Paint Bucket Tool	Shift+g	Bucket Fill Tool
 	*This is a toggle between 'Paint Bucket Tool' and 'Gradient Tool' in Photoshop	 
Blur Tool	r	Convolve Tool
Dodge Tool	o	DodgeBurn Tool
Type Tool	t	Text Tool
Pen Tool	p	Bezier Select Tool
Eye Dropper Tool	i	Color Picker Tool
Zoom Tool	z	Magnify Tool
Previous Brush	,	Previous Brush
Next Brush	.	Next Brush
First Brush	Shift+&lt;	First Brush
Last Brush	Shift+&gt;	Last Brush
Decrease Brush Size	[	Decrease Brush Size
Increase Brush Size	]	Increase Brush Size
Decrease Brush Hardness	{	Decrease Brush Hardness
Increase Brush Hardness	}	Increase Brush Hardness
 
Help
PHOTOSHOP	SHORTCUT	GIMP
Help	F1	Help
Context Help	Shift+F1	Context Help
 
Misc.
PHOTOSHOP	SHORTCUT	GIMP
Last Filter	Ctrl+f	Repeat Last Filter
?	Shift+Ctrl+f	Reshow Last Filter
Preferences	Ctrl+k	Preferences
Liquify	Shift+Ctrl+x	IWarp (close enough?)
Toggle Quick Mask	q	Toggle Quick Mask


Spotlights - triangle of white opaque shape

Cutting out and/or replacing unwanted background or features - select large areas with the selection option like the Magic Wand tool (aka Color Range) or the Lasso (quick and fast) with feather 2 to soften edge or the pen tool which adds points/lines/Bézier curves (better control but slower), hold down the shift button as you click to add extra points/areas of the subject matter to remove. Increase the tolerance to cover more areas. To subtract from your selection hold down alt as you're clicking. 
* Layer masks are a better way of working than Erase they clip (black hides/hidden white visible/reveal). Clone Stamp can be simulated by   and brushes for other areas. 
* Leave the fine details like hair, fur, etc. to later with lasso and the shift key to draw a line all the way around your subject. Gradient Mapping - Inverse - Mask. i.e. Refine your selected image with edge detection and using the radius and edge options / adjuster (increase/decrease contrast) so that you will capture more fine detail from the background allowing easier removal. 
Remove fringe/halo

saving image as png rather than jpg/jpeg to keep transparency background intact.


Implemented [http://colorizer.org/ colour model representations] [http://paulbourke.net/texture_colour/colourspace/ Mathematical approach] - Photo stills are spatially 2d (h and w), but are colorimetrically 3d (r g and b, or H L S, or Y U V etc.) as well. 
* RGB - split cubed mapped color model for photos and computer graphics hardware using the light spectrum (adding and subtracting) 
* YUV - Y-Lightness U-blue/yellow V-red/cyan (similar to YPbPr and YCbCr) used in the PAL, NTSC, and SECAM composite digital TV color [http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299 video]


Histograms

White balanced (neutral) if the spike happens in the same place in each channel of the RGB graphs. If not, you're not balanced. 
If you have sky you'll see the blue channel further off to the right.

RGB is best one to change colours. These elements RGB is a 3-channel format containing data for Red, Green, and Blue in your photo scale between 0 and 255. The area in a picture that appears to be brighter/whiter contains more red color as compared to the area which is relatively darker. Similarly in the green channel the area that appears to be darker contains less amount of green color as compared to the area that appears to be brighter.  Similarly in the blue channel the area appears to be darker contains less amount of blue color as compared to the area that appears to be brighter. Brightness luminance histogram also matches the green histogram more than any other color - human eye interprets green better e.g. RGB rough ratio 15/55/30%

RGBA (RGB+A, A means alpha channel) .  The alpha channel is used for &quot;alpha compositing&quot;, which can mostly be associated as &quot;opacity&quot;.  AROS deals in RGB with two digits for every color (red, green, blue), in ARGB you have two additional hex digits for the alpha channel.

The shadows are represented by the left third of the graph.  The highlights are represented by the right third.  And the midtones are, of course, in the middle.  The higher the black peaks in the graph, the more pixels are concentrated in that tonal range (total black area). 
By moving the black endpoint, which identifies the shadows (darkness) and a white light endpoint (brightness) up and down either sides of the graph, colors are adjusted based on these points. 
By dragging the central one, can increased the midtones and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .


RGB Curves

* Move left endpoint (black point) up or right endpoint (white point) up brightens 
* Move left endpoint down or right endpoint down darkens

Color Curves

* Dragging up on the Red Curve increases the intensity of the reds in the image but 
* Dragging down on the Red Curve decreases the intensity of the reds and thus increases the apparent intensity of its complimentary color, cyan. Green’s complimentary color is magenta, and blue’s is yellow.
&lt;pre&gt;
 Red &lt;-&gt; Cyan
 Green &lt;-&gt;Magenta
 Blue &lt;-&gt;Yellow 
&lt;/pre&gt;

YUV Best option to analyse and pull out statistical elements of any picture (i.e.  separate luminance data from color data). The line in Y luma tone box represents the brightness of the image with the point in the bottom left been black, and the point in the top right as white.  A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram.   A histogram that is skewed to the right would indicate a picture that is a bit overexposed because most of the color data is on the lighter side (increase exposure with higher value F), while a histogram with the curve on the left shows a picture that is underexposed. This is good information to have when using post-processing software because it shows you not only where the color data exists for a given picture, but also where any data has been clipped (extremes on edges of either side): that is, it does not exist and, therefore, cannot be edited.  By dragging the endpoints of the line and as well as the central one, can increased the dark/shadows, midtones and light/bright parts and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .

The U and V chroma parts show color difference components of the image. It’s useful for checking whether or not the overall chroma is too high, and also whether it’s being limited too much
Can be used to create a negative image but also 
With U (Cb), the higher value you are, the more you're on the blue primary color. If you go to the low values then you're on blue complementary color, i.e. yellow.
With V (Cr), this is the same principle but with Red and Cyan.
e.g. If you push U full blue and V full red, you get magenta. If you push U full yellow and V full Cyan then you get green.

YUV simultaneously adds to one side of the color equation while subtracting from the other.  
using YUV to do color correction can be very problematic because each curve alters the result of each other: the mutual influence between U and V often makes things tricky. You may also be careful in what you do to avoid the raise of noise (which happens very easily). Best results are obtained with little adjustments

sunset that looks uninspiring and needs some color pop especially for the rays over the hill, a subtle contrast raise while setting luma values back to the legal range without hard clipping.


Free royalty pictures, [www.freeimages.com ], [http://imageshack.us/ ], [http://photobucket.com/ ], [http://rawpixels.net/], [], [], [], 


====Lunapaint====

Pixel based drawing app with onion-skin animation function

 Blocking, Shading, Coloring, adding detail 

&lt;pre&gt;
b BRUSH
e ERASER

alt eyedropper 
v layer tool 

z ZOOM / MAGNIFY &lt; &gt; n 
spc panning 
m  marque 
q lasso 
w same color selection / region 
&lt;/pre&gt;

&lt;pre&gt;
, LM RM
v 
V
f  filter 
F 
.  size 

p 
,  pick color 
[] last / next color 
&lt;/pre&gt;


There is not much missing in Lunapaint to be as good as FlipBook and then you have to take into account that Flipbook is considered to be amongst the best and easiest to use animation software out there. Ok to be honest Flipbook has some nice features that require more heavy work but those aren't so much needed right away, things like camera effects, sound, smart fill, export to different movie file formats etc.

Tried Flipbook with my tablet and compared it to Luna. The feeling is the same when sketching. LunaPaint is very responsive/fluent to draw with. Just as Flipbook is, and that responsiveness is something its users have mentioned as one of the positive sides of said software.

 author was learning MUI. Some parts just have to be rewritten with proper MUI classes before new features can be added.

* add [Frame Add] / [Frame Del]
* whole animation feature is impossible to use. If you draw 2 color maybe but if you start coloring your cells then you get in trouble
* pickup the entire image as a brush, not just a selection ? And consequently remove the brush from memory when one doesn't need it anymore. can pick up a brush and put it onto a new image but cropping isn't possible, nor to load/save brushes.
* Undo is something I longed for ages in Lunapaint.
* to import into the current layer, other types of images (e.g. JPEG) besides RAW64.
* implement graphic tablet features support


**GENERAL DRAWING**

Miss it very much:
UNDO
ERASER
COLORPICKER - has to show on palette too which color got picked.
BACKGROUND COLOR -Possibility to select from &quot;New project screen&quot;

Miss it somewhat:
ICON for UNDO
ICON for ERASER
ICON for CLEAR SCREEN ( What can I say? I start over from scratch very often )
BRUSH - possibility to cut out as brush not just copy off image to brush

**ANIMATING**

Miss it very much:
NUMBER OF CELLS - Possibity to change total no. of cells during project
ANIM BRUSH - Possibility to pick up a selected part of cells into an animbrush

Miss it somewhat:
ADD/REMOVE FRAMES: Add/remove single frame

In general LunaPaint is really well done and it feels like a new DeluxePaint version. It works with my tablet. Sure there's much missing of course but things can always be added over time. So there is great potential in LunaPaint that's for sure. Animations could be made in it and maybe put together in QuickVideo, saving in .gif or .mng etc some day.


LAYERS
-Layers names don't get saved globally in animation frames
-Layers order don't change globally in an animation (perhaps as default?).

EXPORTING IMAGES
-Exporting frames to JPG/PNG gives problems with colors. (wrong colors. See my animatiopn --&gt; My robot was blue now it's &quot;gold&quot; ) I think this only happens if you have layers.
-Trying to flatten the layers before export doesn't work if you have animation frames only the one you have visible will flatten properly all other frames are destroyed. (Only one of the layers are visible on them)
-Exporting images filenames should be for example e.g. file0001, file0002...file0010 instead as of now file1, file2...file10

LOAD/SAVE (Preferences)
-Make a setting for the default &quot;Work&quot; folder.

* Destroyed colors if exported image/frame has layers 
* mystic color cycling of the selected color while stepping frames back/forth (annoying)

&lt;pre&gt;
Deluxe Paint II enhanced key shortcuts 
    NOTE: @ denotes the ALT key

    [Technique]

    F1  - Paint
    F2  - Single Colour
    F3  - Replace
    F4  - Smear
    F5  - Shade
    F6  - Cycle
    F7  - Smooth
     M  - Colour Cycle

    [Brush]

     B  - Restore
     O  - Outline
     h  - Halve brush size
     H  - Double brush size
     x  - Flip brush on X axis
     X  - Double brush size on X axis only
     y  - Flip on Y 
     Y  - Double on Y
     z  - Rotate brush 90 degrees
     Z  - Stretch

    [Stencil]

     `  - Stencil On

    [Miscellaneous]

    F9  - Info Bar
    F10 - Selection Bar
    @o  - Co-Ordinates
    @a  - Anti-alias
    @r  - Colourise
    @t  - Translucent
    TAB - Colour Cycle

    [Picture]

     L  - Load
     S  - Save
     j  - Page to Spare(Flip)
     J  - Page to Spare(Copy)
     V  - View Page
     Q  - Quit

    [General Keys]

     m  - Magnify
     &lt;  - Zoom In
     &gt;  - Zoom Out
     [  - Palette Colour Up
     ]  - Palette Colour Down
     (  - Palette Colour Left
     )  - Palette Colour Right
     ,  - Eye Dropper
     .  - Pixel / Brush Toggle
     /  - Symmetry
     |  - Co-Ordinates
    INS - Perspective Control
    +/- - Brush Size (Fine Control)
     w  - Unfilled Polygon
     W  - Filled Polygon
     e  - Unfilled Ellipse
     E  - Filled Ellipse
     r  - Unfilled Rectangle
     R  - Filled Rectangle
     t  - Type/text tool
     a  - Select Font
    u/U - Undo
     d  - Brush
     D  - Filled Non-Uniform Polygon
    f/F - Fill Options
    g/G - Grid
    h/H - Brush Size (Coarse Control)
     K  - Clear
     c  - Unfilled Circle
     C  - Filled Circle
     v  - Line
     b  - Scissor Select and Toggle
     B  - Brush
    {,} - Toggle between two background colours
&lt;/pre&gt;

====Lodepaint====

Pixel based painting artwork app

====Grafx2====

Pixel based painting artwork app aesprite like 

[https://www.youtube.com/watch?v=59Y6OTzNrhk aesprite workflow keys and tablet use], [], 


====Vector Graphics ZuneFIG====

Vector Image Editing of files .svg .ps .eps


*Objects - raise lower rotate flip aligning snapping 
*Path - unify subtract intersect exclude divide 
*Colour - fill stroke 
*Stroke - size 
*Brushes - 
*Layers - 
*Effects - gaussian bevels glows shadows 
*Text    - 
*Transform - 


 AmiFIG ([http://epb.lbl.gov/xfig/frm_introduction.html xfig manual]) 

[[File:MyScreen.png|thumb|left|alt=Showing all Windows open in AmiFIG.|All windows available to AmiFIG.]]

for drawing simple to intermediate vector graphic images for scientific and technical uses and for illustration purposes for those with talent

;Menu options
* Load - fig format but import(s) SVG
* Save - fig format but export(s) eps, ps, pdf, svg and png
* PAN = Ctrl + Arrow keys 
* Deselect all points

There is no selected object until you apply the tool, and the selected object is not highlighted.

;Metrics - to set up page and styles - first window to open on new drawings

;Tools - Drawing Primitives - set Attributes window first before clicking any Tools button(s) 
* Shapes - circles, ellipses, arcs, splines, boxes,  polygon 
* Lines - polylines
* Text &quot;T&quot; button 
* Photos - bitmaps
* Compound - Glue, Break, Scale 
* POINTs - Move, Add, Remove 
* Objects - Move, Copy, Delete, Mirror, Rotate, Paste 
use right mouse button to stop extra lines, shapes being formed and the left mouse to select/deselect tools button(s)
* Rotate - moves in 90 degree turns centered on clicked POINT of a polygon or square

;Attributes which provide change(s) to the above primitives 
* Color
* Line Width
* Line Style
* arrowheads

;Modes 
Choose from freehand, charts, figures, magnet, etc.

;Library - allows .fig clip-art to be stored 
* compound tools to add .fig(s) together

;FIG 3.2 [http://epb.lbl.gov/xfig/fig-format.html Format] as produced by xfig version 3.2.5 
&lt;pre&gt;
Landscape
Center
Inches
Letter 
100.00
Single
-2
1200 2
4 0 0 50 -1 0 12 0.0000 4 135 1050 1050 2475 This is a test.01
&lt;/pre&gt;

# change the text alignment within the textbox. I can choose left, center, or right aligned by either changing the integer in the second column from 0 (left) to 1 or 2 (center, or right). 
# The third integer in the row specifies fontcolor. For instance, 0 is black, but blue is 1 and Green3 is 13.
# The sixth integer in the bottom row specifies fontface. 0 is Times-Roman, but 16 is Helvetica (a MATLAB default).
# The seventh number is fontsize. 12 represents a 12pt fontsize. Changing the fontsize of an item really is as easy as changing that number to 20.
# The next number is the counter-clockwise angle of the text. Notice that I have changed the angle to .7854 (pi/4 rounded to four digits=45 degrees).
# twelfth number is the position according to the standard “x-axis” in Xfig units from the left. Note that 1200 Xfig units is equivalent to once inch.
# thirteenth number is the “y-position” from the top using the same unit convention as before.

* The nested text string is what you entered into the textbox.
* The “01″ present at the end of that line in the .fig file is the closing tag. For instance, a change to \100 appends a @ symbol at the end of the period of that sentence.

; Just to note there are no layers, no 3d functions, no shading, no transparency, no animation


[[#top|...to the top]]

===Audio===


# AHI uses linear panning/balance, which means that in the center, you will get -6dB. If an app uses panning, this is what you will get. Note that apps like Audio Evolution need panning, so they will have this problem.

# When using AHI Hifi modes, mixing is done in 32-bit and sent as 32-bit data to the driver. The Envy24HT driver uses that to output at 24-bit (always).

# For the Envy24/Envy24HT, I've made 16-bit and 24-bit inputs (called Line-in 16-bit, Line-in 24-bit etc.). There is unfortunately no app that can handle 24-bit recording.


====Music Mods====

Digital module (mods) trackers are music creation software using samples and sometimes soundfonts, audio plugins (VST, AU or RTAS), MIDI.

Generally, MODs are similar to MIDI in that they contain note on/off and other sequence messages that control the mod player. Unlike (most) midi files, however, they also contain sound samples that the sequence information actually plays. MOD files can have many channels (classic amiga mods have 4, corresponding to the inbuilt sound channels), but unlike MIDI, each channel can typically play only one note at once. However, since that note might be a sample of a chord, a drumloop or other complex sound, this is not as limiting as it sounds.

Like MIDI, notes will play indefinitely if they're not instructed to end. Most trackers record this information automatically if you play your music in live. If you're using manual note entry, you can enter a note-off command with a keyboard shortcut - usually Caps Lock.

In fact when considering file size MOD is not always the best option. Even a dummy song wastes few kilobytes for nothing when a simple SID tune could be few hundreds bytes and not bigger than 64kB. AHX is another small format, AHX tunes are never larger than 64kB excluding comments.

[https://www.youtube.com/watch?v=rXXsZfwgil Protrekkr] (previously aka [w:Juan_Antonio_Arguelles_Rius|NoiseTrekkr])

If Protrekkr does not start, please check if the Unit 0 has been setup in the AHI prefs and still not, go to the directory utilities/protrekkr and double click on the Protrekkr icon

*Sample
*Note - Effect 
*Track (column) - Pattern - Order

It all starts with the Sample which is used to create Note(s) in a Track (column of a tracker) 
The Note can be changed with an Effect.  A Track of Note(s) can be collected into a Pattern (section of a song) and these can be given Order to create the whole song.

Patience (notes have to be entered one at a time) or playing the bassline on a midi controller (faster - see midi section above).  Best approach is to wait until a melody popped into your head.

*Up-tempo means the track should be reasonably fast, but not super-fast. 
*Groovy and funky imply the track should have some sort of &quot;swing&quot; feel, with plenty of syncopation or off beat emphasis and a recognizable, melodic bass line. 
*Sweet and happy mean upbeat melodies, a major key and avoiding harsh sounds.
*Moody - minor key

First, create a quick bass sound, which is basically a sine wave, but can be hand drawn for a little more variance. It could also work for the melody part, too.

This is usually a bass guitar or some kind of synthesizer bass. The bass line is often forgotten by inexperienced composers, but it plays an important role in a musical piece. Together with the rhythm section the bass line forms the groove of a song. It's the glue between the rhythm section and the melodic layer of a song.

The drums are just pink noise samples, played at different frequencies to get a slightly different sound for the kick, snare, and hihats.

Instruments that fall into the rhythm category are bass drums, snares, hi-hats, toms, cymbals, congas, tambourines, shakers, etc. Any percussive instrument can be used to form part of the rhythm section.

The lead is the instrument that plays the main melody, on top of the chords. There are many instruments that can play a lead section, like a guitar, a piano, a saxophone or a flute. The list is almost endless. There is a lot of overlap with instruments that play chords. Often in one piece an instrument serves both roles. The lead melody is often played at a higher pitch than the chords.

Listened back to what was produced so far, and a counter-melody can be imagined, which can be added with a triangle wave.

To give the ends of phrases some life, you can add a solo part with a crunchy synth. By hitting random notes in the key of G, then edited a few of them.

For the climax of the song, filled out the texture with a gentle high-pitch pad… …and a grungy bass synth.


The arrow at A points at the pattern order list. As you see, the patterns don't have to be in numerical order. This song starts with pattern &quot;00&quot;, then pattern &quot;02&quot;, then &quot;03&quot;, then &quot;01&quot;, etcetera. Patterns may be repeated throughout a song.

The B arrow points at the song title. Below it are the global BPM and speed parameters. These determine the tempo of the song, unless the tempo is altered through effect commands during the song.

The C arrow points at the list of instruments. An instrument may consist of multiple samples. Which sample will be played depends on the note. This can be set in the Instrument Editing screen. Most instruments will consist of just one sample, though. The sample list for the selected instrument can be found under arrow D.

Here's a part of the main editing screen. This is where you put in actual notes. Up to 32 channels can be used, meaning 32 sounds can play simultaneously. The first six channels of pattern &quot;03&quot; at order &quot;02&quot; are shown here. The arrow at A points at the row number. The B arrow points at the note to play, in this case a C4. The column pointed at by the C arrow tells us which instrument is associated with that note, in this case instrument #1 &quot;Kick&quot;.

The column at D is used (mainly) for volume commands. In this case it is left empty which means the instrument should play at its default volume. You can see the volume column being used in channel #6.

The E column tells us which effect to use and any parameters for that effect. In this case it holds the &quot;F&quot; effect, which is a tempo command. The &quot;04&quot; means it should play at tempo 4 (a smaller number means faster).

Base pattern

When I create a new track I start with what I call the base pattern. It is worthwhile to spend some time polishing it as a lot of the ideas in the base pattern will be copied and used in other patterns. At least, that's how I work. Every musician will have his own way of working. In &quot;Wild Bunnies&quot; the base pattern is pattern &quot;03&quot; at order &quot;02&quot;.

In the section about selecting samples I talked about the four different categories of instruments: drums, bass, chords and leads. That's also how I usually go about making the base pattern. I start by making a drum pattern, then add a bass line, place some chords and top it off with a lead. This forms the base pattern from which the rest of the song will grow.


Drums

Here's a screenshot of the first four rows of the base pattern. I usually reserve the first four channels or so for the drum instruments. Right away there are a couple of tricks shown here. In the first channel the kick, or bass drum, plays some notes. Note the alternating F04 and F02 commands. The &quot;F&quot; command alters the tempo of the song and by quickly alternating the tempo; the song will get some kind of &quot;swing&quot; feel.

In the second channel the closed hi-hat plays a fairly simple pattern. Further down in the channel, not shown here, some open hi-hat notes are added for a bit of variation.

In the third and fourth channel the snare sample plays. The &quot;8&quot; command is for panning. One note is panned hard to the left and the other hard to the right. One sample is played a semitone lower than the other. This results in a cool flanging effect. It makes the snare stand out a little more in the mix.


Bass line

There are two different instruments used for the bass line. Instrument #6 is a pretty standard synthesized bass sound. Instrument #A sounds a bit like a slap bass when used with a quick fade out. By using two different instruments the bass line sounds a bit more ”human”. The volume command is used to cut off the notes. However, it is never set to zero. Setting the volume to a very small value will result in a reverb-like effect. This makes the song sound more &quot;live&quot;.

The bass line hints at the chords that will be played and the key the song will be in. In this case the key of the song is D-major, a positive and happy key.


Chords

The D major chords that are being played here are chords stabs; short sounds with a quick decay (fade out). Two different instruments (#8 and #9) are used to form the chords. These instruments are quite similar, but have a slightly different sound, panning and volume decay. Again, the reason for this is to make the sound more human. The volume command is used on some chords to simulate a delay, to achieve more of a live feel. The chords are placed off-beat making for a funky rhythm.


Lead

Finally the lead melody is added. The other instruments are invaluable in holding the track together, but the lead melody is usually what catches people's attention.

A lot of notes and commands are used here, but it looks more complex than it is. A stepwise ascending melody plays in channel 13. Channel 14 and 15 copy this melody, but play it a few rows later at a lower volume. This creates an echo effect. A bit of panning is used on the notes to create some stereo depth. Like with the bass line, instead of cutting off notes the volume is set to low values for a reverb effect. The &quot;461&quot; effect adds a little vibrato to the note, which sounds nice on sustained notes.

Those paying close attention may notice the instrument used here for the lead melody is the same as the one used for the bass line (#6 &quot;Square&quot;), except played two or three octaves higher. This instrument is a looped square wave sample. Each type of wave has its own quirks, but the square wave (shown below) is a really versatile wave form.

Song structure

Good, catchy songs are often carefully structured into sections, some of which are repeated throughout the song with small variations.

A typical pop-song structure is: Intro - Verse - Chorus - Verse - Chorus - Bridge - Chorus.

Other single sectional song structures are

&lt;pre&gt;
Strophic or AAA Song Form - oldest story telling with refrain (often title of the song) repeated in every verse section melody 
AABA Song Form - early popular, jazz and gospel fading during the 1960s 
AB or Verse/Chorus Song Form - songwriting format of choice for modern popular music since the 1960s 
Verse/Chorus/Bridge Song Form
ABAB Song Form
ABAC Song Form
ABCD Song Form
AAB 12-Bar Song Form - three four-bar lines or sub-sections 
8-Bar Song Form
16-Bar Song Form
Hybrid / Compound Song Forms
&lt;/pre&gt;

The most common building blocks are:

#INTRODUCTION(INTRO)
#VERSE
#REFRAIN
#PRE-CHORUS / RISE / CLIMB
#CHORUS
#BRIDGE
#MIDDLE EIGHT
#SOLO / INSTRUMENTAL BREAK
#COLLISION
#CODA / OUTRO
#AD LIB (OFTEN IN CODA / OUTRO)

The chorus usually has more energy than the verse and often has a memorable melody line. As the chorus is repeated the most often during the song, it will be the part that people will remember.

The bridge often marks a change of direction in the song. It is not uncommon to change keys in the bridge, or at least to use a different chord sequence. The bridge is used to build up tension towards the big finale, the last repetition of chorus.


 Playing

RCTRL:                           Play song from row 0.

LSHIFT + RCTRL:                  Play song from current row.

RALT:                            Play pattern from row 0.

LSHIFT + RALT:                   Play pattern from current row.

Left mouse on '&gt;':               Play song from row 0.

Right mouse on '&gt;':              Play song from current row.

Left mouse on '|&gt;':              Play pattern from row 0.

Right mouse on '|&gt;':             Play pattern from current row.

Left mouse on 'Edit/Record':     Edit mode on/off.

Right mouse on 'Edit/Record':    Record mode on/off.


 Editing 


LSHIFT + ESCAPE:                 Switch large patterns view on/off

TAB:                    Go to next track

LSHIFT + TAB:                    Go to prev. track

LCTRL + TAB:                    Go to next note in track

LCTRL + LSHIFT + TAB:           Go to prev. note in track

SPACE:                           Toggle Edit mode On &amp; Off

(Also stop if the song is being played)

SHIFT SPACE:                     Toggle Record mode On &amp; Off

(Wait for a key note to be pressed

or a midi in message to be received)

DOWN ARROW:                      1 Line down

UP ARROW:                        1 Line up

LEFT ARROW:                      1 Row left

RIGHT ARROW:                     1 Row right

PREV. PAGE:                      16 Arrows Up

NEXT PAGE:                       16 Arrows Down

HOME / END:                      Top left / Bottom right of pattern

LCTRL + HOME / END:              First / last track

F5, F6, F7, F8, F9:              Jump to 0, 1/4, 2/4, 3/4, 4/4 lines of the patterns

+ - (Numeric keypad):           Next / Previous pattern

LCTRL + LEFT / RIGHT:           Next / Previous pattern

LCTRL + LALT + LEFT / RIGHT:    Next / Previous position

LALT + LEFT / RIGHT:           Next / Previous instrument

LSHIFT + M:                      Toggle mute state of the current channel

LCTRL + LSHIFT + M:             Solo the current track / Unmute all

LSHIFT + F1 to F11:              Select a tab/panel

LCTRL + 1 to 4:                 Select a copy buffer


 Tracking 

1st and 2nd keys rows:           Upper octave row

3rd and 4th keys rows:           Lower octave row

RSHIFT:                          Insert a note off

/ and * (Numeric keypad)

or F1 F2:                        -1 or +1 octave

INSERT / BACKSPACE:              Insert or Delete a line in current track

or current selected block.

LSHIFT + INSERT / BACKSPACE:     Insert or Delete a line in current pattern

DELETE (NOT BACKSPACE):          Empty a column or a selected block.


 Blocks

(Blocks can also be selected with the mouse by holding the right button and scrolling the pattern with the mouse wheel).


LCTRL + A:          Select entire current track

LCTRL + LSHIFT + A: Select entire current pattern

LALT + A:          Select entire column note in a track

LALT + LSHIFT + A: Select all notes of a track

LCTRL + X:          Cut the selected block and copy it into the block-buffer

LCTRL + C:          Copy the selected block into the block-buffer

LCTRL + V:          Paste the data from the block buffer into the pattern

LCTRL + I:          Interpolate selected data from the first to the last row of a selection

LSHIFT + ARROWS

PREV. PAGE

NEXT PAGE: Select a block

LCTRL + R:          Randomize the select columns of a selection, works similar to CTRL + I (interpolating them)

LCTRL + U:          Transpose the note of a selection to 1 seminote higher

LCTRL + D:          Transpose the note of a selection to 1 seminote lower

LCTRL + LSHIFT + U: Transpose the note of a selection to 1 seminote higher (only for the current instrument)

LCTRL + LSHIFT + D: Transpose the note of a selection to 1 seminote lower  (only for the current instrument)

LCTRL + H:          Transpose the note of a selection to 1 octave higher

LCTRL + L:          Transpose the note of a selection to 1 octave lower

LCTRL + LSHIFT + H: Transpose the note of a selection to 1 octave higher (only for the current instrument)

LCTRL + LSHIFT + L: Transpose the note of a selection to 1 octave lower (only for the current instrument)

LCTRL + W:          Save the current selection into a file


 Misc 


LALT + ENTER:     Switch between full screen / windowed mode

LALT + F4:        Exit program (Windows only)

LCTRL + S:         Save current module

LSHIFT + S:         Switch top right panel to synths list

LSHIFT + I:         Switch top right panel to instruments list


&lt;pre&gt;
C-x   xh xx xx hhhh             Volume 
B-x   xh xx xx hhhh             Jump to 
A#x  xh xx xx hhhh hhhh   Slide 
F-x    xh xx xx hhhh            Tempo 
D-x   xh xx xx hhhh             Pattern Break 
G#x  xh xx xx hhhh
&lt;/pre&gt;

h Hex 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13

d Dec 01 02 03 04 05 06 07 08 09 10  11 12 13 14 15 16 17 18 19

The Set Volume command: C. Input a note, then move the cursor to the effects command column and type a C. Play the pattern, and you shouldn't be able to hear the note you placed the C by. This is because the effect parameters are 00. Change the two zeros to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the pattern again, and the note should come in at full volume.

The Position Jump command next. This is just a B followed by the position in the playing list that you want to jump to. One thing to remember is that the playing list always starts at 0, not 1. This command is usually in Hex.

Onto the volume slide command: A. This is slightly more complex (much more if you're using a newer tracker, if you want to achieve the results here, then set slides to Amiga, not linear), due to the fact it depends on the secondary tempo. For now set a secondary tempo of 06 (you can play around later), load a long or looped sample and input a note or two. A few rows after a note type in the effect command A. For the parameters use 0F. Play back the pattern, and you should notice that when the effect kicks in, the sample drops to a very low volume very quickly. Change the effect parameters to F0, and use a low volume command on the note. Play back the pattern, and when the slide kicks in the volume of the note should increase very quickly.
This because each part of the effect parameters for command A does a different thing. The first number slides the volume up, and the second slides it down. It's not recommended that you use both a volume up and volume down at the same time, due to the fact the tracker only looks for the first number that isn't set to 0. If you specify parameters of 8F, the tracker will see the 8, ignore the F, and slide the volume up. Using a slide up and down at same time just makes you look stupid. Don't do it...

The Set Tempo command: F, is pretty easy to understand. You simply specify the BPM (in Hex) that you want to change to. One important thing to note is that values of lower than 20 (Hex) sets the secondary tempo rather than the primary.

Another useful command is the Pattern Break: D. This will stop the playing of the current pattern and skip to the next one in the playing list. By using parameters of more than 00 you can also specify which line to begin playing from.

Command 3 is Portamento to Note. This slides the currently playing note to another note, at a specified speed. The slide then stops when it reaches the desired note. 
&lt;pre&gt;
   C-2 1 000 - Starts the note playing
   ---      000
   C-3    330 - Starts the slide to C-3 at a speed of 30.
   ---     300 - Continues the slide
   ---     300 - Continues the slide
&lt;/pre&gt;
Once the parameters have been set, the command can be input again without any parameters, and it'll still perform the same function unless you change the parameters. This memory function allows certain commands to function correctly, such as command 5, which is the Portamento to Note and Volume Slide command. Once command 3 has been set up command 5 will simply take the parameters from that and perform a Portamento to Note. Any parameters set up for command 5 itself simply perform a Volume Slide identical to command A at the same time as the Portamento to Note.

This memory function will only operate in the same channel where the original parameters were set up.
There are various other commands which perform two functions at once. They will be described as we come across them.

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  00

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  02

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  05

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  08

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0A

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0D

C-3  04  ..  ..  09  10 ---&gt; C-3  04  ..  ..  09  10

(You can also switch on the Slider Rec to On, and perform parameter-live-recording, such as cutoff transitions, resonance or panning tweaking, etc..)  Note: this command only works for volume/panning and fx datas columns.


The next command we'll look at is the Portamento up/down: 1 and 2. Command 1 slides the pitch up at a specified speed, and 2 slides it down. This command works in a similar way to the volume slide, in that it is dependent on the secondary tempo. Both these commands have a memory dependent on each other, if you set the slide to a speed of 3 with the 1 command, a 2 command with no parameters will use the speed of 3 from the 1 command, and vice versa.

Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just try it, and you'll see what I mean. Parameters are in the format of xy, where x is the speed of the slide, and y is the depth of the slide. One important point to remember is to keep your vibratos subtle and natural so a depth of 3 or less and a reasonably fast speed, around 8, is usually used. Setting the depth too high can make the part sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and Volume Slide command, and it has a memory like command 5, which you already know how to use.

Command 7 is Tremolo. This is similar to vibrato. Rather than changing the pitch it slides the volume. The effect parameters are in exactly the same format.   vibrato effect (0x1dxy) x = speed y = depth (can't be used if arpeggio (0x1b) is turned on) 

&lt;pre&gt;
 C-7 00 .. .. 1B37 &lt;-  Turn Arpeggio effect on
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B38 &lt;- Change datas
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B00 &lt;- Turn it off
&lt;/pre&gt;

Command 9 is Sample Offset. This starts the playback of the sample from a different place than the start. The effect parameters specify the sample offset, but only very roughly. Say you have a sample which is 8765(Hex) bytes long, and you wanted it to play from position 4321(Hex). The effect parameter could only be as accurate as the 43 part, and it would ignore the 21.

Command B is the Playing List/Order Jump command. The parameters specify the position in the Playing List/Order to jump to. When used in conjunction with command D you can specify the position and the line to play from.

Command E is pretty complex, as it is used for a lot of different things, depending on what the first parameter is. Let's take a trip through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a low pass filter, cuts off the highest frequencies being played back. There are very few players and trackers on other system that simulate this function, not that you should need to use it. The second parameter, if set to 1, turns on the filter. If set to 0, the filter gets turned off.

Commands E1/E2 are Fine Portamento Up/Down. Exactly the same functions as commands 1/2, except that they only slide the pitch by a very small amount. These commands have a memory the same as 1/2 as well.

Command E3 sets the Glissando control. If parameters are set to 1 then when using command 3, any sliding will only use the notes in between the original note and the note being slid to. This produces a somewhat jumpier slide than usual. The best way to understand is to try it out for yourself. Produce a slow slide with command 3, listen to it, and then try using E31.

Command E4 is the Set Vibrato Waveform control. This command controls how the vibrato command slides the pitch. Parameters are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to the parameters, the waveform will not be restarted when a new note is played e.g. 5 - Sine without restart.

Command E5 sets the Fine Tune of the instrument being played, but only for the particular note being played. It will override the default Fine Tune for the instrument. The parameters range from 0 to F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives no Fine Tune. If you're using a newer tracker that supports more than -8 to +8 e.g. -128 to +128, these parameters will give a rough Fine Tune, accurate to the nearest 16.

Command E6 is the Jump Loop command. You mark the beginning of the part of a pattern that you want to loop with E60, and then specify with E6x the end of the loop, where x is the number of times you want it to loop.

Command E7 is the Set Tremolo Waveform control. This has exactly the same parameters as command E4, except that it works for Tremolo rather than Vibrato.

Command E9 is for Retriggering the note quickly. The parameter specifies the interval between the retrigs. Use a value of less than the current secondary tempo, or else the note will not get retrigged.

Command EA/B are for Fine Volume Slide Up/Down. Much the same as the normal Volume Slides, except that these are easier to control since they don't depend on the secondary tempo. The parameters specify the amount to slide by e.g. if you have a sample playing at a volume of 08 (Hex) then the effect EA1 will slide this volume to 09 (Hex). A subsequent effect of EB4 would slide this volume down to 05 (Hex).

Command EC is the Note Cut. This sets the volume of the currently playing note to 0 at a specified tick. The parameters should be lower than the secondary tempo or else the effect won't work.

Command ED is the Note Delay. This should be used at the same time as a note is to be played, and the parameters will specify the number of ticks to delay playing the note. Again, keep the parameters lower than the secondary tempo, or the note won't get played!

Command EE is the Pattern Delay. This delays the pattern for the amount of time it would take to play a certain number of rows. The parameters specify how many rows to delay for.

Command EF is the Funk Repeat command. Set the sample loop to 0-1000. When EFx is used, the loop will be moved to 1000- 2000, then to 2000-3000 etc. After 9000-10000 the loop is set back to 0- 1000. The speed of the loop &quot;movement&quot; is defined by x. E is two times as slow as F, D is three times as slow as F etc. EF0 will turn the Funk Repeat off and reset the loop (to 0-1000).

effects 0x41 and 0x42 to control the volumes of the 2 303 units

There is a dedicated panel for synth parameter editing with coherent sections (osc, filter modulation, routing, so on) the interface is much nicer, much better to navigate with customizable colors, the reverb is now customizable (10 delay lines), It accepts newer types of Waves (higher bit rates, at least 24). Has a replay routine.

It's pretty much your basic VA synth. The problem isn't with the sampler being to high it's the synth is tuned two octaves too low, but if you want your samples tuned down just set the base note down 2 octaves (in the instrument panel).

so the synth is basically divided into 3 sections from left to right: oscillators/envelopes, then filter and LFO's, and in the right column you have mod routings and global settings.

for the oscillator section you have two normal oscillators (sine, saw, square, noise), the second of which is tunable, the first one tunes with the key pressed. Attached to OSC 1 is a sub-oscillator, which is a sawtooth wave tuned one octave down. The phase modulation controls the point in the duty cycle at which the oscillator starts. The ADSR envelope sliders (grouped with oscs) are for modulation envelope 1 and 2 respectively. you can use the synth as a sampler by choosing the instrument at the top.

In the filter column, the filter settings are: 1 = lowpass, 2 = highpass, 3 = off. cutoff and resonance. For the LFOs they are LFO 1 and LFO 2, the ADSR sliders in those are for the LFO itself.

For the modulation routings you have ENV 1, LFO 1 for the first slider and ENV 2, LFO 2 for the second, you can cycle through the individual routings there, and you can route each modulation source to multiple destinations of course, which is another big plus for this synth. Finally the glide time is for portamento and master volume, well, the master volume... it can go quite loud.

The sequencer is changed too, It's more like the one in AXS if you've used that, where you can mute tracks to re-use patterns with variation.


&lt;pre&gt;
Support for the following modules formats:
669 (Composer 669, Unis 669), 
AMF (DSMI Advanced Module Format), 
AMF (ASYLUM Music Format V1.0), 
APUN (APlayer), DSM (DSIK internal format), 
FAR (Farandole Composer), 
GDM (General DigiMusic), 
IT (Impulse Tracker), 
IMF (Imago Orpheus), 
MOD (15 and 31 instruments), 
MED (OctaMED), 
MTM (MultiTracker Module editor), 
OKT (Amiga Oktalyzer), 
S3M (Scream Tracker 3), 
STM (Scream Tracker), 
STX (Scream Tracker Music Interface Kit), 
ULT (UltraTracker), 
UNI (MikMod), 
XM (FastTracker 2),
Mid (midi format via timidity)
&lt;/pre&gt;


Possible plugin options include [http://lv2plug.in/ LV2],


====Midi - Musical Instrument Digital Interface====

A midi file typically contains music that plays on up to 16 channels (as per the midi standard), but many notes can simultaneously play on each channel (depending on the limit of the midi hardware playing it).

'''Timidity'''

Although usually already installed, you can uncompress the [http://www.libsdl.org/projects/SDL_mixer/ timidity.tar.gz (14MB)] into a suitable drawer like below's SYS:Extras/Audio/ 
 assign timidity: SYS:Extras/Audio/timidity
added to SYSːs/User-Startup

'''WildMidi playback'''


'''Audio Evolution 4 (2003) 4.0.23 (from 2012)'''


*Sync Menu    - CAMD Receive, Send checked 
*Options Menu - MIDI Machine Control - Midi Bar Display - Select CAMD MIDI in / out - Midi Remote Setup 


MCB Master Control Bus 
*Sending a MIDI start-command and a Song Position Pointer, you can synchronize audio with an external MIDI sequencer (like B&amp;P). 
*B&amp;P Receive, start AE, add AudioEvolution.ptool in Bars&amp;Pipes track, press play / record in AE then press play in Pipes 
*CAMD Receive, receive MIDI start or continue commands via camd.library sync to AE 


*MIDI Machine Control
*Midi Bar Display 
*Select CAMD MIDI in / out
*Midi Remote Setup - open requester for external MIDI controllers to control app mixer and transport controls cc remotely 
 Channel   - mixer(vol, pan, mute, solo), eq, aux, fx, 
 Subgroup  - Volume, Mute, Solo 
 Transport - Start, End, Play, Stop, Record, Rewind, Forward 
 Misc      - Master vol., Bank Down, Bank up 


&lt;pre&gt;
q        - quit 

First 3 already opened when AE started 
F1       - timeline window
F2       - mixer 
F3       - control 
F4       - subgroups 
F5       - aux returns 
F6       - sample list 

i        - Load sample to use 

space    - start/stop play 
b        - reset time 0:00


s        - split mode 
r        - open recording window 
a        - automation edit mode with p panning, m mute and v volume 


[ / ]    - zoom in / out 
:        - previous track
*        - next track 

x c v f  - cut copy paste cross-fade 
g        - snap grid 


&lt;/pre&gt;


 '''[http://bnp.hansfaust.de/ Bars n Pipes sequencer]'''

 BarsnPipes debug ... in shell 

Menu (right mouse)  
*Song        - Songs load and save in .song format but option here to load/save Midi_Files .mid in FORMAT0 or FORMAT1 
*Track       - 
*Edit        -
*Tool        - 
*Timing      - SMTPE Synchronizing 
*Windows     - 
*Preferences - Multiple MIDI-in option 

Windows (some of these are usually already opened when Bars n Pipes starts up for the first time) 
*Workflow -&gt; Tracks, .... Song Construction, Time-line Scoring, Media Madness, Mix Maestro, 
*Control  -&gt; Transport (or mini one), Windows (which collects all the Windows icons together-shortcut), .... Toolbox, Accessories, Metronome, 

Once you have your windows placed on the screen that suits your workflow, Song -&gt; Save as Default will save the positions, colors, icons, etc as you'd like them 

If you need a particular setup of Tracks, Tools, Tempos etc, you save them all as a new song you can load each time 

Right mouse menu -&gt; Preferences -&gt; Environment... -&gt; ScreenMode  - Linkages for Synch (to Slave) usbmidi.out.0 and Send (Master) usbmidi.in.0 - Clock MTC 


'''Tracks'''

#Double-click on B&amp;P's icon. B&amp;P will then open with an empty Song. You can also double-click on a song icon to open a song in B&amp;P.
#Choose a track. The B&amp;P screen will contain a Tracks Window with a number of tracks shown as pipelines (Track 1, Track 2, etc...). To choose a track, simply click on the gray box to show an arrow-icon to highlight it. This icon show whether a track is chosen or not. To the right of the arrow-icon, you can see the icon for the midi-input. If you double-click on this icon you can change the MIDI-in setup.
#Choose Record for the track. To the right of the MIDI-input channel icon you can see a pipe. This leads to another clickable icon with that shows either P, R or M. This stands for Play, Record or Merge. To change the icon, simply click on it. If you choose P, this track can only play the track (you can't record anything). If you choose R, you can record what you play and it overwrites old stuff in the track. If you choose M, you merge new records with old stuff in the track. Choose R now to be able to make a record.
#Chose MIDI-channel. On the most right part of the track you can see an icon with a number in it. This is the MIDI-channel selector. Here you must choose a MIDI-channel that is available on your synthesizer/keyboard. If you choose General MIDI channel 10, most synthesizer will play drum sounds. To the left of this icon is the MIDI-output icon. Double-click on this icon to change the MIDI-output configuration.
#Start recording. The next step is to start recording. You must then find the control buttons (they look like buttons on a CD-player). To be able to make a record. you must click on the R icon. You can simply now press the play button (after you have pressed the R button) and play something on you keyboard. To playback your composition, press the Play button on the control panel.
#Edit track. To edit a track, you simply double click in the middle part of a track. You will then get a new window containing the track, where you can change what you have recorded using tools provided. Take also a look in the drop-down menus for more features.


Videos to help understand [https://www.youtube.com/watch?v=A6gVTX-9900 small intro], [https://www.youtube.com/watch?v=abq_rUTiSA4&amp;t=3s Overview], [https://www.youtube.com/watch?v=ixOVutKsYQo Workplace Setup CC PC Sysex], [https://www.youtube.com/watch?v=dDnJLYPaZTs Import Song], [https://www.youtube.com/watch?v=BC3kkzPLkv4 Tempo Mapping], [https://www.youtube.com/watch?v=sd23kqMYPDs ptool Arpeggi-8], [https://www.youtube.com/watch?v=LDJq-YxgwQg  PlayMidi Song], [https://www.youtube.com/watch?v=DY9Pu5P9TaU Amiga Midi], [https://www.youtube.com/watch?v=abq_rUTiSA4 Learning Amiga bars and Pipes], 

Groups like [https://groups.io/g/barsnpipes/topics this] could help 


'''Tracks window'''

* blue &quot;1 2 3 4 5 6 7 8 Group&quot; and transport tape deck VCR-type controls
* Flags 
* [http://theproblem.alco-rhythm.com/org/bp.html Track 1, Track2, to Track 16, on each Track there are many options that can be activated] 

Each Track has a 

*Left LHS  - Click in grey box to select what Track to work on, Midi-In ptool icon should be here (5pin plug icon), and many more from the Toolbox on the Input Pipeline 
*Middle    - (P, R, M) Play, Record, Merge/Multi before the sequencer line and a blue/red/yellow (Thru Mute Play) Tap 
*Right RHS - Output pipeline, can have icons placed uopn it with the final ptool icon(s) being the 5pin icon symbol for Midi-OUT 

Clogged pipelines may need Esc pressed several times 


'''Toolbox (tools affect the chosen pipeline)'''

After opening the Toolbox window you can add extra Tools (.ptool) for the pipelines like keyboard(virtual), midimonitor, quick patch, transpose, triad, (un)quantize, feedback in/out, velocity etc
 right mouse -&gt; Toolbox menu option -&gt; Install Tool... and navigate to Tool drawer (folder) and select requried .ptool 

Accompany B tool to get some sort of rythmic accompaniment, Rythm Section and Groove Quantize are examples of other tools that make use of rythms
[https://aminet.net/search?query=bars Bars &amp; Pipes pattern format .ptrn] for drawer (folder). Load from the Menu as Track or Group 


'''Accessories (affect the whole app)''' 

Accessories -&gt; Install... and goto the Accessories drawer for .paccess like adding ARexx scripting support 


'''Song Construction'''
&lt;pre&gt;
F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Duplicator 
F5  Eraser 
F6  Toolpad 
F7  Bounding box 
F8  Lock to A-B-A 

A-B-A strip, section, edit flags, white boxes, 

&lt;/pre&gt;


Bars&amp;Pipes Professional offers three track formats; basic song tracks, linear tracks — which don't loop — and finally real‑time tracks. The difference between them is that both song and linear tracks respond to tempo changes, while real‑time tracks use absolute timing, always trigger at the same instant regardless of tempo alterations 

'''Tempo Map'''

F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Eraser 
F5  Curve 
F6  Toolpad 


Compositions

Lyrics, Key, Rhythm, Time Signature 

'''Master Parameters'''

Key, Scale/Mode

'''Track Parameters'''

Dynamics 


'''Time-line Scoring'''


'''Media Madness'''


'''Mix Maestro'''


*ACCESSORIES         Allows the importation of other packages and additional modules 
*CLIPBOARD           Full cut, copy and paste operations, enabling user‑definable clips to be shared between tracks.
*INFORMATION         A complete rundown on the state of the current production and your machine.
*MASTER PARAMETERS   Enables global definition of time signatures, lyrics, scales, chords, dynamics and rhythm changes.
*MEDIA MADNESS       A complete multimedia sequencer which allows samples, stills, animation, etc 
*METRONOME           Tempo feedback via MIDI, internal Amiga audio and colour cycling — all three can be mixed and matched as required.
*MIX MAESTRO         Completely automated mixdown with control for both volume and pan. All fader alterations are memorised by the software 
*RECORD ACTIVATION   Complete specification of the data to be recorded/merged. Allows overdubbing of pitch‑bend, program changes, modulation etc
*SET FLAGS           Numeric positioning of location and edit flags in either SMPTE or musical time 
*SONG CONSTRUCTION   Large‑scale cut and paste of individual measures, verses or chorus, by means of bounding box and drag‑n‑drop mouse selections
*TEMPO MAP           Tempo change using a variety of linear and non‑linear transition curves 
*TEMPO PALETTE       Instant tempo changes courtesy of four user‑definable settings.
*TIMELINE SCORING    Sequencing of a selection of songs over a defined period — ideal for planning an entire set for a live performance.
*TOOLBOX             Selection screen for the hundreds of signal‑processing tools available 
*TRACKS              Opens the main track window to enable recording, editing and the use of tools.
*TRANSPORT           Main playback control window, which also provides access to user‑ defined flags, loop and punch‑in record modes.


Bars and Pipes Pro 2.5 is using internal 4-Byte IDs, to check which kind of data are currently processed.
Especially in all its files the IDs play an important role. The IDs are stored into the file in the same order they are laid out in the memory.

In a Bars 'N' Pipes file (no matter which kind) the ID &quot;NAME&quot; (saved as its ANSI-values) is stored on a big endian system (68k-computer) as &quot;NAME&quot;. On a little endian system (x86 PC computer) as &quot;EMAN&quot;.  The target is to make the AROS-BnP compatible to songs, which were stored on a 68k computer (AMIGA).

If possible, setting MIDI channels for Local Control for your keyboard 

http://www.fromwithin.com/liquidmidi/archive.shtml


MIDI files are essentially a stream of event data. An event can be many things, but typically &quot;note on&quot;, &quot;note off&quot;, &quot;program change&quot;, &quot;controller change&quot;, or messages that instruct a MIDI compatible synth how to play a given bit of music.

* Channel     - 1 to 16 -
* Messages    - PC presets, CC effects like delays, reverbs,  etc 
* Sequencing  - MIDI instruments, Drums, Sound design, 
* Recording   - 
* GUI         - Piano roll or Tracker, Staves and Notes 

MIDI events/messages like step entry e.g. Note On, Note Off 

MIDI events/messages like PB, PC, CC, Mono and Poly After-Touch, Sysex, etc 

MIDI sync - Midi Clocks (SPS Measures), Midi Time Code (h, m, s and frames) SMPTE 

Individual track editing with audition edits so easier to test any changes. Possible to stop track playback, mix clips from the right edit flag and scroll the display using arrow keys. 

Step entry, to extend a selected note hit the space bar and the note grows accordingly. Ability to cancel mouse‑driven edits by simply clicking the right mouse button — at which point everything snaps back into its original form. Lyrics can now be put in with syllable dividers, even across an entire measure or section. Autoranging when you open a edit window, the notes are automatically displayed — working from the lowest upwards. 

Flag editing, shift‑click on a flag immediately open the bounds window, ready for numeric input. Ability to cancel edits using the right‑hand mouse button, plus much improved Bounding Box operations.

Icons other than the BarsnPipes icon -&gt; PUBSCREEN=BarsnPipes (cannot choose modes higher than 8bit 256 colors)

Preferences -&gt; Menu in Tracks window - Send MIDI defaults OFF 

Prefs -&gt; Environment -&gt; screenmode (saved to BarsnPipes.prefs binary file) 

Customization -&gt; pics in gui drawer (folder) - 


Can save as .song files and .mid General Midi 

SMF is a “Standard Midi File”  ([http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html SMF0, SMF1 and SMF2]), [https://github.com/stump/libsmf libsmf], [https://github.com/markc/midicomp MIDIcomp], [https://github.com/MajicDesigns/MD_MIDIFile C++ src], [], [https://github.com/newdigate/midi-smf-reader Midi player], 

* SMF0        All MIDI data is stored in one track only, separated exclusively by the MIDI channel.
* SMF1        The MIDI data is stored in separate tracks/channels.
* SMF2 (rarely used) The MIDI data is stored in separate tracks, which are additionally wrapped in containers, so it's possible to have e.g. several tracks using the same MIDI channels.


Would it be possible to enrich Bars N’Pipes with software synth and sample support along with audio recording and mastering tools like in the named MAC or PC music sequencers?
On the classic AMIGA-OS this is not possible because of missing CPU-power. The hardware of the classic AMIGA is not further developed. So we must say (unfortunately) that those dreams can’t become reality

BarsnPipes is best used with external MIDI-equipment. This can be a keyboard or synthesizer with MIDI-connectors. 

&lt;pre&gt;
MIDI can control 16 channels 
There are USB-MIDI-Interfaces on the market with 16 independent MIDI-lines (multi-port), which can handle 16 MIDI devices independently – 16×16 = 256 independent MIDI-channels or instruments 
handle up to 16 different USB-MIDI-Interfaces (multi-device). That is: 16X16X16 = 4096 independent MIDI-channels – theoretically 
&lt;/pre&gt;

&lt;pre&gt;
Librarian MIDI SYStem EXplorer (sysex) - PatchEditor and used to be supplied as a separate program like PatchMeister but currently not at present 
It should support MIDI.library (PD), BlueRibbon.library (B&amp;P), TriplePlayPlus, and CAMD.library (DeluxeMusic) and 
MIDI information from a device's user manual and configure a custom interface to access parameters for all MIDI products connected to the system 
Supports ALL MIDI events and the Patch/Librarian data is stored in MIDI standard format 
Annette M.Crowling, Missing Link Software, Inc.
&lt;/pre&gt;


Composers
&lt;pre&gt;
[https://x.com/hirasawa/status/1403686519899054086 Susumu Hirasawa] 

&lt;/pre&gt;


&lt;pre&gt;
1988 Todor Fay and his wife Melissa Jordan Gray, who founded the Blue Ribbon Inc
1992 Bars&amp;Pipes Pro published 
November 2000, Todor Fay announcement to release the sourcecode of Bars&amp;Pipes Pro 2.5c beta
end of May 2001, the source of the main program and the sources of some tools and accessories were in a complete and compileable state 
end of October 2009 stop further development of BarsnPipes New for now on all supported systems and made freeware 
2013 Alfred Faust diagnosed with incureable illness, called „Myastenia gravis“ (weak muscles) 
&lt;/pre&gt;


 Protrekkr

How to use Midi In/Out in Protrekkr ?

First of all, midi in &amp; out capabilities of this program are rather limited.

# Go to Misc. Setup section and select a midi in or out device to use (ptk only supports one device at a time).
# Go to instrument section, and select a MIDI PRG (the default is N/A, which means no midi program selected).
# Go to track section and here you can assign a midi channel to each track of ptk.
# Play notes :]. Note off works. F'x' note cut command also works too, and note-volume command (speed) is supported.

Also, you can change midicontrollers in the tracker, using '90' in the panning row:

&lt;pre&gt;
    C-3 02 .. .. 0000....


    --- .. .. 90 xxyy.... &lt;&lt; This will set the value 
    --- .. .. .. 0000....    of the controller n.'xx' to 'yy' (both in hex)
    --- .. .. .. 0000....
&lt;/pre&gt;

So &quot;--- .. .. 90 2040....&quot; will set the controller number $20(32) to $40(64).

You will need the midi implementation table of your gear to know what you can change with midi controller messages.

 N.B. Not all MIDI devices are created equal!

Although the MIDI specification defines a large range of MIDI messages of various kinds, not every MIDI device is required to work in exactly the same way and respond to all the available messages and ways of working. For example, we don't expect a wind synthesiser to work in the same way as a home keyboard.

Some devices, the older ones perhaps, are only able to respond to a single channel. With some of those devices that channel can be altered from the default of 1 (probably) to another channel of the 16 possible.

Other devices, for instance monophonic synthesisers, are capable of producing just one note at a time, on one MIDI channel. Others can produce many notes spread across many channels.

Further devices can respond to, and transmit, &quot;breath controller&quot; data (MIDI controller number 2 (CC#2)) others may respond to the reception of CC#2 but not be able to create and to send it.

A controller keyboard may be capable of sending &quot;expression pedal&quot; data, but another device may not be capable of responding to that message.

Some devices just have the basic GM sound set. The &quot;voice&quot; or &quot;instrument&quot; is selected using a &quot;Program Change&quot; message on its own.

Other devices have a greater selection of voices, usually arranged in &quot;banks&quot;, and the choice of instrument is made by responding to &quot;Bank Select MSB&quot; (MIDI controller 0 (CC#0)), others use &quot;Bank Select LSB&quot; (MIDI controller number 32 (CC#32)), yet others use both MSB and LSB sent one after the other, all followed by the Program Change message. The detailed information about all the different voices will usually be available in a published MIDI Data List.


 MIDI Implementation Chart

But in the User Manual there is sometimes a summary of how the device works, in terms of MIDI, in the chart at the back of the manual, the MIDI Implementation Chart.

If you require two devices to work together you can compare the two implementation charts to see if they are &quot;compatible&quot;. In order to do this we will need to interpret that chart.

The chart is divided into four columns headed &quot;Function&quot;, &quot;Transmitted&quot; (or &quot;Tx&quot;), &quot;Received&quot; (or &quot;Rx&quot;), or more correctly &quot;Recognised&quot;, and finally, &quot;Remarks&quot;.

&lt;pre&gt;
The left hand column defines which MIDI functions are being described.
The 2nd column defines what the device in question is capable of transmitting to another device.
The 3rd column defines what the device is capable of responding to.
The 4th column is for explanations of the values contained within these previous two columns.
&lt;/pre&gt;

There should then be twelve sections, with possibly a thirteenth containing extra &quot;Notes&quot;. Finally there should be an explanation of the four MIDI &quot;modes&quot; and what the &quot;X&quot; and the &quot;O&quot; mean.
&lt;pre&gt;
Mode 1: Omni On, Poly; 
Mode 2: Omni On, Mono; 
Mode 3: Omni Off, Poly; 
Mode 4: Omni Off, Mono.
&lt;/pre&gt;
O means &quot;yes&quot; (implemented), X means &quot;no&quot; (not implemented).

Sometimes you will find a row of asterisks &quot;**************&quot;, these seem to indicate that the data is not applicable in this case. Seen in the transmitted field only (unless you've seen otherwise).

Lastly you may find against some entries an asterisk followed by a number e.g. *1, these will refer you to further information, often on a following page, giving more detail.

Basic Channel
But the very first set of boxes will tell us the &quot;Basic Channel(s)&quot; that the device sends or receives on. 
&quot;Default&quot; is what happens when the device is first turned on, &quot;changed&quot; is what a switch of some kind may allow the device to be set to. 
For many devices e.g. a GM sound module or a home keyboard, this would be 1-16 for both. That is it can handle sending and receiving on all MIDI channels.

On other devices, for example a synthesiser, it may by default only work on channel 1. But the keyboard could be &quot;split&quot; with the lower notes e.g. on channel 2. If the synth has an arppegiator, this may be able to be set to transmit and or receive on yet another channel.
So we might see the default as &quot;1&quot; but the changed as &quot;1-16&quot;.

Modes.
We need to understand Omni On and Off, and Mono and Poly, then we can decipher the four modes.

But first we need to understand that any of these four Mode messages can be sent to any MIDI channel. They don't necessarily apply to the whole device.

If we send an &quot;Omni On&quot; message (CC#125) to a MIDI channel of a device, we are, in effect, asking it to respond to e.g. a Note On / Off message pair, received on any of the sixteen channels. Sound strange? Read it again. Still strange? It certainly is. We normally want a MIDI channel to respond only to Note On / Off messages sent on that channel, not any other. In other words, &quot;Omni Off&quot;.

So &quot;Omni Off&quot; (CC#124) tells a channel of our MIDI device to respond only to messages sent on that MIDI channel.

&quot;Poly&quot; (CC#127) is for e.g. a channel of a polyphonic sound module, or a home keyboard, to be able to respond to many simultaneous Note On / Off message pairs at once and produce musical chords.

&quot;Mono&quot; (CC#126) allows us to set a channel to respond as if it were e.g. a flute or a trumpet, playing just one note at a time. If the device is capable of it, then the overlapping of notes will produce legato playing, that is the attack portion of the second note of two overlapping notes will be removed resulting in a &quot;smoother&quot; transition.

So a channel with a piano voice assigned to it will have Omni Off, Poly On (Mode 3), a channel with a saxophone voice assigned could be Omni Off, Mono On (Mode 4).

We call these combinations the four modes, 1 to 4, as defined above. 
Most modern devices will have their channels set to Mode 3 (Omni Off, Poly) but be switchable, on a per channel basis, to Mode 4 (Omni Off, Mono).

This second section of data will include first its default value i.e. upon device switch on. Then what Mode messages are acceptable, or X if none.

Finally, in the &quot;Altered&quot; field, how a Mode message that can't be implemented will be interpreted. Usually there will just be a row of asterisks effectively meaning nothing will be done if you try to switch to an unimplemented mode.

Note Number
&lt;pre&gt;
The next row will tell us which MIDI notes the device can send or receive, normally 0-127.
The second line, &quot;True Voice&quot; has the following in the MIDI specification: 
&quot;Range of received note numbers falling within the range of true notes produced by the instrument.&quot;
My interpretation is that, for instance, a MIDI piano may be capable of sending all MIDI notes (0 to 127) by transposition, but only responding to the 88 notes (21 to 108) of a real piano. 
&lt;/pre&gt;

Velocity
This will tell us whether the device we're looking at will handle note velocity, and what range from 1-127, or maybe just 64, it transmits or will recognise. So usually &quot;O&quot; plus a range or &quot;X&quot; for not implemented.

After touch
This may have one or two lines two it.
If a one liner the either &quot;O&quot; or &quot;X&quot;, yes or no.
If a two liner then it may include &quot;Keys&quot; or &quot;Poly&quot; and &quot;Channel&quot;.
This will show whether the device will respond to Polyphonic after touch or channel after touch or neither.

Pitch Bend
Again &quot;O&quot; for implemented, &quot;X&quot; for not implemented.
(Many stage pianos will have no pitch bend capability.)
It may also, in the notes section, state whether it will respond to the full 14 bits, or not, as usually encoded by the pitch bend wheel.

Control Change
This is likely to be the largest section of the chart.
It will list all those controllers, starting from CC#0, Bank Select MSB, which the device is capable of sending, and those that it will respond to using &quot;O&quot; or &quot;X&quot; respectively.
You will, almost certainly, get some further explanation of functionality in the remarks column, or in more detail elsewhere in the documentation.

Of course you will need to know what all the various controller numbers do. Lots of the official technical specifications can be found at the [www.midi.org/techspecs/ MMA], with the table of messages and control change [www.midi.org/techspecs/midimessages.php message numbers]

Program Change
Again &quot;O&quot; or &quot;X&quot; in the Transmitted or Recognised column to indicate whether or not the feature is implemented. In addition a range of numbers is shown, typically 0-127, to show what is available.
True # (number): &quot;The range of the program change numbers which correspond to the actual number of patches selected.&quot;

System Exclusive
Used to indicate whether or not the device can send or recognise System Exclusive messages. A short description is often given in the Remarks field followed by a detailed explanation elsewhere in the documentation.

System Common - These include the following:
&lt;pre&gt;
MIDI Time Code Quarter Frame messages (device synchronisation).
Song Position Pointer
Song Select
Tune Request
&lt;/pre&gt;
The section will indicate whether or not the device can send or respond to any of these messages.

System Real Time
These include the following:
&lt;pre&gt;
Timing Clock - often just written as &quot;Clock&quot;
Start
Stop
Continue
&lt;/pre&gt;
These three are usually just referred to as &quot;Commands&quot; and listed.
Again the section will indicate which, if any, of these messages the device can send or respond to.
&lt;pre&gt;
Aux. Messages
Again &quot;O&quot; or &quot;X&quot; for implemented or not.
Aux. = Auxiliary.
Active Sense = Active Sensing.
&lt;/pre&gt;
Often with an explanation of the action of the device.

Notes
The &quot;Notes&quot; section can contain any additional comments to clarify the particular implementation.

Some of the explanations have been drawn directly from the MMA MIDI 1.0 Detailed Specification.
And the detailed explanation of some of the functions will be found there, or in the General MIDI System Level 1 or General MIDI System Level 2 documents also published by the MMA.


 OFFICIAL MIDI SPECIFICATIONS

SUMMARY OF MIDI MESSAGES
Table 1 - Summary of MIDI Messages

The following table lists the major MIDI messages in numerical (binary) order (adapted from &quot;MIDI by the Numbers&quot; by D. Valenti, Electronic Musician 2/88, and updated by the MIDI Manufacturers Association.). This table is intended as an overview of MIDI, and is by no means complete.

WARNING! Details about implementing these messages can dramatically impact compatibility with other products. We strongly recommend consulting the official MIDI Specifications for additional information.

MIDI 1.0 Specification

Message Summary Channel Voice Messages [nnnn = 0-15 (MIDI Channel Number 1-16)]

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1000nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note Off event. 
This message is sent when a note is released (ended). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1001nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note On event. 
This message is sent when a note is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1010nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Polyphonic Key Pressure (Aftertouch). 
This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. (kkkkkkk) is the key (note) number. (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Control Change. 
This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Controller numbers 120-127 are reserved as &quot;Channel Mode Messages&quot; (below). (ccccccc) is the controller number (0-119). (vvvvvvv) is the controller value (0-127).
|-
|&lt;!--Status--&gt;1100nnnn || &lt;!--Data--&gt;0ppppppp || &lt;!--Description--&gt;Program Change. This message sent when the patch number changes. (ppppppp) is the new program number.
|-
|&lt;!--Status--&gt;1101nnnn || &lt;!--Data--&gt;0vvvvvvv || &lt;!--Description--&gt;Channel Pressure (After-touch). This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. This message is different from polyphonic after-touch. Use this message to send the single greatest pressure value (of all the current depressed keys). (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1110nnnn || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Pitch Bend Change. This message is sent to indicate a change in the pitch bender (wheel or lever, typically). The pitch bender is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the receiver, but may be set using RPN 0. (lllllll) are the least significant 7 bits. (mmmmmmm) are the most significant 7 bits.
|}

Channel Mode Messages (See also Control Change, above)

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Channel Mode Messages. 
This the same code as the Control Change (above), but implements Mode control and special message by using reserved controller numbers 120-127. The commands are:
*All Sound Off. When All Sound Off is received all oscillators will turn off, and their volume envelopes are set to zero as soon as possible c = 120, v = 0: All Sound Off
*Reset All Controllers. When Reset All Controllers is received, all controller values are reset to their default values. (See specific Recommended Practices for defaults) c = 121, v = x: Value must only be zero unless otherwise allowed in a specific Recommended Practice.
*Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. 
c = 122, v = 0: Local Control Off
c = 122, v = 127: Local Control On
* All Notes Off. When an All Notes Off is received, all oscillators will turn off. 
c = 123, v = 0: All Notes Off (See text for description of actual mode commands.)
c = 124, v = 0: Omni Mode Off 
c = 125, v = 0: Omni Mode On 
c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) 
c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off)
|}

System Common Messages

System Messages (0xF0)

The final status nybble is a “catch all” for data that doesn’t fit the other statuses. They all use the most significant nybble (4bits) of 0xF, with the least significant nybble indicating the specific category.

The messages are denoted when the MSB of the second nybble is 1. When that bit is a 0, the messages fall into two other subcategories.

System Common

If the MSB of the second second nybble (4 bits) is not set, this indicates a System Common message. Most of these are messages that include some additional data bytes.

System Common Messages
Type Status Byte   Number of Data Bytes      Usage 
&lt;pre&gt;
Time Code Quarter Frame	0xF1	1	Indicates timing using absolute time code, primarily for synthronization with video playback systems. A single location requires eight messages to send the location in an encoded hours:minutes:seconds:frames format*.
Song Position	0xF2	2	Instructs a sequencer to jump to a new position in the song. The data bytes form a 14-bit value that expresses the location as the number of sixteenth notes from the start of the song.
Song Select	0xF3	1	Instructs a sequencer to select a new song. The data byte indicates the song.
Undefined	0xF4	0	
Undefined	0xF5	0	
Tune Request	0xF6	0	Requests that the receiver retunes itself**.
&lt;/pre&gt;
*MIDI Time Code (MTC) is significantly complex. Please see the MIDI Specification
**While modern digital instruments are good at staying in tune, older analog synthesizers were prone to tuning drift. Some analog synthesizers had an automatic tuning operation that could be initiated with this command.


System Exclusive

If you’ve been keeping track, you’ll notice there are two status bytes not yet defined: 0xf0 and 0xf7. These are used by the System Exclusive message, often abbreviated at SysEx. SysEx provides a path to send arbitrary data over a MIDI connection. There is a group of predefined messages for complex data, like fine grained control of MIDI Time code machinery. SysEx is also used to send manufacturer defined data, such as patches, or even firmware updates.

System Exclusive messages are longer than other MIDI messages, and can be any length. The messages are of the following format:

0xF0, 0xID, 0xdd, ...... 0xF7
The message is bookended with distinct bytes.

It opens with the Start Of Exclusive (SOX) data byte, 0xF0.
The next one to three bytes after the start are an identifier.
Values from 0x01 to 0x7C are one-byte vendor IDs, assigned to manufacturers who were involved with MIDI at the beginning.
If the ID is 0x00, it’s a three-byte vendor ID - the next two bytes of the message are the value.
&lt;pre&gt;
ID 0x7D is a placeholder for non-commercial entities.
ID 0x7E indicates a predefined Non-realtime SysEx message.
ID 0x7F indicates a predefined Realtime SysEx message.
&lt;/pre&gt;
After the ID is the data payload, sent as a stream of bytes.
The transfer concludes with the End of Exclusive (EOX) byte, 0xF7.
The payload data must follow the guidelines for MIDI data bytes – the MSB must not be set, so only 7 bits per byte are actually usable. If the MSB is set, it falls into three possible scenarios.

An End of Exclusive byte marks the ordinary termination of the SysEx transfer.
System Real Time messages may occur within the transfer without interrupting it. The recipient should handle them independently of the SysEx transfer.
Other status bytes implicitly terminate the SysEx transfer and signal the start of new messages.
 Some inexpensive USB-to-MIDI interfaces aren’t capable of handling messages longer than four bytes.

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11110000 || &lt;!--Data--&gt;0iiiiiii [0iiiiiii 0iiiiiii]  0ddddddd  --- --- 0ddddddd 11110111 || &lt;!--Description--&gt;System Exclusive. 
This message type allows manufacturers to create their own messages (such as bulk dumps, patch parameters, and other non-spec data) and provides a mechanism for creating additional MIDI Specification messages. The Manufacturer's ID code (assigned by MMA or AMEI) is either 1 byte (0iiiiiii) or 3 bytes (0iiiiiii 0iiiiiii 0iiiiiii). Two of the 1 Byte IDs are reserved for extensions called Universal Exclusive Messages, which are not manufacturer-specific. If a device recognizes the ID code as its own (or as a supported Universal message) it will listen to the rest of the message (0ddddddd). Otherwise, the message will be ignored. (Note: Only Real-Time messages may be interleaved with a System Exclusive.)
|-
|&lt;!--Status--&gt;11110001 || &lt;!--Data--&gt;0nnndddd || &lt;!--Description--&gt;MIDI Time Code Quarter Frame.
nnn = Message Type
dddd = Values
|-
|&lt;!--Status--&gt;11110010 || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Song Position Pointer. 
This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB.
|-
|&lt;!--Status--&gt;11110011 || &lt;!--Data--&gt;0sssssss || &lt;!--Description--&gt;Song Select. 
The Song Select specifies which sequence or song is to be played.
|-
|&lt;!--Status--&gt;11110100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Tune Request. Upon receiving a Tune Request, all analog synthesizers should tune their oscillators.
|-
|&lt;!--Status--&gt;11110111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;End of Exclusive. Used to terminate a System Exclusive dump. 
|}


System Real-Time Messages

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11111000 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Timing Clock. Sent 24 times per quarter note when synchronization is required.
|-
|&lt;!--Status--&gt;11111001 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111010 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Start. Start the current sequence playing. (This message will be followed with Timing Clocks).
|-
|&lt;!--Status--&gt;11111011 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Continue. Continue at the point the sequence was Stopped.
|-
|&lt;!--Status--&gt;11111100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Stop. Stop the current sequence.
|-
|&lt;!--Status--&gt;11111101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Active Sensing. This message is intended to be sent repeatedly to tell the receiver that a connection is alive. Use of this message is optional. When initially received, the receiver will expect to receive another Active Sensing message each 300ms (max), and if it does not then it will assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 
|-
|&lt;!--Status--&gt;11111111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up.
|}


Advanced Messages

Polyphonic Pressure (0xA0) and Channel Pressure (0xD0)

Some MIDI controllers include a feature known as Aftertouch. While a key is being held down, the player can press harder on the key. The controller measures this, and converts it into MIDI messages.

Aftertouch comes in two flavors, with two different status messages.

The first flavor is polyphonic aftertouch, where every key on the controller is capable of sending its own independent pressure information. The messages are of the following format:
&lt;pre&gt;
0xnc, 0xkk, 0xpp
n is the status (0xA)
c is the channel nybble
kk is the key number (0 to 127)
pp is the pressure value (0 to 127)
&lt;/pre&gt;
Polyphonic aftertouch is an uncommon feature, usually found on premium quality instruments, because every key requires a separate pressure sensor, plus the circuitry to read them all.

Much more commonly found is channel aftertouch. Instead of needing a discrete sensor per key, it uses a single, larger sensor to measure pressure on all of the keys as a group. The messages omit the key number, leaving a two-byte format
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xD)
c is the channel number
pp is the pressure value (0 to 127)
&lt;/pre&gt;

Pitch Bend (0xE0)

Many keyboards have a wheel or lever towards the left of the keys for pitch bend control. This control is usually spring-loaded, so it snaps back to the center of its range when released. This allows for both upward and downward bends.

Pitch Bend Wheel

The wheel sends pitch bend messages, of the format
&lt;pre&gt;
0xnc, 0xLL, 0xMM
n is the status (0xE)
c is the channel number
LL is the 7 least-significant bits of the value
MM is the 7 most-significant bits of the value
&lt;/pre&gt;
You’ll notice that the bender data is actually 14 bits long, transmitted as two 7-bit data bytes. This means that the recipient needs to reassemble those bytes using binary manipulation. 14 bits results in an overall range of 214, or 0 to 16,383. Because it defaults to the center of the range, the default value for the bender is halfway through that range, at 8192 (0x2000).

Control Change (0xB0)

In addition to pitch bend, MIDI has provisions for a wider range of expressive controls, sometimes known as continuous controllers, often abbreviated CC. These are transmitted by the remaining knobs and sliders on the keyboard controller shown below.


Continuous Controllers

These controls send the following message format:
&lt;pre&gt;
0xnc, 0xcc, 0xvv
n is the status (0xB)
c is the MIDI channel
cc is the controller number (0-127)
vv is the controller value (0-127)
&lt;/pre&gt;

Typically, the wheel next to the bender sends controller number one, assigned to modulation (or vibrato) depth. It is implemented by most instruments.

The remaining controller number assignments are another point of confusion. The MIDI specification was revised in version 2.0 to assign uses for many of the controllers. However, this implementation is not universal, and there are ranges of unassigned controllers.

On many modern MIDI devices, the controllers are assignable. On the controller keyboard shown in the photos, the various controls can be configured to transmit different controller numbers. Controller numbers can be mapped to particular parameters. Virtual synthesizers frequently allow the user to assign CCs to the on-screen controls. This is very flexible, but it might require configuration on both ends of the link and completely bypasses the assignments in the standard.


Program Change (0xC0)

Most synthesizers have patch storage memory, and can be told to change patches using the following command:
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xc)
c is the channel
pp is the patch number (0-127)
&lt;/pre&gt;
This allows for 128 sounds to be selected, but modern instruments contain many more than 128 patches. Controller #0 is used as an additional layer of addressing, interpreted as a “bank select” command. Selecting a sound on such an instrument might involve two messages: a bank select controller message, then a program change.

Audio &amp; Midi are not synchronized, what I can do ?
Buy a commercial software package but there is a nasty trick to synchronize both. It's a bit hardcore but works for me:

 Simply put one line down to all midi notes on your pattern (use Insert key)
 and go to 'Misc. Setup', adjust the latency and just search a value
 that will make sound sync both audio/midi.

The stock Sin/Saw/Pulse and Rnd waveforms are too simple/common, is there a way to use something more complex/rich ?
You have to ability to redirect the waveforms of the instruments through the synth pipe by selecting the &quot;wav&quot; option for the oscillator you're using for this synth instrument, samples can be used as wavetables to replace the stock signals.


Sound banks like soundfont (sf2) or Kontakt2 are not supported at the moment


====DAW Audio Evolution 4====

Audio Evolution 4 gives you unsurpassed power for digital audio recording and editing on the Amiga. The latest release focusses on time-saving non-linear and non-destructive editing, as seen on other platforms. Besides editing, Audio Evolution 4 offers a wide range of realtime effects, including compression, noise gate, delays, reverb, chorus and 3-band EQ.

Whether you put them as inserts on a channel or use them as auxillaries, the effect parameters are realtime adjustable and can be fully automated. Together with all other mixing parameters, they can even be controlled remotely, using more ergonomic MIDI hardware.

Non-linear editing on the time line, including cut, copy, paste, move, split, trim and crossfade actions

The number of tracks per project(s) is unlimited .... AHI limits you to recording only two at a time. i.e. not on 8 track sound cards like the Juli@ or Phase 88.

sample file import is limited to 16bit AIFF (not AIFC, important distinction as some files from other sources can be AIFC with aiff file extention). and 16bit WAV (pcm only)


Most apps use the Music Unit only but a few apps also use Unit (0-3) instead or as well. 
* Set up AHI prefs so that microphone is available. (Input option near the bottom)


stereo++ allows the audio piece to be placed anywhere and the left-right adjusted to sound positionally right

hifi best for music playback if driver supports this option


Load 16bit .aif .aiff only sample(s) to use not AIFC which can have the same ending. AIFF stands for Audio Interchange File Format 

 sox recital.wav recital.aiff

 sox recital.wav −b 16 recital.aiff channels 1 rate 16k fade 3 norm
 sox input.wav        output.aiff bass −b 16 rate 48k

performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16.

 rec −c 2 radio.aiff trim 0 30:00

records half an hour of stereo audio 

 play existing-file.wav


24bit PCM WAV or AIFF do not work 

*No stream format handling. So no way to pass on an AC3 encoded stream unmodified to the digital outputs through AHI.
*No master volume handling. Each application has to set its own volume. So each driver implements its own custom driver-mixer interface for handling master volumes, mute and preamps.
*Only one output stream. So all input gets mixed into one output.
*No automatic handling of output direction based on connected cables.
*No monitor input selection. Only monitor volume control. 


select the correct input (Don't mistake enabled sound for the correct input.)
The monitor will feedback audio to the lineout and hp out no matter if you have selected the correct input to the ADC. The monitor will provide sound for any valid input. This will result in free mixing when recording from the monitor input instead of mic/line because the monitor itself will provide the hardware mixing for you. Be aware that MIC inputs will give two channel mono. Only Linein will give real stereo.

Now for the not working part. Attempt to record from linein in the AE4 record window, the right channel is noise and the left channel is distorted. Even with the recommended HIFI 16bit Stereo++ mode at 48kHz.


Channels

Monitor

Gain

Inout

Output

Advanced settings - Debugging via serial port


* Options -&gt; Soundcard In/Out
* Options -&gt; SampleRate
* Options -&gt; Preferences

F6 for Sample File List

Setting a grid is easy as is measuring the BPM by marking a section of the sample. Is your kick drum track &quot;not in time&quot; ? If so, you're stumped in AE4 as it has no fancy variable time signatures and definitely no 'track this dodgy rhythm' function like software of the nature of Logic has. So if your drum beat is freeform you will need to work in freeform mode. (Real music is free form anyway).

If the drum *is* accurate and you are just having trouble measuring the time, I usually measure over a range of bars and set the number of beats in range to say 16 as this is more accurate, Then you will need to shift the drum track to match your grid *before* applying the grid. (probably an iterative process as when the grid is active samples snap to it, and when inactive you cannot see it).

AE4 does have ARexx but the functions are more for adding samples at set offsets and starting playback / recording.


These are the usual features found in DAWs...

* Recording digital audio, midi sequencer and mixer 
* virtual VST instruments and plug-ins 
* automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors and music notation editor


* different track views 
* mixer and track layout (but not the same as below) 
* traditional two windows (track and mixer)


Mixing - mixdown

Could not figure out how to select what part I wanted to send to the aux, set it to echo and return. Pretty much the whole echo effect. Or any effect.

Take look at page17 of the manual.

When you open the EQ / Aux send popup window you will see 4 sends. Now from the menu choose the windows menu.

Menus-&gt;Windows-&gt; Aux Returns Window

or press F5

You will see a small window with 4 volume controls and an effects button for each. Click a button and add an effects to that aux channel, then set it up as desired (note the reverb effect has a special AUX setting that improves its use with the aux channel, not compulsory but highly useful). You set the amount of 'return' on the main mix in the Aux Return window, and the amount sent from each main mixer channel in the popup for that channel. Again the aux sends are &quot;prefade&quot; so the volume faders on each channel do not affect them.


Tracking


Effects - fade in

To add some echoes to some vocals, tried to add an effect on a track but did not come out. This is made more complicated as I wanted to mute a vocal but then make it echo at the muting point. Want to have one word of a vocal heard and then echoed off. But when the track is mute the echo is cancelled out.

To correctly understand what is happening here you need to study the figure at the bottom of page 15 on the manual. You will see from that that the effects are applied 'prefade' So the automation you applied will naturally mute the entire signal.

There would be a number of ways to achieve the goal,

You have three real time effects slots, one for smoothing like so

Sample -&gt; Amplify -&gt; Delay

Then automate the gain of the amplify block so that it effectively mutes the sample just before the delay at the appropriate moment, the echo effect should then be heard.

Getting the effects in the right order will require experimentation as they can only be added top down and it's not obvious which order they are applied to the signal, but there only two possibilities, so it wont take long to find out.

Using MUTE can cause clicks to the Amplify can be used to mute more smoothly so that's a secondary advantage.

Signal Processing -


Overdub

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===Office===

====Spreadsheet Leu====

Support for some xlsx, and ods functions 


====Spreadsheet Ignition====

; Needs ABIv1 to be completed before more can be done

File formats supported 
* ascii #?.txt and #?.csv (single sheets with data only). 
* igs and TurboCalc(WIP) #?.tc for all sheets with data, formats and formulas.

There is '''no''' support for xls, xlsx, ods or uos ([http://en.wikipedia.org/wiki/Uniform_Office_Format Uniform Unified Office Format]) at the moment.

* Always use Esc key after editing Spreadsheet cells.
* copy/paste seems to copy the first instance only so go to Edit -&gt; Clipboard to manage the list of remembered actions. 
* Right mouse click on row (1 or 2 or 3) or column header (a or b or c)  to access optimal height or width of the row or column respectively 
* Edit -&gt; Insert -&gt; Row  seems to clear the spreadsheet or clears the rows after the inserted row until undo restores as it should be...

Change Sheet name by  Object -&gt; Sheet -&gt; Properties

Click in the cell which will contain the result, and click '''down arrow button''' to the right of the formula box at the bottom of the spreadsheet and choose the function required from the list provided. Then click on the start cell and click on the bottom right corner, a '''very''' small blob, which allows stretching a bounding box (thick grey outlines) across many cells This grey bounding box can be used to '''copy a formula''' to other cells.

Object -&gt; Cell -&gt; Properties to change cell format - Currency only covers DM and not $, Euro, Renminbi, Yen or Pound etc. 
Shift key and arrow keys selects a range of cells, so that '''formatting can be done to all highlighted cells'''. 
View -&gt; Overview then select ALL with one click (in empty cell in the top left hand corner of the sheet).

Default mode is relative cell referencing e.g. a1+a2 but absolute e.g. $a$1+$a$2 can be entered.

* #sheet-name to '''absolute''' reference another sheet-name cell unless reference() function used.

;Graphs

use shift key and arrow keys to select a bunch of cells to be graph'ed making sure that x axes represents and y axes represents

* value() - 0 value, 1 percent, 2 date, 3 time, 4 unit ...


;Dates 
* Excel starts a running count from the 1st Jan 1900 and Ignition starts from 1st Jan 1AD '''(maybe this needs to change)'''
Set formatting Object -&gt; Cell -&gt; Properties and put date in days


;Time 
Set formatting Object -&gt; Cell -&gt; Properties and put time in seconds taken


;Database (to be done by someone else)

type - standard, reference (bezug), search criterion (suchkriterium), 
* select a bunch of cells and Object -&gt; Database -&gt; Define to set Datenbank (database) and Felder (fields not sure how?) 
* Neu (new) or loschen (delete) to add/remove database headings e.g. Personal, Start Date, Finish Date (one per row?)
* Object -&gt; Database -&gt; Index to add fields (felder) like Surname, First Name, Employee ID, etc. to ?

Filtering done with dbfilter(), dbproduct() and dbposition().

Activities with dbsum(), dbaverage(), dbmin() and dbmax().

Table sorting -


;Scripts (Arexx)

;Excel(TM) to Ignition - commas ''',''' replaced by semi-colons ''';''' to separate values within functions 
*SUM(), 
*AVERAGE(), MAX(), MIN(), INT(), PRODUCT(), MEDIAN(), VAR() becomes Variance(), Percentile(),
*IF(), AND, OR, NOT 
*LEFT(), RIGHT(), MID() becomes MIDDLE(), LEN() becomes LENGTH(), 
*LOWER() becomes LOWERCASE(), UPPER() becomes UPPERCASE(),
* DATE(yyyy,mm,dd) becomes COMPUTEDATE(dd;mm;yyyy), 
*TODAY(), DAY(),WEEK(), MONTH(),=YEAR(TODAY()), 
*EOMONTH() becomes MONTHLENGTH(), 
*NOW() should be date and time becomes time only, SECOND(), MINUTE(), HOUR(),
*DBSUM() becomes DSUM(),


;Missing and possibly useful features/functions needed for ignition to have better support of Excel files 
There is no Merge and Join Text over many cells, no protect and/or freeze row or columns or books but can LOCK sheets, no define bunch of cells as a name, Macros (Arexx?), conditional formatting, no Solver, no Goal Seek, no Format Painter, no AutoFill, no AutoSum function button, no pivot tables, (30 argument limit applies to Excel)

*HLOOKUP(), VLOOKUP(), [http://production-scheduling.com/excel-index-function-most-useful/ INDEX(), MATCH()], CHOOSE(), TEXT(), 
*TRIM(), FIND(), SUBSTITUTE(), CONCATENATE() or &amp;, PROPER(), REPT(), 
*[https://acingexcel.com/excel-sumproduct-function/ SUMPRODUCT()], ROUND(), ROUNDUP(), *ROUNDDOWN(), COUNT(), COUNTA(), SUMIF(), COUNTIF(), COUNTBLANK(), TRUNC(), 
*PMT(), PV(), FV(), POWER(), SQRT(), MODE(), TRUE, FALSE, 
*MODE(), LARGE(), SMALL(), RANK(), STDEV(), 
*DCOUNT(), DCOUNTA(), WEEKDAY(),


;Excel Keyboard [http://dmcritchie.mvps.org/excel/shortx2k.htm shortcuts needed to aid usability in Ignition] 
&lt;pre&gt;
Ctrl Z - Undo

Ctrl D - Fill Down
Ctrl R - Fill right

Ctrl F - Find
Ctrl H - Replace

Ctrl 1 - Formatting of Cells
CTRL SHIFT ~ Apply General Formatting ie a number 
Ctrl ; - Todays Date 

F2 - Edit cell
F4 - toggle cell absolute / relative cell references

&lt;/pre&gt;


====Document Scanning - Scandal====

Scanner usually needs to be connected via a USB port and not via a hub or extension lead.

Check in Trident Prefs -&gt; Devices that the USB Scanner is not bound to anything (e.g. Bindings None)
If not found then reboot the computer and recheck.

Start Scandal, choose Settings from Menu strip at top of screen and in Scanner Driver choose the ?#.device of the scanner (e.g. epson2.device).

The next two boxes - leave empty as they are for morphos SCSI use only
 or put ata.device (use the selection option in bigger box below) and Unit as 0 this is needed for gt68xx

* gt68xx - no editing needed in s/gt68xx.conf but needs a firmware file that corresponds to the scanner [http://www.meier-geinitz.de/sane/gt68xx-backend/ gt68xx firmwares] in sys:s/gt68xx.
* epson2 - Need to edit the file epson2.conf in sys/s that corresponds to the scanner being used

'''Save''' the settings but do not press the Use button (aros freezes)

Back to the Picture Scan window and the right-hand sections.

Click on the '''Information''' tab and press Connect button and the scanner should now be detected.

Go next to the '''Scanner''' tab next to Information Tab should have Color, Black and White, etc. and dpi settings now. Selecting an option Color, B/W etc. can cause dpi settings corruption (especially if the settings are in one line) so set '''dpi first'''. Make sure if Preview is set or not.

In the '''Scan''' Tab, press Scan and the scanner will do its duty. 
Be aware that nothing is saved to disk yet.

In the Save tab, change format JPEG, PNG or IFF DEEP. Tick incremental and base filename if necessary and then click the Save button. The image will now be saved to permanent storage.


The driver ignores a device if it is already bond to another USB class, rejects it from being usable. However, open Trident prefs, select your device and use the right mouse button to open. Select &quot;NONE&quot; to prevent poseidon from touching the device. Now save settings. It should always work now.

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===Emulators===

==== Amiberry ====


==== Amiga Emu - Janus UAE ====

With Amibridge, AROS attempts to make the UAE emulator seem embedded within but it still is acting as an app 

There is no dynarec m68k for each hardware that Aros supports or direct patching of motorola calls to AROS hardware accelerated ones unless the emulator has that included 

Try starting Janus with a priority of -1 like this little script:
&lt;pre&gt;
cd sys:system/AmiBridge/emulator
changetaskpri -1
run janus-uae -f my_uaerc.config &gt;nil:
cd sys:prefs
endcli
&lt;/pre&gt;
This stops Janus hogging all the CPU time.


===Miscellaneous===

====Screensaver Blanker====

Most blankers on the amiga (i.e. aros) run as commodities (they are in the tools/commodities drawer). Double click on blanker.

Control is with an app called Exchange, which you need to run first (double click on app) or  run QUIET sys:tools/commodities/Exchange &gt;NIL: but subsequently can use (Cntrl Alt h).

Icon tool types (may be broken) or command line options 
&lt;pre&gt;
seconds=number 
&lt;/pre&gt;

Once the timing is right then add the following to s:icaros-sequence or s:user-startup

e.g. for 5 minutes

 run QUIET sys:tools/commodities/Blanker seconds=300 &gt;NIL:


*[http://archives.aros-exec.org/index.php?function=showfile&amp;file=graphics/screenblanker/gblanker.i386-aros.zip Garshneblanker] can make Aros unstable or slow. Certain blankers crashes in Icaros 2.0.x like Dragon, Executor.


*[ Acuario AROS version], the aquarium screen saver.

Startup: extras:acuariofv-aros/acuario

Kill: c:break name=extras:acuariofv-aros/acuario

Managed to start Acuario by the Executor blanker.

&lt;pre&gt;
cx_priority=
cx_popkey=    ie CX_POPKEY=&quot;Shift F1&quot; 
cx_popup=Yes or No

&lt;/pre&gt;


&lt;pre&gt;
 Qualifier String    Input Event Class
   ----------------    -----------------
    &quot;lshift&quot;           IEQUALIFIER_LSHIFT
    &quot;rshift&quot;           IEQUALIFIER_RSHIFT
    &quot;capslock&quot;         IEQUALIFIER_CAPSLOCK
    &quot;control&quot;          IEQUALIFIER_CONTROL
    &quot;lalt&quot;             IEQUALIFIER_LALT
    &quot;ralt&quot;             IEQUALIFIER_RALT
    &quot;lcommand&quot;         IEQUALIFIER_LCOMMAND
    &quot;rcommand&quot;         IEQUALIFIER_RCOMMAND
    &quot;numericpad&quot;       IEQUALIFIER_NUMERICPAD
    &quot;repeat&quot;           IEQUALIFIER_REPEAT
    &quot;midbutton&quot;        IEQUALIFIER_MIDBUTTON
    &quot;rbutton&quot;          IEQUALIFIER_RBUTTON
    &quot;leftbutton&quot;       IEQUALIFIER_LEFTBUTTON
    &quot;relativemouse&quot;    IEQUALIFIER_RELATIVEMOUSE
&lt;/pre&gt;


&lt;pre&gt;
    Synonym     Synonym
    String     Identifier
    -------    ----------
    &quot;shift&quot;    IXSYM_SHIFT    /* look for either shift key */
    &quot;caps&quot;     IXSYM_CAPS     /* look for either shift key or capslock */
    &quot;alt&quot;      IXSYM_ALT      /* look for either alt key */

Highmap is one of the following strings:
    &quot;space&quot;, &quot;backspace&quot;, &quot;tab&quot;, &quot;enter&quot;, &quot;return&quot;, &quot;esc&quot;, &quot;del&quot;,
    &quot;up&quot;, &quot;down&quot;, &quot;right&quot;, &quot;left&quot;, &quot;f1&quot;, &quot;f2&quot;, &quot;f3&quot;, &quot;f4&quot;, &quot;f5&quot;,
    &quot;f6&quot;, &quot;f7&quot;, &quot;f8&quot;, &quot;f9&quot;, &quot;f10&quot;, &quot;help&quot;.


&lt;/pre&gt;


[[#top|...to the top]]

==== World Construction Set WCS (Version 2.031) ====

WCS is a fractal landscape software such as Scenery Animator, Vista Pro and Panorama. Open sourced February 2022, World Construction Set [https://3dnature.com/downloads/legacy-software/ legally and for free] and [https://github.com/AlphaPixel/3DNature c source]. 

Announced August 1994 this version dates from April 1996 developed by Gary R. Huber and Chris &quot;Xenon&quot; Hanson&quot; from Questar 

&lt;pre&gt;
Assign &quot;WCSProjects:&quot; &quot;Volume:Dir/Dir/WCSProjects&quot; 
Assign &quot;WCSFrames:&quot;   &quot;Volume:Dir/Dir/WCSFrames&quot; 
&lt;/pre&gt;

&lt;pre&gt;
Load projects .proj by accessing pull down menu Project -&gt; Open then click on CanyonSunset.proj
OK to changing .par file and enlarge Status Log window to show what is happening 
Render by pull down menu Modules -&gt; Render with End equal 1 not 300 then click bottom middle button Render 
&lt;/pre&gt;

[https://www.youtube.com/watch?v=CxQDmf1ZWG0 Youtube walkthrough of above], [], [], 

Also try working with the already built file ColoDemo - Then open with the drop-down menu: Project/Open, then WCSProject:ColoDemo.proj
Which allows you to use altimetric DEM files already included and Loading scene parameters from ColoDemo.par
Once this is done, save everything with a new name to start working exclusively on your project. 
Then drop-down menu and select Save As (&quot;NewName&quot;.proj name), then drop-down menu to open parameter and select Save All ( .par name)


After launching the software, there is a the Module Control Panel composed of five icons. 
It is a dock type shortcut of the first few functions of the drop-down menu 

*Database   - Load (#?.proj), Append, Create, Edit, Save, Dir List (of WCSProject drawer), 
*Data Ops   - Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats  
*Map View   - Database file Loader leading to Map View Control with option to the Database Editor 
*Parameters - Editor for Motion, Color, Ecosystem, Clouds, Waves, management of altimeter files DEM, sclock settings etc 
*Render     - rendering terrain 

These are more in the pull down menu but not in the dock 
*Motion Editor
*Color Editor
*Ecosys Editor 


Simple minimal workflow 
*Load database (1st icon - 1st)
*Set parameters and save .par file (4th icon)
*Render scene (5th icon) 

[https://www.youtube.com/watch?v=ZbTwwR2qcc4 Youtube], [], 

&lt;pre&gt;
.proj new project name which creates a drawer of additional files 

.binary array, ascii array .xyz , z buffer, DTED .dt0, vista 1990s dem, iff  conversion 
.Obj with .elev, .frd with .hdr maps, - digital elevation model (DEM) is a 3D representation of elevation data in various formats 
USGS 7.5MinDEM, 

.par 


&lt;/pre&gt;


Since for the time being no project is loaded, a query window indicates a procedural error when clicking on the rendering icon (right end of the bar). The menu is quite traditional; it varies according to the activity of the windows. To display any altimetric file in the &quot;Mapview&quot; (third icon of the panel), There are three possibilities:

* Loading of a demonstration project.
* The import of a DEM file, followed by texturing and packaging from the &quot;Database-Editor&quot; and the &quot;Color-Editor&quot;.
* The creation of an altimetric file in WCS format, then texturing.


The altimeter file editing (display in the menu) is only made possible if the &quot;Mapview&quot; window is active.

The software is made up of many windows and won't be able to describe them all. Know that &quot;Color-Editor&quot; and the &quot;Data-Editor&quot; comprise sufficient functions for obtaining an almost real rendering quality. You have the possibility of inserting vector objects in the &quot;Data-Editor&quot; (creation of roads, railways, etc.) 


The Map View (MapView) window

*Database - Objects and Topos
*View     - Align, Center, Zoom, Pan, Move 
*Draw     - Maps and distance 
*Object   - Find, highlight, add points, conform topo, duplicate 
*Motion   - Camera, Focus, path, elevation 
*Windows  - DEM designer, Cloud (.cld) and wave (.wve) editor, 


You will notice that by selecting this window and simply moving the pointer to various points on the map you will see latitude and longitude values ​​change, along with the height.
Drop-down menu and Modules, then select MapView and change the width of the window with the map to arrange it in the best way on the screen. With the Auto button the center. Window that then displays the contents of my DEM file, in this case the Grand Canyon. MapView allows you to observe the shape of the landscape from above
 

ZOOM button

Press the Zoom button and then with the pointer position on a point on the map, press the left mouse button and then move to the opposite corner to circumscribe the chosen area and press the left mouse button again, then we will see the enlarged area selected on the map.
Would add that there is a box next to the Zoom button that allows the direct insertion of a value which, the larger it is, the smaller the magnification and the smaller the value, the stronger the magnification. At each numerical change you will need to press the DRAW button to update the view.

PAN button

Under Zoom you will find the PAN button which allows you to move the map at will in all directions by the amount you want. This is done by drawing a line in one direction, then press PAN and point to an area on the map with the pointer and press the left mouse button. At this point, leave it and move the pointer in one direction by drawing a line and press the left mouse button again to trigger the movement of the map on the screen (origin and end points). Do some experiments and then use the Auto button immediately below to recenter everything.
There are parameters such as TOPO, VEC to be left checked and immediately below one that allows different views of the map with the Style command (Single, Multi, Surface, Emboss, Slope, Contour), each with its own particularities to highlight different details.

Now you have the first basics to manage your project visually on the map. Close the MapView window and go further...


Let's start working on ECOSYSTEMS
If we select Emboss from the MapView Style command we will have a clear idea of ​​how the landscape appears, realizing that it is a predominantly desert region of our planet. Therefore we will begin to act on any vegetation present and the appearance of the landscape.
With WCS we will begin to break down the elements of the landscape by assigning defined characteristics. It will be necessary to determine the classes of the ecosystem (Class) with parameters of Elevation Line (maximum altitude), Relative Elevation (arrangement on basins or convexities with respectively positive or negative parameters), Min Slope and Max Slope (slope). WCS offers the possibility of making ecosystems coexist on the same terrain with the UnderEco function, by setting a Density value.


Ecosys Ecosystem Editor

Let's open it from Modules, then Ecosys Editor. In the left pane you will find the list of ecosystems referring to the files present in our project. It will be necessary to clean up that box to leave only the Water and Snow landscapes and a few other predefined ones. We can do this by selecting the items and pressing the Remove button (be careful not for all elements the button is activated, therefore they cannot all be eliminated).
Once this is done we can start adding new ecosystems. Scroll through the various Unused and as soon as the Name item at the top is activated allowing you to write, type the name of your ecosystem, adding the necessary parameters.
&lt;pre&gt;
Ecosystem1: Name: RockBase Class: Rock Density: 80 MinSlope: 15 UnderEco: Terrain
Ecosystem2: Name: RockIncl Clss: Rock Density: 80 MinSlope: 30 UnderEco: Terrain
Ecosystem3: Name: Grass Class Low Veg Density: 50 Height: 1 Elev Line : 1500 Rel El Eff: 5
Max Slope: 10 – Min Slope: 0 UnderEco: Terrain
Ecosistema4: Name: Shrubs Class: Low Veg Density: 40 Height: 8 Elev Line: 3000
Rel El Eff: -2 Max Slope: 20 Min Slope : 5 UnderEco: Terrain
Ecosistema5: Name: Terrain Class: Ground Density: 100 UnderEco: Terrain
&lt;/pre&gt;

Now we need to identify an intermediate ecosystem that guarantees a smooth transition between all, therefore we select as Understory Ecosystem the one called Terrain in all ecosystems, except Snow and Water .
Now we need to 'emerge' the Colorado River in the Canyon and we can do this by raising the sea level to 900 (Sea Level) in the Ecosystem called Water.
Please note that the order of the ecosystem list gives priority to those that come after. So our list must have the following order: Water, Snow, Shrubs, RockIncl, RockBase, Terrain. It is possible to carry out all movements with the Swap button at the bottom. To put order you can also press Short List. Press Keep to confirm all the work done so far with Ecosystem Editor.
Remember every now and then to save both the Project 'Modules/Save' and 'Parameter/Save All'

EcoModels are made up of .etp .fgp .iff8 for each model 


Color Editor

Now it's time to define the colors of our scene and we can do this by going to Modules and then Color Editor. In the list we focus on our ecosystems, created first.
Let's go to the bottom of the list and select the first white space, assigning the name 'empty1', with a color we like and then we will find this element again in other environments... It could serve as an example for other situations!
So we move to 'grass' which already exists and assign the following colors: R 60 G 70 B50
&lt;pre&gt;
'shrubs': R 60 G 80 B 30
'RockIncl' R 110 G 65 B 60
'RockBase' R 110 G 80 B 80
' Terrain' R 150 G 30 B 30
&lt;pre&gt;
Now we can work on pre-existing colors
&lt;pre&gt;
'SunLight' R 150 G 130 B 130
'Haze and Fog' R 190 G 170 B 170
'Horizon' R 209 G 185 B 190
'Zenith' R 140 G 150 B 200
'Water' R 90 G 125 B 170
&lt;/pre&gt;

Ambient R 0 G 0 B 0

So don't forget to close Color Editor by pressing Keep.
Go once again to Ecosystem Editor and assign the corresponding color to each environment by selecting it using the Ecosystem Color button. Press it several times until the correct one appears. Then save the project and parameters again, as done previously.


Motion Editor

Now it's time to take care of the framing, so let's go to Modules and then to Motion Editor. An extremely feature-rich window will open. Following is the list of parameters regarding the Camera, position and other characteristics:
&lt;pre&gt;
-Camera Altitude: 7.0
-Camera Latitude: 36.075
-Camera Longitude: 112.133
-Focus Attitude: -2.0
-Focus Latitude: 36.275
-Focus Longitude: 112.386
-Camera : 512 → rendering window
-Camera Y: 384 → rendering window
-View Arc: 80 → View width in degrees
-Sun Longitude: 172
-Sun Latitude: -0.9
-Haze Start: 3.8
-Haze Range: 78, 5
&lt;/pre&gt;
As soon as the values ​​shown in the relevant sliders have been modified, we will be ready to open the CamView window to observe the wireframe preview. Let's not consider all the controls that will appear.
Well from the Motion Editor if you have selected Camera Altitude and open the CamView panel, you can change the height of the camera by holding down the right mouse button and moving the mouse up and down. To update the view, press the Terrain button in the adjacent window. As soon as you are convinced of the position, confirm again with Keep. You can carry out the same work with the other functions of the camera, such as Focus Altitude...
Let's now see the next positioning step on the Camera map, but let's leave the CamView preview window open while we go to Modules to open the window at the same time MapView. We will thus be able to take advantage of the view from the other together with a subjective one.


From the MapView window, select with the left mouse button and while it is pressed, move the Camera as desired. To update the subjective preview, always click on Terrain.
While with the same procedure you can intervene on the direction of the camera lens, by selecting the cross and with the left button pressed you can choose the desired view. So with the pressure of Terrain I update the Preview. Possibly can enlarge or reduce the Map View using the Zoom button, for greater precision.
Also write that the circle around the cameras indicates the beginning of the haze, there are two types (haze and fog) linked to the altitude. Would also add that the camera height is editable through the Motion Editor panel.


The sun

Let's see that changing the position of the sun from the Motion Editor. Press the SUN button at the bottom right and set the time and the date. Longitude and latitude are automatically obtained by the program. Always open the View Arc command from the Motion Editor panel, an item present in the Parameter List box.

Once again confirm everything with Keep and then save again.


Animation

The animation part is not left-back and also occupies a window. The settings possibilities are enormous. A time line with dragging functions (&quot;slide&quot;, &quot;drag&quot;...) comparable to that of LightWave completes this window. 


A small window is available for positioning the stars as a function of a date, in order to vary the seasons and their various events (and yes...).

At the bottom of the &quot;Motion-Editor&quot;, a &quot;cam-view&quot; function will give you access to a control panel. Different preview modes are possible. The rendering is also accessible through a window. No less than nine pages compose it. At this level, you will be able to determine the backup name of your images (&quot;path&quot;), the type of texture to be calculated, the resolution of the images, activate or deactivate functions such as the depth buffer (&quot;zbuffer&quot;), the blur, the background image, etc.


Once all these parameters have been set, all you have to do is click on the &quot;Render&quot; button.

For rendering go to Modules and then Render. Select the resolution, then under IMA select the name of the image. Move to FRA and indicate the level of fractal detail which of 4 is quite good. Then Keep to confirm and then reopen the window, pressing Render you will see the result. The image will be opened with any viewing program.


Strengths:

* Multi-window.
* Quality of rendering.
* Accuracy.
* Opening, preview and rendering on CyberGraphX screen.
* Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats 
* The &quot;zbuffer&quot; function.

Weaknesses:

* No OpenGL management 
* Calculation time.
* No network computing tool.


====Writing CD / DVD - Frying Pan====

Can be backup DVDs (4GB ISO size limit due to use of FileInfoBlock), create audio cds from mp3's, and put .iso files on discs

If using for the first time - click Drive button and Device set to ata.device and unit to 0 (zero)

Click Tracks Button - Drive 1 - Create New Disc or Import Existing Disc Image (iso bin/cue etc.) - Session File open cue file

If you're making a data cd, with files and drawers from your hard drive, you should be using the ISO Builder.. which is the MUI page on the left. (&quot;Data/Audio Tracks&quot; is on the right).

You should use the &quot;Data/Audio tracks&quot; page if you want to create music cds with AIFF/WAV/MP3 files, or if you download an .iso file, and you want to put it on a cd.

Click WRITE Button - set write speed - click on long Write button

Examples

Easiest way would be to burn a DATA CD, simply go to &quot;Tracks&quot; page &quot;ISO Builder&quot; and &quot;ADD&quot; everything you need to burn.

On the &quot;Write&quot; page i have &quot;Masterize Disc (DAO)&quot;, &quot;Close Disc&quot; and &quot;Eject after Write&quot; set.

One must not &quot;Blank disc before write&quot; if one uses a CDR


AUDIO CD from MP3's are as easy but tricky to deal with. FP only understands one MP3 format, Layer II, everything else will just create empty tracks

Burning bootable CD's works only with .iso files. Go to &quot;Tracks&quot; page and &quot;Data/Audio Tracks&quot; and add the .iso


====odf====

Every ODF file is a collection of several subdocuments within a package (ZIP file), each of which stores part of the complete document.

* content.xml – Document content and automatic styles used in the content.
* styles.xml – Styles used in the document content and automatic styles used in the styles themselves.
* meta.xml – Document meta information, such as the author or the time of the last save action.
* settings.xml – Application-specific settings, such as the window size or printer information.


To read document follow these steps:

* Extracting .ods file.
* Getting content.xml file (which contains sheets data).
* Creating XmlDocument object from content.xml file.
* Creating DataSet (that represent Spreadsheet file).
* With XmlDocument select “table:table” elements, and then create adequate DataTables.
* Parse child’s of “table:table” element and fill DataTables with those data.
* At the end, return DataSet and show it in application’s interface.


To write document follow these steps:

* Extracting template.ods file (.ods file that we use as template).
* Getting content.xml file.
* Creating XmlDocument object from content.xml file.
* Erasing all “table:table” elements from the content.xml file.
* Reading data from our DataSet and composing adequate “table:table” elements.
* Adding “table:table” elements to content.xml file.
* Zipping that file as new .ods file.

XLS file format

The XLS file format contains streams, substreams, and records.

These sheet substreams include worksheets, macro sheets, chart sheets, dialog sheets, and VBA module sheets. 
All the records in an XLS document start with a 2-byte unsigned integer to specify Record Type (rt), and another for Count of Bytes (cb). A record cannot exceed 8224 bytes. If larger than the rest is stored in one or more continue records.

* Workbook stream 
**Globals substream
***BoundSheet8 record - info for Worksheet substream i.e. name, location, type, and visibility. (4bytes the lbPlyPos FilePointer, specifies the position in the Workbook stream where the sheet substream starts) 
**Worksheet substream (sheet) - Cell Table - Row record - Cells (2byte=row 2byte=column 2byte=XF format)
***Blank cell record
***RK cell record 32-bit number. 
***BoolErr cell record (2-byte Bes structure that may be either a Boolean value or an error code)
***Number cell record (64-bit floating-point number)
***LabelSst cell record (4-byte integer that specifies a string in the Shared Strings Table (SST). Specifically, the integer corresponds to the array index in the RGB field of the SST)
***Formula cell record (FormulaValue structure in the 8 bytes that follow the cell structure. The next 6 bytes can be ignored, and the rest of the record is a CellParsedFormula structure that contains the formula itself)
***MulBlank record (first 2 bytes give the row, and the next 2 bytes give the column that the series of blanks starts at. Next, a variable length array of cell structures follows to store formatting information, and the last 2 bytes show what column the series of blanks ends on)
***MulRK record 
***Shared String Table (SST) contains all of the string values in the workbook.

ACCRINT(), ACCRINTM(), AMORDEGRC(), AMORLINC(), 
COUPDAYBS(), COUPDAYS(), COUPDAYSNC(), COUPNCD(), COUPNUM(), COUPPCD(), 
CUMIPMT(), CUMPRINC(), 
DB(), DDB(), DISC(), 
DOLLARDE(), DOLLARFR(), 
DURATION(), EFFECT(), FV(), FVSCHEDULE(), 
INTRATE(), IPMT(), IRR(), ISPMT(), MDURATION(), MIRR(), NOMINAL(), NPER(), NPV(), 
ODDFPRICE(), ODDFYIELD(), ODDLPRICE(), ODDLYIELD(), 
PMT(), PPMT(), PRICE(), PRICEDISC(), PRICEMAT(), PV(), RATE(), 
RECEIVED(), SLN(), SYD(), TBILLEQ(), TBILLPRICE(), TBILLYIELD(), 
VDB(), XIRR(), XNPV(), YIELD(), YIELDDISC(), YIELDMAT(),


&lt;pre&gt;
&lt;/pre&gt;


&lt;pre&gt;
&lt;/pre&gt;

&lt;pre&gt;
&lt;/pre&gt;

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==Introduction==


[[#Graphical Image Editing Art]]
[[#Office Application]]
[[#Audio]]

[[#Misc Application]]
[[#Games &amp; Emulation]]

[[#Application Guides]]

[[#top|...to the top]]


[[#top|...to the top]]

Most apps can be opened on the Workbench (aka publicscreen pubscreen) which is the default display option but can offer a custom one set to your configurations (aka custom screen mode promotion). These custom ones tend to stack so the possible use of A-M/A-N method of switching between full screens and the ability to pull down screens as well 

If you are interested in creating or porting new software, see [http://en.wikibooks.org/wiki/Aros/Developer/Docs here]

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Internet Applications 
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Web Online Browser [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/browser Odyssey 2.0], [https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1175&amp;highlight=odyssey&amp;rowstart=100 Odyssey 3.0], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/comm/www Amelinium], [https://blog.alb42.de/programs/amifox/ amifox] with [https://github.com/alb42/wrp wrp server], IBrowse*, Voyager*, [https://github.com/amigazen/aweb3/ AWeb 3.6 src], [https://github.com/matjam/aweb AWeb Src], [http://aminet.net/package/comm/www/NetSurf-m68k-sources Netsurf], [], 
|&lt;!--AmigaOS4--&gt;[ Odyssey OWB], [ Timberwolf (Firefox port 2011)], [http://amigaworld.net/modules/newbb/viewtopic.php?forum=32&amp;topic_id=32847 OWB-mui], [http://strohmayer.org/owb/ OWB-Reaction], IBrowse*, [http://os4depot.net/index.php?function=showfile&amp;file=network/browser/aweb.lha AWeb], Voyager, [http://www.os4depot.net/index.php?function=browse&amp;cat=network/browser Netsurf], 
|&lt;!--MorphOS--&gt;Wayfarer, [http://fabportnawak.free.fr/owb/ Odyssey OWB], [ Netsurf], IBrowse*, AWeb, [], 
|-
|&lt;!--Sub Menu--&gt;YouTube Viewing and downloading videos 
|&lt;!--AROS--&gt;Odyssey 2.0 can show Youtube webpage, [https://blog.alb42.de/amitube/ Amitube], 
|[https://blog.alb42.de/amitube/ Amitube], [https://github.com/YePpHa/YouTubeCenter/releases or this one], 
|[https://blog.alb42.de/amitube/ Amitube], getVideo, Tubexx, [https://github.com/walkero-gr/aiostreams aiostreams], 
|[ Wayfarer], [https://blog.alb42.de/amitube/ Amitube],Odyssey (OWB), [http://morphos.lukysoft.cz/en/vypis.php?kat=5 getVideo], Tubexx 
|-
|&lt;!--Sub Menu--&gt;E-mailing SMTP POP3 IMAP based 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/email SimpleMail], [http://sourceforge.net/projects/simplemail/files/ src], [https://github.com/jens-maus/yam YAM] 
|&lt;!--Amiga OS--&gt;[http://sourceforge.net/projects/simplemail/files/ SimpleMail], [https://github.com/jens-maus/yam YAM]
|&lt;!--AmigaOS4--&gt;SimpleMail, YAM, 
|&lt;!--MorphOS--&gt; SimpleMail, YAM
|-
|&lt;!--Sub Menu--&gt;IRC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat WookieChat], [https://sourceforge.net/projects/wookiechat/ Wookiechat src], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat AiRcOS], Jabberwocky, 
|&lt;!--Amiga OS--&gt;Wookiechat, AmIRC 
|&lt;!--AmigaOS4--&gt;Wookiechat 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Wookiechat], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 AmIRC], 
|-
|&lt;!--Sub Menu--&gt;Instant Messaging IM like [https://github.com/BlitterStudio/amidon Hollywood lang based Mastodon client], BlueSky AT protocol, Facebook(TM), Twitter X (TM), Bitlbee IRC Gateway and others 
|&lt;!--AROS--&gt;[https://github.com/kaffeine1/telegram-amiga telegram-amiga], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat jabberwocky], 
|&lt;!--Amiga OS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], CLIMM, SabreMSN, jabberwocky, 
|&lt;!--AmigaOS4--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], SabreMSN,
|&lt;!--MorphOS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 PolyglotNG], SabreMSN,
|-
|&lt;!--Sub Menu--&gt;Torrents 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/p2p ArTorr], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;CTorrent, Transmission 
|&lt;!--MorphOS--&gt;MLDonkey, Beehive, [http://morphos.lukysoft.cz/en/vypis.php?kat=5 Transmission], CTorrent, 
|-
|&lt;!--Sub Menu--&gt;FTP 
|&lt;!--AROS--&gt;Plugin included with Dopus Magellan, MarranoFTP, 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/comm/tcp/AmiFTP AmiFTP], AmiTradeCenter, ncFTP, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Pftp], [http://aminet.net/package/comm/tcp/AmiFTP-1.935-OS4 AmiFTP], 
|-
|&lt;!--Sub Menu--&gt;WYSIWYG Web Site Editor
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Internet Radio Streaming Audio [http://www.gnu.org/software/gnump3d/ gnump3d], [http://www.icecast.org/ Icecast2] Server (Broadcast) and Client (Listen), [ mpd], [http://darkice.sourceforge.net/ DarkIce], [http://www.dyne.org/software/muse/ Muse], 
|&lt;!--AROS--&gt;Mplayer (Icecast Client only), 
|&lt;!--Amiga OS--&gt;[https://github.com/sandlbn/TuneFinder TuneFinder C Src], [https://github.com/sandlbn/TuneFinderMUI TuneFinderMUI], [http://amigazeux.net/anr/ AmiNetRadio], [], [], 
|&lt;!--AmigaOS4--&gt;[http://www.tunenet.co.uk/ Tunenet], 
|&lt;!--MorphOS--&gt;Mplayer, AmiNetRadio, 
|-
|&lt;!--Sub Menu--&gt;VoIP (Voice over IP) with SIP Client (Session Initiation Protocol) or Asterisk IAX2 Clients Softphone (skype like) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;AmiPhone with Speak Freely, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Weather Forecast 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ WeatherBar], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench AWeather], []
|&lt;!--Amiga OS--&gt;[http://amigazeux.net/wetter/ Wetter], [https://github.com/emartisoft/AmiWeatherForecasts AmiWeatherForecasts src], 
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/?function=showfile&amp;file=utility/workbench/flipclock.lha FlipClock], 
|&lt;!--MorphOS--&gt;[http://amigazeux.net/wetter/ Wetter], 
|-
|&lt;!--Sub Menu--&gt;Street Road Maps Route Planning GPS Tracking  
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/muimapparium/ MuiMapparium] [https://build.alb42.de/ Build of MuiMapp versions], 
|&lt;!--Amiga OS--&gt;AmiAtlas*, UKRoutePlus*, [http://blog.alb42.de/ AmOSM], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://blog.alb42.de/programs/mapparium/ Mapparium], 
|-
|&lt;!--Sub Menu--&gt;Clock and Date setting from the internet (either ntp or websites) [https://www.timeanddate.com/worldclock/ World Clock], [http://www.time.gov/ NIST], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc ntpsync],  
|&lt;!--Amiga OS--&gt;ntpsync 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Newsgroups
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[http://newscoaster.sourceforge.net/ Newscoaster], [https://github.com/jens-maus/newsrog NewsRog], [ WorldNews], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Graphical Image Editing Art==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Image Editing
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Pixel Raster Artwork [https://github.com/LibreSprite/LibreSprite LibreSprite based on GPL aseprite], [https://github.com/abetusk/hsvhero hsvhero], [], 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/ZunePaint/ ZunePaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit LunaPaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit GrafX2], [ LodePaint needs OpenGL], 
|&lt;!--Amiga OS--&gt;[http://www.amigaforever.com/classic/download.html PPaint], GrafX2, [https://github.com/grovdata/Amiga_Sources/blob/master/software.md DeluxePaint], [http://www.amiforce.de/perfectpaint/perfectpaint.php PerfectPaint], Zoetrope, Brilliance2*, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit LodePaint], GrafX2, 
|&lt;!--MorphOS--&gt;Sketch, Pixel*, GrafX2, [http://morphos.lukysoft.cz/en/vypis.php?kat=3 LunaPaint]
|-
|&lt;!--Sub Menu--&gt;Image viewing 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LookHere], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LoView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer PicShow] , [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--Amiga OS--&gt;PicShow, PicView, Photoalbum,
|&lt;!--AmigaOS4--&gt;WarpView, PicShow, flPhoto, Thumbs, [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album]
|-
|&lt;!--Sub Menu--&gt;Photography retouching / Image Manipulation like Photoshop(tm)  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOEffects], [https://sourceforge.net/projects/zunetools/files/ ZunePaint], [http://sourceforge.net/projects/zunetools/files/ ZuneView], 
|&lt;!--Amiga OS--&gt;[ Tecsoft Video Paint aka TVPaint], Photogenics*, ArtEffect*, ImageFX*, XiPaint, fxPaint, ImageMasterRT, Opalpaint, 
|&lt;!--AmigaOS4--&gt;WarpView, flPhoto, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit Photocrop]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], ImageFX*, 
|-
|&lt;!--Sub Menu--&gt;Manage RAW picture folder galleries like Darktable, RAWtherapy, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Graphic Format Converter - ICC profile support sRGB, Adobe RGB, XYZ and linear RGB 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;GraphicsConverter, ImageStudio, [http://www.coplabs.org/artpro.html ArtPro]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Thumbnail Generator [], 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/shell Thumbnail Generator]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Icon Editor
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/iconedit Archives], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench Icon Toolbox], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/iconedit IconEditor]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Pixel Art Animation 
|&lt;!--AROS--&gt;Lunapaint
|&lt;!--Amiga OS--&gt;PPaint, AnimatED, Scala*, GoldDisk MovieSetter*, Walt Disney's Animation Studio*, ProDAD*, [https://github.com/historicalsource/DeluxePaint DeluxePaint src], Brilliance
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 Titler] 
|-
|&lt;!--Sub Menu--&gt;2D SVG based MovieSetter type 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;MovieSetter*, Fantavision*
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Morphing 
|&lt;!--AROS--&gt;[ GLMorph]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Cad (qcad-&gt;LibreCAD, etc.) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Xcad, MaxonCAD
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Cad like FreeCad, BRL-CAD, OpenSCAD, AvoCADo, etc. using dxf, obj (vertices), blend, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;XCad3d*, DynaCADD*, Cycas, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Model Rendering of glft (json) gbl (png jpg), usdz (USD files with materials, textures, and animations), FBX Filmbox is a proprietary Autodesk format, 
|&lt;!--AROS--&gt;POV-Ray
|&lt;!--Amiga OS--&gt;[http://www.discreetfx.com./amigaproducts.html CINEMA 4D]*, POV-Ray, Lightwave3D*, Real3D*, Caligari24*, Reflections/Monzoom*, [https://github.com/privatosan/RayStorm Raystorm src], Tornado 3D
|&lt;!--AmigaOS4--&gt;Blender, POV-Ray, Yafray
|&lt;!--MorphOS--&gt;Blender, POV-Ray, Yafray
|-
|&lt;!--Sub Menu--&gt;3D Format Converter [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=showfile&amp;file=graphics/convert/ivcon.lha IVCon]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen grabbing display 
|&lt;!--AROS--&gt;[ Screengrabber], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc snapit], [http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record screen recorder], []
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Grab graphics music from apps [https://github.com/Malvineous/ripper6 ripper6], [],
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Office Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Office
!width:10%;|AROS (x86)
!width:10%;|[http://en.wikipedia.org/wiki/Amiga_software Commodore-Amiga OS 3.1] (68k)
!width:10%;|[http://en.wikipedia.org/wiki/AmigaOS_4 Hyperion OS4] (PPC)
!width:10%;|[http://en.wikipedia.org/wiki/MorphOS MorphOS] (PPC)
|-
|&lt;!--Sub Menu--&gt;Word-processing 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=office/wordprocessing Cinnamon Writer], [https://finalwriter.godaddysites.com/ Final Writer 7*], [https://github.com/sodero/MUI-Vim/releases MUI-Vim], [ ], 
|&lt;!--AmigaOS--&gt;[ Softwood FinalCopy II*], Haage AmigaWriter*, Digita WordWorth*, Softwood FinalWriter*, Micro-Systems Excellence 3*, Arnor Protext, Rashumon, [ InterWord], [ KindWords], [WordPerfect], [ New Horizons Flow], [ CygnusEd Pro], [ Micro-systems Scribble], 
|&lt;!--AmigaOS4--&gt;AbiWord, [ CinnamonWriter]
|&lt;!--MorphOS--&gt;[ Cinnamon Writer], [http://www.meta-morphos.org/viewtopic.php?topic=1246&amp;forum=53 scriba], [http://morphos.lukysoft.cz/en/index.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Spreadsheets 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/leu/ Leu], [https://archives.arosworld.org/index.php?function=browse&amp;cat=office/spreadsheet], 
|&lt;!--AmigaOS--&gt;[https://aminet.net/package/biz/spread/ignition-src Ignition Src 1.3], [MaxiPlan 500 Plus], [OXXI Plan/IT v2.0 Speadsheet], [ Superplan], [ Creative Developments TurboCalc], [ ProCalc], [ InterSpread], [Digita DGCalc], [ Gold Disk Advantage], [ Micro-systems Analyze!]
|&lt;!--AmigaOS4--&gt;Gnumeric, [https://ignition-amiga.sourceforge.net/ Ignition], 
|&lt;!--MorphOS--&gt;[ ignition], [http://morphos.lukysoft.cz/en/vypis.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Presentations
|&lt;!--AROS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, 
|&lt;!--Amiga OS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, MediaPoint, PointRider, Scala*, 
|&lt;!--Amiga OS4--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider 
|&lt;!--MorphOS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider
|-
|&lt;!--Sub Menu--&gt;Databases 
|&lt;!--AROS--&gt;[http://sdb.freeforums.org/ SDB], [http://archives.arosworld.org/index.php?function=browse&amp;cat=office/database BeeBase], 
|&lt;!--Amiga OS--&gt;Precision Superbase 4 Pro*, Arnor Prodata*, BeeBase, Datastore, FinalData*, AmigaBase, Fiasco, Twist2*, [Digita DGBase], [], 
|&lt;!--AmigaOS4--&gt;BeeBase, SQLite, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=6 BeeBase], 
|-
|&lt;!--Sub Menu--&gt;PDF Viewing and editing digital signatures 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/arospdf/ ArosPDF via splash], [https://github.com/wattoc/AROS-vpdf vpdf wip], 
|&lt;!--Amiga OS--&gt;APDF 
|&lt;!--AmigaOS4--&gt;AmiPDF 
|&lt;!--MorphOS--&gt;APDF, vPDF, 
|-
|&lt;!--Sub Menu--&gt;Printing 
|&lt;!--AROS--&gt;Postscript 3 laser printers and Ghostscript internal, [ GutenPrint], 
|&lt;!--Amiga OS--&gt;[http://www.irseesoft.de/tp_what.htm TurboPrint]* 
|&lt;!--AmigaOS4--&gt;(some native drivers), 
|&lt;!--MorphOS--&gt;early TurboPrint included, 
|-
|&lt;!--Sub Menu--&gt;Note Taking markdown support like joplin, OneNote, EverNote Notes, xournalpp, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Study and analyse, collect, organize, annotate, cite, and share
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PIM Personal Information Manager - Day Diary Planner Calendar App 
|&lt;!--AROS--&gt;[ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;Digita Organiser*, On The Ball, Everyday Organiser, [ Contact Manager], 
|&lt;!--AmigaOS4--&gt;AOrganiser, 
|&lt;!--MorphOS--&gt;[http://polymere.free.fr/orga_en.html PolyOrga], 
|-
|&lt;!--Sub Menu--&gt;Accounting
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=office/misc ETB], LoanCalc, [ ], [ ], [ ], 
|[ Digita Home Accounts2], Accountant, Small Business Accounts, Account Master, [ Amigabok], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Project Management Research 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;SuperGantt, SuperPlan, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System Wide Dictionary - multilingual [http://sourceforge.net/projects/babiloo/ Babiloo], [http://code.google.com/p/stardict-3/ StarDict], 
|&lt;!--AROS--&gt;[ ],  
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System wide Thesaurus - multi lingual
|&lt;!--AROS--&gt;[ ], 
|Kuma K-Roget*, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Sticky Desktop Notes (post it type) 
|&lt;!--AROS--&gt;[http://aminet.net/package/util/wb/amimemos.i386-aros AmiMemos], [https://aminet.net/package/util/wb/amimemos.src-aros AmiMemos Src], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/util/wb/StickIt-2.00 StickIt v2], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DTP Desktop Publishing 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOPublisher], 
|&lt;!--Amiga OS--&gt;[http://pagestream.org/ Pagestream]*, Professional Pro Page*, Saxon Publisher, Pagesetter, PenPal, 
|&lt;!--AmigaOS4--&gt;[http://pagestream.org/ Pagestream]* 
|&lt;!--MorphOS--&gt;[http://pagestream.org/ Pagestream]* 
|-
|&lt;!--Sub Menu--&gt;Scanning 
|&lt;!--AROS--&gt;[ SCANdal], [], 
|&lt;!--Amiga OS--&gt;FxScan*, ScanQuix* 
|&lt;!--AmigaOS4--&gt;SCANdal (Sane)
|&lt;!--MorphOS--&gt;SCANdal
|-
|&lt;!--Sub Menu--&gt;OCR
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/convert gOCR] 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos-files.net/categories/office/text Tesseract] 
|-
|&lt;!--Sub Menu--&gt;Text Editing
|&lt;!--AROS--&gt;Jano Editor (already installed as Editor), [http://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit EdiSyn], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit Annotate], [https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Vim], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd] [https://github.com/vidarh/FrexxEd src], [ NoWinEd], 
|&lt;!--Amiga OS--&gt;Annotate, MicroGoldED/CubicIDE*, CygnusED*, Turbotext, Protext*, NoWinED, 
|&lt;!--AmigaOS4--&gt;Notepad, Annotate, CygnusED*, NoWinED, 
|&lt;!--MorphOS--&gt;MorphOS ED, NoWinED, GoldED/CubicIDE*, CygnusED*, Annotate, 
|-
|&lt;!--Sub Menu--&gt;Office Fonts [http://sourceforge.net/projects/fontforge/files/fontforge-source/ Font Designer] 
|&lt;!--AROS--&gt;[ ], [ ], 
|&lt;!--Amiga OS--&gt;TypeSmith*, SaxonScript (GetFont Adobe Type 1), 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Drawing Vector
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/amifig/ ZuneFIG previously AmiFIG]
|&lt;!--Amiga OS--&gt;Drawstudio*, ProVector*, ArtExpression*, Professional Draw*, AmiFIG, MetaView, [https://gitlab.com/amigasourcecodepreservation/designworks Design Works Src], [], 
|&lt;!--AmigaOS4--&gt;MindSpace, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit amifig], 
|&lt;!--MorphOS--&gt;SteamDraw, [http://aminet.net/package/gfx/edit/amifig amiFIG], 
|-
|&lt;!--Sub Menu--&gt;video conferencing (jitsi) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;source code hosting
|&lt;!--AROS--&gt;Gitlab, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (server)
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/VNC_Server ArosVNCServer], 
|&lt;!--Amiga OS--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC], [http://dspach.free.fr/amiga/avnc/index.html AVNC]
|&lt;!--AmigaOS4--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC] 
|MorphVNC, vncserver
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (client) login and connect to another machine 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/VNC_Client/ ArosVNC], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc rdesktop], 
|&lt;!--Amiga OS--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://dspach.free.fr/amiga/vva/index.html VVA], [http://www.hd-zone.com/ RDesktop]
|&lt;!--AmigaOS4--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|-
|&lt;!--Sub Menu--&gt;notifications 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Ranchero 
|&lt;!--AmigaOS4--&gt;Ringhio 
|&lt;!--MorphOS--&gt;MagicBeacon 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Audio==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Audio
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing playback Audio like MP3, [https://github.com/chrg127/gmplayer NSF], [https://github.com/kode54/lazyusf miniusf .usflib], [], etc 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer], [ HarmonyPlayer hp], [http://www.a500.org/downloads/audio/index.xhtml playcdda] CDs, [ WildMidi Player], [https://bszili.morphos.me/ UADE mod player], [], [RNOTunes ], [ mp3Player], [], 
|&lt;!--Amiga OS--&gt;AmiNetRadio, AmigaAmp, playOGG, 
|&lt;!--AmigaOS4--&gt;TuneNet, SimplePlay, AmigaAmp, TKPlayer
|AmiNetRadio, Mplayer, Kaya, AmigaAmp
|-
|&lt;!--Sub Menu--&gt;Editing Audio 
|&lt;!--AROS--&gt;[ Audio Evolution 4] 
|&lt;!--Amiga OS--&gt;[ Samplitude Opus Key], [https://sourceforge.net/projects/hd-rec/ HD-Rec Src], [http://www.sonicpulse.de/eng/news.html SoundFX], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/projects/hd-rec/ HD-Rec], AmiSoundED, [http://os4depot.net/?function=showfile&amp;file=audio/record/audioevolution4.lha Audio Evolution 4] 
|[http://www.hd-rec.de/HD-Rec/index.php?site=home HD-Rec], 
|-
|&lt;!--Sub Menu--&gt;Editing Tracker Music
|&lt;!--AROS--&gt;[https://github.com/hitchhikr/protrekkr Protrekkr], [ Schism Tracker], [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/tracker MilkyTracker], [http://www.hivelytracker.com/ HivelyTracker], [ Radium in AROS already],  [http://www.a500.org/downloads/development/index.xhtml libMikMod], 
|&lt;!--Amiga OS--&gt;MilkyTracker, HivelyTracker, DigiBooster, Octamed SoundStudio, 
|&lt;!--AmigaOS4--&gt;MilkyTracker, HivelyTracker, GoatTracker
|MilkyTracker, GoatTracker, DigiBooster, 
|-
|&lt;!--Sub Menu--&gt;Editing Music [], [https://github.com/kmatheussen/camd CAMD] and/or staves and notes manuscript 
|&lt;!--AROS--&gt;[http://bnp.hansfaust.de/ Bars and Pipes for AROS], [ Audio Evolution], [], 
|&lt;!--Amiga OS--&gt;[http://bnp.hansfaust.de/ Bars'n'Pipes], MusicX* David &quot;Talin&quot; Joiner &amp; Craig Weeks (for Notator-X), Deluxe Music Construction 2*, [https://github.com/timoinutilis/midi-sequencer-amigaos Horny c Src], HD-Rec, [https://aminet.net/package/mus/midi/dominatorV1_51 Dominator], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Rockbeat, [http://bnp.hansfaust.de/download.html Bars'n'Pipes], [http://os4depot.net/index.php?function=browse&amp;cat=audio/edit Horny], Audio Evolution 4, 
|&lt;!--MorphOS--&gt;Bars'n'Pipes, 
|-
|&lt;!--Sub Menu--&gt;Sound Sampling 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/record Audio Evolution 4], [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;did=162 Quick Record], [https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc SOX to get AIFF 16bit files], [https://github.com/aros-development-team/AROS/tree/master/workbench/tools/AHIRecord AHIRecord], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/package/mus/edit/AudioEvolution3_src Audio Evolution 3 c src], [ Samplitude-MS Opus Key], Audiomaster IV*, 
|&lt;!--AmigaOS4--&gt;[https://github.com/timoinutilis/phonolith-amigaos phonolith c src], HD-Rec, Audio Evolution 4,
|&lt;!--MorphOS--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Audio Evolution 4,
|-
|&lt;!--Sub Menu--&gt;Live Looping or Audio Misc - Groovebox like
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;CD/DVD burn
|[https://code.google.com/p/amiga-fryingpan/ FryingPan], 
|&lt;!--Amiga OS--&gt;FryingPan, [http://www.estamos.de/makecd/#CurrentVersion MakeCD], 
|&lt;!--AmigaOS4--&gt;FryingPan, AmiDVD, 
|[http://www.amiga.org/forums/printthread.php?t=58736 FryingPan], Jalopeano, 
|-
|&lt;!--Sub Menu--&gt;CD/DVD audio rip
|Lame, [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;cfid=0&amp;did=167 Quick CDrip],
|&lt;!--Amiga OS--&gt;Lame,  
|&lt;!--AmigaOS4--&gt;Lame, 
|Lame,  
|-
|&lt;!--Sub Menu--&gt;MP3 v1 and v2 Tagger
|&lt;!--AROS--&gt;id3ren (v1), [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/edit mp3info], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|
|-
|&lt;!--Sub Menu--&gt;Audio Convert
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc Sox], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/mus/misc/SoundBox SoundBox], [http://aminet.net/package/mus/misc/SoundBoxKey SoundBox Key], [http://aminet.net/package/mus/edit/SampleE SampleE], sox 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DJ mixing jamming 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Radio Automation Software [http://www.rivendellaudio.org/ Rivendell], [http://code.campware.org/projects/livesupport/report/3 Campware LiveSupport], [http://www.sourcefabric.org/en/airtime/ SourceFabric AirTime], [http://www.ohloh.net/p/mediabox404 MediaBox404], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speakers Audio Sonos Mains AC networked wired controlled 
*2005 ZP100 with ZP80 
*2008 Zoneplayer ZP120 (multi-room wireless amp)  ZP90 receiver only with CR100 controller, 
*2009 ZonePlayer S5, 
*2010 BR100 wireless Bridge (no support),   
*2011 Play:3
*2013 Bridge (no support), Play:1,  
*2016 Arc,   Play:1,   
*Beam (Gen 2),   Playbar,  Ray,   Era 100,   Era 300,   Roam,   Move 2,   
*Sub (Gen 3),   Sub Mini,  Five,  Amp  S2 
|&lt;!--AROS--&gt;SonosController 
|&lt;!--Amiga OS--&gt;SonosController
|&lt;!--AmigaOS4--&gt;SonosController
|&lt;!--MorphOS--&gt;SonosController
|-
|&lt;!--Sub Menu--&gt;Smart Speakers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Video Creativity and Production==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Video
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing Video 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer VAMP], [http://www.a500.org/downloads/video/index.xhtml CDXL player], [http://www.a500.org/downloads/video/index.xhtml IffAnimPlay], [], 
|&lt;!--Amiga OS--&gt;Frogger*, AMP2, MPlayer, RiVA*, MooViD*, 
|&lt;!--AmigaOS4--&gt;DvPlayer, MPlayer 
|&lt;!--MorphOS--&gt;MPlayer, Frogger, AMP2, VLC 
|-
|&lt;!--Sub Menu--&gt;Streaming Video and game streaming like OBS studio, Parsec, etc 
|&lt;!--AROS--&gt;Mplayer, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Mplayer, Gnash, Tubexx 
|&lt;!--MorphOS--&gt;Mplayer, OWB, Tubexx
|-
|&lt;!--Sub Menu--&gt;Playing DVD 
|&lt;!--AROS--&gt;[http://a-mc.biz/ AMC]*, Mplayer 
|&lt;!--Amiga OS--&gt;AMP2, Frogger 
|&lt;!--AmigaOS4--&gt;[http://a-mc.biz/ AMC]*, DvPlayer*, AMP2,  
|&lt;!--MorphOS--&gt;Mplayer 
|-
|&lt;!--Sub Menu--&gt;Screen Recording
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record Screenrecorder], [ ], [ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Screenrecorder, 
|-
|&lt;!--Sub Menu--&gt;Create and Edit Individual Video NLE 
|&lt;!--AROS--&gt;[ Mencoder], [ Quick Videos], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit AVIbuild], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc FrameBuild], FFMPEG, 
|&lt;!--Amiga OS--&gt;[ MainConcept Mainactor Broadcast*], [http://en.wikipedia.org/wiki/Video_Toaster Video Toaster*], MacroSystem MovieShop 4.3*, proDAD Adorage*, [ IOSpirit VHI studio]*, [Gold Disk ShowMaker], [], 
|&lt;!--AmigaOS4--&gt;FFMpeg/GUI 
|&lt;!--MorphOS--&gt;Blender, Mencoder, FFmpeg
|-
|&lt;!--Sub Menu--&gt;Subtitle editor 
|&lt;!--AROS--&gt;[https://aminet.net/package/text/edit/Slarti_Arosx86ABIv0 Slarti_Arosx86ABIv0], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;IP-based video production workflows with High Dynamic Range (HDR), 10-bit color collaborative NDI, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Blogging like Lemmy or kbin
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR face recognition for Vtubers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting Live 2D models with Cubism type editor 
&lt;pre&gt;
Model data (cmo3)
Basic motions (can3)
Background image (png)
Set of files for embedding (runtime folder)
• Model data (moc3)
• Motion data (motion3.json)
• Model settings file (model3.json)
• Physics settings file (physics3.json)
• Display auxiliary file (cdi3.json)
&lt;/pre&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting chatters .VRML models - standardized 3D file format for VR avatars 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;V-tubers V-tubing like Vseeface with Openseeface tracker or Vpuppr (virtual puppet project) for 2d / 3d art models rigging rigged LIV 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]


==Misc Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;File Management 
|&lt;!--AROS--&gt;DOpus4, [https://github.com/BlitterStudio/dopus5 DOpus Magellan aka DOpus 5], [ Scalos], [ ], 
|&lt;!--Amiga OS--&gt;DOpus2, DOpus 4, [http://sourceforge.net/projects/dopus5allamigas/files/?source=navbar DOpus Magellan DOpus5], ClassAction, FileMaster, [http://www.amiga.org/forums/showthread.php?t=4897 DirWork 2]*, [https://github.com/RudolphRiedel/DiskMaster2 DiskMaster2 src], 
|&lt;!--AmigaOS4--&gt;DOpus4, DOpus5, Filer, AmiDisk 
|&lt;!--MorphOS--&gt;DOpus4, DOpus5 
|-
|&lt;!--Sub Menu--&gt;File Verification / Repair 
|&lt;!--AROS--&gt;md5 (works in linux compiling shell), [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/filetool workpar2] (PAR2),  [http://zakalwe.fi/~shd/foss/cksfv/files/ compile cksfv from website], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Par2, 
|-
|Application Installer 
|&lt;!--AROS--&gt;[], [ InstallerNG], 
|&lt;!--Amiga OS--&gt;InstallerNG, Grunch, 
|&lt;!--AmigaOS4--&gt;Jack
|&lt;!--MorphOS--&gt;Jack 
|-
|&lt;!--Sub Menu--&gt;Compression archiver [https://github.com/FS-make-simple/paq9a paq9a], [], 
|&lt;!--AROS--&gt;XAD system is a toolkit designed for handling various file and disk archiver
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[https://aminet.net/package/util/pack/decrunchmania_os4 Crunchmania CrM2 depacker], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Binary Hexadecimal Editor 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Zaphod], [],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Repository
|&lt;!--AROS--&gt;[ Git]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Git
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Partition Editor formatter 
|&lt;!--AROS--&gt;[https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1440&amp;highlight=partition&amp;pid=8821#post_8821 QuickPart], [HDToolBox]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Repair
|&lt;!--AROS--&gt;ArSFSDoctor, 
|&lt;!--Amiga OS--&gt; Quarterback Tools, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Multiple File renaming
|&lt;!--AROS--&gt;DOpus 4 or 5, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Anti Virus
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;VChecker, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Random Wallpaper Desktop changer [ DOpus5], [ Scalos],  
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Alarm Clock, Timer, Stopwatch, Countdown 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench DClock], [http://aminet.net/util/time/AlarmClockAROS.lha AlarmClock], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fortune Cookie Quotes Sayings 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc AFortune], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;C/C++ IDE 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd], [https://github.com/vidarh/FrexxEd FrexxEd src], Annotate, Murks, 
|&lt;!--Amiga OS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Annotate, 
|&lt;!--AmigaOS4--&gt;CodeBench , [https://gitlab.com/boemann/codecraft CodeCraft], 
|&lt;!--MorphOS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Anontate, 
|-
|&lt;!--Sub Menu--&gt;Computer Languages Translation [https://tetracorp.github.io/guide/reverse-engineering-amiga.html ], [https://amigasourcecodepreservation.gitlab.io/amiga-assembler-insider-guide/ ], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://bitbucket.org/rhinoid/convert68000toc/src/main/ convert m68k seka asm-one to c], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Gui Creators
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/guitool MuiBuilder], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[ MuiBuilder],  
|-
|&lt;!--Sub Menu--&gt;Catalog .cd .ct Editors 
|&lt;!--AROS--&gt;FlexCat
|&lt;!--Amiga OS--&gt;[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|&lt;!--AmigaOS4--&gt;[http://aminet.net/package/dev/misc/simplecat SimpleCat], FlexCat
|[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Misc Application 2==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;System 
|&lt;!--AROS--&gt;[ SysExplorer], [ SysMon], [ Scout], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;OSK On Screen Keyboard
|&lt;!--AROS--&gt;[], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/util/wb/OSK.lha OSK]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Magnifier Magnifying Glass Magnification 
|&lt;!--AROS--&gt;[http://www.onyxsoft.se/files/zoomit.lha ZoomIT], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Comic Book CBR CBZ format reader viewer 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comics], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comicon], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Reader 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#legadon Legadon EPUB],[]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Converter 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Text to Speech tts [https://github.com/JonathanFly/bark-installer Bark], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc flite], 
|&lt;!--Amiga OS--&gt;[http://www.text2speech.com translator], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=search&amp;tool=simple FLite]
|&lt;!--MorphOS--&gt;[http://se.aminet.net/pub/aminet/mus/misc/ FLite]
|-
|&lt;!--Sub Menu--&gt;Speech Voice Recognition Dictation - [http://sourceforge.net/projects/cmusphinx/files/ CMU Sphinx], [http://julius.sourceforge.jp/en_index.php?q=en/index.html Julius], [http://www.isip.piconepress.com/projects/speech/index.html ISIP], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speech Voice Changer [], [], [], [], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fractals
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;ZoneXplorer, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Landscape Rendering 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/raytrace WCS World Construction Set], 
|&lt;!--Amiga OS--&gt;[ Vista Pro], [http://en.wikipedia.org/wiki/World_Construction_Set World Construction Set]
|&lt;!--AmigaOS4--&gt;[ WCS World Construction Set],
|&lt;!--MorphOS--&gt;[ WCS World Construction Set],
|-
|&lt;!--Sub Menu--&gt;Astronomy [https://sourceforge.net/projects/skychart/ skychart freepascal], [], [], 
|&lt;!--AROS--&gt;[ Digital Almanac (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/search?query=planetarium Aminet search], [http://aminet.net/misc/sci/DA3V56ISO.zip Digital Almanac], [https://aminet.net/package/misc/sci/da3sourceV58 Src c V58], [ Galileo renamed to Distant Suns]*, [], 
|&lt;!--AmigaOS4--&gt;[http://sourceforge.net/projects/digital-almanac/ Digital Almanac], Distant Suns*, [http://www.digitaluniverse.org.uk/ Digital Universe]*,
|&lt;!--MorphOS--&gt;[http://www.aminet.net/misc/sci/da3.lha Digital Almanac], [http://www.aminet.net/package/misc/sci/da3-mos-src Src c V56], 
|-
|&lt;!--Sub Menu--&gt;Astrology [https://sourceforge.net/projects/skylendar/ skylendar], [https://github.com/CruiserOne/Astrolog Astrolog], [https://www.astrolog.org/astrolog/astfile.htm Astrology alt site], [https://saravali.github.io/download.html Maitreya], [https://github.com/alamahant/Asteria Asteria], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PCB design
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Digital Signage
|&lt;!--AROS--&gt;Hollywood, Hollywood Designer 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Genealogy History Family Tree Ancestry Records (FreeBMD, FreeREG, and FreeCEN file formats or GEDCOM GenTree)
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; [ Origins], [ Your Family Tree], [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Display Blanker screensaver 
|&lt;!--AROS--&gt;Blanker Commodity (built in), [https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/screenblanker GarshneBlanker], [http://sourceforge.net/projects/gblanker/ GBlanker Src], [], 
|&lt;!--Amiga OS--&gt;MultiCX, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;ModernArt Blanker, 
|-
|&lt;!--Sub Menu--&gt;Languages 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Fun School, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Mathematics ([http://www-fourier.ujf-grenoble.fr/~parisse/install_en.html Xcas], etc.), 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/scientific mathX] 
|&lt;!--Amiga OS--&gt;Maple V, mathX, Fun School, GCSE Maths, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;Yacas 
|&lt;!--MorphOS--&gt;Yacas 
|-
|&lt;!--Sub Menu--&gt;Maths Graph Function Plotting
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#MUIPlot MUIPlot], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;App Utility Launcher Dock toolbar  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/docky BoingBar], [], 
|&lt;!--Amiga OS--&gt;[https://github.com/adkennan/DockBot Dockbot],
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Printer [https://github.com/OrcaSlicer/OrcaSlicer OrcaSlicer]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;BASIC Computer Language 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/language Basic4SDL], [ Ace Basic], [ X-AMOS], [SDLBasic], [ Alvyn], 
|&lt;!--Amiga OS--&gt;[http://www.amiforce.de/main.php Amiblitz 3], [http://amos.condor.serverpro3.com/AmosProManual/contents/c1.html Amos Pro], [http://aminet.net/package/dev/basic/ace24dist ACE Basic], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;sdlBasic
|-
|&lt;!--Sub Menu--&gt;HAM amateur radio  [], [], [], [https://cemaxecuter.com/ Dragon OS], [https://github.com/km4ack/73Linux with 73 link update], [https://www.youtube.com/watch?v=YAL5KNePRSg video for], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://www.amigarealm.com/amiga/amicomms/comm4.htm Comm4], [https://www.amigarealm.com/archives/comms/aarug/ TNC Terminal Node Controller with packets over serial connections on Yaesu or Woxum handheld], [https://aminet.net/comm/misc AmiCom], [ with 7Plus file encoder/decoder], [ mksstv], [ RTTYam], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Games &amp; Emulation==

Some emulators/games require OpenGL to function and to adjust ahi prefs channels, frequency and unit0 and unit1 and 
[http://aros.sourceforge.net/documentation/users/shell/changetaskpri.php changetaskpri -1]

Rom patching  https://www.marcrobledo.com/RomPatcher.js/ https://www.romhacking.net/patch/ (ips, ups, bps, etc) and this other site supports the latter formats https://hack64.net/tools/patcher.php 

Free public domain roms for use with emulators can be found [http://www.pdroms.de/ here] as most of the rest are covered by copyright rules. If you like to read about old games see [http://retrogamingtimes.com/ here] and [http://www.armchairarcade.com/neo/ here] and a [http://www.vintagecomputing.com/ blog] about old computers. Possibly some of the [http://www.answers.com/topic/list-of-best-selling-computer-and-video-games best selling] of all time. [http://en.wikipedia.org/wiki/List_of_computer_system_emulators Wiki] with emulated systems list.

[https://archive.gamehistory.org/ Archive of VGHF], [https://library.gamehistory.org/ Video Game History Foundation Library search]


{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Emulation]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Games Emulation Amstrad CPC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [ Caprice32 (OpenGL &amp; pure SDL)], [ Arnold], [https://retroshowcase.gr/cpcbox-master/], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Apple2 and 2GS
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Arcade
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Mame], [ SI Emu (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;Mame, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem xmame], amiarcadia, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 Mame], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 2600 [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Stella], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 5200 [https://github.com/wavemotion-dave/A5200DS A5200DS], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 7800
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 400 800 130XL [https://github.com/wavemotion-dave/A8DS A8DS], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Atari800], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Lynx
|&lt;!--AROS--&gt;[http://myfreefilehosting.com/f/6366e11bdf_1.93MB Handy (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Jaguar
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Bandai Wonderswan 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation BBC Micro and Acorn Electron [http://beehttps://bem-unix.bbcmicro.com/download.html BeebEm], [http://b-em.bbcmicro.com/ B-Em], [http://elkulator.acornelectron.co.uk/ Elkulator], [http://electrem.emuunlim.com/ ElectrEm], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Dragon 32 and Tandy CoCo [http://www.6809.org.uk/xroar/ xroar], [], 
|&lt;!--AROS--&gt;[], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C16 Plus4
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C64
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Vice (ABIv0 only)], [], 
|&lt;!--Amiga OS--&gt;Frodo, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem viceplus], 
|&lt;!--MorphOS--&gt;Vice, 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore Amiga
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Janus UAE], Emumiga, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer UAE], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 UAE], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Japanese MSX MSX2 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Intelivision
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Colecovision and Adam
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Milton Bradley (MB) Vectrex [ Vectrex OpenGL], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation PICO8 Pico-8 fantasy video game console [https://github.com/egordorichev/pemsa-sdl/ pemsa-sdl], [https://github.com/jtothebell/fake-08 fake-08], [https://github.com/Epicpkmn11/fake-08/tree/wip fake-08 fork], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo Gameboy
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem vba no sound], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem vba]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo NES
|&lt;!--AROS--&gt;[ EmiNES], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Fceu], [https://github.com/takahirox/nes-js?tab=readme-ov-file nes-js], [https://github.com/bfirsh/jsnes jsnes], [https://github.com/angelo-wf/NesJs NesJs], 
|&lt;!--Amiga OS--&gt;AmiNES, [http://www.dridus.com/~nyef/darcnes/ darcNES], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem amines]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo SNES
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Zsnes], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem warpsnes]
|&lt;!--MorphOS--&gt;[http://fabportnawak.free.fr/snes/ Snes9x], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo N64 
*HLE and plugins [ mupen64], [https://github.com/ares-emulator/ares ares], [https://github.com/N64Recomp/N64Recomp N64Recomp], [https://github.com/rt64/rt64 rt64], [https://github.com/simple64/simple64 Simple64], 
*LLE [], 
|&lt;!--AROS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+],
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+], [http://aminet.net/package/misc/emu/tr-981125_src TR64], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Gamecube Wii]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Wii U]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/yuzu-emu Nintendo Switch]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation NEC PC Engine 
|&lt;!--AROS--&gt;[], [], [https://github.com/yhzmr442/jspce js-pce], 
|[http://www.hugo.fr.fm/ Hugo], [http://mednafen.sourceforge.net/ Mednafen], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem tgemu]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Master System (SMS)
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Dega], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem sms], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem osmose]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Genesis/Megadrive
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem gp no sound], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem DGen], 
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/genplus-gx/ Genplus], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem genesisplus]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Saturn 
*HLE [https://mednafen.github.io/ mednafen], [http://yabause.org/ yabause], [], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;[http://yabause.org/ Yabause], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Dreamcast 
*HLE [https://github.com/flyinghead/flycast  flycast], [https://code.google.com/archive/p/nulldc/downloads NullDC], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair ZX80 and ZX81 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair Spectrum 
|[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Fuse (crackly sound)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer SimCoupe], [ FBZX slow], [https://jsspeccy.zxdemo.org/ jsspeccy], [http://torinak.com/qaop/games qaop], 
|&lt;!--Amiga OS--&gt;[http://www.lasernet.plus.com/ Asp], [http://www.zophar.net/sinclair.html Speculator], [http://www.worldofspectrum.org/x128/index.html X128], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair QL
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/misc/emu/QDOS4amiga1 QDOS4amiga]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation SNK NeoGeo Pocket
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem gngeo], NeoPop, 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sony PlayStation
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem FPSE], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem FPSE]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS2]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS3]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://vita3k.org/ Sony Vita]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/shadps4-emu/shadPS4 PS4]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation [http://en.wikipedia.org/wiki/Tangerine_Computer_Systems Tangerine] Oric and Atmos 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Oricutron]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem Oricutron]
|&lt;!--MorphOS--&gt;[http://aminet.net/package/misc/emu/oricutron Oricutron]
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 99/4 99/4A [https://github.com/wavemotion-dave/DS994a DS994a], [], [https://js99er.net/#/ js99er], [], [http://aminet.net/package/misc/emu/TI4Amiga TI4Amiga], [http://aminet.net/package/misc/emu/TI4Amiga_src TI4Amiga src in c], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation HP 38G 40GS 48 49G/50G Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 58 83 84 85 86 - 89 92 Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [https://www.rockpapershotgun.com/ General]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Games [https://www.trackawesomelist.com/michelpereira/awesome-open-source-games/ Open Source and others] || AROS || Amiga OS || Amiga OS4 || Morphos 
|-
|&lt;!--Sub Menu--&gt;Games Action like [https://github.com/BSzili/OpenLara/tree/amiga/src source of openlara SDL2], [https://github.com/opentomb/OpenTomb opentomb], [https://github.com/LostArtefacts/TRX TRX formerly Tomb1Main], [https://github.com/TombEngine TombEngine], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Thrust], [https://github.com/fragglet/sdl-sopwith sdl sopwith], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action BOH], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Adventure like [http://dotg.sourceforge.net/ DMJ], [https://github.com/kromenak/gengine Gabriel Knight 3], [http://www.sarien.net/ Sierra Sarien], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/adventure dmagnetic], [https://archives.arosworld.org/?function=browse&amp;cat=emulation/misc ScummVM], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying frotz infocom], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Board like [https://github.com/aperture-software/colditz-escape escape from colditz], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/board], [http://amigan.1emu.net/releases Africa]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Cards 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/card ], [], 
|&lt;!--AmigaOS--&gt;[http://home.arcor.de/amigasolitaire/e/welcome.html Reko], [https://github.com/samskivert/beschei-en beschei Src], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Misc [https://github.com/michelpereira/awesome-open-source-games Awesome open], [https://github.com/bobeff/open-source-games General Open Source], [https://github.com/SAT-R/sa2 Sonic Advance 2], [https://github.com/velorek1/cwordle Wordle type], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games FPS like [https://aminet.net/package/game/shoot/D1X_Rebirth_AGA Descent D1X src], [https://github.com/DescentDevelopers/Descent3 Descent 3], [https://github.com/Fewnity/Counter-Strike-Nintendo-DS Counter-Strike-Nintendo-DS], [https://github.com/Aleph-One-Marathon/alephone Bungie Marathon 1994], [https://github.com/ZDoom/gzdoom gzdoom], [], 
|&lt;!--AROS--&gt;Doom, Quake, [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Quake 3 Arena (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Assault Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube 2 Sauerbraten (OpenGL)], [http://fodquake.net/test/ FodQuake QuakeWorld], [ Duke Nukem 3D], [ Darkplaces Nexuiz Xonotic], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Doom 3 SDL (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Hexenworld and Hexen 2], [ Aliens vs Predator Gold 2000 (openGL)], [ Odamex (openGL doom)], 
|&lt;!--Amiga OS--&gt;Doom, Quake, AB3D, Fears, Breathless, 
|&lt;!--AmigaOS4--&gt;Doom, Quake, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12 Doom], Quake, Quake 3 Arena, [https://github.com/OpenXRay/xray-16 S.T.A.L.K.E.R Xray]
|-
|&lt;!--Sub Menu--&gt;Games MMORG like 
|&lt;!--AROS--&gt;[ Eternal Lands (OpenGL)],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Platform like 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform], [ Maze of Galious], [ Gish]*(openGL), [ Mega Mario], 
[http://www.gianas-return.de/ Giana's Return], [http://www.sqrxz.de/ Sqrxz], [.html Aquaria]*(openGL), 
[http://www.sqrxz2.de/ Sqrxz 2], [http://www.sqrxz.de/sqrxz-3/ Sqrxz 3], [http://www.sqrxz.de/sqrxz-4/ Sqrxz 4], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform Cave Story], [https://bszili.morphos.me/ Frogatto], [https://bszili.morphos.me/ OpenJazz], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Puzzle [https://github.com/mariopartyrd/marioparty4/tree/port Party], [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle], [ Cubosphere (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle Candy Crisis], [http://bszili.morphos.me/ TailTale], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Racing [ Trigger Rally], [ VDrift], [http://www.ultimatestunts.nl/index.php?page=2&amp;lang=en Ultimate Stunts], [http://maniadrive.raydium.org/ Mania Drive], [https://github.com/plowteam/donut Simpsons Hit and Run], [], 
|&lt;!--AROS--&gt;[ Super Tux Kart (OpenGL)], [http://www.dusabledanslherbe.eu/AROSPage/F1Spirit.30.html F1 Spirit (OpenGL)], [http://bszili.morphos.me/index.html MultiRacer], [https://bszili.morphos.me/ Speed Dreams], [], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://bszili.morphos.me/index.html Speed Dreams], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12], [http://bszili.morphos.me/index.html TORCS], 
|-
|&lt;!--Sub Menu--&gt;Games 1st first person DRPG [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/OpenEnroth/OpenEnroth OpenEnroth MM], []
|&lt;!--AROS--&gt;[https://github.com/BSzili/aros-stuff Arx Libertatis], [http://www.playfuljs.com/a-first-person-engine-in-265-lines/ js raycaster], [https://github.com/Dorthu/es6-crpg webgl], [https://github.com/sonountaleban/AmiShockolate System Shock], [], [], 
|&lt;!--AmigaOS--&gt;Phantasie, Faery Tale, Dungeon Master, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 3rd third person action CRPG  [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/alexbatalov/fallout1-ce fallout ce], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games isometric RPG [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/topics/dungeon?l=javascript Dungeon], [], [https://github.com/clintbellanger/heroine-dusk JS Dusk], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying nethack], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying GemRB], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games card based RPG [https://github.com/open-duelyst/duelyst Duelyst], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Rhythm, Beat, Step [], [], [https://clonehero.net/ clonehero], [https://github.com/MatteoGodzilla/Dj-Engine Dj-Engine], 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc Frets on Fire], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Shoot Em Ups [http://www.mhgames.org/oldies/formido/ Formido], [http://code.google.com/p/violetland/ Violetland], 
||&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Open Tyrian], [http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], [ Alien Blaster], [https://github.com/OpenFodder/openfodder OpenFodder], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Simulations [http://scp.indiegames.us/ Freespace 2], [http://www.heptargon.de/gl-117/gl-117.html GL117], [http://code.google.com/p/corsix-th/ Theme Hospital], [http://code.google.com/p/freerct/ Rollercoaster Tycoon], [http://hedgewars.org/ Hedgewars], [https://github.com/raceintospace/raceintospace raceintospace], [https://github.com/Return-To-The-Roots RTTR Settlers 2], [https://github.com/OoliteProject/oolite oolite elite], [https://github.com/fesh0r/newkind newkind elite], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;SimCity, SimAnt, Sim Hospital, Theme Park, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Life Sim [https://github.com/ACreTeam/forest Animal Crossing], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Strategy [http://rtsgus.org/ RTSgus], [http://wargus.sourceforge.net/ Wargus], [http://stargus.sourceforge.net/ Stargus], [https://github.com/KD-lab-Open-Source/Perimeter Perimeter], [https://matty77.itch.io/conflict-3049 conflict-3049], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy MegaGlest (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy UFO:AI (OpenGL)], [http://play.freeciv.org/ FreeCiv], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Horror [https://github.com/Mikompilation/MikuPan Fatal Frame], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Sandbox Voxel Open World Exploration [https://github.com/UnknownShadow200/ClassiCube Classicube],[http://www.michaelfogleman.com/craft/ Craft], [https://github.com/tothpaul/DelphiCraft DelphiCraft],[https://www.minetest.net/ Luanti formerly Minetest], [ infiniminer], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Battle Royale [https://bruh.io/ Play.Bruh.io], [https://www.coolmathgames.com/0-copter Copter Royale], [https://surviv.io/ Surviv.io], [https://nuggetroyale.io/#Ketchup Nugget Royale], [https://miniroyale2.io/ Miniroyale2.io], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Tower Defense [https://chriscourses.github.io/tower-defense/ HTML5], [https://github.com/SBardak/Tower-Defense-Game TD C++], [https://github.com/bdoms/love_defense LUA and LOVE], [https://github.com/HyOsori/Osori-WebGame HTML5], [https://github.com/PascalCorpsman/ConfigTD ConfigTD Pascal], [https://github.com/GloriousEggroll/wine-ge-custom Wine], []
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Visual Novel Engines [https://github.com/Kirilllive/tuesday-js Tuesday JS], [ Lua + LOVE], [https://github.com/weetabix-su/renpsp-dev RenPSP], [https://github.com/Galladite27/ONScripter-EN ONScripter-EN], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Reality VR [https://gitlab.com/madsbuvi/openmw openmw vr], [https://github.com/Team-Beef-Studios/BeefRaiderXR BeefRaiderXR], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Table Top VTT [ Roll20], [https://www.owlbear.rodeo/ owlbear rodeo], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Computer assisted TableTop TTRPG OSR [https://www.rpgsolo.com/play.php RPGSolo], [https://github.com/fpsvogel/solo-ttrpgs Solo TTRPG], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 2D 3D Engines [https://github.com/fegennari/3DWorld 3DWorld], [https://github.com/GarageGames/Torque3D Torque3D], [https://github.com/gameplay3d/GamePlay GamePlay 3D],  [https://www.babylonjs.com/ BabylonJS ], [ Godot], [ Ogre], [ Crystal Space], [], [], [], 
|&lt;!--AROS--&gt;[https://www.arkhamdev.net/wiki.htm?id=agx Arkham Development antiryadgx 8.9 lts with register], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games C based game frameworks [https://github.com/orangeduck/Corange Corange], [https://github.com/scottcgi/Mojoc Mojoc], [https://orx-project.org/ Orx], [https://github.com/ioquake/ioq3 Quake 3], [https://www.mapeditor.org/ Tiled], [https://www.raylib.com/ 2d Raylib], [https://github.com/Rabios/awesome-raylib other raylib], [https://github.com/MrFrenik/gunslinger Gunslinger], [https://o3de.org/ o3d], [http://archives.aros-exec.org/index.php?function=browse&amp;cat=development/library GLFW], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/library Raylib 5], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Pinball [https://github.com/vpinball/vpinball vpinball], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|}


==Application Guides==

[[#top|...to the top]]

===Web Browser===

OWB is now at version 2.0 (which got an engine refresh, from July 2015 to February 2019) and 3.0.

This latest version has a good support for many/most web sites, even YouTube web page now works. 

This improved compatibility comes at the expense of higher RAM usage (now 1GB RAM is the absolute minimum). 

Also, keep in mind that the lack of a JIT (Just-In-Time) JS compiler on the 32 bit version, makes the web surfing a bit slow. 

Only the 64 bit version of OWB 2.0 will have JIT enabled, thus benefitting of more speed. There are tooltypes that can be added to the icon to provide further features JIT, MSE etc 


Certificates from [https://curl.se/docs/caextract.html ca certs], 


DNS tracking blocking with [https://easylist.to/easylist/easylist.txt easylist.txt] in PROGDIR:Conf before starting browser with enabled AdBlock [https://github.com/easylist/easylist/tree/master easylist], [https://gitlab.com/eyeo anti abp], [https://firebog.net/ big blocklist], [https://github.com/StevenBlack/hosts Steves], [], [], 

This can be enabled with OWB Odyssey with Windows -&gt; Content Blocking and Windows -&gt; Messages and enter 

 https://www.youtube.com/api/stats/ads*
 https://www.youtube.com/pagead/adview*
 https://www.youtube.com#@##player-ads*

into your custom filters 


Element blocker browser extension might be needed for [https://github.com/easylist/easylist/wiki/Youtube-Issues youtube], [ mid roll], [ pre roll], [ ],  


OWB speed is much better when running from RAM Disk, the best way is to add the below into your S:User-Startup which copies OWB drawer from Extras:Internet/OWB to RAM Disk: 

So add this :
&lt;pre&gt;
copy Extras:Internet/OWB Ram:OWB/ ALL CLONE &gt;NIL:
copy Extras:Internet/OWB.info Ram: &gt;NIL:
&lt;/pre&gt;
Open RAM Disk and open OWB drawer and double click on OWB icon so that the above icon tooltypes are activated 

Problems are that the copy time is long (around 20 seconds added in the background), but we can make it faster if we delete useless files from the OWB drawer (docs, …)
If you don’t copy the drawer back onto the HD, you won’t save your cache, cookies, passwords… So you need a script for it.


Error messages 

SSL error &quot;cant verify with ca-certificates&quot;, check bios clock time date is correct 

Error 6, try checking networking prefs settings and Save / Use preferences again or a '''few times''' otherwise the network chipset may not be compatible with Aros 


[https://www.google.com/search?q=%s&amp;udm=14 Google search without AI overview] 


===E-mail===

 YAM does not support SSL and most mail providers now switched to encrypted SMTP/POP3 connections


====SimpleMail====

SimpleMail supports IMAP and appears to work with GMail, but it's never been reliable enough, it can crash with large mailboxes.

Please read more on this [http://www.freelists.org/list/simplemail-usr User list]


 GMail

Be sure to activate the pop3 usage in your gmail account setup / configuration first.

pop3: 
pop.gmail.com
Use SSL: Yes
Port: 995

smtp:
smtp.gmail.com (with authentication)
Use Authentication: Yes
Use SSL: Yes
Port: 465 or 587


 Hotmail/MSN/outlook/Microsoft Mail mid-2017, all outlook.com accounts will be migrated to Office 365 / Exchange

Most users are currently on POP which does not allow showing folders and many other features (technical limitations of POP3). With Microsoft IMAP you will get folders, sync read/unread, and show flags. You still won't get push though, as Microsoft has not turned on the IMAP Idle command as at Sept 2013.

If you want to try it, you need to first remove (you can't edit) your pop account (long-press the account on the accounts screen, delete account). Then set it up this way:

1. Email/Password
2. Manual
3. IMAP
4.

* Incoming: imap-mail.outlook.com, port 993, SSL/TLS should be checked
* Outgoing: smtp-mail.outlook.com, port 587, SSL/TLS should be checked
* POP server name pop-mail.outlook.com, port 995, POP encryption method SSL

 Yahoo  Mail

On April 24, 2002 Yahoo ceased to offer POP access to its free mail service. Introducing instead a yearly payment feature, allowing users POP3 and IMAP server support, along with such benefits as larger file attachment sizes and no adverts.

Sorry to see Yahoo leaving its users to cough up for the privilege of accessing their mail. Understandable, when competing against rivals such as Gmail and Hotmail who hold a large majority of users and were hacked in 2014 as well.


Incoming Mail (IMAP) Server

* Server - imap.mail.yahoo.com
* Port - 993
* Requires SSL - Yes

Outgoing Mail (SMTP) Server

* Server - smtp.mail.yahoo.com
* Port - 465 or 587
* Requires SSL - Yes
* Requires authentication - Yes

Your login info

* Email address - Your full email address (name@domain.com)
* Password - Your account's password
* Requires authentication - Yes


Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a subscription subs fee to have access to SMTP and POP3

* Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
* “Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
* “Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
* “Password” – Your Yahoo Mail password.

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

* Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.


====YAM Yet Another Mailer====

 YAM does not support SSL and most mail providers have now switched to encrypted SMTP/POP3 connections

This email client is POP3 only if the SSL library is available [http://www.freelists.org/list/yam YAM Freelists]

One of the downsides of using a POP3 mailer unfortunately - you have to set an option not to delete the mail if you want it left on the server. IMAP keeps all the emails on the server.

Possible issues

Sending mail issues is probably a matter of using your ISP's SMTP server, though it could also be an SSL issue.


getting a &quot;Couldn't initialise TLSv1 / SSL error

Use of on-line e-mail accounts with this email client is not possible as it lacks the OpenSSL AmiSSl v3 compatible library

 GMail 
Incoming Mail (POP3) Server - requires SSL: pop.gmail.com
Use SSL: Yes
Port: 995

Outgoing Mail (SMTP) Server - requires TLS: smtp.gmail.com (use authentication)
Use Authentication: Yes
Use STARTTLS: Yes (some clients call this SSL)
Port: 465 or 587

Account Name: your Gmail username (including '@gmail.com')
Email Address: your full Gmail email address (username@gmail.com)
Password: your Gmail password

Anyway, the SMTP is pop.gmail.com port 465 and it uses SSLLv3 Authentication. The POP3 settings are for the same server (pop.gmail.com), only on port 995 instead.


 Outlook.com access

&lt;pre &gt;
Outlook.com SMTP server address: smtp.live.com
Outlook.com SMTP user name: Your full Outlook.com email address (not an alias)
Outlook.com SMTP password: Your Outlook.com password
Outlook.com SMTP port: 587
Outlook.com SMTP TLS/SSL encryption required: yes 
&lt;/pre &gt;


 Yahoo  Mail

&lt;pre &gt;
“POP3 Server” – Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
“SMTP Server” – Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.
“Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
“Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
“Password” – Your Yahoo Mail password.
&lt;/pre &gt;

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a monthly fee to have access to SMTP and POP3


 Microsoft Outlook Express Mail 

1. Get the files to your PC.
By whatever method get the files off your Amiga onto your PC. In the YAM folder you have a number of different folders, one for each of your folders in YAM. Inside that is a file usually some numbers such as 332423.283. YAM created a new file for every single email you received.

2. Open up a brand new Outlook Express. Just configure the account to use 127.0.0.1 as mail servers. It doesn't really matter. You will need to manually create any subfolders you used in YAM.

3. You will need to do a mass rename on all your email files from YAM. Just add a .eml to the end of it. Amazing how PCs still rely mostly on the file name so it knows what sort of file it is rather than just looking at it! There are a number of multiple renamers online to download and free too.

4. Go into each of your folders, inbox, sent items etc. And do a select all then drag the files into Outlook Express (to the relevant folder obviously) Amazingly the file format that YAM used is very compatible with .eml standard and viola your emails appear. With correct dates and working attachments.

5. If you want your email into Microsoft Outlook. Open that up and create a new profile and a new blank PST file. Then go into File Import and choose to import from Outlook Express. And the mail will go into there. And viola.. you have your old email from your Amiga in a more modern day format.


===FTP===

Magellan has a great FTP module. It allows transferring files from/to a FTP server over the Internet or the local network and, even if FTP is perceived as a &quot;thing of the past&quot;, its usability is all inside the client. The FTP thing has a nice side effect too, since every Icaros machine can be a FTP server as well, and our files can be easily transferred from an Icaros machine to another with a little configuration effort.

First of all, we need to know the 'server' IP address. Server is the Icaros machine with the file we are about to download on another Icaros machine, that we're going to call 'client'. To do that, move on the server machine and 1) run Prefs/Services to be sure &quot;FTP file transfer&quot; is enabled (if not, enable it and restart Icaros); 2) run a shell and enter this command:

ifconfig -a

Make a note of the IP address for the network interface used by the local area network. For cabled devices, it usually is net0:. Now go on the client machine and run Magellan:

Perform these actions: 1) click on FTP; 2) click on ADDRESS BOOK; 3) click on &quot;New&quot;. 
You can now add a new entry for your Icaros server machine:

1) Choose a name for your server, in order to spot it immediately in the address book. Enter the IP address you got before.

2) click on Custom Options:


1) go to Miscellaneous in the left menu;

2) Ensure &quot;Passive Transfers&quot; is NOT selected;

3) click on Use. We need to deactivate Passive Transfers because YAFS, the FTP server included in Icaros, only allows active transfers at the current stage. Now, we can finally connect to our new file source:


1) Look into the address book for the newly introduced server, be sure that name and IP address are right, and

2) click on Connect. A new lister with server's &quot;MyWorkspace&quot; contents will appear. You can now transfer files over the network choosing a destination among your local (client's) volumes.

Can be adapted to any FTP client on any platform of your choice, just be sure your client allows Active Transfers as well.


===IRC Internet Relay Chat===

Jabberwocky is ideal for one-to-one social media communication, use IRC if you require one to many. 

Just type a message in ''lowercase''' letters and it will be posted to all in the [ AROS irc channel]. Please do not use UPPER CASE as it is a sign of SHOUTING which is annoying.

Other things to type in - replace &lt;message&gt; with a line of text and &lt;nick&gt; with a person's name

&lt;pre&gt;
/help

/list

/who
/whois &lt;nick&gt;

/msg &lt;nick&gt; &lt;message&gt;

/query &lt;nick&gt; 
&lt;message&gt;s
/query

/away &lt;message&gt;
/away

/quit &lt;going away message&gt; 
&lt;/pre&gt;


[http://irchelp.org/irchelp/new2irc.html#smiley Intro guide here]. IRC Primer can be found here in [http://www.irchelp.org/irchelp/ircprimer.html html], [http://www.irchelp.org/irchelp/text/ircprimer.txt TXT], [http://www.kei.com/irc/IRCprimer1.1.ps PostScript].


Issue the command /me &lt;text&gt; where &lt;text&gt; is the text that should follow your nickname.
Example: /me slaps ajk around a bit with a large trout

/nick &lt;newNick&gt;

/nickserv register &lt;password&gt; &lt;email address&gt;

/ns instead of /nickserv, while others might need /msg nickserv

/nickserv identify &lt;password&gt;

Alternatives:
/ns identify &lt;password&gt;
/msg nickserv identify &lt;password&gt;


==== IRC WookieChat ====

WookieChat is the most complete internet client for communication across the IRC Network. WookieChat allows you to swap ideas and communicate in real-time, you can also exchange Files, Documents, Images and everything else using the application's DCC capabilities.


add smilies drawer/directory

 run wookiechat from the shell and set stack to 1000000 e.g. wookiechat stack 1000000

select a server / server window

* nickname 
* user name 
* real name - optional

Once you configure the client with your preferred screen name, you'll want to find a channel to talk in.


servers

* New Server - click on this to add / add extra - change details in section below this click box 
* New Group
* Delete Entry
* Connect to server
* connect in new tab
* perform on connect

Change details

* Servername - change text in this box to one of the below Server: 
* Port number - no need to change
* Server password
* Channel - add #channel from below 
* auto join - can click this 
* nick registration password,

Click Connect to server button above


&lt;pre&gt;
Server: irc.freenode.net
Channel: #aros
&lt;/pre&gt;

irc://irc.freenode.net/aros

&lt;pre&gt;
Server: chat.amigaworld.net 
Channel: #amigaworld or #amigans 
&lt;/pre&gt;

&lt;pre&gt;
On Sunday evenings USA time usually starting around 3PM EDT (1900 UTC)
Server:irc.superhosts.net
Channel #team*amiga  
&lt;/pre&gt;

&lt;pre&gt;
BitlBee and Minbif are IRCd-like gateways to multiple IM networks
Server: im.bitlbee.org 
Port 6667 
Seems to be most useful on WookieChat as you can be connected to several servers at once. One for Bitlbee and any messages that might come through that. One for your normal IRC chat server. 
&lt;/pre&gt;

[http://www.bitlbee.org/main.php/servers.html Other servers],

&lt;pre&gt;
#Amiga.org - irc.synirc.net eu.synirc.net dissonance.nl.eu.synirc.net (IPv6: 2002:5511:1356:0:216:17ff:fe84:68a) 
twilight.de.eu.synirc.net zero.dk.eu.synirc.net us.synirc.net avarice.az.us.synirc.net envy.il.us.synirc.net harpy.mi.us.synirc.net 
liberty.nj.us.synirc.net snowball.mo.us.synirc.net - Ports 6660-6669 7001 (SSL)
&lt;/pre&gt;

&lt;pre&gt;
Multiple server support
&quot;Perform on connect&quot; scripts and channel auto-joins
Automatic Nickserv login
Tabs for channels and private conversations
CTCP PING, TIME, VERSION, SOUND
Incoming and Outgoing DCC SEND file transfers
Colours for different events
Logging and automatic reloading of logs
mIRC colour code filters
Configurable timestamps
GUI for changing channel modes easily
Configurable highlight keywords
URL Grabber window
Optional outgoing swear word filter
Event sounds for tabs opening, highlighted words, and private messages
DCC CHAT support
Doubleclickable URL's
Support for multiple languages using LOCALE
Clone detection
Auto reconnection to Servers upon disconnection
Command aliases
Chat display can be toggled between AmIRC and mIRC style
Counter for Unread messages
Graphical nicklist and graphical smileys with a popup chooser
&lt;/pre&gt;


====IRC Aircos ====

Double click on Aircos icon in Extras:Networking/Apps/Aircos. It has been set up with a guest account for trial purposes. Though ideally, choose a nickname and password for frequent use of irc. 


====IRC and XMPP Jabberwocky====
 Servers are setup and close down at random 
You sign up to a server that someone else has setup and access chat services through them. 

The two ways to access chat from jabberwocky
&lt;pre &gt;
Jabberwocky -&gt; Server -&gt; XMPP -&gt; open and ad-free 
Jabberwocky -&gt; Server -&gt; Transports (Gateways) -&gt; Proprietary closed systems 
&lt;/pre &gt;

The Jabber.org service connects with all IM services that use XMPP, the open standard for instant messaging and presence over the Internet. The services we connect with include Google Talk (closed), Live Journal Talk, Nimbuzz, Ovi, and thousands more. However, you can not connect from Jabber.org to proprietary services like AIM, ICQ, MSN, Skype, or Yahoo because they don’t yet use XMPP components (XEP-0114) '''but''' you can use Jabber.com's servers and IM gateways (MSN, ICQ, Yahoo etc.) instead.

The best way to use jabberwocky is in conjunction with a public jabber server with '''transports''' to your favorite services, like gtalk, Facebook, yahoo, ICQ, AIM, etc.


You have to register with one of the servers, [https://list.jabber.at/ this list] or [http://www.jabberes.org/servers/ another list], [http://xmpp.net/ this security XMPP list],

Unfortunately jabberwocky can only connect to one server at a time so it is best to check what services each server offers. If you set it up with separate Facebook and google talk accounts, for example, sometimes you'll only get one or the other.

Jabberwocky open a window where the Jabber server part is typed in as well as your Nickname and Password.

Jabber ID (JID) identifies you to the server and other users.

Once registered the next step is to goto Jabberwocky's &quot;Windows&quot; menu and select the &quot;Agents&quot; option. The &quot;Agents List&quot; window will open.

Roster (contacts list)

[http://search.wensley.org.uk/ Chatrooms] (MUC) are available

File Transfer - can send and receive files through the Jabber service but not with other services like IRC, ICQ, AIM or Yahoo. All you need is an installed webbrowser and OpenURL.

Clickable URLs - The message window uses Mailtext.mcc and you can set a URL action in the MUI mailtext prefs like SYS:Utils/OpenURL %s NEWWIN.

There is no consistent Skype like (H.323 VoIP) video conferencing available over Jabber. The move from xmpp to Jingle should help but no support on any amiga-like systems at the moment. [http://aminet.net/package/dev/src/AmiPhoneSrc192 AmiPhone] and [http://www.lysator.liu.se/%28frame,faq,nobg,useframes%29/ahi/v4-site/ Speak Freely] was an early attempt voice only contact. SIP and Asterisk are other PBX options.


 Facebook

If you're using the XMPP transport provided by Facebook themselves, chat.facebook.com, it looks like they're now requiring SSL transport. This means jabberwocky method below will no longer work. The best thing to do is to create an ID on a public jabber server which has a Facebook gateway.

&lt;pre &gt;
1. launch jabberwocky
2. if the login window doesn't appear on launch, select 'account' from the jabberwocky menu
3. your jabber ID will be user@chat.facebook.com where user is your user ID
4. your password is your normal facebook password
5. to save this for next time, click the popup gadget next to the ID field

6. click the 'add' button
7. click the 'close' button
8. click the 'connect' button
&lt;/pre &gt;

you're done. you can also click the 'save as default account' button if you want. jabberwocky configured to auto-connect when launching the program, but you can configure as you like. there is amigaguide documentation included with jabberwocky.

[http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=37085&amp;forum=32 Read more here]

for Facebook users, you can log-in directly to Facebook with jabberwocky. just sign in as @chat.facebook.com with your Facebook password as the password


 Twitter

For a few years, there has been added a twitter transport. Servers include [http://jabber.hot-chilli.net/ jabber.hot-chili.net],  and .

An [http://jabber.hot-chilli.net/tag/how-tos/ How-to]

:Read [http://jabber.hot-chilli.net/2010/05/09/twitter-transport-working/ more]

 Instagram 

no support at the moment best to use a web browser based client

 ICQ

The new version (beta) of StriCQ uses a newer ICQ protocol. Most of the ICQ Jabber Transports still use an older ICQ protocol. You can only talk one-way to StriCQ using the older Transports. Only the newer ICQv7 Transport lets you talk both ways to StriCQ. Look at the server lists in the first section to check.

Register on a Jabber server, e.g. this one works: http://www.jabber.de/
Then login into Jabberwocky with the following login data e.g. xxx@jabber.de / Password: xxx Now add your ICQ account under the window-&gt;Agents-&gt;&quot;Register&quot;. Now Jabberwocky connects via the Jabber.de server with your ICQ account.

 Yahoo Messenger

although yahoo! does not use xmpp protocol, you should be able to use the transport methods to gain access and post your replies

 MSN

early months of 2013 Microsoft will ditch MSN Messenger client and force everyone to use Skype...but MSN protocol and servers will keep working as usual for quite a long time....

Occasionally the Messenger servers have been experiencing problems signing in.  You may need to sign in at www.outlook.com and then try again.  It may also take multiple tries to sign in.  (This also affects you if you’re using Skype.)

You have to check each servers' Agents List to see what transports (MSN protocol, ICQ protocol, etc.) are supported or use the list address' provided in the section above. Then register with each transport (IRC, MSN, ICQ, etc.) to which you need access. After registering you can Connect to start chatting.

msn.jabber.com/registered should appear in the window.

From this [http://tech.dir.groups.yahoo.com/group/amiga-jabberwocky/message/1378 JW group] guide which  helps with this process in a clear, step by step procedure.

1. Sign up on MSN's site for a passport account. This typically involves getting a Hotmail address.

2. Log on to the Jabber server of your choice and do the following:

* Select the &quot;Windows/Agents&quot; menu option in Jabberwocky.
* Select the MSN Agent from the list presented by the server.
* Click the Register button to open a new window asking for:
**Username = passort account email address, typically your hotmail address.
**Nick = Screen name to be shown to anyone you add to your buddy list.
**Password = Password for your passport account/hotmail address.
* Click the Register button at the bottom of the new window.

3. If all goes well, you will see the MSN Gateway added to your buddy list. If not, repeat part 2 on another server. Some servers may show MSN in their list of available agents, but have not updated their software for the latest protocols used by MSN.

4. Once you are registered, you can now add people to your buddy list. Note that you need to include the '''msn.''' ahead of the servername so that it knows what gateway agent to use. Some servers may use a slight variation and require '''msg.gate.''' before the server name, so try both to see what works.

If my friend's msn was amiga@hotmail.co.uk and my jabber server was @jabber.meta.net.nz..
then amiga'''%'''hotmail.com@'''msn.'''jabber.meta.net.nz

or another the trick to import MSN contacts is that you don't type the hotmail URL but the passport URL... e.g. Instead of: goodvibe%hotmail.com@msn.jabber.com  You type: goodvibe%passport.com@msn.jabber.com 
And the thing about importing contacts I'm afraid you'll have to do it by hand, one at the time...

 Google Talk

any XMPP server will work, but you have to add your contacts manually. a google talk user is typically either @gmail.com or @talk.google.com. a true gtalk transport is nice because it brings your contacts to you and (can) also support file transfers to/from google talk users.

implement Jingle a set of extensions to the IETF's Extensible Messaging and Presence Protocol (XMPP)

support ended early 2014 as Google moved to Google+ Hangouts which uses it own proprietary format


===Video Player MPlayer===

Many of the menu features (such as doubling) do not work with the current version of mplayer but using

4:3
 mplayer -vf scale=800:600 file.avi

16:9
 mplayer -vf scale=854:480 file.avi

if you want gui use;
 mplayer -gui 1 &lt;other params&gt; file.avi

&lt;pre &gt;
stack 1000000

; using AspireOS 1.xx 
; copy FROM SYS:Extras/Multimedia/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 1.x 
; copy FROM SYS:Tools/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 2.x 
; copy FROM SYS:Utilities/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

cd RAM:MPlayer
run MPlayer -gui &gt; Nil:
;run MPlayer -gui -ao ahi_dev -playlist http://www.radio-paralax.de/listen.pls &gt; Nil: 
&lt;/pre &gt;

$ mplayer rtsp://127.0.0.1:554/sample_300kbit.mp4


MPlayer supports multicast streaming, and rtp/rtsp protocols (it might require [http://www.live555.com/openRTSP/ live555 library] to work with some streams). But you might have to build it where it's disabled. Also, multicast won't work with some AmiTCP-likes. MIAMI supported it, though.

AROS supports IPv4 (old but works) and this includes the needed address space for RTP.

If you mean multicast via RTP - mplayer handles it. You can even force UDP over TCP

-rtsp-stream-over-tcp

If the rtsp Real Time Streaming Protocol  server needs authentification:

-user -passwd


MPlayer - Menu - Open Playlist and load already downloaded .pls or .m3u file - auto starts around 4 percent cache

MPlayer - Menu - Open Stream and copy one of the .pls lines below into space allowed, press OK and press play button on main gui interface


Old 8bit 16bit remixes chip tune game music 
 
http://www.radio-paralax.de/listen.pls 

http://scenesat.com/

http://www.shoutcast.com/radio/Amiga

http://www.theoldcomputer.com/retro_radio/RetroRadio_Main.htm

http://www.kohina.com/

http://www.remix64.com/

http://retrogamer.net/forum/

http://retroasylum.podomatic.com/rss2.xml

http://retrogamesquad.com/

http://www.retronauts.com/

http://monsterfeet.com/noquarter/

http://www.retrogamingradio.com/

http://www.radiofeeds.co.uk/mp3.asp


[[#top|...to the top]]

====ZunePaint==== 

simplified typical workflow

* importing and organizing and photo management
* making global and regional local correction(s) - recalculation is necessary after each adjustment as it is not in real-time 
* exporting your images in the best format available with the preservation of metadata


Whilst achieving 80% of a great photo with just a filter, the remaining 20% comes from a manual fine-tuning of specific image attributes.


For photojournalism, documentary, and event coverage, minimal touching is recommended. Stick to Camera Raw for such shots, and limit changes to level adjustment, sharpness, noise reduction, and white balance correction.

For fashion or portrait shoots, a large amount of adjustment is allowed and usually ends up far from the original. Skin smoothing, blemish removal, eye touch-ups, etc. are common.  Might alter the background a bit to emphasize the subject.

Product photography usually requires a lot of sharpening, spot removal, and focus stacking.

For landscape shots, best results are achieved by doing the maximum amount of preparation before/while taking the shot. No amount of processing can match timing, proper lighting, correct gear, optimal settings, etc. Excessive post-processing might give you a dramatic shot but best avoided in the long term.


* White Balance - Left Amiga or F12 and K and under &quot;Misc color effects&quot; tab with a pull down for White Balance - color temperature also known as AKA tint (movies) or tones (painting) - warm temp raise red reduce green blue - cool raise blue lower red green 
* Exposure - exposure compensation, highlight/shadow recovery
* Noise Reduction - during RAW development or using external software
* Lens Corrections - distortion, vignetting, chromatic aberrations
* Detail - capture sharpening and local contrast enhancement
* Contrast - black point, levels (sliders) and curves tools (F12 and K) 
* Framing - straighten () and crop (F12 and F) 
* Refinements - color adjustments and selective enhancements - Left Amiga or F12 and K for RGB and YUV histogram tabs - 
* Resizing - enlarge for a print or downsize for the web or email (F12 and D) 
* Output Sharpening - customized for your subject matter and print/screen size


White Balance - F12 and K

scan your image for a shade which was meant to be white (neutral with each RGB value being equal) like paper or plastic which is in the same light as the subject of the picture. Use the dropper tool to select this color, similar colours will shift and you will have selected the perfect white balance for your part of the image - for the whole picture make sure RAZ or CLR button at the bottom is pressed before applying to the image above.


Exposure correction

F12 and K - YUV Y luminosity - RGB extra red tint - move red curve slightly down and move blue green curves slightly up

Workflows in practice

* Undo - Right AROS key or F12 and Z 
* Redo - Right AROS key or F12 and R

First flatten your image (if necessary) and then do a rotation until the picture looks level. 
* Crop the picture. Click the selection button and drag a box over the area of the picture you want to keep. Press the crop button and the rest of the photo will be gone. 
* Adjust your saturation, exposure, hue levels, etc., (right AROS Key and K for color correction) until you are happy with the photo. Make sure you zoom in all of the way to 100% and look the photo over, zoom back out and move around. Look for obvious problems with the picture. 
* After coloring and exposure do a sharpen (Right AROS key and E for Convolution and select drop down option needed), e.g. set the matrix to 5x5 (roughly equivalent Amount to 60%) and set the Radius to 1.0. Click OK.


And save your picture


Implemented or would like to see for simplification and ease of use

basic filters (presets) like black and white, monochrome, edge detection (sobel), motion/gaussian blur, 
* negative, sepiatone, retro vintage, night vision, colour tint, color gradient, color temperature, glows, fire, lightning, lens flare, emboss, filmic, pixelate mezzotint, antialias, etc.

adjust / cosmetic tools such as crop, 
* reshaping tools, straighten, smear, smooth, perspective, liquify, bloat, pucker, push pixels in any direction, dispersion, transform like warp, blending with soft light, page-curl, whirl, ripple, fisheye, neon,  etc. 
* red eye fixing, blemish remover, skin smoothing, teeth whitener, make eyes look brighter, desaturate,

effects like oil paint, cartoon, pencil sketch, charcoal, noise/matrix like sharpen/unsharpen, (right AROS key with A for Artistic effects) 
* blend two image, gradient blend, masking blend, explode, implode, custom collage, surreal painting, comic book style, needlepoint, stained glass, watercolor, mosaic, stencil/outline, crayon, chalk, etc.

borders such as 
* dropshadow, rounded, blurred, color tint, picture frame, film strip polaroid, bevelled edge, etc.

brushes e.g.
* frost, smoke, etc.

and manual control of

fix lens issues including vignetting (darkening), color fringing and barrel distortion, and chromatic and geometric aberration -  lens and body profiles

perspective correction

levels - directly modify the levels of the tone-values of an image, by using sliders for highlights, midtones and shadows

curves -  Color Adjustment and Brightness/Contrast

color balance

one single color transparent (alpha channel (color information/selections) for masking and/or blending ) for backgrounds, etc.

Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors

decompose layer into a set of layers with each holding a different type of pattern that is visible within the image

any selection using any selecting tools like lasso tool, marquee tool etc. the selection will temporarily be save to alpha 
If you create your image without transparency then the Alpha channel is not present, but you can add later.

File formats like .psd (Photoshop file has layers, masks etc.  contains edited sensor data. The original sensor data is no longer available) .xcf .raw .hdr

Image Picture Formats
* low dynamic range (JPEG, PNG, TIFF 8-bit), 16-bit (PPM, TIFF), typically as a 16-bit TIFF in either ProPhoto or AdobeRGB colorspace -  TIFF files are also fairly universal – although, if they contain proprietary data, such as Photoshop Adjustment Layers or Smart Filters, then they can only be opened by Photoshop making them proprietary.
* linear high dynamic range (HDR) images (PFM, [http://www.openexr.com/ ILM .EXR], jpg, [http://aminet.net/util/dtype cr2] (canon tiff based), hdr, NEF, CRW, ARW, MRW, ORF, RAF (Fuji), PEF, DCR, SRF, ERF, DNG files are RAW converted to an Adobe proprietary format - a container that can embed the raw file as well as the information needed to open it) 
An old version of [http://archives.aros-exec.org/index.php?function=browse&amp;cat=graphics/convert dcraw]

There is no single RAW file format. Each camera manufacturer has one or more unique RAW formats. RAW files contain the brightness levels data captured by the camera sensor. This data cannot be modified. A second smaller file, separate XML file, or within a database with instructions for the RAW processor to change exposure, saturation etc. The extra data can be changed but the original sensor data is still there. RAW is technically least compatible.

A raw file is high-bit (usually 12 or 14 bits of information) but a camera-generated TIFF file will be usually converted by the camera (compressed, downsampled) to 8 bits. The raw file has no embedded color balance or color space, but the TIFF has both. These three things (smaller bit depth, embedded color balance, and embedded color space) make it so that the TIFF will lose quality more quickly with image adjustments than the raw file. The camera-generated TIFF image is much more like a camera processed JPEG than a raw file. A strong advantage goes to the raw file. The power of RAW files, such as the ability to set any color temperature non-destructively and will contain more tonal values.

The principle of preserving the maximum amount of information to as late as possible in the process. The final conversion - which will always effectively represent a &quot;downsampling&quot; - should prevent as much loss as possible.

Once you save it as TIFF, you throw away some of that data irretrievably. When saving in the lossy JPEG format, you get tremendous file size savings, but you've irreversibly thrown away a lot of image data. As long as you have the RAW file, original or otherwise, you have access to all of the image data as captured.

Keyboard equivalence with Photoshop(tm) would help 

File
PHOTOSHOP	SHORTCUT	GIMP
New	Ctrl+n	New
Open	Ctrl+o	Open
Close	Ctrl+w	Close
Save	Ctrl+s	Save
Save as	Shift+Ctrl+s	Save as
Revert	F12	Revert
Print	Ctrl+p	Print
Exit	Ctrl+q	Quit
 
Edit
PHOTOSHOP	SHORTCUT	GIMP
Undo/Redo (1 level)	Ctrl+z	Undo (Redo is Shift+Ctrl+z)
Cut	Ctrl+x	Cut
Copy	Ctrl+c	Copy
Paste	Ctrl+v	Paste
Paste Into	Shift+Ctrl+v	Paste Into
Fill with FG color	Alt+Backspace	Fill with FG color
Fill with BG color	Control+Backspace	Fill with BG color
 
Image/Colors
PHOTOSHOP	SHORTCUT	GIMP
Levels	Ctrl+l	Levels
Auto Contrast	Shift+Ctrl+Alt+l	Stretch Contrast (same?)
Curves	Ctrl+m	Curves
Color Balance	Ctrl+b	Color Balance
Hue/Saturation	Ctrl+u	Hue-Saturation
Desaturate	Shift+Ctrl+u	Desaturate
Invert	Ctrl+i	Invert
Default Colors	d	Default Colors
Switch Colors	x	Switch Colors
 
Layer
PHOTOSHOP	SHORTCUT	GIMP
New Layer	Shift+Ctrl+n	New Layer
Layer via Copy	Ctrl+j	Duplicate Layer
Bring (layer) to Front	Shift+Ctrl+]	Layer to Top
Send (layer) to Back	Shift+Ctrl+[	Layer to Bottom
Bring (layer) Forward	Ctrl+]	Raise Layer
Send (layer) Backward	Ctrl+[	Lower Layer
Select Top Layer	Shift+Alt+]	Select Top Layer
Select Bottom Layer	Shift+Alt+[	Select Bottom Layer
Select One Layer Forward	Alt+]	Select Previous Layer
Select One Layer Backward	Alt+[	Select Next Layer
Merge Down	Ctrl+e	Merge Down
Merge Visible	Shift+Ctrl+e	Merge Visible
Preserve Transparency	/	Keep Transparency
Cycle Modes Forwards	Shift+=	Next Layer Mode
Cycle Modes Backwards	Shift+-	Previous Layer Mode
 
Select
PHOTOSHOP	SHORTCUT	GIMP
Select All	Ctrl+a	Select All
Deselect	Ctrl+d	Select None
Inverse	Shift+Ctrl+i	Invert
Feather	Ctrl+Alt+d	Feather
 
View
PHOTOSHOP	SHORTCUT	GIMP
Zoom In	Ctrl+=	Zoom In
Zoom Out	Ctrl+-	Zoom Out
Fit on Screen	Ctrl+0	Zoom to Fit Window
Actual Pixels	Ctrl+Alt+0	Zoom 1:1
Show/Hide Extras	Ctrl+h	Toggle Show Selection (close enough?)
Show/Hide Guides	Ctrl+'	Toggle Show Guides
Show/Hide Grid	Ctrl+Alt+'	Toggle Show Grid
Show/Hide Rulers	Ctrl+r	Toggle Show Rulers
Snap	Ctrl+;	Snap to Guides
Scroll View Up	Page Up	Scroll Page Up
Scroll View Down	Page Down	Scroll Page Down
Scroll View Left	Ctrl+Page Up	Scroll Page Left
Scroll View Right	Ctrl+Page Down	Scroll Page Right
 
Window/Dialogs
PHOTOSHOP	SHORTCUT	GIMP
?	F5	Tools Dialog
Color Tab	F6	Colors Dialog
Layers Tab	F7	Layers Dialog
Info Tab	F8	Image Information
 
Tools
PHOTOSHOP	SHORTCUT	GIMP
Rectangular Marquee Tool	m	Rect Select Tool
Elliptical Marquee Tool	Shift+m	Ellipse Select Tool
 	*This is a toggle between 'Elliptical Marquee Tool' and 'Rectangular Marquee Tool' in Photoshop	 
Move Tool	v	Move Tool
Lasso Tool	l	Free Select Tool
Magic Wand Tool	w	Fuzzy Select Tool
Crop Tool	c	Crop &amp; Resize Tool
Airbrush Tool	j	Airbrush Tool
Paintbrush Tool	b	Paintbrush Tool
Clone Stamp Tool	s	Clone Stamp Tool
Eraser Tool	e	Eraser Tool
Gradient Tool	g	Blend Tool
Paint Bucket Tool	Shift+g	Bucket Fill Tool
 	*This is a toggle between 'Paint Bucket Tool' and 'Gradient Tool' in Photoshop	 
Blur Tool	r	Convolve Tool
Dodge Tool	o	DodgeBurn Tool
Type Tool	t	Text Tool
Pen Tool	p	Bezier Select Tool
Eye Dropper Tool	i	Color Picker Tool
Zoom Tool	z	Magnify Tool
Previous Brush	,	Previous Brush
Next Brush	.	Next Brush
First Brush	Shift+&lt;	First Brush
Last Brush	Shift+&gt;	Last Brush
Decrease Brush Size	[	Decrease Brush Size
Increase Brush Size	]	Increase Brush Size
Decrease Brush Hardness	{	Decrease Brush Hardness
Increase Brush Hardness	}	Increase Brush Hardness
 
Help
PHOTOSHOP	SHORTCUT	GIMP
Help	F1	Help
Context Help	Shift+F1	Context Help
 
Misc.
PHOTOSHOP	SHORTCUT	GIMP
Last Filter	Ctrl+f	Repeat Last Filter
?	Shift+Ctrl+f	Reshow Last Filter
Preferences	Ctrl+k	Preferences
Liquify	Shift+Ctrl+x	IWarp (close enough?)
Toggle Quick Mask	q	Toggle Quick Mask


Spotlights - triangle of white opaque shape

Cutting out and/or replacing unwanted background or features - select large areas with the selection option like the Magic Wand tool (aka Color Range) or the Lasso (quick and fast) with feather 2 to soften edge or the pen tool which adds points/lines/Bézier curves (better control but slower), hold down the shift button as you click to add extra points/areas of the subject matter to remove. Increase the tolerance to cover more areas. To subtract from your selection hold down alt as you're clicking. 
* Layer masks are a better way of working than Erase they clip (black hides/hidden white visible/reveal). Clone Stamp can be simulated by   and brushes for other areas. 
* Leave the fine details like hair, fur, etc. to later with lasso and the shift key to draw a line all the way around your subject. Gradient Mapping - Inverse - Mask. i.e. Refine your selected image with edge detection and using the radius and edge options / adjuster (increase/decrease contrast) so that you will capture more fine detail from the background allowing easier removal. 
Remove fringe/halo

saving image as png rather than jpg/jpeg to keep transparency background intact.


Implemented [http://colorizer.org/ colour model representations] [http://paulbourke.net/texture_colour/colourspace/ Mathematical approach] - Photo stills are spatially 2d (h and w), but are colorimetrically 3d (r g and b, or H L S, or Y U V etc.) as well. 
* RGB - split cubed mapped color model for photos and computer graphics hardware using the light spectrum (adding and subtracting) 
* YUV - Y-Lightness U-blue/yellow V-red/cyan (similar to YPbPr and YCbCr) used in the PAL, NTSC, and SECAM composite digital TV color [http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299 video]


Histograms

White balanced (neutral) if the spike happens in the same place in each channel of the RGB graphs. If not, you're not balanced. 
If you have sky you'll see the blue channel further off to the right.

RGB is best one to change colours. These elements RGB is a 3-channel format containing data for Red, Green, and Blue in your photo scale between 0 and 255. The area in a picture that appears to be brighter/whiter contains more red color as compared to the area which is relatively darker. Similarly in the green channel the area that appears to be darker contains less amount of green color as compared to the area that appears to be brighter.  Similarly in the blue channel the area appears to be darker contains less amount of blue color as compared to the area that appears to be brighter. Brightness luminance histogram also matches the green histogram more than any other color - human eye interprets green better e.g. RGB rough ratio 15/55/30%

RGBA (RGB+A, A means alpha channel) .  The alpha channel is used for &quot;alpha compositing&quot;, which can mostly be associated as &quot;opacity&quot;.  AROS deals in RGB with two digits for every color (red, green, blue), in ARGB you have two additional hex digits for the alpha channel.

The shadows are represented by the left third of the graph.  The highlights are represented by the right third.  And the midtones are, of course, in the middle.  The higher the black peaks in the graph, the more pixels are concentrated in that tonal range (total black area). 
By moving the black endpoint, which identifies the shadows (darkness) and a white light endpoint (brightness) up and down either sides of the graph, colors are adjusted based on these points. 
By dragging the central one, can increased the midtones and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .


RGB Curves

* Move left endpoint (black point) up or right endpoint (white point) up brightens 
* Move left endpoint down or right endpoint down darkens

Color Curves

* Dragging up on the Red Curve increases the intensity of the reds in the image but 
* Dragging down on the Red Curve decreases the intensity of the reds and thus increases the apparent intensity of its complimentary color, cyan. Green’s complimentary color is magenta, and blue’s is yellow.
&lt;pre&gt;
 Red &lt;-&gt; Cyan
 Green &lt;-&gt;Magenta
 Blue &lt;-&gt;Yellow 
&lt;/pre&gt;

YUV Best option to analyse and pull out statistical elements of any picture (i.e.  separate luminance data from color data). The line in Y luma tone box represents the brightness of the image with the point in the bottom left been black, and the point in the top right as white.  A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram.   A histogram that is skewed to the right would indicate a picture that is a bit overexposed because most of the color data is on the lighter side (increase exposure with higher value F), while a histogram with the curve on the left shows a picture that is underexposed. This is good information to have when using post-processing software because it shows you not only where the color data exists for a given picture, but also where any data has been clipped (extremes on edges of either side): that is, it does not exist and, therefore, cannot be edited.  By dragging the endpoints of the line and as well as the central one, can increased the dark/shadows, midtones and light/bright parts and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .

The U and V chroma parts show color difference components of the image. It’s useful for checking whether or not the overall chroma is too high, and also whether it’s being limited too much
Can be used to create a negative image but also 
With U (Cb), the higher value you are, the more you're on the blue primary color. If you go to the low values then you're on blue complementary color, i.e. yellow.
With V (Cr), this is the same principle but with Red and Cyan.
e.g. If you push U full blue and V full red, you get magenta. If you push U full yellow and V full Cyan then you get green.

YUV simultaneously adds to one side of the color equation while subtracting from the other.  
using YUV to do color correction can be very problematic because each curve alters the result of each other: the mutual influence between U and V often makes things tricky. You may also be careful in what you do to avoid the raise of noise (which happens very easily). Best results are obtained with little adjustments

sunset that looks uninspiring and needs some color pop especially for the rays over the hill, a subtle contrast raise while setting luma values back to the legal range without hard clipping.


Free royalty pictures, [www.freeimages.com ], [http://imageshack.us/ ], [http://photobucket.com/ ], [http://rawpixels.net/], [], [], [], 


====Lunapaint====

Pixel based drawing app with onion-skin animation function

 Blocking, Shading, Coloring, adding detail 

&lt;pre&gt;
b BRUSH
e ERASER

alt eyedropper 
v layer tool 

z ZOOM / MAGNIFY &lt; &gt; n 
spc panning 
m  marque 
q lasso 
w same color selection / region 
&lt;/pre&gt;

&lt;pre&gt;
, LM RM
v 
V
f  filter 
F 
.  size 

p 
,  pick color 
[] last / next color 
&lt;/pre&gt;


There is not much missing in Lunapaint to be as good as FlipBook and then you have to take into account that Flipbook is considered to be amongst the best and easiest to use animation software out there. Ok to be honest Flipbook has some nice features that require more heavy work but those aren't so much needed right away, things like camera effects, sound, smart fill, export to different movie file formats etc.

Tried Flipbook with my tablet and compared it to Luna. The feeling is the same when sketching. LunaPaint is very responsive/fluent to draw with. Just as Flipbook is, and that responsiveness is something its users have mentioned as one of the positive sides of said software.

 author was learning MUI. Some parts just have to be rewritten with proper MUI classes before new features can be added.

* add [Frame Add] / [Frame Del]
* whole animation feature is impossible to use. If you draw 2 color maybe but if you start coloring your cells then you get in trouble
* pickup the entire image as a brush, not just a selection ? And consequently remove the brush from memory when one doesn't need it anymore. can pick up a brush and put it onto a new image but cropping isn't possible, nor to load/save brushes.
* Undo is something I longed for ages in Lunapaint.
* to import into the current layer, other types of images (e.g. JPEG) besides RAW64.
* implement graphic tablet features support


**GENERAL DRAWING**

Miss it very much:
UNDO
ERASER
COLORPICKER - has to show on palette too which color got picked.
BACKGROUND COLOR -Possibility to select from &quot;New project screen&quot;

Miss it somewhat:
ICON for UNDO
ICON for ERASER
ICON for CLEAR SCREEN ( What can I say? I start over from scratch very often )
BRUSH - possibility to cut out as brush not just copy off image to brush

**ANIMATING**

Miss it very much:
NUMBER OF CELLS - Possibity to change total no. of cells during project
ANIM BRUSH - Possibility to pick up a selected part of cells into an animbrush

Miss it somewhat:
ADD/REMOVE FRAMES: Add/remove single frame

In general LunaPaint is really well done and it feels like a new DeluxePaint version. It works with my tablet. Sure there's much missing of course but things can always be added over time. So there is great potential in LunaPaint that's for sure. Animations could be made in it and maybe put together in QuickVideo, saving in .gif or .mng etc some day.


LAYERS
-Layers names don't get saved globally in animation frames
-Layers order don't change globally in an animation (perhaps as default?).

EXPORTING IMAGES
-Exporting frames to JPG/PNG gives problems with colors. (wrong colors. See my animatiopn --&gt; My robot was blue now it's &quot;gold&quot; ) I think this only happens if you have layers.
-Trying to flatten the layers before export doesn't work if you have animation frames only the one you have visible will flatten properly all other frames are destroyed. (Only one of the layers are visible on them)
-Exporting images filenames should be for example e.g. file0001, file0002...file0010 instead as of now file1, file2...file10

LOAD/SAVE (Preferences)
-Make a setting for the default &quot;Work&quot; folder.

* Destroyed colors if exported image/frame has layers 
* mystic color cycling of the selected color while stepping frames back/forth (annoying)

&lt;pre&gt;
Deluxe Paint II enhanced key shortcuts 
    NOTE: @ denotes the ALT key

    [Technique]

    F1  - Paint
    F2  - Single Colour
    F3  - Replace
    F4  - Smear
    F5  - Shade
    F6  - Cycle
    F7  - Smooth
     M  - Colour Cycle

    [Brush]

     B  - Restore
     O  - Outline
     h  - Halve brush size
     H  - Double brush size
     x  - Flip brush on X axis
     X  - Double brush size on X axis only
     y  - Flip on Y 
     Y  - Double on Y
     z  - Rotate brush 90 degrees
     Z  - Stretch

    [Stencil]

     `  - Stencil On

    [Miscellaneous]

    F9  - Info Bar
    F10 - Selection Bar
    @o  - Co-Ordinates
    @a  - Anti-alias
    @r  - Colourise
    @t  - Translucent
    TAB - Colour Cycle

    [Picture]

     L  - Load
     S  - Save
     j  - Page to Spare(Flip)
     J  - Page to Spare(Copy)
     V  - View Page
     Q  - Quit

    [General Keys]

     m  - Magnify
     &lt;  - Zoom In
     &gt;  - Zoom Out
     [  - Palette Colour Up
     ]  - Palette Colour Down
     (  - Palette Colour Left
     )  - Palette Colour Right
     ,  - Eye Dropper
     .  - Pixel / Brush Toggle
     /  - Symmetry
     |  - Co-Ordinates
    INS - Perspective Control
    +/- - Brush Size (Fine Control)
     w  - Unfilled Polygon
     W  - Filled Polygon
     e  - Unfilled Ellipse
     E  - Filled Ellipse
     r  - Unfilled Rectangle
     R  - Filled Rectangle
     t  - Type/text tool
     a  - Select Font
    u/U - Undo
     d  - Brush
     D  - Filled Non-Uniform Polygon
    f/F - Fill Options
    g/G - Grid
    h/H - Brush Size (Coarse Control)
     K  - Clear
     c  - Unfilled Circle
     C  - Filled Circle
     v  - Line
     b  - Scissor Select and Toggle
     B  - Brush
    {,} - Toggle between two background colours
&lt;/pre&gt;

====Lodepaint====

Pixel based painting artwork app

====Grafx2====

Pixel based painting artwork app aesprite like 

[https://www.youtube.com/watch?v=59Y6OTzNrhk aesprite workflow keys and tablet use], [], 


====Vector Graphics ZuneFIG====

Vector Image Editing of files .svg .ps .eps


*Objects - raise lower rotate flip aligning snapping 
*Path - unify subtract intersect exclude divide 
*Colour - fill stroke 
*Stroke - size 
*Brushes - 
*Layers - 
*Effects - gaussian bevels glows shadows 
*Text    - 
*Transform - 


 AmiFIG ([http://epb.lbl.gov/xfig/frm_introduction.html xfig manual]) 

[[File:MyScreen.png|thumb|left|alt=Showing all Windows open in AmiFIG.|All windows available to AmiFIG.]]

for drawing simple to intermediate vector graphic images for scientific and technical uses and for illustration purposes for those with talent

;Menu options
* Load - fig format but import(s) SVG
* Save - fig format but export(s) eps, ps, pdf, svg and png
* PAN = Ctrl + Arrow keys 
* Deselect all points

There is no selected object until you apply the tool, and the selected object is not highlighted.

;Metrics - to set up page and styles - first window to open on new drawings

;Tools - Drawing Primitives - set Attributes window first before clicking any Tools button(s) 
* Shapes - circles, ellipses, arcs, splines, boxes,  polygon 
* Lines - polylines
* Text &quot;T&quot; button 
* Photos - bitmaps
* Compound - Glue, Break, Scale 
* POINTs - Move, Add, Remove 
* Objects - Move, Copy, Delete, Mirror, Rotate, Paste 
use right mouse button to stop extra lines, shapes being formed and the left mouse to select/deselect tools button(s)
* Rotate - moves in 90 degree turns centered on clicked POINT of a polygon or square

;Attributes which provide change(s) to the above primitives 
* Color
* Line Width
* Line Style
* arrowheads

;Modes 
Choose from freehand, charts, figures, magnet, etc.

;Library - allows .fig clip-art to be stored 
* compound tools to add .fig(s) together

;FIG 3.2 [http://epb.lbl.gov/xfig/fig-format.html Format] as produced by xfig version 3.2.5 
&lt;pre&gt;
Landscape
Center
Inches
Letter 
100.00
Single
-2
1200 2
4 0 0 50 -1 0 12 0.0000 4 135 1050 1050 2475 This is a test.01
&lt;/pre&gt;

# change the text alignment within the textbox. I can choose left, center, or right aligned by either changing the integer in the second column from 0 (left) to 1 or 2 (center, or right). 
# The third integer in the row specifies fontcolor. For instance, 0 is black, but blue is 1 and Green3 is 13.
# The sixth integer in the bottom row specifies fontface. 0 is Times-Roman, but 16 is Helvetica (a MATLAB default).
# The seventh number is fontsize. 12 represents a 12pt fontsize. Changing the fontsize of an item really is as easy as changing that number to 20.
# The next number is the counter-clockwise angle of the text. Notice that I have changed the angle to .7854 (pi/4 rounded to four digits=45 degrees).
# twelfth number is the position according to the standard “x-axis” in Xfig units from the left. Note that 1200 Xfig units is equivalent to once inch.
# thirteenth number is the “y-position” from the top using the same unit convention as before.

* The nested text string is what you entered into the textbox.
* The “01″ present at the end of that line in the .fig file is the closing tag. For instance, a change to \100 appends a @ symbol at the end of the period of that sentence.

; Just to note there are no layers, no 3d functions, no shading, no transparency, no animation


[[#top|...to the top]]

===Audio===


# AHI uses linear panning/balance, which means that in the center, you will get -6dB. If an app uses panning, this is what you will get. Note that apps like Audio Evolution need panning, so they will have this problem.

# When using AHI Hifi modes, mixing is done in 32-bit and sent as 32-bit data to the driver. The Envy24HT driver uses that to output at 24-bit (always).

# For the Envy24/Envy24HT, I've made 16-bit and 24-bit inputs (called Line-in 16-bit, Line-in 24-bit etc.). There is unfortunately no app that can handle 24-bit recording.


====Music Mods====

Digital module (mods) trackers are music creation software using samples and sometimes soundfonts, audio plugins (VST, AU or RTAS), MIDI.

Generally, MODs are similar to MIDI in that they contain note on/off and other sequence messages that control the mod player. Unlike (most) midi files, however, they also contain sound samples that the sequence information actually plays. MOD files can have many channels (classic amiga mods have 4, corresponding to the inbuilt sound channels), but unlike MIDI, each channel can typically play only one note at once. However, since that note might be a sample of a chord, a drumloop or other complex sound, this is not as limiting as it sounds.

Like MIDI, notes will play indefinitely if they're not instructed to end. Most trackers record this information automatically if you play your music in live. If you're using manual note entry, you can enter a note-off command with a keyboard shortcut - usually Caps Lock.

In fact when considering file size MOD is not always the best option. Even a dummy song wastes few kilobytes for nothing when a simple SID tune could be few hundreds bytes and not bigger than 64kB. AHX is another small format, AHX tunes are never larger than 64kB excluding comments.

[https://www.youtube.com/watch?v=rXXsZfwgil Protrekkr] (previously aka [w:Juan_Antonio_Arguelles_Rius|NoiseTrekkr])

If Protrekkr does not start, please check if the Unit 0 has been setup in the AHI prefs and still not, go to the directory utilities/protrekkr and double click on the Protrekkr icon

*Sample
*Note - Effect 
*Track (column) - Pattern - Order

It all starts with the Sample which is used to create Note(s) in a Track (column of a tracker) 
The Note can be changed with an Effect.  A Track of Note(s) can be collected into a Pattern (section of a song) and these can be given Order to create the whole song.

Patience (notes have to be entered one at a time) or playing the bassline on a midi controller (faster - see midi section above).  Best approach is to wait until a melody popped into your head.

*Up-tempo means the track should be reasonably fast, but not super-fast. 
*Groovy and funky imply the track should have some sort of &quot;swing&quot; feel, with plenty of syncopation or off beat emphasis and a recognizable, melodic bass line. 
*Sweet and happy mean upbeat melodies, a major key and avoiding harsh sounds.
*Moody - minor key

First, create a quick bass sound, which is basically a sine wave, but can be hand drawn for a little more variance. It could also work for the melody part, too.

This is usually a bass guitar or some kind of synthesizer bass. The bass line is often forgotten by inexperienced composers, but it plays an important role in a musical piece. Together with the rhythm section the bass line forms the groove of a song. It's the glue between the rhythm section and the melodic layer of a song.

The drums are just pink noise samples, played at different frequencies to get a slightly different sound for the kick, snare, and hihats.

Instruments that fall into the rhythm category are bass drums, snares, hi-hats, toms, cymbals, congas, tambourines, shakers, etc. Any percussive instrument can be used to form part of the rhythm section.

The lead is the instrument that plays the main melody, on top of the chords. There are many instruments that can play a lead section, like a guitar, a piano, a saxophone or a flute. The list is almost endless. There is a lot of overlap with instruments that play chords. Often in one piece an instrument serves both roles. The lead melody is often played at a higher pitch than the chords.

Listened back to what was produced so far, and a counter-melody can be imagined, which can be added with a triangle wave.

To give the ends of phrases some life, you can add a solo part with a crunchy synth. By hitting random notes in the key of G, then edited a few of them.

For the climax of the song, filled out the texture with a gentle high-pitch pad… …and a grungy bass synth.


The arrow at A points at the pattern order list. As you see, the patterns don't have to be in numerical order. This song starts with pattern &quot;00&quot;, then pattern &quot;02&quot;, then &quot;03&quot;, then &quot;01&quot;, etcetera. Patterns may be repeated throughout a song.

The B arrow points at the song title. Below it are the global BPM and speed parameters. These determine the tempo of the song, unless the tempo is altered through effect commands during the song.

The C arrow points at the list of instruments. An instrument may consist of multiple samples. Which sample will be played depends on the note. This can be set in the Instrument Editing screen. Most instruments will consist of just one sample, though. The sample list for the selected instrument can be found under arrow D.

Here's a part of the main editing screen. This is where you put in actual notes. Up to 32 channels can be used, meaning 32 sounds can play simultaneously. The first six channels of pattern &quot;03&quot; at order &quot;02&quot; are shown here. The arrow at A points at the row number. The B arrow points at the note to play, in this case a C4. The column pointed at by the C arrow tells us which instrument is associated with that note, in this case instrument #1 &quot;Kick&quot;.

The column at D is used (mainly) for volume commands. In this case it is left empty which means the instrument should play at its default volume. You can see the volume column being used in channel #6.

The E column tells us which effect to use and any parameters for that effect. In this case it holds the &quot;F&quot; effect, which is a tempo command. The &quot;04&quot; means it should play at tempo 4 (a smaller number means faster).

Base pattern

When I create a new track I start with what I call the base pattern. It is worthwhile to spend some time polishing it as a lot of the ideas in the base pattern will be copied and used in other patterns. At least, that's how I work. Every musician will have his own way of working. In &quot;Wild Bunnies&quot; the base pattern is pattern &quot;03&quot; at order &quot;02&quot;.

In the section about selecting samples I talked about the four different categories of instruments: drums, bass, chords and leads. That's also how I usually go about making the base pattern. I start by making a drum pattern, then add a bass line, place some chords and top it off with a lead. This forms the base pattern from which the rest of the song will grow.


Drums

Here's a screenshot of the first four rows of the base pattern. I usually reserve the first four channels or so for the drum instruments. Right away there are a couple of tricks shown here. In the first channel the kick, or bass drum, plays some notes. Note the alternating F04 and F02 commands. The &quot;F&quot; command alters the tempo of the song and by quickly alternating the tempo; the song will get some kind of &quot;swing&quot; feel.

In the second channel the closed hi-hat plays a fairly simple pattern. Further down in the channel, not shown here, some open hi-hat notes are added for a bit of variation.

In the third and fourth channel the snare sample plays. The &quot;8&quot; command is for panning. One note is panned hard to the left and the other hard to the right. One sample is played a semitone lower than the other. This results in a cool flanging effect. It makes the snare stand out a little more in the mix.


Bass line

There are two different instruments used for the bass line. Instrument #6 is a pretty standard synthesized bass sound. Instrument #A sounds a bit like a slap bass when used with a quick fade out. By using two different instruments the bass line sounds a bit more ”human”. The volume command is used to cut off the notes. However, it is never set to zero. Setting the volume to a very small value will result in a reverb-like effect. This makes the song sound more &quot;live&quot;.

The bass line hints at the chords that will be played and the key the song will be in. In this case the key of the song is D-major, a positive and happy key.


Chords

The D major chords that are being played here are chords stabs; short sounds with a quick decay (fade out). Two different instruments (#8 and #9) are used to form the chords. These instruments are quite similar, but have a slightly different sound, panning and volume decay. Again, the reason for this is to make the sound more human. The volume command is used on some chords to simulate a delay, to achieve more of a live feel. The chords are placed off-beat making for a funky rhythm.


Lead

Finally the lead melody is added. The other instruments are invaluable in holding the track together, but the lead melody is usually what catches people's attention.

A lot of notes and commands are used here, but it looks more complex than it is. A stepwise ascending melody plays in channel 13. Channel 14 and 15 copy this melody, but play it a few rows later at a lower volume. This creates an echo effect. A bit of panning is used on the notes to create some stereo depth. Like with the bass line, instead of cutting off notes the volume is set to low values for a reverb effect. The &quot;461&quot; effect adds a little vibrato to the note, which sounds nice on sustained notes.

Those paying close attention may notice the instrument used here for the lead melody is the same as the one used for the bass line (#6 &quot;Square&quot;), except played two or three octaves higher. This instrument is a looped square wave sample. Each type of wave has its own quirks, but the square wave (shown below) is a really versatile wave form.

Song structure

Good, catchy songs are often carefully structured into sections, some of which are repeated throughout the song with small variations.

A typical pop-song structure is: Intro - Verse - Chorus - Verse - Chorus - Bridge - Chorus.

Other single sectional song structures are

&lt;pre&gt;
Strophic or AAA Song Form - oldest story telling with refrain (often title of the song) repeated in every verse section melody 
AABA Song Form - early popular, jazz and gospel fading during the 1960s 
AB or Verse/Chorus Song Form - songwriting format of choice for modern popular music since the 1960s 
Verse/Chorus/Bridge Song Form
ABAB Song Form
ABAC Song Form
ABCD Song Form
AAB 12-Bar Song Form - three four-bar lines or sub-sections 
8-Bar Song Form
16-Bar Song Form
Hybrid / Compound Song Forms
&lt;/pre&gt;

The most common building blocks are:

#INTRODUCTION(INTRO)
#VERSE
#REFRAIN
#PRE-CHORUS / RISE / CLIMB
#CHORUS
#BRIDGE
#MIDDLE EIGHT
#SOLO / INSTRUMENTAL BREAK
#COLLISION
#CODA / OUTRO
#AD LIB (OFTEN IN CODA / OUTRO)

The chorus usually has more energy than the verse and often has a memorable melody line. As the chorus is repeated the most often during the song, it will be the part that people will remember.

The bridge often marks a change of direction in the song. It is not uncommon to change keys in the bridge, or at least to use a different chord sequence. The bridge is used to build up tension towards the big finale, the last repetition of chorus.


 Playing

RCTRL:                           Play song from row 0.

LSHIFT + RCTRL:                  Play song from current row.

RALT:                            Play pattern from row 0.

LSHIFT + RALT:                   Play pattern from current row.

Left mouse on '&gt;':               Play song from row 0.

Right mouse on '&gt;':              Play song from current row.

Left mouse on '|&gt;':              Play pattern from row 0.

Right mouse on '|&gt;':             Play pattern from current row.

Left mouse on 'Edit/Record':     Edit mode on/off.

Right mouse on 'Edit/Record':    Record mode on/off.


 Editing 


LSHIFT + ESCAPE:                 Switch large patterns view on/off

TAB:                    Go to next track

LSHIFT + TAB:                    Go to prev. track

LCTRL + TAB:                    Go to next note in track

LCTRL + LSHIFT + TAB:           Go to prev. note in track

SPACE:                           Toggle Edit mode On &amp; Off

(Also stop if the song is being played)

SHIFT SPACE:                     Toggle Record mode On &amp; Off

(Wait for a key note to be pressed

or a midi in message to be received)

DOWN ARROW:                      1 Line down

UP ARROW:                        1 Line up

LEFT ARROW:                      1 Row left

RIGHT ARROW:                     1 Row right

PREV. PAGE:                      16 Arrows Up

NEXT PAGE:                       16 Arrows Down

HOME / END:                      Top left / Bottom right of pattern

LCTRL + HOME / END:              First / last track

F5, F6, F7, F8, F9:              Jump to 0, 1/4, 2/4, 3/4, 4/4 lines of the patterns

+ - (Numeric keypad):           Next / Previous pattern

LCTRL + LEFT / RIGHT:           Next / Previous pattern

LCTRL + LALT + LEFT / RIGHT:    Next / Previous position

LALT + LEFT / RIGHT:           Next / Previous instrument

LSHIFT + M:                      Toggle mute state of the current channel

LCTRL + LSHIFT + M:             Solo the current track / Unmute all

LSHIFT + F1 to F11:              Select a tab/panel

LCTRL + 1 to 4:                 Select a copy buffer


 Tracking 

1st and 2nd keys rows:           Upper octave row

3rd and 4th keys rows:           Lower octave row

RSHIFT:                          Insert a note off

/ and * (Numeric keypad)

or F1 F2:                        -1 or +1 octave

INSERT / BACKSPACE:              Insert or Delete a line in current track

or current selected block.

LSHIFT + INSERT / BACKSPACE:     Insert or Delete a line in current pattern

DELETE (NOT BACKSPACE):          Empty a column or a selected block.


 Blocks

(Blocks can also be selected with the mouse by holding the right button and scrolling the pattern with the mouse wheel).


LCTRL + A:          Select entire current track

LCTRL + LSHIFT + A: Select entire current pattern

LALT + A:          Select entire column note in a track

LALT + LSHIFT + A: Select all notes of a track

LCTRL + X:          Cut the selected block and copy it into the block-buffer

LCTRL + C:          Copy the selected block into the block-buffer

LCTRL + V:          Paste the data from the block buffer into the pattern

LCTRL + I:          Interpolate selected data from the first to the last row of a selection

LSHIFT + ARROWS

PREV. PAGE

NEXT PAGE: Select a block

LCTRL + R:          Randomize the select columns of a selection, works similar to CTRL + I (interpolating them)

LCTRL + U:          Transpose the note of a selection to 1 seminote higher

LCTRL + D:          Transpose the note of a selection to 1 seminote lower

LCTRL + LSHIFT + U: Transpose the note of a selection to 1 seminote higher (only for the current instrument)

LCTRL + LSHIFT + D: Transpose the note of a selection to 1 seminote lower  (only for the current instrument)

LCTRL + H:          Transpose the note of a selection to 1 octave higher

LCTRL + L:          Transpose the note of a selection to 1 octave lower

LCTRL + LSHIFT + H: Transpose the note of a selection to 1 octave higher (only for the current instrument)

LCTRL + LSHIFT + L: Transpose the note of a selection to 1 octave lower (only for the current instrument)

LCTRL + W:          Save the current selection into a file


 Misc 


LALT + ENTER:     Switch between full screen / windowed mode

LALT + F4:        Exit program (Windows only)

LCTRL + S:         Save current module

LSHIFT + S:         Switch top right panel to synths list

LSHIFT + I:         Switch top right panel to instruments list


&lt;pre&gt;
C-x   xh xx xx hhhh             Volume 
B-x   xh xx xx hhhh             Jump to 
A#x  xh xx xx hhhh hhhh   Slide 
F-x    xh xx xx hhhh            Tempo 
D-x   xh xx xx hhhh             Pattern Break 
G#x  xh xx xx hhhh
&lt;/pre&gt;

h Hex 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13

d Dec 01 02 03 04 05 06 07 08 09 10  11 12 13 14 15 16 17 18 19

The Set Volume command: C. Input a note, then move the cursor to the effects command column and type a C. Play the pattern, and you shouldn't be able to hear the note you placed the C by. This is because the effect parameters are 00. Change the two zeros to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the pattern again, and the note should come in at full volume.

The Position Jump command next. This is just a B followed by the position in the playing list that you want to jump to. One thing to remember is that the playing list always starts at 0, not 1. This command is usually in Hex.

Onto the volume slide command: A. This is slightly more complex (much more if you're using a newer tracker, if you want to achieve the results here, then set slides to Amiga, not linear), due to the fact it depends on the secondary tempo. For now set a secondary tempo of 06 (you can play around later), load a long or looped sample and input a note or two. A few rows after a note type in the effect command A. For the parameters use 0F. Play back the pattern, and you should notice that when the effect kicks in, the sample drops to a very low volume very quickly. Change the effect parameters to F0, and use a low volume command on the note. Play back the pattern, and when the slide kicks in the volume of the note should increase very quickly.
This because each part of the effect parameters for command A does a different thing. The first number slides the volume up, and the second slides it down. It's not recommended that you use both a volume up and volume down at the same time, due to the fact the tracker only looks for the first number that isn't set to 0. If you specify parameters of 8F, the tracker will see the 8, ignore the F, and slide the volume up. Using a slide up and down at same time just makes you look stupid. Don't do it...

The Set Tempo command: F, is pretty easy to understand. You simply specify the BPM (in Hex) that you want to change to. One important thing to note is that values of lower than 20 (Hex) sets the secondary tempo rather than the primary.

Another useful command is the Pattern Break: D. This will stop the playing of the current pattern and skip to the next one in the playing list. By using parameters of more than 00 you can also specify which line to begin playing from.

Command 3 is Portamento to Note. This slides the currently playing note to another note, at a specified speed. The slide then stops when it reaches the desired note. 
&lt;pre&gt;
   C-2 1 000 - Starts the note playing
   ---      000
   C-3    330 - Starts the slide to C-3 at a speed of 30.
   ---     300 - Continues the slide
   ---     300 - Continues the slide
&lt;/pre&gt;
Once the parameters have been set, the command can be input again without any parameters, and it'll still perform the same function unless you change the parameters. This memory function allows certain commands to function correctly, such as command 5, which is the Portamento to Note and Volume Slide command. Once command 3 has been set up command 5 will simply take the parameters from that and perform a Portamento to Note. Any parameters set up for command 5 itself simply perform a Volume Slide identical to command A at the same time as the Portamento to Note.

This memory function will only operate in the same channel where the original parameters were set up.
There are various other commands which perform two functions at once. They will be described as we come across them.

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  00

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  02

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  05

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  08

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0A

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0D

C-3  04  ..  ..  09  10 ---&gt; C-3  04  ..  ..  09  10

(You can also switch on the Slider Rec to On, and perform parameter-live-recording, such as cutoff transitions, resonance or panning tweaking, etc..)  Note: this command only works for volume/panning and fx datas columns.


The next command we'll look at is the Portamento up/down: 1 and 2. Command 1 slides the pitch up at a specified speed, and 2 slides it down. This command works in a similar way to the volume slide, in that it is dependent on the secondary tempo. Both these commands have a memory dependent on each other, if you set the slide to a speed of 3 with the 1 command, a 2 command with no parameters will use the speed of 3 from the 1 command, and vice versa.

Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just try it, and you'll see what I mean. Parameters are in the format of xy, where x is the speed of the slide, and y is the depth of the slide. One important point to remember is to keep your vibratos subtle and natural so a depth of 3 or less and a reasonably fast speed, around 8, is usually used. Setting the depth too high can make the part sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and Volume Slide command, and it has a memory like command 5, which you already know how to use.

Command 7 is Tremolo. This is similar to vibrato. Rather than changing the pitch it slides the volume. The effect parameters are in exactly the same format.   vibrato effect (0x1dxy) x = speed y = depth (can't be used if arpeggio (0x1b) is turned on) 

&lt;pre&gt;
 C-7 00 .. .. 1B37 &lt;-  Turn Arpeggio effect on
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B38 &lt;- Change datas
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B00 &lt;- Turn it off
&lt;/pre&gt;

Command 9 is Sample Offset. This starts the playback of the sample from a different place than the start. The effect parameters specify the sample offset, but only very roughly. Say you have a sample which is 8765(Hex) bytes long, and you wanted it to play from position 4321(Hex). The effect parameter could only be as accurate as the 43 part, and it would ignore the 21.

Command B is the Playing List/Order Jump command. The parameters specify the position in the Playing List/Order to jump to. When used in conjunction with command D you can specify the position and the line to play from.

Command E is pretty complex, as it is used for a lot of different things, depending on what the first parameter is. Let's take a trip through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a low pass filter, cuts off the highest frequencies being played back. There are very few players and trackers on other system that simulate this function, not that you should need to use it. The second parameter, if set to 1, turns on the filter. If set to 0, the filter gets turned off.

Commands E1/E2 are Fine Portamento Up/Down. Exactly the same functions as commands 1/2, except that they only slide the pitch by a very small amount. These commands have a memory the same as 1/2 as well.

Command E3 sets the Glissando control. If parameters are set to 1 then when using command 3, any sliding will only use the notes in between the original note and the note being slid to. This produces a somewhat jumpier slide than usual. The best way to understand is to try it out for yourself. Produce a slow slide with command 3, listen to it, and then try using E31.

Command E4 is the Set Vibrato Waveform control. This command controls how the vibrato command slides the pitch. Parameters are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to the parameters, the waveform will not be restarted when a new note is played e.g. 5 - Sine without restart.

Command E5 sets the Fine Tune of the instrument being played, but only for the particular note being played. It will override the default Fine Tune for the instrument. The parameters range from 0 to F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives no Fine Tune. If you're using a newer tracker that supports more than -8 to +8 e.g. -128 to +128, these parameters will give a rough Fine Tune, accurate to the nearest 16.

Command E6 is the Jump Loop command. You mark the beginning of the part of a pattern that you want to loop with E60, and then specify with E6x the end of the loop, where x is the number of times you want it to loop.

Command E7 is the Set Tremolo Waveform control. This has exactly the same parameters as command E4, except that it works for Tremolo rather than Vibrato.

Command E9 is for Retriggering the note quickly. The parameter specifies the interval between the retrigs. Use a value of less than the current secondary tempo, or else the note will not get retrigged.

Command EA/B are for Fine Volume Slide Up/Down. Much the same as the normal Volume Slides, except that these are easier to control since they don't depend on the secondary tempo. The parameters specify the amount to slide by e.g. if you have a sample playing at a volume of 08 (Hex) then the effect EA1 will slide this volume to 09 (Hex). A subsequent effect of EB4 would slide this volume down to 05 (Hex).

Command EC is the Note Cut. This sets the volume of the currently playing note to 0 at a specified tick. The parameters should be lower than the secondary tempo or else the effect won't work.

Command ED is the Note Delay. This should be used at the same time as a note is to be played, and the parameters will specify the number of ticks to delay playing the note. Again, keep the parameters lower than the secondary tempo, or the note won't get played!

Command EE is the Pattern Delay. This delays the pattern for the amount of time it would take to play a certain number of rows. The parameters specify how many rows to delay for.

Command EF is the Funk Repeat command. Set the sample loop to 0-1000. When EFx is used, the loop will be moved to 1000- 2000, then to 2000-3000 etc. After 9000-10000 the loop is set back to 0- 1000. The speed of the loop &quot;movement&quot; is defined by x. E is two times as slow as F, D is three times as slow as F etc. EF0 will turn the Funk Repeat off and reset the loop (to 0-1000).

effects 0x41 and 0x42 to control the volumes of the 2 303 units

There is a dedicated panel for synth parameter editing with coherent sections (osc, filter modulation, routing, so on) the interface is much nicer, much better to navigate with customizable colors, the reverb is now customizable (10 delay lines), It accepts newer types of Waves (higher bit rates, at least 24). Has a replay routine.

It's pretty much your basic VA synth. The problem isn't with the sampler being to high it's the synth is tuned two octaves too low, but if you want your samples tuned down just set the base note down 2 octaves (in the instrument panel).

so the synth is basically divided into 3 sections from left to right: oscillators/envelopes, then filter and LFO's, and in the right column you have mod routings and global settings.

for the oscillator section you have two normal oscillators (sine, saw, square, noise), the second of which is tunable, the first one tunes with the key pressed. Attached to OSC 1 is a sub-oscillator, which is a sawtooth wave tuned one octave down. The phase modulation controls the point in the duty cycle at which the oscillator starts. The ADSR envelope sliders (grouped with oscs) are for modulation envelope 1 and 2 respectively. you can use the synth as a sampler by choosing the instrument at the top.

In the filter column, the filter settings are: 1 = lowpass, 2 = highpass, 3 = off. cutoff and resonance. For the LFOs they are LFO 1 and LFO 2, the ADSR sliders in those are for the LFO itself.

For the modulation routings you have ENV 1, LFO 1 for the first slider and ENV 2, LFO 2 for the second, you can cycle through the individual routings there, and you can route each modulation source to multiple destinations of course, which is another big plus for this synth. Finally the glide time is for portamento and master volume, well, the master volume... it can go quite loud.

The sequencer is changed too, It's more like the one in AXS if you've used that, where you can mute tracks to re-use patterns with variation.


&lt;pre&gt;
Support for the following modules formats:
669 (Composer 669, Unis 669), 
AMF (DSMI Advanced Module Format), 
AMF (ASYLUM Music Format V1.0), 
APUN (APlayer), DSM (DSIK internal format), 
FAR (Farandole Composer), 
GDM (General DigiMusic), 
IT (Impulse Tracker), 
IMF (Imago Orpheus), 
MOD (15 and 31 instruments), 
MED (OctaMED), 
MTM (MultiTracker Module editor), 
OKT (Amiga Oktalyzer), 
S3M (Scream Tracker 3), 
STM (Scream Tracker), 
STX (Scream Tracker Music Interface Kit), 
ULT (UltraTracker), 
UNI (MikMod), 
XM (FastTracker 2),
Mid (midi format via timidity)
&lt;/pre&gt;


Possible plugin options include [http://lv2plug.in/ LV2],


====Midi - Musical Instrument Digital Interface====

A midi file typically contains music that plays on up to 16 channels (as per the midi standard), but many notes can simultaneously play on each channel (depending on the limit of the midi hardware playing it).

'''Timidity'''

Although usually already installed, you can uncompress the [http://www.libsdl.org/projects/SDL_mixer/ timidity.tar.gz (14MB)] into a suitable drawer like below's SYS:Extras/Audio/ 
 assign timidity: SYS:Extras/Audio/timidity
added to SYSːs/User-Startup

'''WildMidi playback'''


'''Audio Evolution 4 (2003) 4.0.23 (from 2012)'''


*Sync Menu    - CAMD Receive, Send checked 
*Options Menu - MIDI Machine Control - Midi Bar Display - Select CAMD MIDI in / out - Midi Remote Setup 


MCB Master Control Bus 
*Sending a MIDI start-command and a Song Position Pointer, you can synchronize audio with an external MIDI sequencer (like B&amp;P). 
*B&amp;P Receive, start AE, add AudioEvolution.ptool in Bars&amp;Pipes track, press play / record in AE then press play in Pipes 
*CAMD Receive, receive MIDI start or continue commands via camd.library sync to AE 


*MIDI Machine Control
*Midi Bar Display 
*Select CAMD MIDI in / out
*Midi Remote Setup - open requester for external MIDI controllers to control app mixer and transport controls cc remotely 
 Channel   - mixer(vol, pan, mute, solo), eq, aux, fx, 
 Subgroup  - Volume, Mute, Solo 
 Transport - Start, End, Play, Stop, Record, Rewind, Forward 
 Misc      - Master vol., Bank Down, Bank up 


&lt;pre&gt;
q        - quit 

First 3 already opened when AE started 
F1       - timeline window
F2       - mixer 
F3       - control 
F4       - subgroups 
F5       - aux returns 
F6       - sample list 

i        - Load sample to use 

space    - start/stop play 
b        - reset time 0:00


s        - split mode 
r        - open recording window 
a        - automation edit mode with p panning, m mute and v volume 


[ / ]    - zoom in / out 
:        - previous track
*        - next track 

x c v f  - cut copy paste cross-fade 
g        - snap grid 


&lt;/pre&gt;


 '''[http://bnp.hansfaust.de/ Bars n Pipes sequencer]'''

 BarsnPipes debug ... in shell 

Menu (right mouse)  
*Song        - Songs load and save in .song format but option here to load/save Midi_Files .mid in FORMAT0 or FORMAT1 
*Track       - 
*Edit        -
*Tool        - 
*Timing      - SMTPE Synchronizing 
*Windows     - 
*Preferences - Multiple MIDI-in option 

Windows (some of these are usually already opened when Bars n Pipes starts up for the first time) 
*Workflow -&gt; Tracks, .... Song Construction, Time-line Scoring, Media Madness, Mix Maestro, 
*Control  -&gt; Transport (or mini one), Windows (which collects all the Windows icons together-shortcut), .... Toolbox, Accessories, Metronome, 

Once you have your windows placed on the screen that suits your workflow, Song -&gt; Save as Default will save the positions, colors, icons, etc as you'd like them 

If you need a particular setup of Tracks, Tools, Tempos etc, you save them all as a new song you can load each time 

Right mouse menu -&gt; Preferences -&gt; Environment... -&gt; ScreenMode  - Linkages for Synch (to Slave) usbmidi.out.0 and Send (Master) usbmidi.in.0 - Clock MTC 


'''Tracks'''

#Double-click on B&amp;P's icon. B&amp;P will then open with an empty Song. You can also double-click on a song icon to open a song in B&amp;P.
#Choose a track. The B&amp;P screen will contain a Tracks Window with a number of tracks shown as pipelines (Track 1, Track 2, etc...). To choose a track, simply click on the gray box to show an arrow-icon to highlight it. This icon show whether a track is chosen or not. To the right of the arrow-icon, you can see the icon for the midi-input. If you double-click on this icon you can change the MIDI-in setup.
#Choose Record for the track. To the right of the MIDI-input channel icon you can see a pipe. This leads to another clickable icon with that shows either P, R or M. This stands for Play, Record or Merge. To change the icon, simply click on it. If you choose P, this track can only play the track (you can't record anything). If you choose R, you can record what you play and it overwrites old stuff in the track. If you choose M, you merge new records with old stuff in the track. Choose R now to be able to make a record.
#Chose MIDI-channel. On the most right part of the track you can see an icon with a number in it. This is the MIDI-channel selector. Here you must choose a MIDI-channel that is available on your synthesizer/keyboard. If you choose General MIDI channel 10, most synthesizer will play drum sounds. To the left of this icon is the MIDI-output icon. Double-click on this icon to change the MIDI-output configuration.
#Start recording. The next step is to start recording. You must then find the control buttons (they look like buttons on a CD-player). To be able to make a record. you must click on the R icon. You can simply now press the play button (after you have pressed the R button) and play something on you keyboard. To playback your composition, press the Play button on the control panel.
#Edit track. To edit a track, you simply double click in the middle part of a track. You will then get a new window containing the track, where you can change what you have recorded using tools provided. Take also a look in the drop-down menus for more features.


Videos to help understand [https://www.youtube.com/watch?v=A6gVTX-9900 small intro], [https://www.youtube.com/watch?v=abq_rUTiSA4&amp;t=3s Overview], [https://www.youtube.com/watch?v=ixOVutKsYQo Workplace Setup CC PC Sysex], [https://www.youtube.com/watch?v=dDnJLYPaZTs Import Song], [https://www.youtube.com/watch?v=BC3kkzPLkv4 Tempo Mapping], [https://www.youtube.com/watch?v=sd23kqMYPDs ptool Arpeggi-8], [https://www.youtube.com/watch?v=LDJq-YxgwQg  PlayMidi Song], [https://www.youtube.com/watch?v=DY9Pu5P9TaU Amiga Midi], [https://www.youtube.com/watch?v=abq_rUTiSA4 Learning Amiga bars and Pipes], 

Groups like [https://groups.io/g/barsnpipes/topics this] could help 


'''Tracks window'''

* blue &quot;1 2 3 4 5 6 7 8 Group&quot; and transport tape deck VCR-type controls
* Flags 
* [http://theproblem.alco-rhythm.com/org/bp.html Track 1, Track2, to Track 16, on each Track there are many options that can be activated] 

Each Track has a 

*Left LHS  - Click in grey box to select what Track to work on, Midi-In ptool icon should be here (5pin plug icon), and many more from the Toolbox on the Input Pipeline 
*Middle    - (P, R, M) Play, Record, Merge/Multi before the sequencer line and a blue/red/yellow (Thru Mute Play) Tap 
*Right RHS - Output pipeline, can have icons placed uopn it with the final ptool icon(s) being the 5pin icon symbol for Midi-OUT 

Clogged pipelines may need Esc pressed several times 


'''Toolbox (tools affect the chosen pipeline)'''

After opening the Toolbox window you can add extra Tools (.ptool) for the pipelines like keyboard(virtual), midimonitor, quick patch, transpose, triad, (un)quantize, feedback in/out, velocity etc
 right mouse -&gt; Toolbox menu option -&gt; Install Tool... and navigate to Tool drawer (folder) and select requried .ptool 

Accompany B tool to get some sort of rythmic accompaniment, Rythm Section and Groove Quantize are examples of other tools that make use of rythms
[https://aminet.net/search?query=bars Bars &amp; Pipes pattern format .ptrn] for drawer (folder). Load from the Menu as Track or Group 


'''Accessories (affect the whole app)''' 

Accessories -&gt; Install... and goto the Accessories drawer for .paccess like adding ARexx scripting support 


'''Song Construction'''
&lt;pre&gt;
F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Duplicator 
F5  Eraser 
F6  Toolpad 
F7  Bounding box 
F8  Lock to A-B-A 

A-B-A strip, section, edit flags, white boxes, 

&lt;/pre&gt;


Bars&amp;Pipes Professional offers three track formats; basic song tracks, linear tracks — which don't loop — and finally real‑time tracks. The difference between them is that both song and linear tracks respond to tempo changes, while real‑time tracks use absolute timing, always trigger at the same instant regardless of tempo alterations 

'''Tempo Map'''

F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Eraser 
F5  Curve 
F6  Toolpad 


Compositions

Lyrics, Key, Rhythm, Time Signature 

'''Master Parameters'''

Key, Scale/Mode

'''Track Parameters'''

Dynamics 


'''Time-line Scoring'''


'''Media Madness'''


'''Mix Maestro'''


*ACCESSORIES         Allows the importation of other packages and additional modules 
*CLIPBOARD           Full cut, copy and paste operations, enabling user‑definable clips to be shared between tracks.
*INFORMATION         A complete rundown on the state of the current production and your machine.
*MASTER PARAMETERS   Enables global definition of time signatures, lyrics, scales, chords, dynamics and rhythm changes.
*MEDIA MADNESS       A complete multimedia sequencer which allows samples, stills, animation, etc 
*METRONOME           Tempo feedback via MIDI, internal Amiga audio and colour cycling — all three can be mixed and matched as required.
*MIX MAESTRO         Completely automated mixdown with control for both volume and pan. All fader alterations are memorised by the software 
*RECORD ACTIVATION   Complete specification of the data to be recorded/merged. Allows overdubbing of pitch‑bend, program changes, modulation etc
*SET FLAGS           Numeric positioning of location and edit flags in either SMPTE or musical time 
*SONG CONSTRUCTION   Large‑scale cut and paste of individual measures, verses or chorus, by means of bounding box and drag‑n‑drop mouse selections
*TEMPO MAP           Tempo change using a variety of linear and non‑linear transition curves 
*TEMPO PALETTE       Instant tempo changes courtesy of four user‑definable settings.
*TIMELINE SCORING    Sequencing of a selection of songs over a defined period — ideal for planning an entire set for a live performance.
*TOOLBOX             Selection screen for the hundreds of signal‑processing tools available 
*TRACKS              Opens the main track window to enable recording, editing and the use of tools.
*TRANSPORT           Main playback control window, which also provides access to user‑ defined flags, loop and punch‑in record modes.


Bars and Pipes Pro 2.5 is using internal 4-Byte IDs, to check which kind of data are currently processed.
Especially in all its files the IDs play an important role. The IDs are stored into the file in the same order they are laid out in the memory.

In a Bars 'N' Pipes file (no matter which kind) the ID &quot;NAME&quot; (saved as its ANSI-values) is stored on a big endian system (68k-computer) as &quot;NAME&quot;. On a little endian system (x86 PC computer) as &quot;EMAN&quot;.  The target is to make the AROS-BnP compatible to songs, which were stored on a 68k computer (AMIGA).

If possible, setting MIDI channels for Local Control for your keyboard 

http://www.fromwithin.com/liquidmidi/archive.shtml


MIDI files are essentially a stream of event data. An event can be many things, but typically &quot;note on&quot;, &quot;note off&quot;, &quot;program change&quot;, &quot;controller change&quot;, or messages that instruct a MIDI compatible synth how to play a given bit of music.

* Channel     - 1 to 16 -
* Messages    - PC presets, CC effects like delays, reverbs,  etc 
* Sequencing  - MIDI instruments, Drums, Sound design, 
* Recording   - 
* GUI         - Piano roll or Tracker, Staves and Notes 

MIDI events/messages like step entry e.g. Note On, Note Off 

MIDI events/messages like PB, PC, CC, Mono and Poly After-Touch, Sysex, etc 

MIDI sync - Midi Clocks (SPS Measures), Midi Time Code (h, m, s and frames) SMPTE 

Individual track editing with audition edits so easier to test any changes. Possible to stop track playback, mix clips from the right edit flag and scroll the display using arrow keys. 

Step entry, to extend a selected note hit the space bar and the note grows accordingly. Ability to cancel mouse‑driven edits by simply clicking the right mouse button — at which point everything snaps back into its original form. Lyrics can now be put in with syllable dividers, even across an entire measure or section. Autoranging when you open a edit window, the notes are automatically displayed — working from the lowest upwards. 

Flag editing, shift‑click on a flag immediately open the bounds window, ready for numeric input. Ability to cancel edits using the right‑hand mouse button, plus much improved Bounding Box operations.

Icons other than the BarsnPipes icon -&gt; PUBSCREEN=BarsnPipes (cannot choose modes higher than 8bit 256 colors)

Preferences -&gt; Menu in Tracks window - Send MIDI defaults OFF 

Prefs -&gt; Environment -&gt; screenmode (saved to BarsnPipes.prefs binary file) 

Customization -&gt; pics in gui drawer (folder) - 


Can save as .song files and .mid General Midi 

SMF is a “Standard Midi File”  ([http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html SMF0, SMF1 and SMF2]), [https://github.com/stump/libsmf libsmf], [https://github.com/markc/midicomp MIDIcomp], [https://github.com/MajicDesigns/MD_MIDIFile C++ src], [], [https://github.com/newdigate/midi-smf-reader Midi player], 

* SMF0        All MIDI data is stored in one track only, separated exclusively by the MIDI channel.
* SMF1        The MIDI data is stored in separate tracks/channels.
* SMF2 (rarely used) The MIDI data is stored in separate tracks, which are additionally wrapped in containers, so it's possible to have e.g. several tracks using the same MIDI channels.


Would it be possible to enrich Bars N’Pipes with software synth and sample support along with audio recording and mastering tools like in the named MAC or PC music sequencers?
On the classic AMIGA-OS this is not possible because of missing CPU-power. The hardware of the classic AMIGA is not further developed. So we must say (unfortunately) that those dreams can’t become reality

BarsnPipes is best used with external MIDI-equipment. This can be a keyboard or synthesizer with MIDI-connectors. 

&lt;pre&gt;
MIDI can control 16 channels 
There are USB-MIDI-Interfaces on the market with 16 independent MIDI-lines (multi-port), which can handle 16 MIDI devices independently – 16×16 = 256 independent MIDI-channels or instruments 
handle up to 16 different USB-MIDI-Interfaces (multi-device). That is: 16X16X16 = 4096 independent MIDI-channels – theoretically 
&lt;/pre&gt;

&lt;pre&gt;
Librarian MIDI SYStem EXplorer (sysex) - PatchEditor and used to be supplied as a separate program like PatchMeister but currently not at present 
It should support MIDI.library (PD), BlueRibbon.library (B&amp;P), TriplePlayPlus, and CAMD.library (DeluxeMusic) and 
MIDI information from a device's user manual and configure a custom interface to access parameters for all MIDI products connected to the system 
Supports ALL MIDI events and the Patch/Librarian data is stored in MIDI standard format 
Annette M.Crowling, Missing Link Software, Inc.
&lt;/pre&gt;


Composers
&lt;pre&gt;
[https://x.com/hirasawa/status/1403686519899054086 Susumu Hirasawa] 

&lt;/pre&gt;


&lt;pre&gt;
1988 Todor Fay and his wife Melissa Jordan Gray, who founded the Blue Ribbon Inc
1992 Bars&amp;Pipes Pro published 
November 2000, Todor Fay announcement to release the sourcecode of Bars&amp;Pipes Pro 2.5c beta
end of May 2001, the source of the main program and the sources of some tools and accessories were in a complete and compileable state 
end of October 2009 stop further development of BarsnPipes New for now on all supported systems and made freeware 
2013 Alfred Faust diagnosed with incureable illness, called „Myastenia gravis“ (weak muscles) 
&lt;/pre&gt;


 Protrekkr

How to use Midi In/Out in Protrekkr ?

First of all, midi in &amp; out capabilities of this program are rather limited.

# Go to Misc. Setup section and select a midi in or out device to use (ptk only supports one device at a time).
# Go to instrument section, and select a MIDI PRG (the default is N/A, which means no midi program selected).
# Go to track section and here you can assign a midi channel to each track of ptk.
# Play notes :]. Note off works. F'x' note cut command also works too, and note-volume command (speed) is supported.

Also, you can change midicontrollers in the tracker, using '90' in the panning row:

&lt;pre&gt;
    C-3 02 .. .. 0000....


    --- .. .. 90 xxyy.... &lt;&lt; This will set the value 
    --- .. .. .. 0000....    of the controller n.'xx' to 'yy' (both in hex)
    --- .. .. .. 0000....
&lt;/pre&gt;

So &quot;--- .. .. 90 2040....&quot; will set the controller number $20(32) to $40(64).

You will need the midi implementation table of your gear to know what you can change with midi controller messages.

 N.B. Not all MIDI devices are created equal!

Although the MIDI specification defines a large range of MIDI messages of various kinds, not every MIDI device is required to work in exactly the same way and respond to all the available messages and ways of working. For example, we don't expect a wind synthesiser to work in the same way as a home keyboard.

Some devices, the older ones perhaps, are only able to respond to a single channel. With some of those devices that channel can be altered from the default of 1 (probably) to another channel of the 16 possible.

Other devices, for instance monophonic synthesisers, are capable of producing just one note at a time, on one MIDI channel. Others can produce many notes spread across many channels.

Further devices can respond to, and transmit, &quot;breath controller&quot; data (MIDI controller number 2 (CC#2)) others may respond to the reception of CC#2 but not be able to create and to send it.

A controller keyboard may be capable of sending &quot;expression pedal&quot; data, but another device may not be capable of responding to that message.

Some devices just have the basic GM sound set. The &quot;voice&quot; or &quot;instrument&quot; is selected using a &quot;Program Change&quot; message on its own.

Other devices have a greater selection of voices, usually arranged in &quot;banks&quot;, and the choice of instrument is made by responding to &quot;Bank Select MSB&quot; (MIDI controller 0 (CC#0)), others use &quot;Bank Select LSB&quot; (MIDI controller number 32 (CC#32)), yet others use both MSB and LSB sent one after the other, all followed by the Program Change message. The detailed information about all the different voices will usually be available in a published MIDI Data List.


 MIDI Implementation Chart

But in the User Manual there is sometimes a summary of how the device works, in terms of MIDI, in the chart at the back of the manual, the MIDI Implementation Chart.

If you require two devices to work together you can compare the two implementation charts to see if they are &quot;compatible&quot;. In order to do this we will need to interpret that chart.

The chart is divided into four columns headed &quot;Function&quot;, &quot;Transmitted&quot; (or &quot;Tx&quot;), &quot;Received&quot; (or &quot;Rx&quot;), or more correctly &quot;Recognised&quot;, and finally, &quot;Remarks&quot;.

&lt;pre&gt;
The left hand column defines which MIDI functions are being described.
The 2nd column defines what the device in question is capable of transmitting to another device.
The 3rd column defines what the device is capable of responding to.
The 4th column is for explanations of the values contained within these previous two columns.
&lt;/pre&gt;

There should then be twelve sections, with possibly a thirteenth containing extra &quot;Notes&quot;. Finally there should be an explanation of the four MIDI &quot;modes&quot; and what the &quot;X&quot; and the &quot;O&quot; mean.
&lt;pre&gt;
Mode 1: Omni On, Poly; 
Mode 2: Omni On, Mono; 
Mode 3: Omni Off, Poly; 
Mode 4: Omni Off, Mono.
&lt;/pre&gt;
O means &quot;yes&quot; (implemented), X means &quot;no&quot; (not implemented).

Sometimes you will find a row of asterisks &quot;**************&quot;, these seem to indicate that the data is not applicable in this case. Seen in the transmitted field only (unless you've seen otherwise).

Lastly you may find against some entries an asterisk followed by a number e.g. *1, these will refer you to further information, often on a following page, giving more detail.

Basic Channel
But the very first set of boxes will tell us the &quot;Basic Channel(s)&quot; that the device sends or receives on. 
&quot;Default&quot; is what happens when the device is first turned on, &quot;changed&quot; is what a switch of some kind may allow the device to be set to. 
For many devices e.g. a GM sound module or a home keyboard, this would be 1-16 for both. That is it can handle sending and receiving on all MIDI channels.

On other devices, for example a synthesiser, it may by default only work on channel 1. But the keyboard could be &quot;split&quot; with the lower notes e.g. on channel 2. If the synth has an arppegiator, this may be able to be set to transmit and or receive on yet another channel.
So we might see the default as &quot;1&quot; but the changed as &quot;1-16&quot;.

Modes.
We need to understand Omni On and Off, and Mono and Poly, then we can decipher the four modes.

But first we need to understand that any of these four Mode messages can be sent to any MIDI channel. They don't necessarily apply to the whole device.

If we send an &quot;Omni On&quot; message (CC#125) to a MIDI channel of a device, we are, in effect, asking it to respond to e.g. a Note On / Off message pair, received on any of the sixteen channels. Sound strange? Read it again. Still strange? It certainly is. We normally want a MIDI channel to respond only to Note On / Off messages sent on that channel, not any other. In other words, &quot;Omni Off&quot;.

So &quot;Omni Off&quot; (CC#124) tells a channel of our MIDI device to respond only to messages sent on that MIDI channel.

&quot;Poly&quot; (CC#127) is for e.g. a channel of a polyphonic sound module, or a home keyboard, to be able to respond to many simultaneous Note On / Off message pairs at once and produce musical chords.

&quot;Mono&quot; (CC#126) allows us to set a channel to respond as if it were e.g. a flute or a trumpet, playing just one note at a time. If the device is capable of it, then the overlapping of notes will produce legato playing, that is the attack portion of the second note of two overlapping notes will be removed resulting in a &quot;smoother&quot; transition.

So a channel with a piano voice assigned to it will have Omni Off, Poly On (Mode 3), a channel with a saxophone voice assigned could be Omni Off, Mono On (Mode 4).

We call these combinations the four modes, 1 to 4, as defined above. 
Most modern devices will have their channels set to Mode 3 (Omni Off, Poly) but be switchable, on a per channel basis, to Mode 4 (Omni Off, Mono).

This second section of data will include first its default value i.e. upon device switch on. Then what Mode messages are acceptable, or X if none.

Finally, in the &quot;Altered&quot; field, how a Mode message that can't be implemented will be interpreted. Usually there will just be a row of asterisks effectively meaning nothing will be done if you try to switch to an unimplemented mode.

Note Number
&lt;pre&gt;
The next row will tell us which MIDI notes the device can send or receive, normally 0-127.
The second line, &quot;True Voice&quot; has the following in the MIDI specification: 
&quot;Range of received note numbers falling within the range of true notes produced by the instrument.&quot;
My interpretation is that, for instance, a MIDI piano may be capable of sending all MIDI notes (0 to 127) by transposition, but only responding to the 88 notes (21 to 108) of a real piano. 
&lt;/pre&gt;

Velocity
This will tell us whether the device we're looking at will handle note velocity, and what range from 1-127, or maybe just 64, it transmits or will recognise. So usually &quot;O&quot; plus a range or &quot;X&quot; for not implemented.

After touch
This may have one or two lines two it.
If a one liner the either &quot;O&quot; or &quot;X&quot;, yes or no.
If a two liner then it may include &quot;Keys&quot; or &quot;Poly&quot; and &quot;Channel&quot;.
This will show whether the device will respond to Polyphonic after touch or channel after touch or neither.

Pitch Bend
Again &quot;O&quot; for implemented, &quot;X&quot; for not implemented.
(Many stage pianos will have no pitch bend capability.)
It may also, in the notes section, state whether it will respond to the full 14 bits, or not, as usually encoded by the pitch bend wheel.

Control Change
This is likely to be the largest section of the chart.
It will list all those controllers, starting from CC#0, Bank Select MSB, which the device is capable of sending, and those that it will respond to using &quot;O&quot; or &quot;X&quot; respectively.
You will, almost certainly, get some further explanation of functionality in the remarks column, or in more detail elsewhere in the documentation.

Of course you will need to know what all the various controller numbers do. Lots of the official technical specifications can be found at the [www.midi.org/techspecs/ MMA], with the table of messages and control change [www.midi.org/techspecs/midimessages.php message numbers]

Program Change
Again &quot;O&quot; or &quot;X&quot; in the Transmitted or Recognised column to indicate whether or not the feature is implemented. In addition a range of numbers is shown, typically 0-127, to show what is available.
True # (number): &quot;The range of the program change numbers which correspond to the actual number of patches selected.&quot;

System Exclusive
Used to indicate whether or not the device can send or recognise System Exclusive messages. A short description is often given in the Remarks field followed by a detailed explanation elsewhere in the documentation.

System Common - These include the following:
&lt;pre&gt;
MIDI Time Code Quarter Frame messages (device synchronisation).
Song Position Pointer
Song Select
Tune Request
&lt;/pre&gt;
The section will indicate whether or not the device can send or respond to any of these messages.

System Real Time
These include the following:
&lt;pre&gt;
Timing Clock - often just written as &quot;Clock&quot;
Start
Stop
Continue
&lt;/pre&gt;
These three are usually just referred to as &quot;Commands&quot; and listed.
Again the section will indicate which, if any, of these messages the device can send or respond to.
&lt;pre&gt;
Aux. Messages
Again &quot;O&quot; or &quot;X&quot; for implemented or not.
Aux. = Auxiliary.
Active Sense = Active Sensing.
&lt;/pre&gt;
Often with an explanation of the action of the device.

Notes
The &quot;Notes&quot; section can contain any additional comments to clarify the particular implementation.

Some of the explanations have been drawn directly from the MMA MIDI 1.0 Detailed Specification.
And the detailed explanation of some of the functions will be found there, or in the General MIDI System Level 1 or General MIDI System Level 2 documents also published by the MMA.


 OFFICIAL MIDI SPECIFICATIONS

SUMMARY OF MIDI MESSAGES
Table 1 - Summary of MIDI Messages

The following table lists the major MIDI messages in numerical (binary) order (adapted from &quot;MIDI by the Numbers&quot; by D. Valenti, Electronic Musician 2/88, and updated by the MIDI Manufacturers Association.). This table is intended as an overview of MIDI, and is by no means complete.

WARNING! Details about implementing these messages can dramatically impact compatibility with other products. We strongly recommend consulting the official MIDI Specifications for additional information.

MIDI 1.0 Specification

Message Summary Channel Voice Messages [nnnn = 0-15 (MIDI Channel Number 1-16)]

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1000nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note Off event. 
This message is sent when a note is released (ended). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1001nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note On event. 
This message is sent when a note is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1010nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Polyphonic Key Pressure (Aftertouch). 
This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. (kkkkkkk) is the key (note) number. (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Control Change. 
This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Controller numbers 120-127 are reserved as &quot;Channel Mode Messages&quot; (below). (ccccccc) is the controller number (0-119). (vvvvvvv) is the controller value (0-127).
|-
|&lt;!--Status--&gt;1100nnnn || &lt;!--Data--&gt;0ppppppp || &lt;!--Description--&gt;Program Change. This message sent when the patch number changes. (ppppppp) is the new program number.
|-
|&lt;!--Status--&gt;1101nnnn || &lt;!--Data--&gt;0vvvvvvv || &lt;!--Description--&gt;Channel Pressure (After-touch). This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. This message is different from polyphonic after-touch. Use this message to send the single greatest pressure value (of all the current depressed keys). (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1110nnnn || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Pitch Bend Change. This message is sent to indicate a change in the pitch bender (wheel or lever, typically). The pitch bender is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the receiver, but may be set using RPN 0. (lllllll) are the least significant 7 bits. (mmmmmmm) are the most significant 7 bits.
|}

Channel Mode Messages (See also Control Change, above)

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Channel Mode Messages. 
This the same code as the Control Change (above), but implements Mode control and special message by using reserved controller numbers 120-127. The commands are:
*All Sound Off. When All Sound Off is received all oscillators will turn off, and their volume envelopes are set to zero as soon as possible c = 120, v = 0: All Sound Off
*Reset All Controllers. When Reset All Controllers is received, all controller values are reset to their default values. (See specific Recommended Practices for defaults) c = 121, v = x: Value must only be zero unless otherwise allowed in a specific Recommended Practice.
*Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. 
c = 122, v = 0: Local Control Off
c = 122, v = 127: Local Control On
* All Notes Off. When an All Notes Off is received, all oscillators will turn off. 
c = 123, v = 0: All Notes Off (See text for description of actual mode commands.)
c = 124, v = 0: Omni Mode Off 
c = 125, v = 0: Omni Mode On 
c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) 
c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off)
|}

System Common Messages

System Messages (0xF0)

The final status nybble is a “catch all” for data that doesn’t fit the other statuses. They all use the most significant nybble (4bits) of 0xF, with the least significant nybble indicating the specific category.

The messages are denoted when the MSB of the second nybble is 1. When that bit is a 0, the messages fall into two other subcategories.

System Common

If the MSB of the second second nybble (4 bits) is not set, this indicates a System Common message. Most of these are messages that include some additional data bytes.

System Common Messages
Type Status Byte   Number of Data Bytes      Usage 
&lt;pre&gt;
Time Code Quarter Frame	0xF1	1	Indicates timing using absolute time code, primarily for synthronization with video playback systems. A single location requires eight messages to send the location in an encoded hours:minutes:seconds:frames format*.
Song Position	0xF2	2	Instructs a sequencer to jump to a new position in the song. The data bytes form a 14-bit value that expresses the location as the number of sixteenth notes from the start of the song.
Song Select	0xF3	1	Instructs a sequencer to select a new song. The data byte indicates the song.
Undefined	0xF4	0	
Undefined	0xF5	0	
Tune Request	0xF6	0	Requests that the receiver retunes itself**.
&lt;/pre&gt;
*MIDI Time Code (MTC) is significantly complex. Please see the MIDI Specification
**While modern digital instruments are good at staying in tune, older analog synthesizers were prone to tuning drift. Some analog synthesizers had an automatic tuning operation that could be initiated with this command.


System Exclusive

If you’ve been keeping track, you’ll notice there are two status bytes not yet defined: 0xf0 and 0xf7. These are used by the System Exclusive message, often abbreviated at SysEx. SysEx provides a path to send arbitrary data over a MIDI connection. There is a group of predefined messages for complex data, like fine grained control of MIDI Time code machinery. SysEx is also used to send manufacturer defined data, such as patches, or even firmware updates.

System Exclusive messages are longer than other MIDI messages, and can be any length. The messages are of the following format:

0xF0, 0xID, 0xdd, ...... 0xF7
The message is bookended with distinct bytes.

It opens with the Start Of Exclusive (SOX) data byte, 0xF0.
The next one to three bytes after the start are an identifier.
Values from 0x01 to 0x7C are one-byte vendor IDs, assigned to manufacturers who were involved with MIDI at the beginning.
If the ID is 0x00, it’s a three-byte vendor ID - the next two bytes of the message are the value.
&lt;pre&gt;
ID 0x7D is a placeholder for non-commercial entities.
ID 0x7E indicates a predefined Non-realtime SysEx message.
ID 0x7F indicates a predefined Realtime SysEx message.
&lt;/pre&gt;
After the ID is the data payload, sent as a stream of bytes.
The transfer concludes with the End of Exclusive (EOX) byte, 0xF7.
The payload data must follow the guidelines for MIDI data bytes – the MSB must not be set, so only 7 bits per byte are actually usable. If the MSB is set, it falls into three possible scenarios.

An End of Exclusive byte marks the ordinary termination of the SysEx transfer.
System Real Time messages may occur within the transfer without interrupting it. The recipient should handle them independently of the SysEx transfer.
Other status bytes implicitly terminate the SysEx transfer and signal the start of new messages.
 Some inexpensive USB-to-MIDI interfaces aren’t capable of handling messages longer than four bytes.

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11110000 || &lt;!--Data--&gt;0iiiiiii [0iiiiiii 0iiiiiii]  0ddddddd  --- --- 0ddddddd 11110111 || &lt;!--Description--&gt;System Exclusive. 
This message type allows manufacturers to create their own messages (such as bulk dumps, patch parameters, and other non-spec data) and provides a mechanism for creating additional MIDI Specification messages. The Manufacturer's ID code (assigned by MMA or AMEI) is either 1 byte (0iiiiiii) or 3 bytes (0iiiiiii 0iiiiiii 0iiiiiii). Two of the 1 Byte IDs are reserved for extensions called Universal Exclusive Messages, which are not manufacturer-specific. If a device recognizes the ID code as its own (or as a supported Universal message) it will listen to the rest of the message (0ddddddd). Otherwise, the message will be ignored. (Note: Only Real-Time messages may be interleaved with a System Exclusive.)
|-
|&lt;!--Status--&gt;11110001 || &lt;!--Data--&gt;0nnndddd || &lt;!--Description--&gt;MIDI Time Code Quarter Frame.
nnn = Message Type
dddd = Values
|-
|&lt;!--Status--&gt;11110010 || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Song Position Pointer. 
This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB.
|-
|&lt;!--Status--&gt;11110011 || &lt;!--Data--&gt;0sssssss || &lt;!--Description--&gt;Song Select. 
The Song Select specifies which sequence or song is to be played.
|-
|&lt;!--Status--&gt;11110100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Tune Request. Upon receiving a Tune Request, all analog synthesizers should tune their oscillators.
|-
|&lt;!--Status--&gt;11110111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;End of Exclusive. Used to terminate a System Exclusive dump. 
|}


System Real-Time Messages

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11111000 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Timing Clock. Sent 24 times per quarter note when synchronization is required.
|-
|&lt;!--Status--&gt;11111001 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111010 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Start. Start the current sequence playing. (This message will be followed with Timing Clocks).
|-
|&lt;!--Status--&gt;11111011 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Continue. Continue at the point the sequence was Stopped.
|-
|&lt;!--Status--&gt;11111100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Stop. Stop the current sequence.
|-
|&lt;!--Status--&gt;11111101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Active Sensing. This message is intended to be sent repeatedly to tell the receiver that a connection is alive. Use of this message is optional. When initially received, the receiver will expect to receive another Active Sensing message each 300ms (max), and if it does not then it will assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 
|-
|&lt;!--Status--&gt;11111111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up.
|}


Advanced Messages

Polyphonic Pressure (0xA0) and Channel Pressure (0xD0)

Some MIDI controllers include a feature known as Aftertouch. While a key is being held down, the player can press harder on the key. The controller measures this, and converts it into MIDI messages.

Aftertouch comes in two flavors, with two different status messages.

The first flavor is polyphonic aftertouch, where every key on the controller is capable of sending its own independent pressure information. The messages are of the following format:
&lt;pre&gt;
0xnc, 0xkk, 0xpp
n is the status (0xA)
c is the channel nybble
kk is the key number (0 to 127)
pp is the pressure value (0 to 127)
&lt;/pre&gt;
Polyphonic aftertouch is an uncommon feature, usually found on premium quality instruments, because every key requires a separate pressure sensor, plus the circuitry to read them all.

Much more commonly found is channel aftertouch. Instead of needing a discrete sensor per key, it uses a single, larger sensor to measure pressure on all of the keys as a group. The messages omit the key number, leaving a two-byte format
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xD)
c is the channel number
pp is the pressure value (0 to 127)
&lt;/pre&gt;

Pitch Bend (0xE0)

Many keyboards have a wheel or lever towards the left of the keys for pitch bend control. This control is usually spring-loaded, so it snaps back to the center of its range when released. This allows for both upward and downward bends.

Pitch Bend Wheel

The wheel sends pitch bend messages, of the format
&lt;pre&gt;
0xnc, 0xLL, 0xMM
n is the status (0xE)
c is the channel number
LL is the 7 least-significant bits of the value
MM is the 7 most-significant bits of the value
&lt;/pre&gt;
You’ll notice that the bender data is actually 14 bits long, transmitted as two 7-bit data bytes. This means that the recipient needs to reassemble those bytes using binary manipulation. 14 bits results in an overall range of 214, or 0 to 16,383. Because it defaults to the center of the range, the default value for the bender is halfway through that range, at 8192 (0x2000).

Control Change (0xB0)

In addition to pitch bend, MIDI has provisions for a wider range of expressive controls, sometimes known as continuous controllers, often abbreviated CC. These are transmitted by the remaining knobs and sliders on the keyboard controller shown below.


Continuous Controllers

These controls send the following message format:
&lt;pre&gt;
0xnc, 0xcc, 0xvv
n is the status (0xB)
c is the MIDI channel
cc is the controller number (0-127)
vv is the controller value (0-127)
&lt;/pre&gt;

Typically, the wheel next to the bender sends controller number one, assigned to modulation (or vibrato) depth. It is implemented by most instruments.

The remaining controller number assignments are another point of confusion. The MIDI specification was revised in version 2.0 to assign uses for many of the controllers. However, this implementation is not universal, and there are ranges of unassigned controllers.

On many modern MIDI devices, the controllers are assignable. On the controller keyboard shown in the photos, the various controls can be configured to transmit different controller numbers. Controller numbers can be mapped to particular parameters. Virtual synthesizers frequently allow the user to assign CCs to the on-screen controls. This is very flexible, but it might require configuration on both ends of the link and completely bypasses the assignments in the standard.


Program Change (0xC0)

Most synthesizers have patch storage memory, and can be told to change patches using the following command:
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xc)
c is the channel
pp is the patch number (0-127)
&lt;/pre&gt;
This allows for 128 sounds to be selected, but modern instruments contain many more than 128 patches. Controller #0 is used as an additional layer of addressing, interpreted as a “bank select” command. Selecting a sound on such an instrument might involve two messages: a bank select controller message, then a program change.

Audio &amp; Midi are not synchronized, what I can do ?
Buy a commercial software package but there is a nasty trick to synchronize both. It's a bit hardcore but works for me:

 Simply put one line down to all midi notes on your pattern (use Insert key)
 and go to 'Misc. Setup', adjust the latency and just search a value
 that will make sound sync both audio/midi.

The stock Sin/Saw/Pulse and Rnd waveforms are too simple/common, is there a way to use something more complex/rich ?
You have to ability to redirect the waveforms of the instruments through the synth pipe by selecting the &quot;wav&quot; option for the oscillator you're using for this synth instrument, samples can be used as wavetables to replace the stock signals.


Sound banks like soundfont (sf2) or Kontakt2 are not supported at the moment


====DAW Audio Evolution 4====

Audio Evolution 4 gives you unsurpassed power for digital audio recording and editing on the Amiga. The latest release focusses on time-saving non-linear and non-destructive editing, as seen on other platforms. Besides editing, Audio Evolution 4 offers a wide range of realtime effects, including compression, noise gate, delays, reverb, chorus and 3-band EQ.

Whether you put them as inserts on a channel or use them as auxillaries, the effect parameters are realtime adjustable and can be fully automated. Together with all other mixing parameters, they can even be controlled remotely, using more ergonomic MIDI hardware.

Non-linear editing on the time line, including cut, copy, paste, move, split, trim and crossfade actions

The number of tracks per project(s) is unlimited .... AHI limits you to recording only two at a time. i.e. not on 8 track sound cards like the Juli@ or Phase 88.

sample file import is limited to 16bit AIFF (not AIFC, important distinction as some files from other sources can be AIFC with aiff file extention). and 16bit WAV (pcm only)


Most apps use the Music Unit only but a few apps also use Unit (0-3) instead or as well. 
* Set up AHI prefs so that microphone is available. (Input option near the bottom)


stereo++ allows the audio piece to be placed anywhere and the left-right adjusted to sound positionally right

hifi best for music playback if driver supports this option


Load 16bit .aif .aiff only sample(s) to use not AIFC which can have the same ending. AIFF stands for Audio Interchange File Format 

 sox recital.wav recital.aiff

 sox recital.wav −b 16 recital.aiff channels 1 rate 16k fade 3 norm
 sox input.wav        output.aiff bass −b 16 rate 48k

performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16.

 rec −c 2 radio.aiff trim 0 30:00

records half an hour of stereo audio 

 play existing-file.wav


24bit PCM WAV or AIFF do not work 

*No stream format handling. So no way to pass on an AC3 encoded stream unmodified to the digital outputs through AHI.
*No master volume handling. Each application has to set its own volume. So each driver implements its own custom driver-mixer interface for handling master volumes, mute and preamps.
*Only one output stream. So all input gets mixed into one output.
*No automatic handling of output direction based on connected cables.
*No monitor input selection. Only monitor volume control. 


select the correct input (Don't mistake enabled sound for the correct input.)
The monitor will feedback audio to the lineout and hp out no matter if you have selected the correct input to the ADC. The monitor will provide sound for any valid input. This will result in free mixing when recording from the monitor input instead of mic/line because the monitor itself will provide the hardware mixing for you. Be aware that MIC inputs will give two channel mono. Only Linein will give real stereo.

Now for the not working part. Attempt to record from linein in the AE4 record window, the right channel is noise and the left channel is distorted. Even with the recommended HIFI 16bit Stereo++ mode at 48kHz.


Channels

Monitor

Gain

Inout

Output

Advanced settings - Debugging via serial port


* Options -&gt; Soundcard In/Out
* Options -&gt; SampleRate
* Options -&gt; Preferences

F6 for Sample File List

Setting a grid is easy as is measuring the BPM by marking a section of the sample. Is your kick drum track &quot;not in time&quot; ? If so, you're stumped in AE4 as it has no fancy variable time signatures and definitely no 'track this dodgy rhythm' function like software of the nature of Logic has. So if your drum beat is freeform you will need to work in freeform mode. (Real music is free form anyway).

If the drum *is* accurate and you are just having trouble measuring the time, I usually measure over a range of bars and set the number of beats in range to say 16 as this is more accurate, Then you will need to shift the drum track to match your grid *before* applying the grid. (probably an iterative process as when the grid is active samples snap to it, and when inactive you cannot see it).

AE4 does have ARexx but the functions are more for adding samples at set offsets and starting playback / recording.


These are the usual features found in DAWs...

* Recording digital audio, midi sequencer and mixer 
* virtual VST instruments and plug-ins 
* automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors and music notation editor


* different track views 
* mixer and track layout (but not the same as below) 
* traditional two windows (track and mixer)


Mixing - mixdown

Could not figure out how to select what part I wanted to send to the aux, set it to echo and return. Pretty much the whole echo effect. Or any effect.

Take look at page17 of the manual.

When you open the EQ / Aux send popup window you will see 4 sends. Now from the menu choose the windows menu.

Menus-&gt;Windows-&gt; Aux Returns Window

or press F5

You will see a small window with 4 volume controls and an effects button for each. Click a button and add an effects to that aux channel, then set it up as desired (note the reverb effect has a special AUX setting that improves its use with the aux channel, not compulsory but highly useful). You set the amount of 'return' on the main mix in the Aux Return window, and the amount sent from each main mixer channel in the popup for that channel. Again the aux sends are &quot;prefade&quot; so the volume faders on each channel do not affect them.


Tracking


Effects - fade in

To add some echoes to some vocals, tried to add an effect on a track but did not come out. This is made more complicated as I wanted to mute a vocal but then make it echo at the muting point. Want to have one word of a vocal heard and then echoed off. But when the track is mute the echo is cancelled out.

To correctly understand what is happening here you need to study the figure at the bottom of page 15 on the manual. You will see from that that the effects are applied 'prefade' So the automation you applied will naturally mute the entire signal.

There would be a number of ways to achieve the goal,

You have three real time effects slots, one for smoothing like so

Sample -&gt; Amplify -&gt; Delay

Then automate the gain of the amplify block so that it effectively mutes the sample just before the delay at the appropriate moment, the echo effect should then be heard.

Getting the effects in the right order will require experimentation as they can only be added top down and it's not obvious which order they are applied to the signal, but there only two possibilities, so it wont take long to find out.

Using MUTE can cause clicks to the Amplify can be used to mute more smoothly so that's a secondary advantage.

Signal Processing -


Overdub

[[#top|...to the top]]

===Office===

====Spreadsheet Leu====

Support for some xlsx, and ods functions 


====Spreadsheet Ignition====

; Needs ABIv1 to be completed before more can be done

File formats supported 
* ascii #?.txt and #?.csv (single sheets with data only). 
* igs and TurboCalc(WIP) #?.tc for all sheets with data, formats and formulas.

There is '''no''' support for xls, xlsx, ods or uos ([http://en.wikipedia.org/wiki/Uniform_Office_Format Uniform Unified Office Format]) at the moment.

* Always use Esc key after editing Spreadsheet cells.
* copy/paste seems to copy the first instance only so go to Edit -&gt; Clipboard to manage the list of remembered actions. 
* Right mouse click on row (1 or 2 or 3) or column header (a or b or c)  to access optimal height or width of the row or column respectively 
* Edit -&gt; Insert -&gt; Row  seems to clear the spreadsheet or clears the rows after the inserted row until undo restores as it should be...

Change Sheet name by  Object -&gt; Sheet -&gt; Properties

Click in the cell which will contain the result, and click '''down arrow button''' to the right of the formula box at the bottom of the spreadsheet and choose the function required from the list provided. Then click on the start cell and click on the bottom right corner, a '''very''' small blob, which allows stretching a bounding box (thick grey outlines) across many cells This grey bounding box can be used to '''copy a formula''' to other cells.

Object -&gt; Cell -&gt; Properties to change cell format - Currency only covers DM and not $, Euro, Renminbi, Yen or Pound etc. 
Shift key and arrow keys selects a range of cells, so that '''formatting can be done to all highlighted cells'''. 
View -&gt; Overview then select ALL with one click (in empty cell in the top left hand corner of the sheet).

Default mode is relative cell referencing e.g. a1+a2 but absolute e.g. $a$1+$a$2 can be entered.

* #sheet-name to '''absolute''' reference another sheet-name cell unless reference() function used.

;Graphs

use shift key and arrow keys to select a bunch of cells to be graph'ed making sure that x axes represents and y axes represents

* value() - 0 value, 1 percent, 2 date, 3 time, 4 unit ...


;Dates 
* Excel starts a running count from the 1st Jan 1900 and Ignition starts from 1st Jan 1AD '''(maybe this needs to change)'''
Set formatting Object -&gt; Cell -&gt; Properties and put date in days


;Time 
Set formatting Object -&gt; Cell -&gt; Properties and put time in seconds taken


;Database (to be done by someone else)

type - standard, reference (bezug), search criterion (suchkriterium), 
* select a bunch of cells and Object -&gt; Database -&gt; Define to set Datenbank (database) and Felder (fields not sure how?) 
* Neu (new) or loschen (delete) to add/remove database headings e.g. Personal, Start Date, Finish Date (one per row?)
* Object -&gt; Database -&gt; Index to add fields (felder) like Surname, First Name, Employee ID, etc. to ?

Filtering done with dbfilter(), dbproduct() and dbposition().

Activities with dbsum(), dbaverage(), dbmin() and dbmax().

Table sorting -


;Scripts (Arexx)

;Excel(TM) to Ignition - commas ''',''' replaced by semi-colons ''';''' to separate values within functions 
*SUM(), 
*AVERAGE(), MAX(), MIN(), INT(), PRODUCT(), MEDIAN(), VAR() becomes Variance(), Percentile(),
*IF(), AND, OR, NOT 
*LEFT(), RIGHT(), MID() becomes MIDDLE(), LEN() becomes LENGTH(), 
*LOWER() becomes LOWERCASE(), UPPER() becomes UPPERCASE(),
* DATE(yyyy,mm,dd) becomes COMPUTEDATE(dd;mm;yyyy), 
*TODAY(), DAY(),WEEK(), MONTH(),=YEAR(TODAY()), 
*EOMONTH() becomes MONTHLENGTH(), 
*NOW() should be date and time becomes time only, SECOND(), MINUTE(), HOUR(),
*DBSUM() becomes DSUM(),


;Missing and possibly useful features/functions needed for ignition to have better support of Excel files 
There is no Merge and Join Text over many cells, no protect and/or freeze row or columns or books but can LOCK sheets, no define bunch of cells as a name, Macros (Arexx?), conditional formatting, no Solver, no Goal Seek, no Format Painter, no AutoFill, no AutoSum function button, no pivot tables, (30 argument limit applies to Excel)

*HLOOKUP(), VLOOKUP(), [http://production-scheduling.com/excel-index-function-most-useful/ INDEX(), MATCH()], CHOOSE(), TEXT(), 
*TRIM(), FIND(), SUBSTITUTE(), CONCATENATE() or &amp;, PROPER(), REPT(), 
*[https://acingexcel.com/excel-sumproduct-function/ SUMPRODUCT()], ROUND(), ROUNDUP(), *ROUNDDOWN(), COUNT(), COUNTA(), SUMIF(), COUNTIF(), COUNTBLANK(), TRUNC(), 
*PMT(), PV(), FV(), POWER(), SQRT(), MODE(), TRUE, FALSE, 
*MODE(), LARGE(), SMALL(), RANK(), STDEV(), 
*DCOUNT(), DCOUNTA(), WEEKDAY(),


;Excel Keyboard [http://dmcritchie.mvps.org/excel/shortx2k.htm shortcuts needed to aid usability in Ignition] 
&lt;pre&gt;
Ctrl Z - Undo

Ctrl D - Fill Down
Ctrl R - Fill right

Ctrl F - Find
Ctrl H - Replace

Ctrl 1 - Formatting of Cells
CTRL SHIFT ~ Apply General Formatting ie a number 
Ctrl ; - Todays Date 

F2 - Edit cell
F4 - toggle cell absolute / relative cell references

&lt;/pre&gt;


====Document Scanning - Scandal====

Scanner usually needs to be connected via a USB port and not via a hub or extension lead.

Check in Trident Prefs -&gt; Devices that the USB Scanner is not bound to anything (e.g. Bindings None)
If not found then reboot the computer and recheck.

Start Scandal, choose Settings from Menu strip at top of screen and in Scanner Driver choose the ?#.device of the scanner (e.g. epson2.device).

The next two boxes - leave empty as they are for morphos SCSI use only
 or put ata.device (use the selection option in bigger box below) and Unit as 0 this is needed for gt68xx

* gt68xx - no editing needed in s/gt68xx.conf but needs a firmware file that corresponds to the scanner [http://www.meier-geinitz.de/sane/gt68xx-backend/ gt68xx firmwares] in sys:s/gt68xx.
* epson2 - Need to edit the file epson2.conf in sys/s that corresponds to the scanner being used

'''Save''' the settings but do not press the Use button (aros freezes)

Back to the Picture Scan window and the right-hand sections.

Click on the '''Information''' tab and press Connect button and the scanner should now be detected.

Go next to the '''Scanner''' tab next to Information Tab should have Color, Black and White, etc. and dpi settings now. Selecting an option Color, B/W etc. can cause dpi settings corruption (especially if the settings are in one line) so set '''dpi first'''. Make sure if Preview is set or not.

In the '''Scan''' Tab, press Scan and the scanner will do its duty. 
Be aware that nothing is saved to disk yet.

In the Save tab, change format JPEG, PNG or IFF DEEP. Tick incremental and base filename if necessary and then click the Save button. The image will now be saved to permanent storage.


The driver ignores a device if it is already bond to another USB class, rejects it from being usable. However, open Trident prefs, select your device and use the right mouse button to open. Select &quot;NONE&quot; to prevent poseidon from touching the device. Now save settings. It should always work now.

[[#top|...to the top]]

===Emulators===

==== Amiberry ====


==== Amiga Emu - Janus UAE ====

With Amibridge, AROS attempts to make the UAE emulator seem embedded within but it still is acting as an app 

There is no dynarec m68k for each hardware that Aros supports or direct patching of motorola calls to AROS hardware accelerated ones unless the emulator has that included 

Try starting Janus with a priority of -1 like this little script:
&lt;pre&gt;
cd sys:system/AmiBridge/emulator
changetaskpri -1
run janus-uae -f my_uaerc.config &gt;nil:
cd sys:prefs
endcli
&lt;/pre&gt;
This stops Janus hogging all the CPU time.


===Miscellaneous===

====Screensaver Blanker====

Most blankers on the amiga (i.e. aros) run as commodities (they are in the tools/commodities drawer). Double click on blanker.

Control is with an app called Exchange, which you need to run first (double click on app) or  run QUIET sys:tools/commodities/Exchange &gt;NIL: but subsequently can use (Cntrl Alt h).

Icon tool types (may be broken) or command line options 
&lt;pre&gt;
seconds=number 
&lt;/pre&gt;

Once the timing is right then add the following to s:icaros-sequence or s:user-startup

e.g. for 5 minutes

 run QUIET sys:tools/commodities/Blanker seconds=300 &gt;NIL:


*[http://archives.aros-exec.org/index.php?function=showfile&amp;file=graphics/screenblanker/gblanker.i386-aros.zip Garshneblanker] can make Aros unstable or slow. Certain blankers crashes in Icaros 2.0.x like Dragon, Executor.


*[ Acuario AROS version], the aquarium screen saver.

Startup: extras:acuariofv-aros/acuario

Kill: c:break name=extras:acuariofv-aros/acuario

Managed to start Acuario by the Executor blanker.

&lt;pre&gt;
cx_priority=
cx_popkey=    ie CX_POPKEY=&quot;Shift F1&quot; 
cx_popup=Yes or No

&lt;/pre&gt;


&lt;pre&gt;
 Qualifier String    Input Event Class
   ----------------    -----------------
    &quot;lshift&quot;           IEQUALIFIER_LSHIFT
    &quot;rshift&quot;           IEQUALIFIER_RSHIFT
    &quot;capslock&quot;         IEQUALIFIER_CAPSLOCK
    &quot;control&quot;          IEQUALIFIER_CONTROL
    &quot;lalt&quot;             IEQUALIFIER_LALT
    &quot;ralt&quot;             IEQUALIFIER_RALT
    &quot;lcommand&quot;         IEQUALIFIER_LCOMMAND
    &quot;rcommand&quot;         IEQUALIFIER_RCOMMAND
    &quot;numericpad&quot;       IEQUALIFIER_NUMERICPAD
    &quot;repeat&quot;           IEQUALIFIER_REPEAT
    &quot;midbutton&quot;        IEQUALIFIER_MIDBUTTON
    &quot;rbutton&quot;          IEQUALIFIER_RBUTTON
    &quot;leftbutton&quot;       IEQUALIFIER_LEFTBUTTON
    &quot;relativemouse&quot;    IEQUALIFIER_RELATIVEMOUSE
&lt;/pre&gt;


&lt;pre&gt;
    Synonym     Synonym
    String     Identifier
    -------    ----------
    &quot;shift&quot;    IXSYM_SHIFT    /* look for either shift key */
    &quot;caps&quot;     IXSYM_CAPS     /* look for either shift key or capslock */
    &quot;alt&quot;      IXSYM_ALT      /* look for either alt key */

Highmap is one of the following strings:
    &quot;space&quot;, &quot;backspace&quot;, &quot;tab&quot;, &quot;enter&quot;, &quot;return&quot;, &quot;esc&quot;, &quot;del&quot;,
    &quot;up&quot;, &quot;down&quot;, &quot;right&quot;, &quot;left&quot;, &quot;f1&quot;, &quot;f2&quot;, &quot;f3&quot;, &quot;f4&quot;, &quot;f5&quot;,
    &quot;f6&quot;, &quot;f7&quot;, &quot;f8&quot;, &quot;f9&quot;, &quot;f10&quot;, &quot;help&quot;.


&lt;/pre&gt;


[[#top|...to the top]]

==== World Construction Set WCS (Version 2.031) ====

WCS is a fractal landscape software such as Scenery Animator, Vista Pro and Panorama. Open sourced February 2022, World Construction Set [https://3dnature.com/downloads/legacy-software/ legally and for free] and [https://github.com/AlphaPixel/3DNature c source]. 

Announced August 1994 this version dates from April 1996 developed by Gary R. Huber and Chris &quot;Xenon&quot; Hanson&quot; from Questar 

&lt;pre&gt;
Assign &quot;WCSProjects:&quot; &quot;Volume:Dir/Dir/WCSProjects&quot; 
Assign &quot;WCSFrames:&quot;   &quot;Volume:Dir/Dir/WCSFrames&quot; 
&lt;/pre&gt;

&lt;pre&gt;
Load projects .proj by accessing pull down menu Project -&gt; Open then click on CanyonSunset.proj
OK to changing .par file and enlarge Status Log window to show what is happening 
Render by pull down menu Modules -&gt; Render with End equal 1 not 300 then click bottom middle button Render 
&lt;/pre&gt;

[https://www.youtube.com/watch?v=CxQDmf1ZWG0 Youtube walkthrough of above], [], [], 

Also try working with the already built file ColoDemo - Then open with the drop-down menu: Project/Open, then WCSProject:ColoDemo.proj
Which allows you to use altimetric DEM files already included and Loading scene parameters from ColoDemo.par
Once this is done, save everything with a new name to start working exclusively on your project. 
Then drop-down menu and select Save As (&quot;NewName&quot;.proj name), then drop-down menu to open parameter and select Save All ( .par name)


After launching the software, there is a the Module Control Panel composed of five icons. 
It is a dock type shortcut of the first few functions of the drop-down menu 

*Database   - Load (#?.proj), Append, Create, Edit, Save, Dir List (of WCSProject drawer), 
*Data Ops   - Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats  
*Map View   - Database file Loader leading to Map View Control with option to the Database Editor 
*Parameters - Editor for Motion, Color, Ecosystem, Clouds, Waves, management of altimeter files DEM, sclock settings etc 
*Render     - rendering terrain 

These are more in the pull down menu but not in the dock 
*Motion Editor
*Color Editor
*Ecosys Editor 


Simple minimal workflow 
*Load database (1st icon - 1st)
*Set parameters and save .par file (4th icon)
*Render scene (5th icon) 

[https://www.youtube.com/watch?v=ZbTwwR2qcc4 Youtube], [], 

&lt;pre&gt;
.proj new project name which creates a drawer of additional files 

.binary array, ascii array .xyz , z buffer, DTED .dt0, vista 1990s dem, iff  conversion 
.Obj with .elev, .frd with .hdr maps, - digital elevation model (DEM) is a 3D representation of elevation data in various formats 
USGS 7.5MinDEM, 

.par 


&lt;/pre&gt;


Since for the time being no project is loaded, a query window indicates a procedural error when clicking on the rendering icon (right end of the bar). The menu is quite traditional; it varies according to the activity of the windows. To display any altimetric file in the &quot;Mapview&quot; (third icon of the panel), There are three possibilities:

* Loading of a demonstration project.
* The import of a DEM file, followed by texturing and packaging from the &quot;Database-Editor&quot; and the &quot;Color-Editor&quot;.
* The creation of an altimetric file in WCS format, then texturing.


The altimeter file editing (display in the menu) is only made possible if the &quot;Mapview&quot; window is active.

The software is made up of many windows and won't be able to describe them all. Know that &quot;Color-Editor&quot; and the &quot;Data-Editor&quot; comprise sufficient functions for obtaining an almost real rendering quality. You have the possibility of inserting vector objects in the &quot;Data-Editor&quot; (creation of roads, railways, etc.) 


The Map View (MapView) window

*Database - Objects and Topos
*View     - Align, Center, Zoom, Pan, Move 
*Draw     - Maps and distance 
*Object   - Find, highlight, add points, conform topo, duplicate 
*Motion   - Camera, Focus, path, elevation 
*Windows  - DEM designer, Cloud (.cld) and wave (.wve) editor, 


You will notice that by selecting this window and simply moving the pointer to various points on the map you will see latitude and longitude values ​​change, along with the height.
Drop-down menu and Modules, then select MapView and change the width of the window with the map to arrange it in the best way on the screen. With the Auto button the center. Window that then displays the contents of my DEM file, in this case the Grand Canyon. MapView allows you to observe the shape of the landscape from above
 

ZOOM button

Press the Zoom button and then with the pointer position on a point on the map, press the left mouse button and then move to the opposite corner to circumscribe the chosen area and press the left mouse button again, then we will see the enlarged area selected on the map.
Would add that there is a box next to the Zoom button that allows the direct insertion of a value which, the larger it is, the smaller the magnification and the smaller the value, the stronger the magnification. At each numerical change you will need to press the DRAW button to update the view.

PAN button

Under Zoom you will find the PAN button which allows you to move the map at will in all directions by the amount you want. This is done by drawing a line in one direction, then press PAN and point to an area on the map with the pointer and press the left mouse button. At this point, leave it and move the pointer in one direction by drawing a line and press the left mouse button again to trigger the movement of the map on the screen (origin and end points). Do some experiments and then use the Auto button immediately below to recenter everything.
There are parameters such as TOPO, VEC to be left checked and immediately below one that allows different views of the map with the Style command (Single, Multi, Surface, Emboss, Slope, Contour), each with its own particularities to highlight different details.

Now you have the first basics to manage your project visually on the map. Close the MapView window and go further...


Let's start working on ECOSYSTEMS
If we select Emboss from the MapView Style command we will have a clear idea of ​​how the landscape appears, realizing that it is a predominantly desert region of our planet. Therefore we will begin to act on any vegetation present and the appearance of the landscape.
With WCS we will begin to break down the elements of the landscape by assigning defined characteristics. It will be necessary to determine the classes of the ecosystem (Class) with parameters of Elevation Line (maximum altitude), Relative Elevation (arrangement on basins or convexities with respectively positive or negative parameters), Min Slope and Max Slope (slope). WCS offers the possibility of making ecosystems coexist on the same terrain with the UnderEco function, by setting a Density value.


Ecosys Ecosystem Editor

Let's open it from Modules, then Ecosys Editor. In the left pane you will find the list of ecosystems referring to the files present in our project. It will be necessary to clean up that box to leave only the Water and Snow landscapes and a few other predefined ones. We can do this by selecting the items and pressing the Remove button (be careful not for all elements the button is activated, therefore they cannot all be eliminated).
Once this is done we can start adding new ecosystems. Scroll through the various Unused and as soon as the Name item at the top is activated allowing you to write, type the name of your ecosystem, adding the necessary parameters.
&lt;pre&gt;
Ecosystem1: Name: RockBase Class: Rock Density: 80 MinSlope: 15 UnderEco: Terrain
Ecosystem2: Name: RockIncl Clss: Rock Density: 80 MinSlope: 30 UnderEco: Terrain
Ecosystem3: Name: Grass Class Low Veg Density: 50 Height: 1 Elev Line : 1500 Rel El Eff: 5
Max Slope: 10 – Min Slope: 0 UnderEco: Terrain
Ecosistema4: Name: Shrubs Class: Low Veg Density: 40 Height: 8 Elev Line: 3000
Rel El Eff: -2 Max Slope: 20 Min Slope : 5 UnderEco: Terrain
Ecosistema5: Name: Terrain Class: Ground Density: 100 UnderEco: Terrain
&lt;/pre&gt;

Now we need to identify an intermediate ecosystem that guarantees a smooth transition between all, therefore we select as Understory Ecosystem the one called Terrain in all ecosystems, except Snow and Water .
Now we need to 'emerge' the Colorado River in the Canyon and we can do this by raising the sea level to 900 (Sea Level) in the Ecosystem called Water.
Please note that the order of the ecosystem list gives priority to those that come after. So our list must have the following order: Water, Snow, Shrubs, RockIncl, RockBase, Terrain. It is possible to carry out all movements with the Swap button at the bottom. To put order you can also press Short List. Press Keep to confirm all the work done so far with Ecosystem Editor.
Remember every now and then to save both the Project 'Modules/Save' and 'Parameter/Save All'

EcoModels are made up of .etp .fgp .iff8 for each model 


Color Editor

Now it's time to define the colors of our scene and we can do this by going to Modules and then Color Editor. In the list we focus on our ecosystems, created first.
Let's go to the bottom of the list and select the first white space, assigning the name 'empty1', with a color we like and then we will find this element again in other environments... It could serve as an example for other situations!
So we move to 'grass' which already exists and assign the following colors: R 60 G 70 B50
&lt;pre&gt;
'shrubs': R 60 G 80 B 30
'RockIncl' R 110 G 65 B 60
'RockBase' R 110 G 80 B 80
' Terrain' R 150 G 30 B 30
&lt;pre&gt;
Now we can work on pre-existing colors
&lt;pre&gt;
'SunLight' R 150 G 130 B 130
'Haze and Fog' R 190 G 170 B 170
'Horizon' R 209 G 185 B 190
'Zenith' R 140 G 150 B 200
'Water' R 90 G 125 B 170
&lt;/pre&gt;

Ambient R 0 G 0 B 0

So don't forget to close Color Editor by pressing Keep.
Go once again to Ecosystem Editor and assign the corresponding color to each environment by selecting it using the Ecosystem Color button. Press it several times until the correct one appears. Then save the project and parameters again, as done previously.


Motion Editor

Now it's time to take care of the framing, so let's go to Modules and then to Motion Editor. An extremely feature-rich window will open. Following is the list of parameters regarding the Camera, position and other characteristics:
&lt;pre&gt;
-Camera Altitude: 7.0
-Camera Latitude: 36.075
-Camera Longitude: 112.133
-Focus Attitude: -2.0
-Focus Latitude: 36.275
-Focus Longitude: 112.386
-Camera : 512 → rendering window
-Camera Y: 384 → rendering window
-View Arc: 80 → View width in degrees
-Sun Longitude: 172
-Sun Latitude: -0.9
-Haze Start: 3.8
-Haze Range: 78, 5
&lt;/pre&gt;
As soon as the values ​​shown in the relevant sliders have been modified, we will be ready to open the CamView window to observe the wireframe preview. Let's not consider all the controls that will appear.
Well from the Motion Editor if you have selected Camera Altitude and open the CamView panel, you can change the height of the camera by holding down the right mouse button and moving the mouse up and down. To update the view, press the Terrain button in the adjacent window. As soon as you are convinced of the position, confirm again with Keep. You can carry out the same work with the other functions of the camera, such as Focus Altitude...
Let's now see the next positioning step on the Camera map, but let's leave the CamView preview window open while we go to Modules to open the window at the same time MapView. We will thus be able to take advantage of the view from the other together with a subjective one.


From the MapView window, select with the left mouse button and while it is pressed, move the Camera as desired. To update the subjective preview, always click on Terrain.
While with the same procedure you can intervene on the direction of the camera lens, by selecting the cross and with the left button pressed you can choose the desired view. So with the pressure of Terrain I update the Preview. Possibly can enlarge or reduce the Map View using the Zoom button, for greater precision.
Also write that the circle around the cameras indicates the beginning of the haze, there are two types (haze and fog) linked to the altitude. Would also add that the camera height is editable through the Motion Editor panel.


The sun

Let's see that changing the position of the sun from the Motion Editor. Press the SUN button at the bottom right and set the time and the date. Longitude and latitude are automatically obtained by the program. Always open the View Arc command from the Motion Editor panel, an item present in the Parameter List box.

Once again confirm everything with Keep and then save again.


Animation

The animation part is not left-back and also occupies a window. The settings possibilities are enormous. A time line with dragging functions (&quot;slide&quot;, &quot;drag&quot;...) comparable to that of LightWave completes this window. 


A small window is available for positioning the stars as a function of a date, in order to vary the seasons and their various events (and yes...).

At the bottom of the &quot;Motion-Editor&quot;, a &quot;cam-view&quot; function will give you access to a control panel. Different preview modes are possible. The rendering is also accessible through a window. No less than nine pages compose it. At this level, you will be able to determine the backup name of your images (&quot;path&quot;), the type of texture to be calculated, the resolution of the images, activate or deactivate functions such as the depth buffer (&quot;zbuffer&quot;), the blur, the background image, etc.


Once all these parameters have been set, all you have to do is click on the &quot;Render&quot; button.

For rendering go to Modules and then Render. Select the resolution, then under IMA select the name of the image. Move to FRA and indicate the level of fractal detail which of 4 is quite good. Then Keep to confirm and then reopen the window, pressing Render you will see the result. The image will be opened with any viewing program.


Strengths:

* Multi-window.
* Quality of rendering.
* Accuracy.
* Opening, preview and rendering on CyberGraphX screen.
* Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats 
* The &quot;zbuffer&quot; function.

Weaknesses:

* No OpenGL management 
* Calculation time.
* No network computing tool.


====Writing CD / DVD - Frying Pan====

Can be backup DVDs (4GB ISO size limit due to use of FileInfoBlock), create audio cds from mp3's, and put .iso files on discs

If using for the first time - click Drive button and Device set to ata.device and unit to 0 (zero)

Click Tracks Button - Drive 1 - Create New Disc or Import Existing Disc Image (iso bin/cue etc.) - Session File open cue file

If you're making a data cd, with files and drawers from your hard drive, you should be using the ISO Builder.. which is the MUI page on the left. (&quot;Data/Audio Tracks&quot; is on the right).

You should use the &quot;Data/Audio tracks&quot; page if you want to create music cds with AIFF/WAV/MP3 files, or if you download an .iso file, and you want to put it on a cd.

Click WRITE Button - set write speed - click on long Write button

Examples

Easiest way would be to burn a DATA CD, simply go to &quot;Tracks&quot; page &quot;ISO Builder&quot; and &quot;ADD&quot; everything you need to burn.

On the &quot;Write&quot; page i have &quot;Masterize Disc (DAO)&quot;, &quot;Close Disc&quot; and &quot;Eject after Write&quot; set.

One must not &quot;Blank disc before write&quot; if one uses a CDR


AUDIO CD from MP3's are as easy but tricky to deal with. FP only understands one MP3 format, Layer II, everything else will just create empty tracks

Burning bootable CD's works only with .iso files. Go to &quot;Tracks&quot; page and &quot;Data/Audio Tracks&quot; and add the .iso


====odf====

Every ODF file is a collection of several subdocuments within a package (ZIP file), each of which stores part of the complete document.

* content.xml – Document content and automatic styles used in the content.
* styles.xml – Styles used in the document content and automatic styles used in the styles themselves.
* meta.xml – Document meta information, such as the author or the time of the last save action.
* settings.xml – Application-specific settings, such as the window size or printer information.


To read document follow these steps:

* Extracting .ods file.
* Getting content.xml file (which contains sheets data).
* Creating XmlDocument object from content.xml file.
* Creating DataSet (that represent Spreadsheet file).
* With XmlDocument select “table:table” elements, and then create adequate DataTables.
* Parse child’s of “table:table” element and fill DataTables with those data.
* At the end, return DataSet and show it in application’s interface.


To write document follow these steps:

* Extracting template.ods file (.ods file that we use as template).
* Getting content.xml file.
* Creating XmlDocument object from content.xml file.
* Erasing all “table:table” elements from the content.xml file.
* Reading data from our DataSet and composing adequate “table:table” elements.
* Adding “table:table” elements to content.xml file.
* Zipping that file as new .ods file.

XLS file format

The XLS file format contains streams, substreams, and records.

These sheet substreams include worksheets, macro sheets, chart sheets, dialog sheets, and VBA module sheets. 
All the records in an XLS document start with a 2-byte unsigned integer to specify Record Type (rt), and another for Count of Bytes (cb). A record cannot exceed 8224 bytes. If larger than the rest is stored in one or more continue records.

* Workbook stream 
**Globals substream
***BoundSheet8 record - info for Worksheet substream i.e. name, location, type, and visibility. (4bytes the lbPlyPos FilePointer, specifies the position in the Workbook stream where the sheet substream starts) 
**Worksheet substream (sheet) - Cell Table - Row record - Cells (2byte=row 2byte=column 2byte=XF format)
***Blank cell record
***RK cell record 32-bit number. 
***BoolErr cell record (2-byte Bes structure that may be either a Boolean value or an error code)
***Number cell record (64-bit floating-point number)
***LabelSst cell record (4-byte integer that specifies a string in the Shared Strings Table (SST). Specifically, the integer corresponds to the array index in the RGB field of the SST)
***Formula cell record (FormulaValue structure in the 8 bytes that follow the cell structure. The next 6 bytes can be ignored, and the rest of the record is a CellParsedFormula structure that contains the formula itself)
***MulBlank record (first 2 bytes give the row, and the next 2 bytes give the column that the series of blanks starts at. Next, a variable length array of cell structures follows to store formatting information, and the last 2 bytes show what column the series of blanks ends on)
***MulRK record 
***Shared String Table (SST) contains all of the string values in the workbook.

ACCRINT(), ACCRINTM(), AMORDEGRC(), AMORLINC(), 
COUPDAYBS(), COUPDAYS(), COUPDAYSNC(), COUPNCD(), COUPNUM(), COUPPCD(), 
CUMIPMT(), CUMPRINC(), 
DB(), DDB(), DISC(), 
DOLLARDE(), DOLLARFR(), 
DURATION(), EFFECT(), FV(), FVSCHEDULE(), 
INTRATE(), IPMT(), IRR(), ISPMT(), MDURATION(), MIRR(), NOMINAL(), NPER(), NPV(), 
ODDFPRICE(), ODDFYIELD(), ODDLPRICE(), ODDLYIELD(), 
PMT(), PPMT(), PRICE(), PRICEDISC(), PRICEMAT(), PV(), RATE(), 
RECEIVED(), SLN(), SYD(), TBILLEQ(), TBILLPRICE(), TBILLYIELD(), 
VDB(), XIRR(), XNPV(), YIELD(), YIELDDISC(), YIELDMAT(),


&lt;pre&gt;
&lt;/pre&gt;


&lt;pre&gt;
&lt;/pre&gt;

&lt;pre&gt;
&lt;/pre&gt;

{{BookCat}}</text>
      <sha1>1o8jo93prv5kfdma1rni78bdr8k7kb7</sha1>
    </revision>
    <revision>
      <id>4638117</id>
      <parentid>4638115</parentid>
      <timestamp>2026-05-30T17:49:33Z</timestamp>
      <contributor>
        <username>Jeff1138</username>
        <id>301139</id>
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      <text bytes="231474" sha1="mu9vrmrxsyt3xd90xmr11s5zz61qr7l" xml:space="preserve">
==Introduction==


[[#Graphical Image Editing Art]]
[[#Office Application]]
[[#Audio]]

[[#Misc Application]]
[[#Games &amp; Emulation]]

[[#Application Guides]]

[[#top|...to the top]]


[[#top|...to the top]]

Most apps can be opened on the Workbench (aka publicscreen pubscreen) which is the default display option but can offer a custom one set to your configurations (aka custom screen mode promotion). These custom ones tend to stack so the possible use of A-M/A-N method of switching between full screens and the ability to pull down screens as well 

If you are interested in creating or porting new software, see [http://en.wikibooks.org/wiki/Aros/Developer/Docs here]

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Internet Applications 
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Web Online Browser [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/browser Odyssey 2.0], [https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1175&amp;highlight=odyssey&amp;rowstart=100 Odyssey 3.0], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/comm/www Amelinium], [https://blog.alb42.de/programs/amifox/ amifox] with [https://github.com/alb42/wrp wrp server], IBrowse*, Voyager*, [https://github.com/amigazen/aweb3/ AWeb 3.6 src], [https://github.com/matjam/aweb AWeb Src], [http://aminet.net/package/comm/www/NetSurf-m68k-sources Netsurf], [], 
|&lt;!--AmigaOS4--&gt;[ Odyssey OWB], [ Timberwolf (Firefox port 2011)], [http://amigaworld.net/modules/newbb/viewtopic.php?forum=32&amp;topic_id=32847 OWB-mui], [http://strohmayer.org/owb/ OWB-Reaction], IBrowse*, [http://os4depot.net/index.php?function=showfile&amp;file=network/browser/aweb.lha AWeb], Voyager, [http://www.os4depot.net/index.php?function=browse&amp;cat=network/browser Netsurf], 
|&lt;!--MorphOS--&gt;Wayfarer, [http://fabportnawak.free.fr/owb/ Odyssey OWB], [ Netsurf], IBrowse*, AWeb, [], 
|-
|&lt;!--Sub Menu--&gt;YouTube Viewing and downloading videos 
|&lt;!--AROS--&gt;Odyssey 2.0 can show Youtube webpage, [https://blog.alb42.de/amitube/ Amitube], 
|[https://blog.alb42.de/amitube/ Amitube], [https://github.com/YePpHa/YouTubeCenter/releases or this one], 
|[https://blog.alb42.de/amitube/ Amitube], getVideo, Tubexx, [https://github.com/walkero-gr/aiostreams aiostreams], 
|[ Wayfarer], [https://blog.alb42.de/amitube/ Amitube],Odyssey (OWB), [http://morphos.lukysoft.cz/en/vypis.php?kat=5 getVideo], Tubexx 
|-
|&lt;!--Sub Menu--&gt;E-mailing SMTP POP3 IMAP based 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/email SimpleMail], [http://sourceforge.net/projects/simplemail/files/ src], [https://github.com/jens-maus/yam YAM] 
|&lt;!--Amiga OS--&gt;[http://sourceforge.net/projects/simplemail/files/ SimpleMail], [https://github.com/jens-maus/yam YAM]
|&lt;!--AmigaOS4--&gt;SimpleMail, YAM, 
|&lt;!--MorphOS--&gt; SimpleMail, YAM
|-
|&lt;!--Sub Menu--&gt;IRC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat WookieChat], [https://sourceforge.net/projects/wookiechat/ Wookiechat src], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat AiRcOS], Jabberwocky, 
|&lt;!--Amiga OS--&gt;Wookiechat, AmIRC 
|&lt;!--AmigaOS4--&gt;Wookiechat 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Wookiechat], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 AmIRC], 
|-
|&lt;!--Sub Menu--&gt;Instant Messaging IM like [https://github.com/BlitterStudio/amidon Hollywood lang based Mastodon client], BlueSky AT protocol, Facebook(TM), Twitter X (TM), Bitlbee IRC Gateway and others 
|&lt;!--AROS--&gt;[https://github.com/kaffeine1/telegram-amiga telegram-amiga], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat jabberwocky], 
|&lt;!--Amiga OS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], CLIMM, SabreMSN, jabberwocky, 
|&lt;!--AmigaOS4--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], SabreMSN,
|&lt;!--MorphOS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 PolyglotNG], SabreMSN,
|-
|&lt;!--Sub Menu--&gt;Torrents 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/p2p ArTorr], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;CTorrent, Transmission 
|&lt;!--MorphOS--&gt;MLDonkey, Beehive, [http://morphos.lukysoft.cz/en/vypis.php?kat=5 Transmission], CTorrent, 
|-
|&lt;!--Sub Menu--&gt;FTP 
|&lt;!--AROS--&gt;Plugin included with Dopus Magellan, MarranoFTP, 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/comm/tcp/AmiFTP AmiFTP], AmiTradeCenter, ncFTP, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Pftp], [http://aminet.net/package/comm/tcp/AmiFTP-1.935-OS4 AmiFTP], 
|-
|&lt;!--Sub Menu--&gt;WYSIWYG Web Site Editor
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Internet Radio Streaming Audio [http://www.gnu.org/software/gnump3d/ gnump3d], [http://www.icecast.org/ Icecast2] Server (Broadcast) and Client (Listen), [ mpd], [http://darkice.sourceforge.net/ DarkIce], [http://www.dyne.org/software/muse/ Muse], 
|&lt;!--AROS--&gt;Mplayer (Icecast Client only), 
|&lt;!--Amiga OS--&gt;[https://github.com/sandlbn/TuneFinder TuneFinder C Src], [https://github.com/sandlbn/TuneFinderMUI TuneFinderMUI], [http://amigazeux.net/anr/ AmiNetRadio], [], [], 
|&lt;!--AmigaOS4--&gt;[http://www.tunenet.co.uk/ Tunenet], 
|&lt;!--MorphOS--&gt;Mplayer, AmiNetRadio, 
|-
|&lt;!--Sub Menu--&gt;VoIP (Voice over IP) with SIP Client (Session Initiation Protocol) or Asterisk IAX2 Clients Softphone (skype like) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;AmiPhone with Speak Freely, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Weather Forecast 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ WeatherBar], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench AWeather], []
|&lt;!--Amiga OS--&gt;[http://amigazeux.net/wetter/ Wetter], [https://github.com/emartisoft/AmiWeatherForecasts AmiWeatherForecasts src], 
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/?function=showfile&amp;file=utility/workbench/flipclock.lha FlipClock], 
|&lt;!--MorphOS--&gt;[http://amigazeux.net/wetter/ Wetter], 
|-
|&lt;!--Sub Menu--&gt;Street Road Maps Route Planning GPS Tracking  
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/muimapparium/ MuiMapparium] [https://build.alb42.de/ Build of MuiMapp versions], 
|&lt;!--Amiga OS--&gt;AmiAtlas*, UKRoutePlus*, [http://blog.alb42.de/ AmOSM], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://blog.alb42.de/programs/mapparium/ Mapparium], 
|-
|&lt;!--Sub Menu--&gt;Clock and Date setting from the internet (either ntp or websites) [https://www.timeanddate.com/worldclock/ World Clock], [http://www.time.gov/ NIST], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc ntpsync],  
|&lt;!--Amiga OS--&gt;ntpsync 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Newsgroups
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[http://newscoaster.sourceforge.net/ Newscoaster], [https://github.com/jens-maus/newsrog NewsRog], [ WorldNews], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Graphical Image Editing Art==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Image Editing
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Pixel Raster Artwork [https://github.com/LibreSprite/LibreSprite LibreSprite based on GPL aseprite], [https://github.com/abetusk/hsvhero hsvhero], [], 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/ZunePaint/ ZunePaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit LunaPaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit GrafX2], [ LodePaint needs OpenGL], 
|&lt;!--Amiga OS--&gt;[http://www.amigaforever.com/classic/download.html PPaint], GrafX2, [https://github.com/grovdata/Amiga_Sources/blob/master/software.md DeluxePaint], [http://www.amiforce.de/perfectpaint/perfectpaint.php PerfectPaint], Zoetrope, Brilliance2*, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit LodePaint], GrafX2, 
|&lt;!--MorphOS--&gt;Sketch, Pixel*, GrafX2, [http://morphos.lukysoft.cz/en/vypis.php?kat=3 LunaPaint]
|-
|&lt;!--Sub Menu--&gt;Image viewing 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LookHere], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LoView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer PicShow] , [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--Amiga OS--&gt;PicShow, PicView, Photoalbum,
|&lt;!--AmigaOS4--&gt;WarpView, PicShow, flPhoto, Thumbs, [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album]
|-
|&lt;!--Sub Menu--&gt;Photography retouching / Image Manipulation like Photoshop(tm)  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOEffects], [https://sourceforge.net/projects/zunetools/files/ ZunePaint], [http://sourceforge.net/projects/zunetools/files/ ZuneView], 
|&lt;!--Amiga OS--&gt;[ Tecsoft Video Paint aka TVPaint], Photogenics*, ArtEffect*, ImageFX*, XiPaint, fxPaint, ImageMasterRT, Opalpaint, 
|&lt;!--AmigaOS4--&gt;WarpView, flPhoto, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit Photocrop]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], ImageFX*, 
|-
|&lt;!--Sub Menu--&gt;Manage RAW picture folder galleries like Darktable, RAWtherapy, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Graphic Format Converter - ICC profile support sRGB, Adobe RGB, XYZ and linear RGB 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;GraphicsConverter, ImageStudio, [http://www.coplabs.org/artpro.html ArtPro]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Thumbnail Generator [], 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/shell Thumbnail Generator]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Icon Editor
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/iconedit Archives], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench Icon Toolbox], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/iconedit IconEditor]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Pixel Art Animation 
|&lt;!--AROS--&gt;Lunapaint
|&lt;!--Amiga OS--&gt;PPaint, AnimatED, Scala*, GoldDisk MovieSetter*, Walt Disney's Animation Studio*, ProDAD*, [https://github.com/historicalsource/DeluxePaint DeluxePaint src], Brilliance
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 Titler] 
|-
|&lt;!--Sub Menu--&gt;2D SVG based MovieSetter type 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;MovieSetter*, Fantavision*
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Morphing 
|&lt;!--AROS--&gt;[ GLMorph]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Cad (qcad-&gt;LibreCAD, etc.) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Xcad, MaxonCAD
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Cad like FreeCad, BRL-CAD, OpenSCAD, AvoCADo, etc. using dxf, obj (vertices), blend, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;XCad3d*, DynaCADD*, Cycas, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Model Rendering of glft (json) gbl (png jpg), usdz (USD files with materials, textures, and animations), FBX Filmbox is a proprietary Autodesk format, 
|&lt;!--AROS--&gt;POV-Ray
|&lt;!--Amiga OS--&gt;[http://www.discreetfx.com./amigaproducts.html CINEMA 4D]*, POV-Ray, Lightwave3D*, Real3D*, Caligari24*, Reflections/Monzoom*, [https://github.com/privatosan/RayStorm Raystorm src], Tornado 3D
|&lt;!--AmigaOS4--&gt;Blender, POV-Ray, Yafray
|&lt;!--MorphOS--&gt;Blender, POV-Ray, Yafray
|-
|&lt;!--Sub Menu--&gt;3D Format Converter [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=showfile&amp;file=graphics/convert/ivcon.lha IVCon]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen grabbing display 
|&lt;!--AROS--&gt;[ Screengrabber], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc snapit], [http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record screen recorder], []
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Grab graphics music from apps [https://github.com/Malvineous/ripper6 ripper6], [],
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Office Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Office
!width:10%;|AROS (x86)
!width:10%;|[http://en.wikipedia.org/wiki/Amiga_software Commodore-Amiga OS 3.1] (68k)
!width:10%;|[http://en.wikipedia.org/wiki/AmigaOS_4 Hyperion OS4] (PPC)
!width:10%;|[http://en.wikipedia.org/wiki/MorphOS MorphOS] (PPC)
|-
|&lt;!--Sub Menu--&gt;Word-processing 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=office/wordprocessing Cinnamon Writer], [https://finalwriter.godaddysites.com/ Final Writer 7*], [https://github.com/sodero/MUI-Vim/releases MUI-Vim], [ ], 
|&lt;!--AmigaOS--&gt;[ Softwood FinalCopy II*], Haage AmigaWriter*, Digita WordWorth*, Softwood FinalWriter*, Micro-Systems Excellence 3*, Arnor Protext, Rashumon, [ InterWord], [ KindWords], [WordPerfect], [ New Horizons Flow], [ CygnusEd Pro], [ Micro-systems Scribble], 
|&lt;!--AmigaOS4--&gt;AbiWord, [ CinnamonWriter]
|&lt;!--MorphOS--&gt;[ Cinnamon Writer], [http://www.meta-morphos.org/viewtopic.php?topic=1246&amp;forum=53 scriba], [http://morphos.lukysoft.cz/en/index.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Spreadsheets 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/leu/ Leu], [https://archives.arosworld.org/index.php?function=browse&amp;cat=office/spreadsheet], 
|&lt;!--AmigaOS--&gt;[https://aminet.net/package/biz/spread/ignition-src Ignition Src 1.3], [MaxiPlan 500 Plus], [OXXI Plan/IT v2.0 Speadsheet], [ Superplan], [ Creative Developments TurboCalc], [ ProCalc], [ InterSpread], [Digita DGCalc], [ Gold Disk Advantage], [ Micro-systems Analyze!]
|&lt;!--AmigaOS4--&gt;Gnumeric, [https://ignition-amiga.sourceforge.net/ Ignition], 
|&lt;!--MorphOS--&gt;[ ignition], [http://morphos.lukysoft.cz/en/vypis.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Presentations
|&lt;!--AROS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, 
|&lt;!--Amiga OS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, MediaPoint, PointRider, Scala*, 
|&lt;!--Amiga OS4--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider 
|&lt;!--MorphOS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider
|-
|&lt;!--Sub Menu--&gt;Databases 
|&lt;!--AROS--&gt;[http://sdb.freeforums.org/ SDB], [http://archives.arosworld.org/index.php?function=browse&amp;cat=office/database BeeBase], 
|&lt;!--Amiga OS--&gt;Precision Superbase 4 Pro*, Arnor Prodata*, BeeBase, Datastore, FinalData*, AmigaBase, Fiasco, Twist2*, [Digita DGBase], [], 
|&lt;!--AmigaOS4--&gt;BeeBase, SQLite, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=6 BeeBase], 
|-
|&lt;!--Sub Menu--&gt;PDF Viewing and editing digital signatures 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/arospdf/ ArosPDF via splash], [https://github.com/wattoc/AROS-vpdf vpdf wip], 
|&lt;!--Amiga OS--&gt;APDF 
|&lt;!--AmigaOS4--&gt;AmiPDF 
|&lt;!--MorphOS--&gt;APDF, vPDF, 
|-
|&lt;!--Sub Menu--&gt;Printing 
|&lt;!--AROS--&gt;Postscript 3 laser printers and Ghostscript internal, [ GutenPrint], 
|&lt;!--Amiga OS--&gt;[http://www.irseesoft.de/tp_what.htm TurboPrint]* 
|&lt;!--AmigaOS4--&gt;(some native drivers), 
|&lt;!--MorphOS--&gt;early TurboPrint included, 
|-
|&lt;!--Sub Menu--&gt;Note Taking markdown support like joplin, OneNote, EverNote Notes, xournalpp, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Study and analyse, collect, organize, annotate, cite, and share
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PIM Personal Information Manager - Day Diary Planner Calendar App 
|&lt;!--AROS--&gt;[ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;Digita Organiser*, On The Ball, Everyday Organiser, [ Contact Manager], 
|&lt;!--AmigaOS4--&gt;AOrganiser, 
|&lt;!--MorphOS--&gt;[http://polymere.free.fr/orga_en.html PolyOrga], 
|-
|&lt;!--Sub Menu--&gt;Accounting
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=office/misc ETB], LoanCalc, [ ], [ ], [ ], 
|[ Digita Home Accounts2], Accountant, Small Business Accounts, Account Master, [ Amigabok], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Project Management Research 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;SuperGantt, SuperPlan, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System Wide Dictionary - multilingual [http://sourceforge.net/projects/babiloo/ Babiloo], [http://code.google.com/p/stardict-3/ StarDict], 
|&lt;!--AROS--&gt;[ ],  
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System wide Thesaurus - multi lingual
|&lt;!--AROS--&gt;[ ], 
|Kuma K-Roget*, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Sticky Desktop Notes (post it type) 
|&lt;!--AROS--&gt;[http://aminet.net/package/util/wb/amimemos.i386-aros AmiMemos], [https://aminet.net/package/util/wb/amimemos.src-aros AmiMemos Src], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/util/wb/StickIt-2.00 StickIt v2], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DTP Desktop Publishing 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOPublisher], 
|&lt;!--Amiga OS--&gt;[http://pagestream.org/ Pagestream]*, Professional Pro Page*, Saxon Publisher, Pagesetter, PenPal, 
|&lt;!--AmigaOS4--&gt;[http://pagestream.org/ Pagestream]* 
|&lt;!--MorphOS--&gt;[http://pagestream.org/ Pagestream]* 
|-
|&lt;!--Sub Menu--&gt;Scanning 
|&lt;!--AROS--&gt;[ SCANdal], [], 
|&lt;!--Amiga OS--&gt;FxScan*, ScanQuix* 
|&lt;!--AmigaOS4--&gt;SCANdal (Sane)
|&lt;!--MorphOS--&gt;SCANdal
|-
|&lt;!--Sub Menu--&gt;OCR
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/convert gOCR] 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos-files.net/categories/office/text Tesseract] 
|-
|&lt;!--Sub Menu--&gt;Text Editing
|&lt;!--AROS--&gt;Jano Editor (already installed as Editor), [http://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit EdiSyn], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit Annotate], [https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Vim], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd] [https://github.com/vidarh/FrexxEd src], [ NoWinEd], 
|&lt;!--Amiga OS--&gt;Annotate, MicroGoldED/CubicIDE*, CygnusED*, Turbotext, Protext*, NoWinED, 
|&lt;!--AmigaOS4--&gt;Notepad, Annotate, CygnusED*, NoWinED, 
|&lt;!--MorphOS--&gt;MorphOS ED, NoWinED, GoldED/CubicIDE*, CygnusED*, Annotate, 
|-
|&lt;!--Sub Menu--&gt;Office Fonts [http://sourceforge.net/projects/fontforge/files/fontforge-source/ Font Designer] 
|&lt;!--AROS--&gt;[ ], [ ], 
|&lt;!--Amiga OS--&gt;TypeSmith*, SaxonScript (GetFont Adobe Type 1), 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Drawing Vector
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/amifig/ ZuneFIG previously AmiFIG]
|&lt;!--Amiga OS--&gt;Drawstudio*, ProVector*, ArtExpression*, Professional Draw*, AmiFIG, MetaView, [https://gitlab.com/amigasourcecodepreservation/designworks Design Works Src], [], 
|&lt;!--AmigaOS4--&gt;MindSpace, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit amifig], 
|&lt;!--MorphOS--&gt;SteamDraw, [http://aminet.net/package/gfx/edit/amifig amiFIG], 
|-
|&lt;!--Sub Menu--&gt;video conferencing (jitsi) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;source code hosting
|&lt;!--AROS--&gt;Gitlab, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (server)
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/VNC_Server ArosVNCServer], 
|&lt;!--Amiga OS--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC], [http://dspach.free.fr/amiga/avnc/index.html AVNC]
|&lt;!--AmigaOS4--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC] 
|MorphVNC, vncserver
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (client) login and connect to another machine 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/VNC_Client/ ArosVNC], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc rdesktop], 
|&lt;!--Amiga OS--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://dspach.free.fr/amiga/vva/index.html VVA], [http://www.hd-zone.com/ RDesktop]
|&lt;!--AmigaOS4--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|-
|&lt;!--Sub Menu--&gt;notifications 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Ranchero 
|&lt;!--AmigaOS4--&gt;Ringhio 
|&lt;!--MorphOS--&gt;MagicBeacon 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Audio==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Audio
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing playback Audio like MP3, [https://github.com/chrg127/gmplayer NSF], [https://github.com/kode54/lazyusf miniusf .usflib], [], etc 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer], [ HarmonyPlayer hp], [http://www.a500.org/downloads/audio/index.xhtml playcdda] CDs, [ WildMidi Player], [https://bszili.morphos.me/ UADE mod player], [], [RNOTunes ], [ mp3Player], [], 
|&lt;!--Amiga OS--&gt;AmiNetRadio, AmigaAmp, playOGG, 
|&lt;!--AmigaOS4--&gt;TuneNet, SimplePlay, AmigaAmp, TKPlayer
|AmiNetRadio, Mplayer, Kaya, AmigaAmp
|-
|&lt;!--Sub Menu--&gt;Editing Audio 
|&lt;!--AROS--&gt;[ Audio Evolution 4] 
|&lt;!--Amiga OS--&gt;[ Samplitude Opus Key], [https://sourceforge.net/projects/hd-rec/ HD-Rec Src], [http://www.sonicpulse.de/eng/news.html SoundFX], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/projects/hd-rec/ HD-Rec], AmiSoundED, [http://os4depot.net/?function=showfile&amp;file=audio/record/audioevolution4.lha Audio Evolution 4] 
|[http://www.hd-rec.de/HD-Rec/index.php?site=home HD-Rec], 
|-
|&lt;!--Sub Menu--&gt;Editing Tracker Music
|&lt;!--AROS--&gt;[https://github.com/hitchhikr/protrekkr Protrekkr], [ Schism Tracker], [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/tracker MilkyTracker], [http://www.hivelytracker.com/ HivelyTracker], [ Radium in AROS already],  [http://www.a500.org/downloads/development/index.xhtml libMikMod], 
|&lt;!--Amiga OS--&gt;MilkyTracker, HivelyTracker, DigiBooster, Octamed SoundStudio, 
|&lt;!--AmigaOS4--&gt;MilkyTracker, HivelyTracker, GoatTracker
|MilkyTracker, GoatTracker, DigiBooster, 
|-
|&lt;!--Sub Menu--&gt;Editing Music [], [https://github.com/kmatheussen/camd CAMD] and/or staves and notes manuscript 
|&lt;!--AROS--&gt;[http://bnp.hansfaust.de/ Bars and Pipes for AROS], [ Audio Evolution], [], 
|&lt;!--Amiga OS--&gt;[http://bnp.hansfaust.de/ Bars'n'Pipes], MusicX* David &quot;Talin&quot; Joiner &amp; Craig Weeks (for Notator-X), Deluxe Music Construction 2*, [https://github.com/timoinutilis/midi-sequencer-amigaos Horny c Src], HD-Rec, [https://aminet.net/package/mus/midi/dominatorV1_51 Dominator], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Rockbeat, [http://bnp.hansfaust.de/download.html Bars'n'Pipes], [http://os4depot.net/index.php?function=browse&amp;cat=audio/edit Horny], Audio Evolution 4, 
|&lt;!--MorphOS--&gt;Bars'n'Pipes, 
|-
|&lt;!--Sub Menu--&gt;Sound Sampling 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/record Audio Evolution 4], [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;did=162 Quick Record], [https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc SOX to get AIFF 16bit files], [https://github.com/aros-development-team/AROS/tree/master/workbench/tools/AHIRecord AHIRecord], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/package/mus/edit/AudioEvolution3_src Audio Evolution 3 c src], [ Samplitude-MS Opus Key], Audiomaster IV*, 
|&lt;!--AmigaOS4--&gt;[https://github.com/timoinutilis/phonolith-amigaos phonolith c src], HD-Rec, Audio Evolution 4,
|&lt;!--MorphOS--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Audio Evolution 4,
|-
|&lt;!--Sub Menu--&gt;Live Looping or Audio Misc - Groovebox like
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;CD/DVD burn
|[https://code.google.com/p/amiga-fryingpan/ FryingPan], 
|&lt;!--Amiga OS--&gt;FryingPan, [http://www.estamos.de/makecd/#CurrentVersion MakeCD], 
|&lt;!--AmigaOS4--&gt;FryingPan, AmiDVD, 
|[http://www.amiga.org/forums/printthread.php?t=58736 FryingPan], Jalopeano, 
|-
|&lt;!--Sub Menu--&gt;CD/DVD audio rip
|Lame, [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;cfid=0&amp;did=167 Quick CDrip],
|&lt;!--Amiga OS--&gt;Lame,  
|&lt;!--AmigaOS4--&gt;Lame, 
|Lame,  
|-
|&lt;!--Sub Menu--&gt;MP3 v1 and v2 Tagger
|&lt;!--AROS--&gt;id3ren (v1), [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/edit mp3info], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|
|-
|&lt;!--Sub Menu--&gt;Audio Convert
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc Sox], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/mus/misc/SoundBox SoundBox], [http://aminet.net/package/mus/misc/SoundBoxKey SoundBox Key], [http://aminet.net/package/mus/edit/SampleE SampleE], sox 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DJ mixing jamming 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Radio Automation Software [http://www.rivendellaudio.org/ Rivendell], [http://code.campware.org/projects/livesupport/report/3 Campware LiveSupport], [http://www.sourcefabric.org/en/airtime/ SourceFabric AirTime], [http://www.ohloh.net/p/mediabox404 MediaBox404], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speakers Audio Sonos Mains AC networked wired controlled 
*2005 ZP100 with ZP80 
*2008 Zoneplayer ZP120 (multi-room wireless amp)  ZP90 receiver only with CR100 controller, 
*2009 ZonePlayer S5, 
*2010 BR100 wireless Bridge (no support),   
*2011 Play:3
*2013 Bridge (no support), Play:1,  
*2016 Arc,   Play:1,   
*Beam (Gen 2),   Playbar,  Ray,   Era 100,   Era 300,   Roam,   Move 2,   
*Sub (Gen 3),   Sub Mini,  Five,  Amp  S2 
|&lt;!--AROS--&gt;SonosController 
|&lt;!--Amiga OS--&gt;SonosController
|&lt;!--AmigaOS4--&gt;SonosController
|&lt;!--MorphOS--&gt;SonosController
|-
|&lt;!--Sub Menu--&gt;Smart Speakers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Video Creativity and Production==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Video
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing Video 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer VAMP], [http://www.a500.org/downloads/video/index.xhtml CDXL player], [http://www.a500.org/downloads/video/index.xhtml IffAnimPlay], [], 
|&lt;!--Amiga OS--&gt;Frogger*, AMP2, MPlayer, RiVA*, MooViD*, 
|&lt;!--AmigaOS4--&gt;DvPlayer, MPlayer 
|&lt;!--MorphOS--&gt;MPlayer, Frogger, AMP2, VLC 
|-
|&lt;!--Sub Menu--&gt;Streaming Video and game streaming like OBS studio, Parsec, etc 
|&lt;!--AROS--&gt;Mplayer, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Mplayer, Gnash, Tubexx 
|&lt;!--MorphOS--&gt;Mplayer, OWB, Tubexx
|-
|&lt;!--Sub Menu--&gt;Playing DVD 
|&lt;!--AROS--&gt;[http://a-mc.biz/ AMC]*, Mplayer 
|&lt;!--Amiga OS--&gt;AMP2, Frogger 
|&lt;!--AmigaOS4--&gt;[http://a-mc.biz/ AMC]*, DvPlayer*, AMP2,  
|&lt;!--MorphOS--&gt;Mplayer 
|-
|&lt;!--Sub Menu--&gt;Screen Recording
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record Screenrecorder], [ ], [ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Screenrecorder, 
|-
|&lt;!--Sub Menu--&gt;Create and Edit Individual Video NLE 
|&lt;!--AROS--&gt;[ Mencoder], [ Quick Videos], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit AVIbuild], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc FrameBuild], FFMPEG, 
|&lt;!--Amiga OS--&gt;[ MainConcept Mainactor Broadcast*], [http://en.wikipedia.org/wiki/Video_Toaster Video Toaster*], MacroSystem MovieShop 4.3*, proDAD Adorage*, [ IOSpirit VHI studio]*, [Gold Disk ShowMaker], [], 
|&lt;!--AmigaOS4--&gt;FFMpeg/GUI 
|&lt;!--MorphOS--&gt;Blender, Mencoder, FFmpeg
|-
|&lt;!--Sub Menu--&gt;Subtitle editor 
|&lt;!--AROS--&gt;[https://aminet.net/package/text/edit/Slarti_Arosx86ABIv0 Slarti_Arosx86ABIv0], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;IP-based video production workflows with High Dynamic Range (HDR), 10-bit color collaborative NDI, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Blogging like Lemmy or kbin
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR face recognition for Vtubers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting Live 2D models with Cubism type editor 
&lt;pre&gt;
Model data (cmo3)
Basic motions (can3)
Background image (png)
Set of files for embedding (runtime folder)
• Model data (moc3)
• Motion data (motion3.json)
• Model settings file (model3.json)
• Physics settings file (physics3.json)
• Display auxiliary file (cdi3.json)
&lt;/pre&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting chatters .VRML models - standardized 3D file format for VR avatars 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;V-tubers V-tubing like Vseeface with Openseeface tracker or Vpuppr (virtual puppet project) for 2d / 3d art models rigging rigged LIV 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]


==Misc Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;File Management 
|&lt;!--AROS--&gt;DOpus4, [https://github.com/BlitterStudio/dopus5 DOpus Magellan aka DOpus 5], [ Scalos], [ ], 
|&lt;!--Amiga OS--&gt;DOpus2, DOpus 4, [http://sourceforge.net/projects/dopus5allamigas/files/?source=navbar DOpus Magellan DOpus5], ClassAction, FileMaster, [http://www.amiga.org/forums/showthread.php?t=4897 DirWork 2]*, [https://github.com/RudolphRiedel/DiskMaster2 DiskMaster2 src], 
|&lt;!--AmigaOS4--&gt;DOpus4, DOpus5, Filer, AmiDisk 
|&lt;!--MorphOS--&gt;DOpus4, DOpus5 
|-
|&lt;!--Sub Menu--&gt;File Verification / Repair 
|&lt;!--AROS--&gt;md5 (works in linux compiling shell), [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/filetool workpar2] (PAR2),  [http://zakalwe.fi/~shd/foss/cksfv/files/ compile cksfv from website], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Par2, 
|-
|Application Installer 
|&lt;!--AROS--&gt;[], [ InstallerNG], 
|&lt;!--Amiga OS--&gt;InstallerNG, Grunch, 
|&lt;!--AmigaOS4--&gt;Jack
|&lt;!--MorphOS--&gt;Jack 
|-
|&lt;!--Sub Menu--&gt;Compression archiver [https://github.com/FS-make-simple/paq9a paq9a], [], 
|&lt;!--AROS--&gt;XAD system is a toolkit designed for handling various file and disk archiver
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[https://aminet.net/package/util/pack/decrunchmania_os4 Crunchmania CrM2 depacker], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Binary Hexadecimal Editor 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Zaphod], [],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Repository
|&lt;!--AROS--&gt;[ Git]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Git
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Partition Editor formatter 
|&lt;!--AROS--&gt;[https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1440&amp;highlight=partition&amp;pid=8821#post_8821 QuickPart], [HDToolBox]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Repair
|&lt;!--AROS--&gt;ArSFSDoctor, 
|&lt;!--Amiga OS--&gt; Quarterback Tools, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Multiple File renaming
|&lt;!--AROS--&gt;DOpus 4 or 5, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Anti Virus
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;VChecker, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Random Wallpaper Desktop changer [ DOpus5], [ Scalos],  
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Alarm Clock, Timer, Stopwatch, Countdown 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench DClock], [http://aminet.net/util/time/AlarmClockAROS.lha AlarmClock], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fortune Cookie Quotes Sayings 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc AFortune], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;C/C++ IDE 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd], [https://github.com/vidarh/FrexxEd FrexxEd src], Annotate, Murks, 
|&lt;!--Amiga OS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Annotate, 
|&lt;!--AmigaOS4--&gt;CodeBench , [https://gitlab.com/boemann/codecraft CodeCraft], 
|&lt;!--MorphOS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Anontate, 
|-
|&lt;!--Sub Menu--&gt;Computer Languages Translation [https://tetracorp.github.io/guide/reverse-engineering-amiga.html ], [https://amigasourcecodepreservation.gitlab.io/amiga-assembler-insider-guide/ ], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://bitbucket.org/rhinoid/convert68000toc/src/main/ convert m68k seka asm-one to c], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Gui Creators
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/guitool MuiBuilder], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[ MuiBuilder],  
|-
|&lt;!--Sub Menu--&gt;Catalog .cd .ct Editors 
|&lt;!--AROS--&gt;FlexCat
|&lt;!--Amiga OS--&gt;[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|&lt;!--AmigaOS4--&gt;[http://aminet.net/package/dev/misc/simplecat SimpleCat], FlexCat
|[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Misc Application 2==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;System 
|&lt;!--AROS--&gt;[ SysExplorer], [ SysMon], [ Scout], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;OSK On Screen Keyboard
|&lt;!--AROS--&gt;[], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/util/wb/OSK.lha OSK]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Magnifier Magnifying Glass Magnification 
|&lt;!--AROS--&gt;[http://www.onyxsoft.se/files/zoomit.lha ZoomIT], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Comic Book CBR CBZ format reader viewer 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comics], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comicon], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Reader 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#legadon Legadon EPUB],[]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Converter 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Text to Speech tts [https://github.com/JonathanFly/bark-installer Bark], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc flite], 
|&lt;!--Amiga OS--&gt;[http://www.text2speech.com translator], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=search&amp;tool=simple FLite]
|&lt;!--MorphOS--&gt;[http://se.aminet.net/pub/aminet/mus/misc/ FLite]
|-
|&lt;!--Sub Menu--&gt;Speech Voice Recognition Dictation - [http://sourceforge.net/projects/cmusphinx/files/ CMU Sphinx], [http://julius.sourceforge.jp/en_index.php?q=en/index.html Julius], [http://www.isip.piconepress.com/projects/speech/index.html ISIP], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speech Voice Changer [], [], [], [], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Display Blanker screensaver 
|&lt;!--AROS--&gt;Blanker Commodity (built in), [https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/screenblanker GarshneBlanker], [http://sourceforge.net/projects/gblanker/ GBlanker Src], [], 
|&lt;!--Amiga OS--&gt;MultiCX, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;ModernArt Blanker, 
|-
|}


==Misc Application 3==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Fractals
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc ], 
|&lt;!--Amiga OS--&gt;ZoneXplorer, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Landscape Rendering 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/raytrace WCS World Construction Set], 
|&lt;!--Amiga OS--&gt;[ Vista Pro], [http://en.wikipedia.org/wiki/World_Construction_Set World Construction Set]
|&lt;!--AmigaOS4--&gt;[ WCS World Construction Set],
|&lt;!--MorphOS--&gt;[ WCS World Construction Set],
|-
|&lt;!--Sub Menu--&gt;Astronomy [https://sourceforge.net/projects/skychart/ skychart freepascal], [], [], 
|&lt;!--AROS--&gt;[ Digital Almanac (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/search?query=planetarium Aminet search], [http://aminet.net/misc/sci/DA3V56ISO.zip Digital Almanac], [https://aminet.net/package/misc/sci/da3sourceV58 Src c V58], [ Galileo renamed to Distant Suns]*, [], 
|&lt;!--AmigaOS4--&gt;[http://sourceforge.net/projects/digital-almanac/ Digital Almanac], Distant Suns*, [http://www.digitaluniverse.org.uk/ Digital Universe]*,
|&lt;!--MorphOS--&gt;[http://www.aminet.net/misc/sci/da3.lha Digital Almanac], [http://www.aminet.net/package/misc/sci/da3-mos-src Src c V56], 
|-
|&lt;!--Sub Menu--&gt;Astrology [https://sourceforge.net/projects/skylendar/ skylendar], [https://github.com/CruiserOne/Astrolog Astrolog], [https://www.astrolog.org/astrolog/astfile.htm Astrology alt site], [https://saravali.github.io/download.html Maitreya], [https://github.com/alamahant/Asteria Asteria], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PCB design
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Digital Signage
|&lt;!--AROS--&gt;Hollywood, Hollywood Designer 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Genealogy History Family Tree Ancestry Records (FreeBMD, FreeREG, and FreeCEN file formats or GEDCOM GenTree)
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; [ Origins], [ Your Family Tree], [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Languages 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Fun School, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Mathematics ([http://www-fourier.ujf-grenoble.fr/~parisse/install_en.html Xcas], etc.), 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/scientific mathX] 
|&lt;!--Amiga OS--&gt;Maple V, mathX, Fun School, GCSE Maths, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;Yacas 
|&lt;!--MorphOS--&gt;Yacas 
|-
|&lt;!--Sub Menu--&gt;Maths Graph Function Plotting
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#MUIPlot MUIPlot], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;App Utility Launcher Dock toolbar  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/docky BoingBar], [], 
|&lt;!--Amiga OS--&gt;[https://github.com/adkennan/DockBot Dockbot],
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Printer [https://github.com/OrcaSlicer/OrcaSlicer OrcaSlicer]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;BASIC Computer Language 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/language Basic4SDL], [ Ace Basic], [ X-AMOS], [SDLBasic], [ Alvyn], 
|&lt;!--Amiga OS--&gt;[http://www.amiforce.de/main.php Amiblitz 3], [http://amos.condor.serverpro3.com/AmosProManual/contents/c1.html Amos Pro], [http://aminet.net/package/dev/basic/ace24dist ACE Basic], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;sdlBasic
|-
|&lt;!--Sub Menu--&gt;HAM amateur radio  [], [], [], [https://cemaxecuter.com/ Dragon OS], [https://github.com/km4ack/73Linux with 73 link update], [https://www.youtube.com/watch?v=YAL5KNePRSg video for], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://www.amigarealm.com/amiga/amicomms/comm4.htm Comm4], [https://www.amigarealm.com/archives/comms/aarug/ TNC Terminal Node Controller with packets over serial connections on Yaesu or Woxum handheld], [https://aminet.net/comm/misc AmiCom], [ with 7Plus file encoder/decoder], [ mksstv], [ RTTYam], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Games &amp; Emulation==

Some emulators/games require OpenGL to function and to adjust ahi prefs channels, frequency and unit0 and unit1 and 
[http://aros.sourceforge.net/documentation/users/shell/changetaskpri.php changetaskpri -1]

Rom patching  https://www.marcrobledo.com/RomPatcher.js/ https://www.romhacking.net/patch/ (ips, ups, bps, etc) and this other site supports the latter formats https://hack64.net/tools/patcher.php 

Free public domain roms for use with emulators can be found [http://www.pdroms.de/ here] as most of the rest are covered by copyright rules. If you like to read about old games see [http://retrogamingtimes.com/ here] and [http://www.armchairarcade.com/neo/ here] and a [http://www.vintagecomputing.com/ blog] about old computers. Possibly some of the [http://www.answers.com/topic/list-of-best-selling-computer-and-video-games best selling] of all time. [http://en.wikipedia.org/wiki/List_of_computer_system_emulators Wiki] with emulated systems list.

[https://archive.gamehistory.org/ Archive of VGHF], [https://library.gamehistory.org/ Video Game History Foundation Library search]


{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Emulation]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Games Emulation Amstrad CPC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [ Caprice32 (OpenGL &amp; pure SDL)], [ Arnold], [https://retroshowcase.gr/cpcbox-master/], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Apple2 and 2GS
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Arcade
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Mame], [ SI Emu (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;Mame, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem xmame], amiarcadia, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 Mame], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 2600 [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Stella], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 5200 [https://github.com/wavemotion-dave/A5200DS A5200DS], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 7800
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 400 800 130XL [https://github.com/wavemotion-dave/A8DS A8DS], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Atari800], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Lynx
|&lt;!--AROS--&gt;[http://myfreefilehosting.com/f/6366e11bdf_1.93MB Handy (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Jaguar
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Bandai Wonderswan 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation BBC Micro and Acorn Electron [http://beehttps://bem-unix.bbcmicro.com/download.html BeebEm], [http://b-em.bbcmicro.com/ B-Em], [http://elkulator.acornelectron.co.uk/ Elkulator], [http://electrem.emuunlim.com/ ElectrEm], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Dragon 32 and Tandy CoCo [http://www.6809.org.uk/xroar/ xroar], [], 
|&lt;!--AROS--&gt;[], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C16 Plus4
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C64
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Vice (ABIv0 only)], [], 
|&lt;!--Amiga OS--&gt;Frodo, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem viceplus], 
|&lt;!--MorphOS--&gt;Vice, 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore Amiga
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Janus UAE], Emumiga, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer UAE], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 UAE], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Japanese MSX MSX2 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Intelivision
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Colecovision and Adam
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Milton Bradley (MB) Vectrex [ Vectrex OpenGL], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation PICO8 Pico-8 fantasy video game console [https://github.com/egordorichev/pemsa-sdl/ pemsa-sdl], [https://github.com/jtothebell/fake-08 fake-08], [https://github.com/Epicpkmn11/fake-08/tree/wip fake-08 fork], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo Gameboy
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem vba no sound], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem vba]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo NES
|&lt;!--AROS--&gt;[ EmiNES], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Fceu], [https://github.com/takahirox/nes-js?tab=readme-ov-file nes-js], [https://github.com/bfirsh/jsnes jsnes], [https://github.com/angelo-wf/NesJs NesJs], 
|&lt;!--Amiga OS--&gt;AmiNES, [http://www.dridus.com/~nyef/darcnes/ darcNES], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem amines]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo SNES
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Zsnes], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem warpsnes]
|&lt;!--MorphOS--&gt;[http://fabportnawak.free.fr/snes/ Snes9x], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo N64 
*HLE and plugins [ mupen64], [https://github.com/ares-emulator/ares ares], [https://github.com/N64Recomp/N64Recomp N64Recomp], [https://github.com/rt64/rt64 rt64], [https://github.com/simple64/simple64 Simple64], 
*LLE [], 
|&lt;!--AROS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+],
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+], [http://aminet.net/package/misc/emu/tr-981125_src TR64], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Gamecube Wii]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Wii U]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/yuzu-emu Nintendo Switch]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation NEC PC Engine 
|&lt;!--AROS--&gt;[], [], [https://github.com/yhzmr442/jspce js-pce], 
|[http://www.hugo.fr.fm/ Hugo], [http://mednafen.sourceforge.net/ Mednafen], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem tgemu]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Master System (SMS)
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Dega], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem sms], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem osmose]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Genesis/Megadrive
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem gp no sound], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem DGen], 
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/genplus-gx/ Genplus], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem genesisplus]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Saturn 
*HLE [https://mednafen.github.io/ mednafen], [http://yabause.org/ yabause], [], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;[http://yabause.org/ Yabause], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Dreamcast 
*HLE [https://github.com/flyinghead/flycast  flycast], [https://code.google.com/archive/p/nulldc/downloads NullDC], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair ZX80 and ZX81 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair Spectrum 
|[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Fuse (crackly sound)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer SimCoupe], [ FBZX slow], [https://jsspeccy.zxdemo.org/ jsspeccy], [http://torinak.com/qaop/games qaop], 
|&lt;!--Amiga OS--&gt;[http://www.lasernet.plus.com/ Asp], [http://www.zophar.net/sinclair.html Speculator], [http://www.worldofspectrum.org/x128/index.html X128], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair QL
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/misc/emu/QDOS4amiga1 QDOS4amiga]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation SNK NeoGeo Pocket
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem gngeo], NeoPop, 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sony PlayStation
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem FPSE], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem FPSE]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS2]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS3]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://vita3k.org/ Sony Vita]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/shadps4-emu/shadPS4 PS4]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation [http://en.wikipedia.org/wiki/Tangerine_Computer_Systems Tangerine] Oric and Atmos 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Oricutron]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem Oricutron]
|&lt;!--MorphOS--&gt;[http://aminet.net/package/misc/emu/oricutron Oricutron]
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 99/4 99/4A [https://github.com/wavemotion-dave/DS994a DS994a], [], [https://js99er.net/#/ js99er], [], [http://aminet.net/package/misc/emu/TI4Amiga TI4Amiga], [http://aminet.net/package/misc/emu/TI4Amiga_src TI4Amiga src in c], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation HP 38G 40GS 48 49G/50G Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 58 83 84 85 86 - 89 92 Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [https://www.rockpapershotgun.com/ General]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Games [https://www.trackawesomelist.com/michelpereira/awesome-open-source-games/ Open Source and others] || AROS || Amiga OS || Amiga OS4 || Morphos 
|-
|&lt;!--Sub Menu--&gt;Games Action like [https://github.com/BSzili/OpenLara/tree/amiga/src source of openlara SDL2], [https://github.com/opentomb/OpenTomb opentomb], [https://github.com/LostArtefacts/TRX TRX formerly Tomb1Main], [https://github.com/TombEngine TombEngine], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Thrust], [https://github.com/fragglet/sdl-sopwith sdl sopwith], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action BOH], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Adventure like [http://dotg.sourceforge.net/ DMJ], [https://github.com/kromenak/gengine Gabriel Knight 3], [http://www.sarien.net/ Sierra Sarien], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/adventure dmagnetic], [https://archives.arosworld.org/?function=browse&amp;cat=emulation/misc ScummVM], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying frotz infocom], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Board like [https://github.com/aperture-software/colditz-escape escape from colditz], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/board], [http://amigan.1emu.net/releases Africa]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Cards 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/card ], [], 
|&lt;!--AmigaOS--&gt;[http://home.arcor.de/amigasolitaire/e/welcome.html Reko], [https://github.com/samskivert/beschei-en beschei Src], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Misc [https://github.com/michelpereira/awesome-open-source-games Awesome open], [https://github.com/bobeff/open-source-games General Open Source], [https://github.com/SAT-R/sa2 Sonic Advance 2], [https://github.com/velorek1/cwordle Wordle type], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games FPS like [https://aminet.net/package/game/shoot/D1X_Rebirth_AGA Descent D1X src], [https://github.com/DescentDevelopers/Descent3 Descent 3], [https://github.com/Fewnity/Counter-Strike-Nintendo-DS Counter-Strike-Nintendo-DS], [https://github.com/Aleph-One-Marathon/alephone Bungie Marathon 1994], [https://github.com/ZDoom/gzdoom gzdoom], [], 
|&lt;!--AROS--&gt;Doom, Quake, [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Quake 3 Arena (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Assault Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube 2 Sauerbraten (OpenGL)], [http://fodquake.net/test/ FodQuake QuakeWorld], [ Duke Nukem 3D], [ Darkplaces Nexuiz Xonotic], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Doom 3 SDL (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Hexenworld and Hexen 2], [ Aliens vs Predator Gold 2000 (openGL)], [ Odamex (openGL doom)], 
|&lt;!--Amiga OS--&gt;Doom, Quake, AB3D, Fears, Breathless, 
|&lt;!--AmigaOS4--&gt;Doom, Quake, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12 Doom], Quake, Quake 3 Arena, [https://github.com/OpenXRay/xray-16 S.T.A.L.K.E.R Xray]
|-
|&lt;!--Sub Menu--&gt;Games MMORG like 
|&lt;!--AROS--&gt;[ Eternal Lands (OpenGL)],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Platform like 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform], [ Maze of Galious], [ Gish]*(openGL), [ Mega Mario], 
[http://www.gianas-return.de/ Giana's Return], [http://www.sqrxz.de/ Sqrxz], [.html Aquaria]*(openGL), 
[http://www.sqrxz2.de/ Sqrxz 2], [http://www.sqrxz.de/sqrxz-3/ Sqrxz 3], [http://www.sqrxz.de/sqrxz-4/ Sqrxz 4], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform Cave Story], [https://bszili.morphos.me/ Frogatto], [https://bszili.morphos.me/ OpenJazz], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Puzzle [https://github.com/mariopartyrd/marioparty4/tree/port Party], [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle], [ Cubosphere (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle Candy Crisis], [http://bszili.morphos.me/ TailTale], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Racing [ Trigger Rally], [ VDrift], [http://www.ultimatestunts.nl/index.php?page=2&amp;lang=en Ultimate Stunts], [http://maniadrive.raydium.org/ Mania Drive], [https://github.com/plowteam/donut Simpsons Hit and Run], [], 
|&lt;!--AROS--&gt;[ Super Tux Kart (OpenGL)], [http://www.dusabledanslherbe.eu/AROSPage/F1Spirit.30.html F1 Spirit (OpenGL)], [http://bszili.morphos.me/index.html MultiRacer], [https://bszili.morphos.me/ Speed Dreams], [], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://bszili.morphos.me/index.html Speed Dreams], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12], [http://bszili.morphos.me/index.html TORCS], 
|-
|&lt;!--Sub Menu--&gt;Games 1st first person DRPG [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/OpenEnroth/OpenEnroth OpenEnroth MM], []
|&lt;!--AROS--&gt;[https://github.com/BSzili/aros-stuff Arx Libertatis], [http://www.playfuljs.com/a-first-person-engine-in-265-lines/ js raycaster], [https://github.com/Dorthu/es6-crpg webgl], [https://github.com/sonountaleban/AmiShockolate System Shock], [], [], 
|&lt;!--AmigaOS--&gt;Phantasie, Faery Tale, Dungeon Master, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 3rd third person action CRPG  [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/alexbatalov/fallout1-ce fallout ce], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games isometric RPG [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/topics/dungeon?l=javascript Dungeon], [], [https://github.com/clintbellanger/heroine-dusk JS Dusk], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying nethack], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying GemRB], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games card based RPG [https://github.com/open-duelyst/duelyst Duelyst], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Rhythm, Beat, Step [], [], [https://clonehero.net/ clonehero], [https://github.com/MatteoGodzilla/Dj-Engine Dj-Engine], 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc Frets on Fire], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Shoot Em Ups [http://www.mhgames.org/oldies/formido/ Formido], [http://code.google.com/p/violetland/ Violetland], 
||&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Open Tyrian], [http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], [ Alien Blaster], [https://github.com/OpenFodder/openfodder OpenFodder], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Simulations [http://scp.indiegames.us/ Freespace 2], [http://www.heptargon.de/gl-117/gl-117.html GL117], [http://code.google.com/p/corsix-th/ Theme Hospital], [http://code.google.com/p/freerct/ Rollercoaster Tycoon], [http://hedgewars.org/ Hedgewars], [https://github.com/raceintospace/raceintospace raceintospace], [https://github.com/Return-To-The-Roots RTTR Settlers 2], [https://github.com/OoliteProject/oolite oolite elite], [https://github.com/fesh0r/newkind newkind elite], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;SimCity, SimAnt, Sim Hospital, Theme Park, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Life Sim [https://github.com/ACreTeam/forest Animal Crossing], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Strategy [http://rtsgus.org/ RTSgus], [http://wargus.sourceforge.net/ Wargus], [http://stargus.sourceforge.net/ Stargus], [https://github.com/KD-lab-Open-Source/Perimeter Perimeter], [https://matty77.itch.io/conflict-3049 conflict-3049], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy MegaGlest (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy UFO:AI (OpenGL)], [http://play.freeciv.org/ FreeCiv], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Horror [https://github.com/Mikompilation/MikuPan Fatal Frame], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Sandbox Voxel Open World Exploration [https://github.com/UnknownShadow200/ClassiCube Classicube],[http://www.michaelfogleman.com/craft/ Craft], [https://github.com/tothpaul/DelphiCraft DelphiCraft],[https://www.minetest.net/ Luanti formerly Minetest], [ infiniminer], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Battle Royale [https://bruh.io/ Play.Bruh.io], [https://www.coolmathgames.com/0-copter Copter Royale], [https://surviv.io/ Surviv.io], [https://nuggetroyale.io/#Ketchup Nugget Royale], [https://miniroyale2.io/ Miniroyale2.io], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Tower Defense [https://chriscourses.github.io/tower-defense/ HTML5], [https://github.com/SBardak/Tower-Defense-Game TD C++], [https://github.com/bdoms/love_defense LUA and LOVE], [https://github.com/HyOsori/Osori-WebGame HTML5], [https://github.com/PascalCorpsman/ConfigTD ConfigTD Pascal], [https://github.com/GloriousEggroll/wine-ge-custom Wine], []
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Visual Novel Engines [https://github.com/Kirilllive/tuesday-js Tuesday JS], [ Lua + LOVE], [https://github.com/weetabix-su/renpsp-dev RenPSP], [https://github.com/Galladite27/ONScripter-EN ONScripter-EN], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Reality VR [https://gitlab.com/madsbuvi/openmw openmw vr], [https://github.com/Team-Beef-Studios/BeefRaiderXR BeefRaiderXR], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Table Top VTT [ Roll20], [https://www.owlbear.rodeo/ owlbear rodeo], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Computer assisted TableTop TTRPG OSR [https://www.rpgsolo.com/play.php RPGSolo], [https://github.com/fpsvogel/solo-ttrpgs Solo TTRPG], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 2D 3D Engines [https://github.com/fegennari/3DWorld 3DWorld], [https://github.com/GarageGames/Torque3D Torque3D], [https://github.com/gameplay3d/GamePlay GamePlay 3D],  [https://www.babylonjs.com/ BabylonJS ], [ Godot], [ Ogre], [ Crystal Space], [], [], [], 
|&lt;!--AROS--&gt;[https://www.arkhamdev.net/wiki.htm?id=agx Arkham Development antiryadgx 8.9 lts with register], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games C based game frameworks [https://github.com/orangeduck/Corange Corange], [https://github.com/scottcgi/Mojoc Mojoc], [https://orx-project.org/ Orx], [https://github.com/ioquake/ioq3 Quake 3], [https://www.mapeditor.org/ Tiled], [https://www.raylib.com/ 2d Raylib], [https://github.com/Rabios/awesome-raylib other raylib], [https://github.com/MrFrenik/gunslinger Gunslinger], [https://o3de.org/ o3d], [http://archives.aros-exec.org/index.php?function=browse&amp;cat=development/library GLFW], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/library Raylib 5], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Pinball [https://github.com/vpinball/vpinball vpinball], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|}


==Application Guides==

[[#top|...to the top]]

===Web Browser===

OWB is now at version 2.0 (which got an engine refresh, from July 2015 to February 2019) and 3.0.

This latest version has a good support for many/most web sites, even YouTube web page now works. 

This improved compatibility comes at the expense of higher RAM usage (now 1GB RAM is the absolute minimum). 

Also, keep in mind that the lack of a JIT (Just-In-Time) JS compiler on the 32 bit version, makes the web surfing a bit slow. 

Only the 64 bit version of OWB 2.0 will have JIT enabled, thus benefitting of more speed. There are tooltypes that can be added to the icon to provide further features JIT, MSE etc 


Certificates from [https://curl.se/docs/caextract.html ca certs], 


DNS tracking blocking with [https://easylist.to/easylist/easylist.txt easylist.txt] in PROGDIR:Conf before starting browser with enabled AdBlock [https://github.com/easylist/easylist/tree/master easylist], [https://gitlab.com/eyeo anti abp], [https://firebog.net/ big blocklist], [https://github.com/StevenBlack/hosts Steves], [], [], 

This can be enabled with OWB Odyssey with Windows -&gt; Content Blocking and Windows -&gt; Messages and enter 

 https://www.youtube.com/api/stats/ads*
 https://www.youtube.com/pagead/adview*
 https://www.youtube.com#@##player-ads*

into your custom filters 


Element blocker browser extension might be needed for [https://github.com/easylist/easylist/wiki/Youtube-Issues youtube], [ mid roll], [ pre roll], [ ],  


OWB speed is much better when running from RAM Disk, the best way is to add the below into your S:User-Startup which copies OWB drawer from Extras:Internet/OWB to RAM Disk: 

So add this :
&lt;pre&gt;
copy Extras:Internet/OWB Ram:OWB/ ALL CLONE &gt;NIL:
copy Extras:Internet/OWB.info Ram: &gt;NIL:
&lt;/pre&gt;
Open RAM Disk and open OWB drawer and double click on OWB icon so that the above icon tooltypes are activated 

Problems are that the copy time is long (around 20 seconds added in the background), but we can make it faster if we delete useless files from the OWB drawer (docs, …)
If you don’t copy the drawer back onto the HD, you won’t save your cache, cookies, passwords… So you need a script for it.


Error messages 

SSL error &quot;cant verify with ca-certificates&quot;, check bios clock time date is correct 

Error 6, try checking networking prefs settings and Save / Use preferences again or a '''few times''' otherwise the network chipset may not be compatible with Aros 


[https://www.google.com/search?q=%s&amp;udm=14 Google search without AI overview] 


===E-mail===

 YAM does not support SSL and most mail providers now switched to encrypted SMTP/POP3 connections


====SimpleMail====

SimpleMail supports IMAP and appears to work with GMail, but it's never been reliable enough, it can crash with large mailboxes.

Please read more on this [http://www.freelists.org/list/simplemail-usr User list]


 GMail

Be sure to activate the pop3 usage in your gmail account setup / configuration first.

pop3: 
pop.gmail.com
Use SSL: Yes
Port: 995

smtp:
smtp.gmail.com (with authentication)
Use Authentication: Yes
Use SSL: Yes
Port: 465 or 587


 Hotmail/MSN/outlook/Microsoft Mail mid-2017, all outlook.com accounts will be migrated to Office 365 / Exchange

Most users are currently on POP which does not allow showing folders and many other features (technical limitations of POP3). With Microsoft IMAP you will get folders, sync read/unread, and show flags. You still won't get push though, as Microsoft has not turned on the IMAP Idle command as at Sept 2013.

If you want to try it, you need to first remove (you can't edit) your pop account (long-press the account on the accounts screen, delete account). Then set it up this way:

1. Email/Password
2. Manual
3. IMAP
4.

* Incoming: imap-mail.outlook.com, port 993, SSL/TLS should be checked
* Outgoing: smtp-mail.outlook.com, port 587, SSL/TLS should be checked
* POP server name pop-mail.outlook.com, port 995, POP encryption method SSL

 Yahoo  Mail

On April 24, 2002 Yahoo ceased to offer POP access to its free mail service. Introducing instead a yearly payment feature, allowing users POP3 and IMAP server support, along with such benefits as larger file attachment sizes and no adverts.

Sorry to see Yahoo leaving its users to cough up for the privilege of accessing their mail. Understandable, when competing against rivals such as Gmail and Hotmail who hold a large majority of users and were hacked in 2014 as well.


Incoming Mail (IMAP) Server

* Server - imap.mail.yahoo.com
* Port - 993
* Requires SSL - Yes

Outgoing Mail (SMTP) Server

* Server - smtp.mail.yahoo.com
* Port - 465 or 587
* Requires SSL - Yes
* Requires authentication - Yes

Your login info

* Email address - Your full email address (name@domain.com)
* Password - Your account's password
* Requires authentication - Yes


Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a subscription subs fee to have access to SMTP and POP3

* Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
* “Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
* “Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
* “Password” – Your Yahoo Mail password.

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

* Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.


====YAM Yet Another Mailer====

 YAM does not support SSL and most mail providers have now switched to encrypted SMTP/POP3 connections

This email client is POP3 only if the SSL library is available [http://www.freelists.org/list/yam YAM Freelists]

One of the downsides of using a POP3 mailer unfortunately - you have to set an option not to delete the mail if you want it left on the server. IMAP keeps all the emails on the server.

Possible issues

Sending mail issues is probably a matter of using your ISP's SMTP server, though it could also be an SSL issue.


getting a &quot;Couldn't initialise TLSv1 / SSL error

Use of on-line e-mail accounts with this email client is not possible as it lacks the OpenSSL AmiSSl v3 compatible library

 GMail 
Incoming Mail (POP3) Server - requires SSL: pop.gmail.com
Use SSL: Yes
Port: 995

Outgoing Mail (SMTP) Server - requires TLS: smtp.gmail.com (use authentication)
Use Authentication: Yes
Use STARTTLS: Yes (some clients call this SSL)
Port: 465 or 587

Account Name: your Gmail username (including '@gmail.com')
Email Address: your full Gmail email address (username@gmail.com)
Password: your Gmail password

Anyway, the SMTP is pop.gmail.com port 465 and it uses SSLLv3 Authentication. The POP3 settings are for the same server (pop.gmail.com), only on port 995 instead.


 Outlook.com access

&lt;pre &gt;
Outlook.com SMTP server address: smtp.live.com
Outlook.com SMTP user name: Your full Outlook.com email address (not an alias)
Outlook.com SMTP password: Your Outlook.com password
Outlook.com SMTP port: 587
Outlook.com SMTP TLS/SSL encryption required: yes 
&lt;/pre &gt;


 Yahoo  Mail

&lt;pre &gt;
“POP3 Server” – Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
“SMTP Server” – Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.
“Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
“Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
“Password” – Your Yahoo Mail password.
&lt;/pre &gt;

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a monthly fee to have access to SMTP and POP3


 Microsoft Outlook Express Mail 

1. Get the files to your PC.
By whatever method get the files off your Amiga onto your PC. In the YAM folder you have a number of different folders, one for each of your folders in YAM. Inside that is a file usually some numbers such as 332423.283. YAM created a new file for every single email you received.

2. Open up a brand new Outlook Express. Just configure the account to use 127.0.0.1 as mail servers. It doesn't really matter. You will need to manually create any subfolders you used in YAM.

3. You will need to do a mass rename on all your email files from YAM. Just add a .eml to the end of it. Amazing how PCs still rely mostly on the file name so it knows what sort of file it is rather than just looking at it! There are a number of multiple renamers online to download and free too.

4. Go into each of your folders, inbox, sent items etc. And do a select all then drag the files into Outlook Express (to the relevant folder obviously) Amazingly the file format that YAM used is very compatible with .eml standard and viola your emails appear. With correct dates and working attachments.

5. If you want your email into Microsoft Outlook. Open that up and create a new profile and a new blank PST file. Then go into File Import and choose to import from Outlook Express. And the mail will go into there. And viola.. you have your old email from your Amiga in a more modern day format.


===FTP===

Magellan has a great FTP module. It allows transferring files from/to a FTP server over the Internet or the local network and, even if FTP is perceived as a &quot;thing of the past&quot;, its usability is all inside the client. The FTP thing has a nice side effect too, since every Icaros machine can be a FTP server as well, and our files can be easily transferred from an Icaros machine to another with a little configuration effort.

First of all, we need to know the 'server' IP address. Server is the Icaros machine with the file we are about to download on another Icaros machine, that we're going to call 'client'. To do that, move on the server machine and 1) run Prefs/Services to be sure &quot;FTP file transfer&quot; is enabled (if not, enable it and restart Icaros); 2) run a shell and enter this command:

ifconfig -a

Make a note of the IP address for the network interface used by the local area network. For cabled devices, it usually is net0:. Now go on the client machine and run Magellan:

Perform these actions: 1) click on FTP; 2) click on ADDRESS BOOK; 3) click on &quot;New&quot;. 
You can now add a new entry for your Icaros server machine:

1) Choose a name for your server, in order to spot it immediately in the address book. Enter the IP address you got before.

2) click on Custom Options:


1) go to Miscellaneous in the left menu;

2) Ensure &quot;Passive Transfers&quot; is NOT selected;

3) click on Use. We need to deactivate Passive Transfers because YAFS, the FTP server included in Icaros, only allows active transfers at the current stage. Now, we can finally connect to our new file source:


1) Look into the address book for the newly introduced server, be sure that name and IP address are right, and

2) click on Connect. A new lister with server's &quot;MyWorkspace&quot; contents will appear. You can now transfer files over the network choosing a destination among your local (client's) volumes.

Can be adapted to any FTP client on any platform of your choice, just be sure your client allows Active Transfers as well.


===IRC Internet Relay Chat===

Jabberwocky is ideal for one-to-one social media communication, use IRC if you require one to many. 

Just type a message in ''lowercase''' letters and it will be posted to all in the [ AROS irc channel]. Please do not use UPPER CASE as it is a sign of SHOUTING which is annoying.

Other things to type in - replace &lt;message&gt; with a line of text and &lt;nick&gt; with a person's name

&lt;pre&gt;
/help

/list

/who
/whois &lt;nick&gt;

/msg &lt;nick&gt; &lt;message&gt;

/query &lt;nick&gt; 
&lt;message&gt;s
/query

/away &lt;message&gt;
/away

/quit &lt;going away message&gt; 
&lt;/pre&gt;


[http://irchelp.org/irchelp/new2irc.html#smiley Intro guide here]. IRC Primer can be found here in [http://www.irchelp.org/irchelp/ircprimer.html html], [http://www.irchelp.org/irchelp/text/ircprimer.txt TXT], [http://www.kei.com/irc/IRCprimer1.1.ps PostScript].


Issue the command /me &lt;text&gt; where &lt;text&gt; is the text that should follow your nickname.
Example: /me slaps ajk around a bit with a large trout

/nick &lt;newNick&gt;

/nickserv register &lt;password&gt; &lt;email address&gt;

/ns instead of /nickserv, while others might need /msg nickserv

/nickserv identify &lt;password&gt;

Alternatives:
/ns identify &lt;password&gt;
/msg nickserv identify &lt;password&gt;


==== IRC WookieChat ====

WookieChat is the most complete internet client for communication across the IRC Network. WookieChat allows you to swap ideas and communicate in real-time, you can also exchange Files, Documents, Images and everything else using the application's DCC capabilities.


add smilies drawer/directory

 run wookiechat from the shell and set stack to 1000000 e.g. wookiechat stack 1000000

select a server / server window

* nickname 
* user name 
* real name - optional

Once you configure the client with your preferred screen name, you'll want to find a channel to talk in.


servers

* New Server - click on this to add / add extra - change details in section below this click box 
* New Group
* Delete Entry
* Connect to server
* connect in new tab
* perform on connect

Change details

* Servername - change text in this box to one of the below Server: 
* Port number - no need to change
* Server password
* Channel - add #channel from below 
* auto join - can click this 
* nick registration password,

Click Connect to server button above


&lt;pre&gt;
Server: irc.freenode.net
Channel: #aros
&lt;/pre&gt;

irc://irc.freenode.net/aros

&lt;pre&gt;
Server: chat.amigaworld.net 
Channel: #amigaworld or #amigans 
&lt;/pre&gt;

&lt;pre&gt;
On Sunday evenings USA time usually starting around 3PM EDT (1900 UTC)
Server:irc.superhosts.net
Channel #team*amiga  
&lt;/pre&gt;

&lt;pre&gt;
BitlBee and Minbif are IRCd-like gateways to multiple IM networks
Server: im.bitlbee.org 
Port 6667 
Seems to be most useful on WookieChat as you can be connected to several servers at once. One for Bitlbee and any messages that might come through that. One for your normal IRC chat server. 
&lt;/pre&gt;

[http://www.bitlbee.org/main.php/servers.html Other servers],

&lt;pre&gt;
#Amiga.org - irc.synirc.net eu.synirc.net dissonance.nl.eu.synirc.net (IPv6: 2002:5511:1356:0:216:17ff:fe84:68a) 
twilight.de.eu.synirc.net zero.dk.eu.synirc.net us.synirc.net avarice.az.us.synirc.net envy.il.us.synirc.net harpy.mi.us.synirc.net 
liberty.nj.us.synirc.net snowball.mo.us.synirc.net - Ports 6660-6669 7001 (SSL)
&lt;/pre&gt;

&lt;pre&gt;
Multiple server support
&quot;Perform on connect&quot; scripts and channel auto-joins
Automatic Nickserv login
Tabs for channels and private conversations
CTCP PING, TIME, VERSION, SOUND
Incoming and Outgoing DCC SEND file transfers
Colours for different events
Logging and automatic reloading of logs
mIRC colour code filters
Configurable timestamps
GUI for changing channel modes easily
Configurable highlight keywords
URL Grabber window
Optional outgoing swear word filter
Event sounds for tabs opening, highlighted words, and private messages
DCC CHAT support
Doubleclickable URL's
Support for multiple languages using LOCALE
Clone detection
Auto reconnection to Servers upon disconnection
Command aliases
Chat display can be toggled between AmIRC and mIRC style
Counter for Unread messages
Graphical nicklist and graphical smileys with a popup chooser
&lt;/pre&gt;


====IRC Aircos ====

Double click on Aircos icon in Extras:Networking/Apps/Aircos. It has been set up with a guest account for trial purposes. Though ideally, choose a nickname and password for frequent use of irc. 


====IRC and XMPP Jabberwocky====
 Servers are setup and close down at random 
You sign up to a server that someone else has setup and access chat services through them. 

The two ways to access chat from jabberwocky
&lt;pre &gt;
Jabberwocky -&gt; Server -&gt; XMPP -&gt; open and ad-free 
Jabberwocky -&gt; Server -&gt; Transports (Gateways) -&gt; Proprietary closed systems 
&lt;/pre &gt;

The Jabber.org service connects with all IM services that use XMPP, the open standard for instant messaging and presence over the Internet. The services we connect with include Google Talk (closed), Live Journal Talk, Nimbuzz, Ovi, and thousands more. However, you can not connect from Jabber.org to proprietary services like AIM, ICQ, MSN, Skype, or Yahoo because they don’t yet use XMPP components (XEP-0114) '''but''' you can use Jabber.com's servers and IM gateways (MSN, ICQ, Yahoo etc.) instead.

The best way to use jabberwocky is in conjunction with a public jabber server with '''transports''' to your favorite services, like gtalk, Facebook, yahoo, ICQ, AIM, etc.


You have to register with one of the servers, [https://list.jabber.at/ this list] or [http://www.jabberes.org/servers/ another list], [http://xmpp.net/ this security XMPP list],

Unfortunately jabberwocky can only connect to one server at a time so it is best to check what services each server offers. If you set it up with separate Facebook and google talk accounts, for example, sometimes you'll only get one or the other.

Jabberwocky open a window where the Jabber server part is typed in as well as your Nickname and Password.

Jabber ID (JID) identifies you to the server and other users.

Once registered the next step is to goto Jabberwocky's &quot;Windows&quot; menu and select the &quot;Agents&quot; option. The &quot;Agents List&quot; window will open.

Roster (contacts list)

[http://search.wensley.org.uk/ Chatrooms] (MUC) are available

File Transfer - can send and receive files through the Jabber service but not with other services like IRC, ICQ, AIM or Yahoo. All you need is an installed webbrowser and OpenURL.

Clickable URLs - The message window uses Mailtext.mcc and you can set a URL action in the MUI mailtext prefs like SYS:Utils/OpenURL %s NEWWIN.

There is no consistent Skype like (H.323 VoIP) video conferencing available over Jabber. The move from xmpp to Jingle should help but no support on any amiga-like systems at the moment. [http://aminet.net/package/dev/src/AmiPhoneSrc192 AmiPhone] and [http://www.lysator.liu.se/%28frame,faq,nobg,useframes%29/ahi/v4-site/ Speak Freely] was an early attempt voice only contact. SIP and Asterisk are other PBX options.


 Facebook

If you're using the XMPP transport provided by Facebook themselves, chat.facebook.com, it looks like they're now requiring SSL transport. This means jabberwocky method below will no longer work. The best thing to do is to create an ID on a public jabber server which has a Facebook gateway.

&lt;pre &gt;
1. launch jabberwocky
2. if the login window doesn't appear on launch, select 'account' from the jabberwocky menu
3. your jabber ID will be user@chat.facebook.com where user is your user ID
4. your password is your normal facebook password
5. to save this for next time, click the popup gadget next to the ID field

6. click the 'add' button
7. click the 'close' button
8. click the 'connect' button
&lt;/pre &gt;

you're done. you can also click the 'save as default account' button if you want. jabberwocky configured to auto-connect when launching the program, but you can configure as you like. there is amigaguide documentation included with jabberwocky.

[http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=37085&amp;forum=32 Read more here]

for Facebook users, you can log-in directly to Facebook with jabberwocky. just sign in as @chat.facebook.com with your Facebook password as the password


 Twitter

For a few years, there has been added a twitter transport. Servers include [http://jabber.hot-chilli.net/ jabber.hot-chili.net],  and .

An [http://jabber.hot-chilli.net/tag/how-tos/ How-to]

:Read [http://jabber.hot-chilli.net/2010/05/09/twitter-transport-working/ more]

 Instagram 

no support at the moment best to use a web browser based client

 ICQ

The new version (beta) of StriCQ uses a newer ICQ protocol. Most of the ICQ Jabber Transports still use an older ICQ protocol. You can only talk one-way to StriCQ using the older Transports. Only the newer ICQv7 Transport lets you talk both ways to StriCQ. Look at the server lists in the first section to check.

Register on a Jabber server, e.g. this one works: http://www.jabber.de/
Then login into Jabberwocky with the following login data e.g. xxx@jabber.de / Password: xxx Now add your ICQ account under the window-&gt;Agents-&gt;&quot;Register&quot;. Now Jabberwocky connects via the Jabber.de server with your ICQ account.

 Yahoo Messenger

although yahoo! does not use xmpp protocol, you should be able to use the transport methods to gain access and post your replies

 MSN

early months of 2013 Microsoft will ditch MSN Messenger client and force everyone to use Skype...but MSN protocol and servers will keep working as usual for quite a long time....

Occasionally the Messenger servers have been experiencing problems signing in.  You may need to sign in at www.outlook.com and then try again.  It may also take multiple tries to sign in.  (This also affects you if you’re using Skype.)

You have to check each servers' Agents List to see what transports (MSN protocol, ICQ protocol, etc.) are supported or use the list address' provided in the section above. Then register with each transport (IRC, MSN, ICQ, etc.) to which you need access. After registering you can Connect to start chatting.

msn.jabber.com/registered should appear in the window.

From this [http://tech.dir.groups.yahoo.com/group/amiga-jabberwocky/message/1378 JW group] guide which  helps with this process in a clear, step by step procedure.

1. Sign up on MSN's site for a passport account. This typically involves getting a Hotmail address.

2. Log on to the Jabber server of your choice and do the following:

* Select the &quot;Windows/Agents&quot; menu option in Jabberwocky.
* Select the MSN Agent from the list presented by the server.
* Click the Register button to open a new window asking for:
**Username = passort account email address, typically your hotmail address.
**Nick = Screen name to be shown to anyone you add to your buddy list.
**Password = Password for your passport account/hotmail address.
* Click the Register button at the bottom of the new window.

3. If all goes well, you will see the MSN Gateway added to your buddy list. If not, repeat part 2 on another server. Some servers may show MSN in their list of available agents, but have not updated their software for the latest protocols used by MSN.

4. Once you are registered, you can now add people to your buddy list. Note that you need to include the '''msn.''' ahead of the servername so that it knows what gateway agent to use. Some servers may use a slight variation and require '''msg.gate.''' before the server name, so try both to see what works.

If my friend's msn was amiga@hotmail.co.uk and my jabber server was @jabber.meta.net.nz..
then amiga'''%'''hotmail.com@'''msn.'''jabber.meta.net.nz

or another the trick to import MSN contacts is that you don't type the hotmail URL but the passport URL... e.g. Instead of: goodvibe%hotmail.com@msn.jabber.com  You type: goodvibe%passport.com@msn.jabber.com 
And the thing about importing contacts I'm afraid you'll have to do it by hand, one at the time...

 Google Talk

any XMPP server will work, but you have to add your contacts manually. a google talk user is typically either @gmail.com or @talk.google.com. a true gtalk transport is nice because it brings your contacts to you and (can) also support file transfers to/from google talk users.

implement Jingle a set of extensions to the IETF's Extensible Messaging and Presence Protocol (XMPP)

support ended early 2014 as Google moved to Google+ Hangouts which uses it own proprietary format


===Video Player MPlayer===

Many of the menu features (such as doubling) do not work with the current version of mplayer but using

4:3
 mplayer -vf scale=800:600 file.avi

16:9
 mplayer -vf scale=854:480 file.avi

if you want gui use;
 mplayer -gui 1 &lt;other params&gt; file.avi

&lt;pre &gt;
stack 1000000

; using AspireOS 1.xx 
; copy FROM SYS:Extras/Multimedia/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 1.x 
; copy FROM SYS:Tools/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 2.x 
; copy FROM SYS:Utilities/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

cd RAM:MPlayer
run MPlayer -gui &gt; Nil:
;run MPlayer -gui -ao ahi_dev -playlist http://www.radio-paralax.de/listen.pls &gt; Nil: 
&lt;/pre &gt;

$ mplayer rtsp://127.0.0.1:554/sample_300kbit.mp4


MPlayer supports multicast streaming, and rtp/rtsp protocols (it might require [http://www.live555.com/openRTSP/ live555 library] to work with some streams). But you might have to build it where it's disabled. Also, multicast won't work with some AmiTCP-likes. MIAMI supported it, though.

AROS supports IPv4 (old but works) and this includes the needed address space for RTP.

If you mean multicast via RTP - mplayer handles it. You can even force UDP over TCP

-rtsp-stream-over-tcp

If the rtsp Real Time Streaming Protocol  server needs authentification:

-user -passwd


MPlayer - Menu - Open Playlist and load already downloaded .pls or .m3u file - auto starts around 4 percent cache

MPlayer - Menu - Open Stream and copy one of the .pls lines below into space allowed, press OK and press play button on main gui interface


Old 8bit 16bit remixes chip tune game music 
 
http://www.radio-paralax.de/listen.pls 

http://scenesat.com/

http://www.shoutcast.com/radio/Amiga

http://www.theoldcomputer.com/retro_radio/RetroRadio_Main.htm

http://www.kohina.com/

http://www.remix64.com/

http://retrogamer.net/forum/

http://retroasylum.podomatic.com/rss2.xml

http://retrogamesquad.com/

http://www.retronauts.com/

http://monsterfeet.com/noquarter/

http://www.retrogamingradio.com/

http://www.radiofeeds.co.uk/mp3.asp


[[#top|...to the top]]

====ZunePaint==== 

simplified typical workflow

* importing and organizing and photo management
* making global and regional local correction(s) - recalculation is necessary after each adjustment as it is not in real-time 
* exporting your images in the best format available with the preservation of metadata


Whilst achieving 80% of a great photo with just a filter, the remaining 20% comes from a manual fine-tuning of specific image attributes.


For photojournalism, documentary, and event coverage, minimal touching is recommended. Stick to Camera Raw for such shots, and limit changes to level adjustment, sharpness, noise reduction, and white balance correction.

For fashion or portrait shoots, a large amount of adjustment is allowed and usually ends up far from the original. Skin smoothing, blemish removal, eye touch-ups, etc. are common.  Might alter the background a bit to emphasize the subject.

Product photography usually requires a lot of sharpening, spot removal, and focus stacking.

For landscape shots, best results are achieved by doing the maximum amount of preparation before/while taking the shot. No amount of processing can match timing, proper lighting, correct gear, optimal settings, etc. Excessive post-processing might give you a dramatic shot but best avoided in the long term.


* White Balance - Left Amiga or F12 and K and under &quot;Misc color effects&quot; tab with a pull down for White Balance - color temperature also known as AKA tint (movies) or tones (painting) - warm temp raise red reduce green blue - cool raise blue lower red green 
* Exposure - exposure compensation, highlight/shadow recovery
* Noise Reduction - during RAW development or using external software
* Lens Corrections - distortion, vignetting, chromatic aberrations
* Detail - capture sharpening and local contrast enhancement
* Contrast - black point, levels (sliders) and curves tools (F12 and K) 
* Framing - straighten () and crop (F12 and F) 
* Refinements - color adjustments and selective enhancements - Left Amiga or F12 and K for RGB and YUV histogram tabs - 
* Resizing - enlarge for a print or downsize for the web or email (F12 and D) 
* Output Sharpening - customized for your subject matter and print/screen size


White Balance - F12 and K

scan your image for a shade which was meant to be white (neutral with each RGB value being equal) like paper or plastic which is in the same light as the subject of the picture. Use the dropper tool to select this color, similar colours will shift and you will have selected the perfect white balance for your part of the image - for the whole picture make sure RAZ or CLR button at the bottom is pressed before applying to the image above.


Exposure correction

F12 and K - YUV Y luminosity - RGB extra red tint - move red curve slightly down and move blue green curves slightly up

Workflows in practice

* Undo - Right AROS key or F12 and Z 
* Redo - Right AROS key or F12 and R

First flatten your image (if necessary) and then do a rotation until the picture looks level. 
* Crop the picture. Click the selection button and drag a box over the area of the picture you want to keep. Press the crop button and the rest of the photo will be gone. 
* Adjust your saturation, exposure, hue levels, etc., (right AROS Key and K for color correction) until you are happy with the photo. Make sure you zoom in all of the way to 100% and look the photo over, zoom back out and move around. Look for obvious problems with the picture. 
* After coloring and exposure do a sharpen (Right AROS key and E for Convolution and select drop down option needed), e.g. set the matrix to 5x5 (roughly equivalent Amount to 60%) and set the Radius to 1.0. Click OK.


And save your picture


Implemented or would like to see for simplification and ease of use

basic filters (presets) like black and white, monochrome, edge detection (sobel), motion/gaussian blur, 
* negative, sepiatone, retro vintage, night vision, colour tint, color gradient, color temperature, glows, fire, lightning, lens flare, emboss, filmic, pixelate mezzotint, antialias, etc.

adjust / cosmetic tools such as crop, 
* reshaping tools, straighten, smear, smooth, perspective, liquify, bloat, pucker, push pixels in any direction, dispersion, transform like warp, blending with soft light, page-curl, whirl, ripple, fisheye, neon,  etc. 
* red eye fixing, blemish remover, skin smoothing, teeth whitener, make eyes look brighter, desaturate,

effects like oil paint, cartoon, pencil sketch, charcoal, noise/matrix like sharpen/unsharpen, (right AROS key with A for Artistic effects) 
* blend two image, gradient blend, masking blend, explode, implode, custom collage, surreal painting, comic book style, needlepoint, stained glass, watercolor, mosaic, stencil/outline, crayon, chalk, etc.

borders such as 
* dropshadow, rounded, blurred, color tint, picture frame, film strip polaroid, bevelled edge, etc.

brushes e.g.
* frost, smoke, etc.

and manual control of

fix lens issues including vignetting (darkening), color fringing and barrel distortion, and chromatic and geometric aberration -  lens and body profiles

perspective correction

levels - directly modify the levels of the tone-values of an image, by using sliders for highlights, midtones and shadows

curves -  Color Adjustment and Brightness/Contrast

color balance

one single color transparent (alpha channel (color information/selections) for masking and/or blending ) for backgrounds, etc.

Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors

decompose layer into a set of layers with each holding a different type of pattern that is visible within the image

any selection using any selecting tools like lasso tool, marquee tool etc. the selection will temporarily be save to alpha 
If you create your image without transparency then the Alpha channel is not present, but you can add later.

File formats like .psd (Photoshop file has layers, masks etc.  contains edited sensor data. The original sensor data is no longer available) .xcf .raw .hdr

Image Picture Formats
* low dynamic range (JPEG, PNG, TIFF 8-bit), 16-bit (PPM, TIFF), typically as a 16-bit TIFF in either ProPhoto or AdobeRGB colorspace -  TIFF files are also fairly universal – although, if they contain proprietary data, such as Photoshop Adjustment Layers or Smart Filters, then they can only be opened by Photoshop making them proprietary.
* linear high dynamic range (HDR) images (PFM, [http://www.openexr.com/ ILM .EXR], jpg, [http://aminet.net/util/dtype cr2] (canon tiff based), hdr, NEF, CRW, ARW, MRW, ORF, RAF (Fuji), PEF, DCR, SRF, ERF, DNG files are RAW converted to an Adobe proprietary format - a container that can embed the raw file as well as the information needed to open it) 
An old version of [http://archives.aros-exec.org/index.php?function=browse&amp;cat=graphics/convert dcraw]

There is no single RAW file format. Each camera manufacturer has one or more unique RAW formats. RAW files contain the brightness levels data captured by the camera sensor. This data cannot be modified. A second smaller file, separate XML file, or within a database with instructions for the RAW processor to change exposure, saturation etc. The extra data can be changed but the original sensor data is still there. RAW is technically least compatible.

A raw file is high-bit (usually 12 or 14 bits of information) but a camera-generated TIFF file will be usually converted by the camera (compressed, downsampled) to 8 bits. The raw file has no embedded color balance or color space, but the TIFF has both. These three things (smaller bit depth, embedded color balance, and embedded color space) make it so that the TIFF will lose quality more quickly with image adjustments than the raw file. The camera-generated TIFF image is much more like a camera processed JPEG than a raw file. A strong advantage goes to the raw file. The power of RAW files, such as the ability to set any color temperature non-destructively and will contain more tonal values.

The principle of preserving the maximum amount of information to as late as possible in the process. The final conversion - which will always effectively represent a &quot;downsampling&quot; - should prevent as much loss as possible.

Once you save it as TIFF, you throw away some of that data irretrievably. When saving in the lossy JPEG format, you get tremendous file size savings, but you've irreversibly thrown away a lot of image data. As long as you have the RAW file, original or otherwise, you have access to all of the image data as captured.

Keyboard equivalence with Photoshop(tm) would help 

File
PHOTOSHOP	SHORTCUT	GIMP
New	Ctrl+n	New
Open	Ctrl+o	Open
Close	Ctrl+w	Close
Save	Ctrl+s	Save
Save as	Shift+Ctrl+s	Save as
Revert	F12	Revert
Print	Ctrl+p	Print
Exit	Ctrl+q	Quit
 
Edit
PHOTOSHOP	SHORTCUT	GIMP
Undo/Redo (1 level)	Ctrl+z	Undo (Redo is Shift+Ctrl+z)
Cut	Ctrl+x	Cut
Copy	Ctrl+c	Copy
Paste	Ctrl+v	Paste
Paste Into	Shift+Ctrl+v	Paste Into
Fill with FG color	Alt+Backspace	Fill with FG color
Fill with BG color	Control+Backspace	Fill with BG color
 
Image/Colors
PHOTOSHOP	SHORTCUT	GIMP
Levels	Ctrl+l	Levels
Auto Contrast	Shift+Ctrl+Alt+l	Stretch Contrast (same?)
Curves	Ctrl+m	Curves
Color Balance	Ctrl+b	Color Balance
Hue/Saturation	Ctrl+u	Hue-Saturation
Desaturate	Shift+Ctrl+u	Desaturate
Invert	Ctrl+i	Invert
Default Colors	d	Default Colors
Switch Colors	x	Switch Colors
 
Layer
PHOTOSHOP	SHORTCUT	GIMP
New Layer	Shift+Ctrl+n	New Layer
Layer via Copy	Ctrl+j	Duplicate Layer
Bring (layer) to Front	Shift+Ctrl+]	Layer to Top
Send (layer) to Back	Shift+Ctrl+[	Layer to Bottom
Bring (layer) Forward	Ctrl+]	Raise Layer
Send (layer) Backward	Ctrl+[	Lower Layer
Select Top Layer	Shift+Alt+]	Select Top Layer
Select Bottom Layer	Shift+Alt+[	Select Bottom Layer
Select One Layer Forward	Alt+]	Select Previous Layer
Select One Layer Backward	Alt+[	Select Next Layer
Merge Down	Ctrl+e	Merge Down
Merge Visible	Shift+Ctrl+e	Merge Visible
Preserve Transparency	/	Keep Transparency
Cycle Modes Forwards	Shift+=	Next Layer Mode
Cycle Modes Backwards	Shift+-	Previous Layer Mode
 
Select
PHOTOSHOP	SHORTCUT	GIMP
Select All	Ctrl+a	Select All
Deselect	Ctrl+d	Select None
Inverse	Shift+Ctrl+i	Invert
Feather	Ctrl+Alt+d	Feather
 
View
PHOTOSHOP	SHORTCUT	GIMP
Zoom In	Ctrl+=	Zoom In
Zoom Out	Ctrl+-	Zoom Out
Fit on Screen	Ctrl+0	Zoom to Fit Window
Actual Pixels	Ctrl+Alt+0	Zoom 1:1
Show/Hide Extras	Ctrl+h	Toggle Show Selection (close enough?)
Show/Hide Guides	Ctrl+'	Toggle Show Guides
Show/Hide Grid	Ctrl+Alt+'	Toggle Show Grid
Show/Hide Rulers	Ctrl+r	Toggle Show Rulers
Snap	Ctrl+;	Snap to Guides
Scroll View Up	Page Up	Scroll Page Up
Scroll View Down	Page Down	Scroll Page Down
Scroll View Left	Ctrl+Page Up	Scroll Page Left
Scroll View Right	Ctrl+Page Down	Scroll Page Right
 
Window/Dialogs
PHOTOSHOP	SHORTCUT	GIMP
?	F5	Tools Dialog
Color Tab	F6	Colors Dialog
Layers Tab	F7	Layers Dialog
Info Tab	F8	Image Information
 
Tools
PHOTOSHOP	SHORTCUT	GIMP
Rectangular Marquee Tool	m	Rect Select Tool
Elliptical Marquee Tool	Shift+m	Ellipse Select Tool
 	*This is a toggle between 'Elliptical Marquee Tool' and 'Rectangular Marquee Tool' in Photoshop	 
Move Tool	v	Move Tool
Lasso Tool	l	Free Select Tool
Magic Wand Tool	w	Fuzzy Select Tool
Crop Tool	c	Crop &amp; Resize Tool
Airbrush Tool	j	Airbrush Tool
Paintbrush Tool	b	Paintbrush Tool
Clone Stamp Tool	s	Clone Stamp Tool
Eraser Tool	e	Eraser Tool
Gradient Tool	g	Blend Tool
Paint Bucket Tool	Shift+g	Bucket Fill Tool
 	*This is a toggle between 'Paint Bucket Tool' and 'Gradient Tool' in Photoshop	 
Blur Tool	r	Convolve Tool
Dodge Tool	o	DodgeBurn Tool
Type Tool	t	Text Tool
Pen Tool	p	Bezier Select Tool
Eye Dropper Tool	i	Color Picker Tool
Zoom Tool	z	Magnify Tool
Previous Brush	,	Previous Brush
Next Brush	.	Next Brush
First Brush	Shift+&lt;	First Brush
Last Brush	Shift+&gt;	Last Brush
Decrease Brush Size	[	Decrease Brush Size
Increase Brush Size	]	Increase Brush Size
Decrease Brush Hardness	{	Decrease Brush Hardness
Increase Brush Hardness	}	Increase Brush Hardness
 
Help
PHOTOSHOP	SHORTCUT	GIMP
Help	F1	Help
Context Help	Shift+F1	Context Help
 
Misc.
PHOTOSHOP	SHORTCUT	GIMP
Last Filter	Ctrl+f	Repeat Last Filter
?	Shift+Ctrl+f	Reshow Last Filter
Preferences	Ctrl+k	Preferences
Liquify	Shift+Ctrl+x	IWarp (close enough?)
Toggle Quick Mask	q	Toggle Quick Mask


Spotlights - triangle of white opaque shape

Cutting out and/or replacing unwanted background or features - select large areas with the selection option like the Magic Wand tool (aka Color Range) or the Lasso (quick and fast) with feather 2 to soften edge or the pen tool which adds points/lines/Bézier curves (better control but slower), hold down the shift button as you click to add extra points/areas of the subject matter to remove. Increase the tolerance to cover more areas. To subtract from your selection hold down alt as you're clicking. 
* Layer masks are a better way of working than Erase they clip (black hides/hidden white visible/reveal). Clone Stamp can be simulated by   and brushes for other areas. 
* Leave the fine details like hair, fur, etc. to later with lasso and the shift key to draw a line all the way around your subject. Gradient Mapping - Inverse - Mask. i.e. Refine your selected image with edge detection and using the radius and edge options / adjuster (increase/decrease contrast) so that you will capture more fine detail from the background allowing easier removal. 
Remove fringe/halo

saving image as png rather than jpg/jpeg to keep transparency background intact.


Implemented [http://colorizer.org/ colour model representations] [http://paulbourke.net/texture_colour/colourspace/ Mathematical approach] - Photo stills are spatially 2d (h and w), but are colorimetrically 3d (r g and b, or H L S, or Y U V etc.) as well. 
* RGB - split cubed mapped color model for photos and computer graphics hardware using the light spectrum (adding and subtracting) 
* YUV - Y-Lightness U-blue/yellow V-red/cyan (similar to YPbPr and YCbCr) used in the PAL, NTSC, and SECAM composite digital TV color [http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299 video]


Histograms

White balanced (neutral) if the spike happens in the same place in each channel of the RGB graphs. If not, you're not balanced. 
If you have sky you'll see the blue channel further off to the right.

RGB is best one to change colours. These elements RGB is a 3-channel format containing data for Red, Green, and Blue in your photo scale between 0 and 255. The area in a picture that appears to be brighter/whiter contains more red color as compared to the area which is relatively darker. Similarly in the green channel the area that appears to be darker contains less amount of green color as compared to the area that appears to be brighter.  Similarly in the blue channel the area appears to be darker contains less amount of blue color as compared to the area that appears to be brighter. Brightness luminance histogram also matches the green histogram more than any other color - human eye interprets green better e.g. RGB rough ratio 15/55/30%

RGBA (RGB+A, A means alpha channel) .  The alpha channel is used for &quot;alpha compositing&quot;, which can mostly be associated as &quot;opacity&quot;.  AROS deals in RGB with two digits for every color (red, green, blue), in ARGB you have two additional hex digits for the alpha channel.

The shadows are represented by the left third of the graph.  The highlights are represented by the right third.  And the midtones are, of course, in the middle.  The higher the black peaks in the graph, the more pixels are concentrated in that tonal range (total black area). 
By moving the black endpoint, which identifies the shadows (darkness) and a white light endpoint (brightness) up and down either sides of the graph, colors are adjusted based on these points. 
By dragging the central one, can increased the midtones and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .


RGB Curves

* Move left endpoint (black point) up or right endpoint (white point) up brightens 
* Move left endpoint down or right endpoint down darkens

Color Curves

* Dragging up on the Red Curve increases the intensity of the reds in the image but 
* Dragging down on the Red Curve decreases the intensity of the reds and thus increases the apparent intensity of its complimentary color, cyan. Green’s complimentary color is magenta, and blue’s is yellow.
&lt;pre&gt;
 Red &lt;-&gt; Cyan
 Green &lt;-&gt;Magenta
 Blue &lt;-&gt;Yellow 
&lt;/pre&gt;

YUV Best option to analyse and pull out statistical elements of any picture (i.e.  separate luminance data from color data). The line in Y luma tone box represents the brightness of the image with the point in the bottom left been black, and the point in the top right as white.  A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram.   A histogram that is skewed to the right would indicate a picture that is a bit overexposed because most of the color data is on the lighter side (increase exposure with higher value F), while a histogram with the curve on the left shows a picture that is underexposed. This is good information to have when using post-processing software because it shows you not only where the color data exists for a given picture, but also where any data has been clipped (extremes on edges of either side): that is, it does not exist and, therefore, cannot be edited.  By dragging the endpoints of the line and as well as the central one, can increased the dark/shadows, midtones and light/bright parts and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .

The U and V chroma parts show color difference components of the image. It’s useful for checking whether or not the overall chroma is too high, and also whether it’s being limited too much
Can be used to create a negative image but also 
With U (Cb), the higher value you are, the more you're on the blue primary color. If you go to the low values then you're on blue complementary color, i.e. yellow.
With V (Cr), this is the same principle but with Red and Cyan.
e.g. If you push U full blue and V full red, you get magenta. If you push U full yellow and V full Cyan then you get green.

YUV simultaneously adds to one side of the color equation while subtracting from the other.  
using YUV to do color correction can be very problematic because each curve alters the result of each other: the mutual influence between U and V often makes things tricky. You may also be careful in what you do to avoid the raise of noise (which happens very easily). Best results are obtained with little adjustments

sunset that looks uninspiring and needs some color pop especially for the rays over the hill, a subtle contrast raise while setting luma values back to the legal range without hard clipping.


Free royalty pictures, [www.freeimages.com ], [http://imageshack.us/ ], [http://photobucket.com/ ], [http://rawpixels.net/], [], [], [], 


====Lunapaint====

Pixel based drawing app with onion-skin animation function

 Blocking, Shading, Coloring, adding detail 

&lt;pre&gt;
b BRUSH
e ERASER

alt eyedropper 
v layer tool 

z ZOOM / MAGNIFY &lt; &gt; n 
spc panning 
m  marque 
q lasso 
w same color selection / region 
&lt;/pre&gt;

&lt;pre&gt;
, LM RM
v 
V
f  filter 
F 
.  size 

p 
,  pick color 
[] last / next color 
&lt;/pre&gt;


There is not much missing in Lunapaint to be as good as FlipBook and then you have to take into account that Flipbook is considered to be amongst the best and easiest to use animation software out there. Ok to be honest Flipbook has some nice features that require more heavy work but those aren't so much needed right away, things like camera effects, sound, smart fill, export to different movie file formats etc.

Tried Flipbook with my tablet and compared it to Luna. The feeling is the same when sketching. LunaPaint is very responsive/fluent to draw with. Just as Flipbook is, and that responsiveness is something its users have mentioned as one of the positive sides of said software.

 author was learning MUI. Some parts just have to be rewritten with proper MUI classes before new features can be added.

* add [Frame Add] / [Frame Del]
* whole animation feature is impossible to use. If you draw 2 color maybe but if you start coloring your cells then you get in trouble
* pickup the entire image as a brush, not just a selection ? And consequently remove the brush from memory when one doesn't need it anymore. can pick up a brush and put it onto a new image but cropping isn't possible, nor to load/save brushes.
* Undo is something I longed for ages in Lunapaint.
* to import into the current layer, other types of images (e.g. JPEG) besides RAW64.
* implement graphic tablet features support


**GENERAL DRAWING**

Miss it very much:
UNDO
ERASER
COLORPICKER - has to show on palette too which color got picked.
BACKGROUND COLOR -Possibility to select from &quot;New project screen&quot;

Miss it somewhat:
ICON for UNDO
ICON for ERASER
ICON for CLEAR SCREEN ( What can I say? I start over from scratch very often )
BRUSH - possibility to cut out as brush not just copy off image to brush

**ANIMATING**

Miss it very much:
NUMBER OF CELLS - Possibity to change total no. of cells during project
ANIM BRUSH - Possibility to pick up a selected part of cells into an animbrush

Miss it somewhat:
ADD/REMOVE FRAMES: Add/remove single frame

In general LunaPaint is really well done and it feels like a new DeluxePaint version. It works with my tablet. Sure there's much missing of course but things can always be added over time. So there is great potential in LunaPaint that's for sure. Animations could be made in it and maybe put together in QuickVideo, saving in .gif or .mng etc some day.


LAYERS
-Layers names don't get saved globally in animation frames
-Layers order don't change globally in an animation (perhaps as default?).

EXPORTING IMAGES
-Exporting frames to JPG/PNG gives problems with colors. (wrong colors. See my animatiopn --&gt; My robot was blue now it's &quot;gold&quot; ) I think this only happens if you have layers.
-Trying to flatten the layers before export doesn't work if you have animation frames only the one you have visible will flatten properly all other frames are destroyed. (Only one of the layers are visible on them)
-Exporting images filenames should be for example e.g. file0001, file0002...file0010 instead as of now file1, file2...file10

LOAD/SAVE (Preferences)
-Make a setting for the default &quot;Work&quot; folder.

* Destroyed colors if exported image/frame has layers 
* mystic color cycling of the selected color while stepping frames back/forth (annoying)

&lt;pre&gt;
Deluxe Paint II enhanced key shortcuts 
    NOTE: @ denotes the ALT key

    [Technique]

    F1  - Paint
    F2  - Single Colour
    F3  - Replace
    F4  - Smear
    F5  - Shade
    F6  - Cycle
    F7  - Smooth
     M  - Colour Cycle

    [Brush]

     B  - Restore
     O  - Outline
     h  - Halve brush size
     H  - Double brush size
     x  - Flip brush on X axis
     X  - Double brush size on X axis only
     y  - Flip on Y 
     Y  - Double on Y
     z  - Rotate brush 90 degrees
     Z  - Stretch

    [Stencil]

     `  - Stencil On

    [Miscellaneous]

    F9  - Info Bar
    F10 - Selection Bar
    @o  - Co-Ordinates
    @a  - Anti-alias
    @r  - Colourise
    @t  - Translucent
    TAB - Colour Cycle

    [Picture]

     L  - Load
     S  - Save
     j  - Page to Spare(Flip)
     J  - Page to Spare(Copy)
     V  - View Page
     Q  - Quit

    [General Keys]

     m  - Magnify
     &lt;  - Zoom In
     &gt;  - Zoom Out
     [  - Palette Colour Up
     ]  - Palette Colour Down
     (  - Palette Colour Left
     )  - Palette Colour Right
     ,  - Eye Dropper
     .  - Pixel / Brush Toggle
     /  - Symmetry
     |  - Co-Ordinates
    INS - Perspective Control
    +/- - Brush Size (Fine Control)
     w  - Unfilled Polygon
     W  - Filled Polygon
     e  - Unfilled Ellipse
     E  - Filled Ellipse
     r  - Unfilled Rectangle
     R  - Filled Rectangle
     t  - Type/text tool
     a  - Select Font
    u/U - Undo
     d  - Brush
     D  - Filled Non-Uniform Polygon
    f/F - Fill Options
    g/G - Grid
    h/H - Brush Size (Coarse Control)
     K  - Clear
     c  - Unfilled Circle
     C  - Filled Circle
     v  - Line
     b  - Scissor Select and Toggle
     B  - Brush
    {,} - Toggle between two background colours
&lt;/pre&gt;

====Lodepaint====

Pixel based painting artwork app

====Grafx2====

Pixel based painting artwork app aesprite like 

[https://www.youtube.com/watch?v=59Y6OTzNrhk aesprite workflow keys and tablet use], [], 


====Vector Graphics ZuneFIG====

Vector Image Editing of files .svg .ps .eps


*Objects - raise lower rotate flip aligning snapping 
*Path - unify subtract intersect exclude divide 
*Colour - fill stroke 
*Stroke - size 
*Brushes - 
*Layers - 
*Effects - gaussian bevels glows shadows 
*Text    - 
*Transform - 


 AmiFIG ([http://epb.lbl.gov/xfig/frm_introduction.html xfig manual]) 

[[File:MyScreen.png|thumb|left|alt=Showing all Windows open in AmiFIG.|All windows available to AmiFIG.]]

for drawing simple to intermediate vector graphic images for scientific and technical uses and for illustration purposes for those with talent

;Menu options
* Load - fig format but import(s) SVG
* Save - fig format but export(s) eps, ps, pdf, svg and png
* PAN = Ctrl + Arrow keys 
* Deselect all points

There is no selected object until you apply the tool, and the selected object is not highlighted.

;Metrics - to set up page and styles - first window to open on new drawings

;Tools - Drawing Primitives - set Attributes window first before clicking any Tools button(s) 
* Shapes - circles, ellipses, arcs, splines, boxes,  polygon 
* Lines - polylines
* Text &quot;T&quot; button 
* Photos - bitmaps
* Compound - Glue, Break, Scale 
* POINTs - Move, Add, Remove 
* Objects - Move, Copy, Delete, Mirror, Rotate, Paste 
use right mouse button to stop extra lines, shapes being formed and the left mouse to select/deselect tools button(s)
* Rotate - moves in 90 degree turns centered on clicked POINT of a polygon or square

;Attributes which provide change(s) to the above primitives 
* Color
* Line Width
* Line Style
* arrowheads

;Modes 
Choose from freehand, charts, figures, magnet, etc.

;Library - allows .fig clip-art to be stored 
* compound tools to add .fig(s) together

;FIG 3.2 [http://epb.lbl.gov/xfig/fig-format.html Format] as produced by xfig version 3.2.5 
&lt;pre&gt;
Landscape
Center
Inches
Letter 
100.00
Single
-2
1200 2
4 0 0 50 -1 0 12 0.0000 4 135 1050 1050 2475 This is a test.01
&lt;/pre&gt;

# change the text alignment within the textbox. I can choose left, center, or right aligned by either changing the integer in the second column from 0 (left) to 1 or 2 (center, or right). 
# The third integer in the row specifies fontcolor. For instance, 0 is black, but blue is 1 and Green3 is 13.
# The sixth integer in the bottom row specifies fontface. 0 is Times-Roman, but 16 is Helvetica (a MATLAB default).
# The seventh number is fontsize. 12 represents a 12pt fontsize. Changing the fontsize of an item really is as easy as changing that number to 20.
# The next number is the counter-clockwise angle of the text. Notice that I have changed the angle to .7854 (pi/4 rounded to four digits=45 degrees).
# twelfth number is the position according to the standard “x-axis” in Xfig units from the left. Note that 1200 Xfig units is equivalent to once inch.
# thirteenth number is the “y-position” from the top using the same unit convention as before.

* The nested text string is what you entered into the textbox.
* The “01″ present at the end of that line in the .fig file is the closing tag. For instance, a change to \100 appends a @ symbol at the end of the period of that sentence.

; Just to note there are no layers, no 3d functions, no shading, no transparency, no animation


[[#top|...to the top]]

===Audio===


# AHI uses linear panning/balance, which means that in the center, you will get -6dB. If an app uses panning, this is what you will get. Note that apps like Audio Evolution need panning, so they will have this problem.

# When using AHI Hifi modes, mixing is done in 32-bit and sent as 32-bit data to the driver. The Envy24HT driver uses that to output at 24-bit (always).

# For the Envy24/Envy24HT, I've made 16-bit and 24-bit inputs (called Line-in 16-bit, Line-in 24-bit etc.). There is unfortunately no app that can handle 24-bit recording.


====Music Mods====

Digital module (mods) trackers are music creation software using samples and sometimes soundfonts, audio plugins (VST, AU or RTAS), MIDI.

Generally, MODs are similar to MIDI in that they contain note on/off and other sequence messages that control the mod player. Unlike (most) midi files, however, they also contain sound samples that the sequence information actually plays. MOD files can have many channels (classic amiga mods have 4, corresponding to the inbuilt sound channels), but unlike MIDI, each channel can typically play only one note at once. However, since that note might be a sample of a chord, a drumloop or other complex sound, this is not as limiting as it sounds.

Like MIDI, notes will play indefinitely if they're not instructed to end. Most trackers record this information automatically if you play your music in live. If you're using manual note entry, you can enter a note-off command with a keyboard shortcut - usually Caps Lock.

In fact when considering file size MOD is not always the best option. Even a dummy song wastes few kilobytes for nothing when a simple SID tune could be few hundreds bytes and not bigger than 64kB. AHX is another small format, AHX tunes are never larger than 64kB excluding comments.

[https://www.youtube.com/watch?v=rXXsZfwgil Protrekkr] (previously aka [w:Juan_Antonio_Arguelles_Rius|NoiseTrekkr])

If Protrekkr does not start, please check if the Unit 0 has been setup in the AHI prefs and still not, go to the directory utilities/protrekkr and double click on the Protrekkr icon

*Sample
*Note - Effect 
*Track (column) - Pattern - Order

It all starts with the Sample which is used to create Note(s) in a Track (column of a tracker) 
The Note can be changed with an Effect.  A Track of Note(s) can be collected into a Pattern (section of a song) and these can be given Order to create the whole song.

Patience (notes have to be entered one at a time) or playing the bassline on a midi controller (faster - see midi section above).  Best approach is to wait until a melody popped into your head.

*Up-tempo means the track should be reasonably fast, but not super-fast. 
*Groovy and funky imply the track should have some sort of &quot;swing&quot; feel, with plenty of syncopation or off beat emphasis and a recognizable, melodic bass line. 
*Sweet and happy mean upbeat melodies, a major key and avoiding harsh sounds.
*Moody - minor key

First, create a quick bass sound, which is basically a sine wave, but can be hand drawn for a little more variance. It could also work for the melody part, too.

This is usually a bass guitar or some kind of synthesizer bass. The bass line is often forgotten by inexperienced composers, but it plays an important role in a musical piece. Together with the rhythm section the bass line forms the groove of a song. It's the glue between the rhythm section and the melodic layer of a song.

The drums are just pink noise samples, played at different frequencies to get a slightly different sound for the kick, snare, and hihats.

Instruments that fall into the rhythm category are bass drums, snares, hi-hats, toms, cymbals, congas, tambourines, shakers, etc. Any percussive instrument can be used to form part of the rhythm section.

The lead is the instrument that plays the main melody, on top of the chords. There are many instruments that can play a lead section, like a guitar, a piano, a saxophone or a flute. The list is almost endless. There is a lot of overlap with instruments that play chords. Often in one piece an instrument serves both roles. The lead melody is often played at a higher pitch than the chords.

Listened back to what was produced so far, and a counter-melody can be imagined, which can be added with a triangle wave.

To give the ends of phrases some life, you can add a solo part with a crunchy synth. By hitting random notes in the key of G, then edited a few of them.

For the climax of the song, filled out the texture with a gentle high-pitch pad… …and a grungy bass synth.


The arrow at A points at the pattern order list. As you see, the patterns don't have to be in numerical order. This song starts with pattern &quot;00&quot;, then pattern &quot;02&quot;, then &quot;03&quot;, then &quot;01&quot;, etcetera. Patterns may be repeated throughout a song.

The B arrow points at the song title. Below it are the global BPM and speed parameters. These determine the tempo of the song, unless the tempo is altered through effect commands during the song.

The C arrow points at the list of instruments. An instrument may consist of multiple samples. Which sample will be played depends on the note. This can be set in the Instrument Editing screen. Most instruments will consist of just one sample, though. The sample list for the selected instrument can be found under arrow D.

Here's a part of the main editing screen. This is where you put in actual notes. Up to 32 channels can be used, meaning 32 sounds can play simultaneously. The first six channels of pattern &quot;03&quot; at order &quot;02&quot; are shown here. The arrow at A points at the row number. The B arrow points at the note to play, in this case a C4. The column pointed at by the C arrow tells us which instrument is associated with that note, in this case instrument #1 &quot;Kick&quot;.

The column at D is used (mainly) for volume commands. In this case it is left empty which means the instrument should play at its default volume. You can see the volume column being used in channel #6.

The E column tells us which effect to use and any parameters for that effect. In this case it holds the &quot;F&quot; effect, which is a tempo command. The &quot;04&quot; means it should play at tempo 4 (a smaller number means faster).

Base pattern

When I create a new track I start with what I call the base pattern. It is worthwhile to spend some time polishing it as a lot of the ideas in the base pattern will be copied and used in other patterns. At least, that's how I work. Every musician will have his own way of working. In &quot;Wild Bunnies&quot; the base pattern is pattern &quot;03&quot; at order &quot;02&quot;.

In the section about selecting samples I talked about the four different categories of instruments: drums, bass, chords and leads. That's also how I usually go about making the base pattern. I start by making a drum pattern, then add a bass line, place some chords and top it off with a lead. This forms the base pattern from which the rest of the song will grow.


Drums

Here's a screenshot of the first four rows of the base pattern. I usually reserve the first four channels or so for the drum instruments. Right away there are a couple of tricks shown here. In the first channel the kick, or bass drum, plays some notes. Note the alternating F04 and F02 commands. The &quot;F&quot; command alters the tempo of the song and by quickly alternating the tempo; the song will get some kind of &quot;swing&quot; feel.

In the second channel the closed hi-hat plays a fairly simple pattern. Further down in the channel, not shown here, some open hi-hat notes are added for a bit of variation.

In the third and fourth channel the snare sample plays. The &quot;8&quot; command is for panning. One note is panned hard to the left and the other hard to the right. One sample is played a semitone lower than the other. This results in a cool flanging effect. It makes the snare stand out a little more in the mix.


Bass line

There are two different instruments used for the bass line. Instrument #6 is a pretty standard synthesized bass sound. Instrument #A sounds a bit like a slap bass when used with a quick fade out. By using two different instruments the bass line sounds a bit more ”human”. The volume command is used to cut off the notes. However, it is never set to zero. Setting the volume to a very small value will result in a reverb-like effect. This makes the song sound more &quot;live&quot;.

The bass line hints at the chords that will be played and the key the song will be in. In this case the key of the song is D-major, a positive and happy key.


Chords

The D major chords that are being played here are chords stabs; short sounds with a quick decay (fade out). Two different instruments (#8 and #9) are used to form the chords. These instruments are quite similar, but have a slightly different sound, panning and volume decay. Again, the reason for this is to make the sound more human. The volume command is used on some chords to simulate a delay, to achieve more of a live feel. The chords are placed off-beat making for a funky rhythm.


Lead

Finally the lead melody is added. The other instruments are invaluable in holding the track together, but the lead melody is usually what catches people's attention.

A lot of notes and commands are used here, but it looks more complex than it is. A stepwise ascending melody plays in channel 13. Channel 14 and 15 copy this melody, but play it a few rows later at a lower volume. This creates an echo effect. A bit of panning is used on the notes to create some stereo depth. Like with the bass line, instead of cutting off notes the volume is set to low values for a reverb effect. The &quot;461&quot; effect adds a little vibrato to the note, which sounds nice on sustained notes.

Those paying close attention may notice the instrument used here for the lead melody is the same as the one used for the bass line (#6 &quot;Square&quot;), except played two or three octaves higher. This instrument is a looped square wave sample. Each type of wave has its own quirks, but the square wave (shown below) is a really versatile wave form.

Song structure

Good, catchy songs are often carefully structured into sections, some of which are repeated throughout the song with small variations.

A typical pop-song structure is: Intro - Verse - Chorus - Verse - Chorus - Bridge - Chorus.

Other single sectional song structures are

&lt;pre&gt;
Strophic or AAA Song Form - oldest story telling with refrain (often title of the song) repeated in every verse section melody 
AABA Song Form - early popular, jazz and gospel fading during the 1960s 
AB or Verse/Chorus Song Form - songwriting format of choice for modern popular music since the 1960s 
Verse/Chorus/Bridge Song Form
ABAB Song Form
ABAC Song Form
ABCD Song Form
AAB 12-Bar Song Form - three four-bar lines or sub-sections 
8-Bar Song Form
16-Bar Song Form
Hybrid / Compound Song Forms
&lt;/pre&gt;

The most common building blocks are:

#INTRODUCTION(INTRO)
#VERSE
#REFRAIN
#PRE-CHORUS / RISE / CLIMB
#CHORUS
#BRIDGE
#MIDDLE EIGHT
#SOLO / INSTRUMENTAL BREAK
#COLLISION
#CODA / OUTRO
#AD LIB (OFTEN IN CODA / OUTRO)

The chorus usually has more energy than the verse and often has a memorable melody line. As the chorus is repeated the most often during the song, it will be the part that people will remember.

The bridge often marks a change of direction in the song. It is not uncommon to change keys in the bridge, or at least to use a different chord sequence. The bridge is used to build up tension towards the big finale, the last repetition of chorus.


 Playing

RCTRL:                           Play song from row 0.

LSHIFT + RCTRL:                  Play song from current row.

RALT:                            Play pattern from row 0.

LSHIFT + RALT:                   Play pattern from current row.

Left mouse on '&gt;':               Play song from row 0.

Right mouse on '&gt;':              Play song from current row.

Left mouse on '|&gt;':              Play pattern from row 0.

Right mouse on '|&gt;':             Play pattern from current row.

Left mouse on 'Edit/Record':     Edit mode on/off.

Right mouse on 'Edit/Record':    Record mode on/off.


 Editing 


LSHIFT + ESCAPE:                 Switch large patterns view on/off

TAB:                    Go to next track

LSHIFT + TAB:                    Go to prev. track

LCTRL + TAB:                    Go to next note in track

LCTRL + LSHIFT + TAB:           Go to prev. note in track

SPACE:                           Toggle Edit mode On &amp; Off

(Also stop if the song is being played)

SHIFT SPACE:                     Toggle Record mode On &amp; Off

(Wait for a key note to be pressed

or a midi in message to be received)

DOWN ARROW:                      1 Line down

UP ARROW:                        1 Line up

LEFT ARROW:                      1 Row left

RIGHT ARROW:                     1 Row right

PREV. PAGE:                      16 Arrows Up

NEXT PAGE:                       16 Arrows Down

HOME / END:                      Top left / Bottom right of pattern

LCTRL + HOME / END:              First / last track

F5, F6, F7, F8, F9:              Jump to 0, 1/4, 2/4, 3/4, 4/4 lines of the patterns

+ - (Numeric keypad):           Next / Previous pattern

LCTRL + LEFT / RIGHT:           Next / Previous pattern

LCTRL + LALT + LEFT / RIGHT:    Next / Previous position

LALT + LEFT / RIGHT:           Next / Previous instrument

LSHIFT + M:                      Toggle mute state of the current channel

LCTRL + LSHIFT + M:             Solo the current track / Unmute all

LSHIFT + F1 to F11:              Select a tab/panel

LCTRL + 1 to 4:                 Select a copy buffer


 Tracking 

1st and 2nd keys rows:           Upper octave row

3rd and 4th keys rows:           Lower octave row

RSHIFT:                          Insert a note off

/ and * (Numeric keypad)

or F1 F2:                        -1 or +1 octave

INSERT / BACKSPACE:              Insert or Delete a line in current track

or current selected block.

LSHIFT + INSERT / BACKSPACE:     Insert or Delete a line in current pattern

DELETE (NOT BACKSPACE):          Empty a column or a selected block.


 Blocks

(Blocks can also be selected with the mouse by holding the right button and scrolling the pattern with the mouse wheel).


LCTRL + A:          Select entire current track

LCTRL + LSHIFT + A: Select entire current pattern

LALT + A:          Select entire column note in a track

LALT + LSHIFT + A: Select all notes of a track

LCTRL + X:          Cut the selected block and copy it into the block-buffer

LCTRL + C:          Copy the selected block into the block-buffer

LCTRL + V:          Paste the data from the block buffer into the pattern

LCTRL + I:          Interpolate selected data from the first to the last row of a selection

LSHIFT + ARROWS

PREV. PAGE

NEXT PAGE: Select a block

LCTRL + R:          Randomize the select columns of a selection, works similar to CTRL + I (interpolating them)

LCTRL + U:          Transpose the note of a selection to 1 seminote higher

LCTRL + D:          Transpose the note of a selection to 1 seminote lower

LCTRL + LSHIFT + U: Transpose the note of a selection to 1 seminote higher (only for the current instrument)

LCTRL + LSHIFT + D: Transpose the note of a selection to 1 seminote lower  (only for the current instrument)

LCTRL + H:          Transpose the note of a selection to 1 octave higher

LCTRL + L:          Transpose the note of a selection to 1 octave lower

LCTRL + LSHIFT + H: Transpose the note of a selection to 1 octave higher (only for the current instrument)

LCTRL + LSHIFT + L: Transpose the note of a selection to 1 octave lower (only for the current instrument)

LCTRL + W:          Save the current selection into a file


 Misc 


LALT + ENTER:     Switch between full screen / windowed mode

LALT + F4:        Exit program (Windows only)

LCTRL + S:         Save current module

LSHIFT + S:         Switch top right panel to synths list

LSHIFT + I:         Switch top right panel to instruments list


&lt;pre&gt;
C-x   xh xx xx hhhh             Volume 
B-x   xh xx xx hhhh             Jump to 
A#x  xh xx xx hhhh hhhh   Slide 
F-x    xh xx xx hhhh            Tempo 
D-x   xh xx xx hhhh             Pattern Break 
G#x  xh xx xx hhhh
&lt;/pre&gt;

h Hex 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13

d Dec 01 02 03 04 05 06 07 08 09 10  11 12 13 14 15 16 17 18 19

The Set Volume command: C. Input a note, then move the cursor to the effects command column and type a C. Play the pattern, and you shouldn't be able to hear the note you placed the C by. This is because the effect parameters are 00. Change the two zeros to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the pattern again, and the note should come in at full volume.

The Position Jump command next. This is just a B followed by the position in the playing list that you want to jump to. One thing to remember is that the playing list always starts at 0, not 1. This command is usually in Hex.

Onto the volume slide command: A. This is slightly more complex (much more if you're using a newer tracker, if you want to achieve the results here, then set slides to Amiga, not linear), due to the fact it depends on the secondary tempo. For now set a secondary tempo of 06 (you can play around later), load a long or looped sample and input a note or two. A few rows after a note type in the effect command A. For the parameters use 0F. Play back the pattern, and you should notice that when the effect kicks in, the sample drops to a very low volume very quickly. Change the effect parameters to F0, and use a low volume command on the note. Play back the pattern, and when the slide kicks in the volume of the note should increase very quickly.
This because each part of the effect parameters for command A does a different thing. The first number slides the volume up, and the second slides it down. It's not recommended that you use both a volume up and volume down at the same time, due to the fact the tracker only looks for the first number that isn't set to 0. If you specify parameters of 8F, the tracker will see the 8, ignore the F, and slide the volume up. Using a slide up and down at same time just makes you look stupid. Don't do it...

The Set Tempo command: F, is pretty easy to understand. You simply specify the BPM (in Hex) that you want to change to. One important thing to note is that values of lower than 20 (Hex) sets the secondary tempo rather than the primary.

Another useful command is the Pattern Break: D. This will stop the playing of the current pattern and skip to the next one in the playing list. By using parameters of more than 00 you can also specify which line to begin playing from.

Command 3 is Portamento to Note. This slides the currently playing note to another note, at a specified speed. The slide then stops when it reaches the desired note. 
&lt;pre&gt;
   C-2 1 000 - Starts the note playing
   ---      000
   C-3    330 - Starts the slide to C-3 at a speed of 30.
   ---     300 - Continues the slide
   ---     300 - Continues the slide
&lt;/pre&gt;
Once the parameters have been set, the command can be input again without any parameters, and it'll still perform the same function unless you change the parameters. This memory function allows certain commands to function correctly, such as command 5, which is the Portamento to Note and Volume Slide command. Once command 3 has been set up command 5 will simply take the parameters from that and perform a Portamento to Note. Any parameters set up for command 5 itself simply perform a Volume Slide identical to command A at the same time as the Portamento to Note.

This memory function will only operate in the same channel where the original parameters were set up.
There are various other commands which perform two functions at once. They will be described as we come across them.

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  00

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  02

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  05

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  08

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0A

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0D

C-3  04  ..  ..  09  10 ---&gt; C-3  04  ..  ..  09  10

(You can also switch on the Slider Rec to On, and perform parameter-live-recording, such as cutoff transitions, resonance or panning tweaking, etc..)  Note: this command only works for volume/panning and fx datas columns.


The next command we'll look at is the Portamento up/down: 1 and 2. Command 1 slides the pitch up at a specified speed, and 2 slides it down. This command works in a similar way to the volume slide, in that it is dependent on the secondary tempo. Both these commands have a memory dependent on each other, if you set the slide to a speed of 3 with the 1 command, a 2 command with no parameters will use the speed of 3 from the 1 command, and vice versa.

Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just try it, and you'll see what I mean. Parameters are in the format of xy, where x is the speed of the slide, and y is the depth of the slide. One important point to remember is to keep your vibratos subtle and natural so a depth of 3 or less and a reasonably fast speed, around 8, is usually used. Setting the depth too high can make the part sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and Volume Slide command, and it has a memory like command 5, which you already know how to use.

Command 7 is Tremolo. This is similar to vibrato. Rather than changing the pitch it slides the volume. The effect parameters are in exactly the same format.   vibrato effect (0x1dxy) x = speed y = depth (can't be used if arpeggio (0x1b) is turned on) 

&lt;pre&gt;
 C-7 00 .. .. 1B37 &lt;-  Turn Arpeggio effect on
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B38 &lt;- Change datas
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B00 &lt;- Turn it off
&lt;/pre&gt;

Command 9 is Sample Offset. This starts the playback of the sample from a different place than the start. The effect parameters specify the sample offset, but only very roughly. Say you have a sample which is 8765(Hex) bytes long, and you wanted it to play from position 4321(Hex). The effect parameter could only be as accurate as the 43 part, and it would ignore the 21.

Command B is the Playing List/Order Jump command. The parameters specify the position in the Playing List/Order to jump to. When used in conjunction with command D you can specify the position and the line to play from.

Command E is pretty complex, as it is used for a lot of different things, depending on what the first parameter is. Let's take a trip through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a low pass filter, cuts off the highest frequencies being played back. There are very few players and trackers on other system that simulate this function, not that you should need to use it. The second parameter, if set to 1, turns on the filter. If set to 0, the filter gets turned off.

Commands E1/E2 are Fine Portamento Up/Down. Exactly the same functions as commands 1/2, except that they only slide the pitch by a very small amount. These commands have a memory the same as 1/2 as well.

Command E3 sets the Glissando control. If parameters are set to 1 then when using command 3, any sliding will only use the notes in between the original note and the note being slid to. This produces a somewhat jumpier slide than usual. The best way to understand is to try it out for yourself. Produce a slow slide with command 3, listen to it, and then try using E31.

Command E4 is the Set Vibrato Waveform control. This command controls how the vibrato command slides the pitch. Parameters are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to the parameters, the waveform will not be restarted when a new note is played e.g. 5 - Sine without restart.

Command E5 sets the Fine Tune of the instrument being played, but only for the particular note being played. It will override the default Fine Tune for the instrument. The parameters range from 0 to F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives no Fine Tune. If you're using a newer tracker that supports more than -8 to +8 e.g. -128 to +128, these parameters will give a rough Fine Tune, accurate to the nearest 16.

Command E6 is the Jump Loop command. You mark the beginning of the part of a pattern that you want to loop with E60, and then specify with E6x the end of the loop, where x is the number of times you want it to loop.

Command E7 is the Set Tremolo Waveform control. This has exactly the same parameters as command E4, except that it works for Tremolo rather than Vibrato.

Command E9 is for Retriggering the note quickly. The parameter specifies the interval between the retrigs. Use a value of less than the current secondary tempo, or else the note will not get retrigged.

Command EA/B are for Fine Volume Slide Up/Down. Much the same as the normal Volume Slides, except that these are easier to control since they don't depend on the secondary tempo. The parameters specify the amount to slide by e.g. if you have a sample playing at a volume of 08 (Hex) then the effect EA1 will slide this volume to 09 (Hex). A subsequent effect of EB4 would slide this volume down to 05 (Hex).

Command EC is the Note Cut. This sets the volume of the currently playing note to 0 at a specified tick. The parameters should be lower than the secondary tempo or else the effect won't work.

Command ED is the Note Delay. This should be used at the same time as a note is to be played, and the parameters will specify the number of ticks to delay playing the note. Again, keep the parameters lower than the secondary tempo, or the note won't get played!

Command EE is the Pattern Delay. This delays the pattern for the amount of time it would take to play a certain number of rows. The parameters specify how many rows to delay for.

Command EF is the Funk Repeat command. Set the sample loop to 0-1000. When EFx is used, the loop will be moved to 1000- 2000, then to 2000-3000 etc. After 9000-10000 the loop is set back to 0- 1000. The speed of the loop &quot;movement&quot; is defined by x. E is two times as slow as F, D is three times as slow as F etc. EF0 will turn the Funk Repeat off and reset the loop (to 0-1000).

effects 0x41 and 0x42 to control the volumes of the 2 303 units

There is a dedicated panel for synth parameter editing with coherent sections (osc, filter modulation, routing, so on) the interface is much nicer, much better to navigate with customizable colors, the reverb is now customizable (10 delay lines), It accepts newer types of Waves (higher bit rates, at least 24). Has a replay routine.

It's pretty much your basic VA synth. The problem isn't with the sampler being to high it's the synth is tuned two octaves too low, but if you want your samples tuned down just set the base note down 2 octaves (in the instrument panel).

so the synth is basically divided into 3 sections from left to right: oscillators/envelopes, then filter and LFO's, and in the right column you have mod routings and global settings.

for the oscillator section you have two normal oscillators (sine, saw, square, noise), the second of which is tunable, the first one tunes with the key pressed. Attached to OSC 1 is a sub-oscillator, which is a sawtooth wave tuned one octave down. The phase modulation controls the point in the duty cycle at which the oscillator starts. The ADSR envelope sliders (grouped with oscs) are for modulation envelope 1 and 2 respectively. you can use the synth as a sampler by choosing the instrument at the top.

In the filter column, the filter settings are: 1 = lowpass, 2 = highpass, 3 = off. cutoff and resonance. For the LFOs they are LFO 1 and LFO 2, the ADSR sliders in those are for the LFO itself.

For the modulation routings you have ENV 1, LFO 1 for the first slider and ENV 2, LFO 2 for the second, you can cycle through the individual routings there, and you can route each modulation source to multiple destinations of course, which is another big plus for this synth. Finally the glide time is for portamento and master volume, well, the master volume... it can go quite loud.

The sequencer is changed too, It's more like the one in AXS if you've used that, where you can mute tracks to re-use patterns with variation.


&lt;pre&gt;
Support for the following modules formats:
669 (Composer 669, Unis 669), 
AMF (DSMI Advanced Module Format), 
AMF (ASYLUM Music Format V1.0), 
APUN (APlayer), DSM (DSIK internal format), 
FAR (Farandole Composer), 
GDM (General DigiMusic), 
IT (Impulse Tracker), 
IMF (Imago Orpheus), 
MOD (15 and 31 instruments), 
MED (OctaMED), 
MTM (MultiTracker Module editor), 
OKT (Amiga Oktalyzer), 
S3M (Scream Tracker 3), 
STM (Scream Tracker), 
STX (Scream Tracker Music Interface Kit), 
ULT (UltraTracker), 
UNI (MikMod), 
XM (FastTracker 2),
Mid (midi format via timidity)
&lt;/pre&gt;


Possible plugin options include [http://lv2plug.in/ LV2],


====Midi - Musical Instrument Digital Interface====

A midi file typically contains music that plays on up to 16 channels (as per the midi standard), but many notes can simultaneously play on each channel (depending on the limit of the midi hardware playing it).

'''Timidity'''

Although usually already installed, you can uncompress the [http://www.libsdl.org/projects/SDL_mixer/ timidity.tar.gz (14MB)] into a suitable drawer like below's SYS:Extras/Audio/ 
 assign timidity: SYS:Extras/Audio/timidity
added to SYSːs/User-Startup

'''WildMidi playback'''


'''Audio Evolution 4 (2003) 4.0.23 (from 2012)'''


*Sync Menu    - CAMD Receive, Send checked 
*Options Menu - MIDI Machine Control - Midi Bar Display - Select CAMD MIDI in / out - Midi Remote Setup 


MCB Master Control Bus 
*Sending a MIDI start-command and a Song Position Pointer, you can synchronize audio with an external MIDI sequencer (like B&amp;P). 
*B&amp;P Receive, start AE, add AudioEvolution.ptool in Bars&amp;Pipes track, press play / record in AE then press play in Pipes 
*CAMD Receive, receive MIDI start or continue commands via camd.library sync to AE 


*MIDI Machine Control
*Midi Bar Display 
*Select CAMD MIDI in / out
*Midi Remote Setup - open requester for external MIDI controllers to control app mixer and transport controls cc remotely 
 Channel   - mixer(vol, pan, mute, solo), eq, aux, fx, 
 Subgroup  - Volume, Mute, Solo 
 Transport - Start, End, Play, Stop, Record, Rewind, Forward 
 Misc      - Master vol., Bank Down, Bank up 


&lt;pre&gt;
q        - quit 

First 3 already opened when AE started 
F1       - timeline window
F2       - mixer 
F3       - control 
F4       - subgroups 
F5       - aux returns 
F6       - sample list 

i        - Load sample to use 

space    - start/stop play 
b        - reset time 0:00


s        - split mode 
r        - open recording window 
a        - automation edit mode with p panning, m mute and v volume 


[ / ]    - zoom in / out 
:        - previous track
*        - next track 

x c v f  - cut copy paste cross-fade 
g        - snap grid 


&lt;/pre&gt;


 '''[http://bnp.hansfaust.de/ Bars n Pipes sequencer]'''

 BarsnPipes debug ... in shell 

Menu (right mouse)  
*Song        - Songs load and save in .song format but option here to load/save Midi_Files .mid in FORMAT0 or FORMAT1 
*Track       - 
*Edit        -
*Tool        - 
*Timing      - SMTPE Synchronizing 
*Windows     - 
*Preferences - Multiple MIDI-in option 

Windows (some of these are usually already opened when Bars n Pipes starts up for the first time) 
*Workflow -&gt; Tracks, .... Song Construction, Time-line Scoring, Media Madness, Mix Maestro, 
*Control  -&gt; Transport (or mini one), Windows (which collects all the Windows icons together-shortcut), .... Toolbox, Accessories, Metronome, 

Once you have your windows placed on the screen that suits your workflow, Song -&gt; Save as Default will save the positions, colors, icons, etc as you'd like them 

If you need a particular setup of Tracks, Tools, Tempos etc, you save them all as a new song you can load each time 

Right mouse menu -&gt; Preferences -&gt; Environment... -&gt; ScreenMode  - Linkages for Synch (to Slave) usbmidi.out.0 and Send (Master) usbmidi.in.0 - Clock MTC 


'''Tracks'''

#Double-click on B&amp;P's icon. B&amp;P will then open with an empty Song. You can also double-click on a song icon to open a song in B&amp;P.
#Choose a track. The B&amp;P screen will contain a Tracks Window with a number of tracks shown as pipelines (Track 1, Track 2, etc...). To choose a track, simply click on the gray box to show an arrow-icon to highlight it. This icon show whether a track is chosen or not. To the right of the arrow-icon, you can see the icon for the midi-input. If you double-click on this icon you can change the MIDI-in setup.
#Choose Record for the track. To the right of the MIDI-input channel icon you can see a pipe. This leads to another clickable icon with that shows either P, R or M. This stands for Play, Record or Merge. To change the icon, simply click on it. If you choose P, this track can only play the track (you can't record anything). If you choose R, you can record what you play and it overwrites old stuff in the track. If you choose M, you merge new records with old stuff in the track. Choose R now to be able to make a record.
#Chose MIDI-channel. On the most right part of the track you can see an icon with a number in it. This is the MIDI-channel selector. Here you must choose a MIDI-channel that is available on your synthesizer/keyboard. If you choose General MIDI channel 10, most synthesizer will play drum sounds. To the left of this icon is the MIDI-output icon. Double-click on this icon to change the MIDI-output configuration.
#Start recording. The next step is to start recording. You must then find the control buttons (they look like buttons on a CD-player). To be able to make a record. you must click on the R icon. You can simply now press the play button (after you have pressed the R button) and play something on you keyboard. To playback your composition, press the Play button on the control panel.
#Edit track. To edit a track, you simply double click in the middle part of a track. You will then get a new window containing the track, where you can change what you have recorded using tools provided. Take also a look in the drop-down menus for more features.


Videos to help understand [https://www.youtube.com/watch?v=A6gVTX-9900 small intro], [https://www.youtube.com/watch?v=abq_rUTiSA4&amp;t=3s Overview], [https://www.youtube.com/watch?v=ixOVutKsYQo Workplace Setup CC PC Sysex], [https://www.youtube.com/watch?v=dDnJLYPaZTs Import Song], [https://www.youtube.com/watch?v=BC3kkzPLkv4 Tempo Mapping], [https://www.youtube.com/watch?v=sd23kqMYPDs ptool Arpeggi-8], [https://www.youtube.com/watch?v=LDJq-YxgwQg  PlayMidi Song], [https://www.youtube.com/watch?v=DY9Pu5P9TaU Amiga Midi], [https://www.youtube.com/watch?v=abq_rUTiSA4 Learning Amiga bars and Pipes], 

Groups like [https://groups.io/g/barsnpipes/topics this] could help 


'''Tracks window'''

* blue &quot;1 2 3 4 5 6 7 8 Group&quot; and transport tape deck VCR-type controls
* Flags 
* [http://theproblem.alco-rhythm.com/org/bp.html Track 1, Track2, to Track 16, on each Track there are many options that can be activated] 

Each Track has a 

*Left LHS  - Click in grey box to select what Track to work on, Midi-In ptool icon should be here (5pin plug icon), and many more from the Toolbox on the Input Pipeline 
*Middle    - (P, R, M) Play, Record, Merge/Multi before the sequencer line and a blue/red/yellow (Thru Mute Play) Tap 
*Right RHS - Output pipeline, can have icons placed uopn it with the final ptool icon(s) being the 5pin icon symbol for Midi-OUT 

Clogged pipelines may need Esc pressed several times 


'''Toolbox (tools affect the chosen pipeline)'''

After opening the Toolbox window you can add extra Tools (.ptool) for the pipelines like keyboard(virtual), midimonitor, quick patch, transpose, triad, (un)quantize, feedback in/out, velocity etc
 right mouse -&gt; Toolbox menu option -&gt; Install Tool... and navigate to Tool drawer (folder) and select requried .ptool 

Accompany B tool to get some sort of rythmic accompaniment, Rythm Section and Groove Quantize are examples of other tools that make use of rythms
[https://aminet.net/search?query=bars Bars &amp; Pipes pattern format .ptrn] for drawer (folder). Load from the Menu as Track or Group 


'''Accessories (affect the whole app)''' 

Accessories -&gt; Install... and goto the Accessories drawer for .paccess like adding ARexx scripting support 


'''Song Construction'''
&lt;pre&gt;
F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Duplicator 
F5  Eraser 
F6  Toolpad 
F7  Bounding box 
F8  Lock to A-B-A 

A-B-A strip, section, edit flags, white boxes, 

&lt;/pre&gt;


Bars&amp;Pipes Professional offers three track formats; basic song tracks, linear tracks — which don't loop — and finally real‑time tracks. The difference between them is that both song and linear tracks respond to tempo changes, while real‑time tracks use absolute timing, always trigger at the same instant regardless of tempo alterations 

'''Tempo Map'''

F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Eraser 
F5  Curve 
F6  Toolpad 


Compositions

Lyrics, Key, Rhythm, Time Signature 

'''Master Parameters'''

Key, Scale/Mode

'''Track Parameters'''

Dynamics 


'''Time-line Scoring'''


'''Media Madness'''


'''Mix Maestro'''


*ACCESSORIES         Allows the importation of other packages and additional modules 
*CLIPBOARD           Full cut, copy and paste operations, enabling user‑definable clips to be shared between tracks.
*INFORMATION         A complete rundown on the state of the current production and your machine.
*MASTER PARAMETERS   Enables global definition of time signatures, lyrics, scales, chords, dynamics and rhythm changes.
*MEDIA MADNESS       A complete multimedia sequencer which allows samples, stills, animation, etc 
*METRONOME           Tempo feedback via MIDI, internal Amiga audio and colour cycling — all three can be mixed and matched as required.
*MIX MAESTRO         Completely automated mixdown with control for both volume and pan. All fader alterations are memorised by the software 
*RECORD ACTIVATION   Complete specification of the data to be recorded/merged. Allows overdubbing of pitch‑bend, program changes, modulation etc
*SET FLAGS           Numeric positioning of location and edit flags in either SMPTE or musical time 
*SONG CONSTRUCTION   Large‑scale cut and paste of individual measures, verses or chorus, by means of bounding box and drag‑n‑drop mouse selections
*TEMPO MAP           Tempo change using a variety of linear and non‑linear transition curves 
*TEMPO PALETTE       Instant tempo changes courtesy of four user‑definable settings.
*TIMELINE SCORING    Sequencing of a selection of songs over a defined period — ideal for planning an entire set for a live performance.
*TOOLBOX             Selection screen for the hundreds of signal‑processing tools available 
*TRACKS              Opens the main track window to enable recording, editing and the use of tools.
*TRANSPORT           Main playback control window, which also provides access to user‑ defined flags, loop and punch‑in record modes.


Bars and Pipes Pro 2.5 is using internal 4-Byte IDs, to check which kind of data are currently processed.
Especially in all its files the IDs play an important role. The IDs are stored into the file in the same order they are laid out in the memory.

In a Bars 'N' Pipes file (no matter which kind) the ID &quot;NAME&quot; (saved as its ANSI-values) is stored on a big endian system (68k-computer) as &quot;NAME&quot;. On a little endian system (x86 PC computer) as &quot;EMAN&quot;.  The target is to make the AROS-BnP compatible to songs, which were stored on a 68k computer (AMIGA).

If possible, setting MIDI channels for Local Control for your keyboard 

http://www.fromwithin.com/liquidmidi/archive.shtml


MIDI files are essentially a stream of event data. An event can be many things, but typically &quot;note on&quot;, &quot;note off&quot;, &quot;program change&quot;, &quot;controller change&quot;, or messages that instruct a MIDI compatible synth how to play a given bit of music.

* Channel     - 1 to 16 -
* Messages    - PC presets, CC effects like delays, reverbs,  etc 
* Sequencing  - MIDI instruments, Drums, Sound design, 
* Recording   - 
* GUI         - Piano roll or Tracker, Staves and Notes 

MIDI events/messages like step entry e.g. Note On, Note Off 

MIDI events/messages like PB, PC, CC, Mono and Poly After-Touch, Sysex, etc 

MIDI sync - Midi Clocks (SPS Measures), Midi Time Code (h, m, s and frames) SMPTE 

Individual track editing with audition edits so easier to test any changes. Possible to stop track playback, mix clips from the right edit flag and scroll the display using arrow keys. 

Step entry, to extend a selected note hit the space bar and the note grows accordingly. Ability to cancel mouse‑driven edits by simply clicking the right mouse button — at which point everything snaps back into its original form. Lyrics can now be put in with syllable dividers, even across an entire measure or section. Autoranging when you open a edit window, the notes are automatically displayed — working from the lowest upwards. 

Flag editing, shift‑click on a flag immediately open the bounds window, ready for numeric input. Ability to cancel edits using the right‑hand mouse button, plus much improved Bounding Box operations.

Icons other than the BarsnPipes icon -&gt; PUBSCREEN=BarsnPipes (cannot choose modes higher than 8bit 256 colors)

Preferences -&gt; Menu in Tracks window - Send MIDI defaults OFF 

Prefs -&gt; Environment -&gt; screenmode (saved to BarsnPipes.prefs binary file) 

Customization -&gt; pics in gui drawer (folder) - 


Can save as .song files and .mid General Midi 

SMF is a “Standard Midi File”  ([http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html SMF0, SMF1 and SMF2]), [https://github.com/stump/libsmf libsmf], [https://github.com/markc/midicomp MIDIcomp], [https://github.com/MajicDesigns/MD_MIDIFile C++ src], [], [https://github.com/newdigate/midi-smf-reader Midi player], 

* SMF0        All MIDI data is stored in one track only, separated exclusively by the MIDI channel.
* SMF1        The MIDI data is stored in separate tracks/channels.
* SMF2 (rarely used) The MIDI data is stored in separate tracks, which are additionally wrapped in containers, so it's possible to have e.g. several tracks using the same MIDI channels.


Would it be possible to enrich Bars N’Pipes with software synth and sample support along with audio recording and mastering tools like in the named MAC or PC music sequencers?
On the classic AMIGA-OS this is not possible because of missing CPU-power. The hardware of the classic AMIGA is not further developed. So we must say (unfortunately) that those dreams can’t become reality

BarsnPipes is best used with external MIDI-equipment. This can be a keyboard or synthesizer with MIDI-connectors. 

&lt;pre&gt;
MIDI can control 16 channels 
There are USB-MIDI-Interfaces on the market with 16 independent MIDI-lines (multi-port), which can handle 16 MIDI devices independently – 16×16 = 256 independent MIDI-channels or instruments 
handle up to 16 different USB-MIDI-Interfaces (multi-device). That is: 16X16X16 = 4096 independent MIDI-channels – theoretically 
&lt;/pre&gt;

&lt;pre&gt;
Librarian MIDI SYStem EXplorer (sysex) - PatchEditor and used to be supplied as a separate program like PatchMeister but currently not at present 
It should support MIDI.library (PD), BlueRibbon.library (B&amp;P), TriplePlayPlus, and CAMD.library (DeluxeMusic) and 
MIDI information from a device's user manual and configure a custom interface to access parameters for all MIDI products connected to the system 
Supports ALL MIDI events and the Patch/Librarian data is stored in MIDI standard format 
Annette M.Crowling, Missing Link Software, Inc.
&lt;/pre&gt;


Composers
&lt;pre&gt;
[https://x.com/hirasawa/status/1403686519899054086 Susumu Hirasawa] 

&lt;/pre&gt;


&lt;pre&gt;
1988 Todor Fay and his wife Melissa Jordan Gray, who founded the Blue Ribbon Inc
1992 Bars&amp;Pipes Pro published 
November 2000, Todor Fay announcement to release the sourcecode of Bars&amp;Pipes Pro 2.5c beta
end of May 2001, the source of the main program and the sources of some tools and accessories were in a complete and compileable state 
end of October 2009 stop further development of BarsnPipes New for now on all supported systems and made freeware 
2013 Alfred Faust diagnosed with incureable illness, called „Myastenia gravis“ (weak muscles) 
&lt;/pre&gt;


 Protrekkr

How to use Midi In/Out in Protrekkr ?

First of all, midi in &amp; out capabilities of this program are rather limited.

# Go to Misc. Setup section and select a midi in or out device to use (ptk only supports one device at a time).
# Go to instrument section, and select a MIDI PRG (the default is N/A, which means no midi program selected).
# Go to track section and here you can assign a midi channel to each track of ptk.
# Play notes :]. Note off works. F'x' note cut command also works too, and note-volume command (speed) is supported.

Also, you can change midicontrollers in the tracker, using '90' in the panning row:

&lt;pre&gt;
    C-3 02 .. .. 0000....


    --- .. .. 90 xxyy.... &lt;&lt; This will set the value 
    --- .. .. .. 0000....    of the controller n.'xx' to 'yy' (both in hex)
    --- .. .. .. 0000....
&lt;/pre&gt;

So &quot;--- .. .. 90 2040....&quot; will set the controller number $20(32) to $40(64).

You will need the midi implementation table of your gear to know what you can change with midi controller messages.

 N.B. Not all MIDI devices are created equal!

Although the MIDI specification defines a large range of MIDI messages of various kinds, not every MIDI device is required to work in exactly the same way and respond to all the available messages and ways of working. For example, we don't expect a wind synthesiser to work in the same way as a home keyboard.

Some devices, the older ones perhaps, are only able to respond to a single channel. With some of those devices that channel can be altered from the default of 1 (probably) to another channel of the 16 possible.

Other devices, for instance monophonic synthesisers, are capable of producing just one note at a time, on one MIDI channel. Others can produce many notes spread across many channels.

Further devices can respond to, and transmit, &quot;breath controller&quot; data (MIDI controller number 2 (CC#2)) others may respond to the reception of CC#2 but not be able to create and to send it.

A controller keyboard may be capable of sending &quot;expression pedal&quot; data, but another device may not be capable of responding to that message.

Some devices just have the basic GM sound set. The &quot;voice&quot; or &quot;instrument&quot; is selected using a &quot;Program Change&quot; message on its own.

Other devices have a greater selection of voices, usually arranged in &quot;banks&quot;, and the choice of instrument is made by responding to &quot;Bank Select MSB&quot; (MIDI controller 0 (CC#0)), others use &quot;Bank Select LSB&quot; (MIDI controller number 32 (CC#32)), yet others use both MSB and LSB sent one after the other, all followed by the Program Change message. The detailed information about all the different voices will usually be available in a published MIDI Data List.


 MIDI Implementation Chart

But in the User Manual there is sometimes a summary of how the device works, in terms of MIDI, in the chart at the back of the manual, the MIDI Implementation Chart.

If you require two devices to work together you can compare the two implementation charts to see if they are &quot;compatible&quot;. In order to do this we will need to interpret that chart.

The chart is divided into four columns headed &quot;Function&quot;, &quot;Transmitted&quot; (or &quot;Tx&quot;), &quot;Received&quot; (or &quot;Rx&quot;), or more correctly &quot;Recognised&quot;, and finally, &quot;Remarks&quot;.

&lt;pre&gt;
The left hand column defines which MIDI functions are being described.
The 2nd column defines what the device in question is capable of transmitting to another device.
The 3rd column defines what the device is capable of responding to.
The 4th column is for explanations of the values contained within these previous two columns.
&lt;/pre&gt;

There should then be twelve sections, with possibly a thirteenth containing extra &quot;Notes&quot;. Finally there should be an explanation of the four MIDI &quot;modes&quot; and what the &quot;X&quot; and the &quot;O&quot; mean.
&lt;pre&gt;
Mode 1: Omni On, Poly; 
Mode 2: Omni On, Mono; 
Mode 3: Omni Off, Poly; 
Mode 4: Omni Off, Mono.
&lt;/pre&gt;
O means &quot;yes&quot; (implemented), X means &quot;no&quot; (not implemented).

Sometimes you will find a row of asterisks &quot;**************&quot;, these seem to indicate that the data is not applicable in this case. Seen in the transmitted field only (unless you've seen otherwise).

Lastly you may find against some entries an asterisk followed by a number e.g. *1, these will refer you to further information, often on a following page, giving more detail.

Basic Channel
But the very first set of boxes will tell us the &quot;Basic Channel(s)&quot; that the device sends or receives on. 
&quot;Default&quot; is what happens when the device is first turned on, &quot;changed&quot; is what a switch of some kind may allow the device to be set to. 
For many devices e.g. a GM sound module or a home keyboard, this would be 1-16 for both. That is it can handle sending and receiving on all MIDI channels.

On other devices, for example a synthesiser, it may by default only work on channel 1. But the keyboard could be &quot;split&quot; with the lower notes e.g. on channel 2. If the synth has an arppegiator, this may be able to be set to transmit and or receive on yet another channel.
So we might see the default as &quot;1&quot; but the changed as &quot;1-16&quot;.

Modes.
We need to understand Omni On and Off, and Mono and Poly, then we can decipher the four modes.

But first we need to understand that any of these four Mode messages can be sent to any MIDI channel. They don't necessarily apply to the whole device.

If we send an &quot;Omni On&quot; message (CC#125) to a MIDI channel of a device, we are, in effect, asking it to respond to e.g. a Note On / Off message pair, received on any of the sixteen channels. Sound strange? Read it again. Still strange? It certainly is. We normally want a MIDI channel to respond only to Note On / Off messages sent on that channel, not any other. In other words, &quot;Omni Off&quot;.

So &quot;Omni Off&quot; (CC#124) tells a channel of our MIDI device to respond only to messages sent on that MIDI channel.

&quot;Poly&quot; (CC#127) is for e.g. a channel of a polyphonic sound module, or a home keyboard, to be able to respond to many simultaneous Note On / Off message pairs at once and produce musical chords.

&quot;Mono&quot; (CC#126) allows us to set a channel to respond as if it were e.g. a flute or a trumpet, playing just one note at a time. If the device is capable of it, then the overlapping of notes will produce legato playing, that is the attack portion of the second note of two overlapping notes will be removed resulting in a &quot;smoother&quot; transition.

So a channel with a piano voice assigned to it will have Omni Off, Poly On (Mode 3), a channel with a saxophone voice assigned could be Omni Off, Mono On (Mode 4).

We call these combinations the four modes, 1 to 4, as defined above. 
Most modern devices will have their channels set to Mode 3 (Omni Off, Poly) but be switchable, on a per channel basis, to Mode 4 (Omni Off, Mono).

This second section of data will include first its default value i.e. upon device switch on. Then what Mode messages are acceptable, or X if none.

Finally, in the &quot;Altered&quot; field, how a Mode message that can't be implemented will be interpreted. Usually there will just be a row of asterisks effectively meaning nothing will be done if you try to switch to an unimplemented mode.

Note Number
&lt;pre&gt;
The next row will tell us which MIDI notes the device can send or receive, normally 0-127.
The second line, &quot;True Voice&quot; has the following in the MIDI specification: 
&quot;Range of received note numbers falling within the range of true notes produced by the instrument.&quot;
My interpretation is that, for instance, a MIDI piano may be capable of sending all MIDI notes (0 to 127) by transposition, but only responding to the 88 notes (21 to 108) of a real piano. 
&lt;/pre&gt;

Velocity
This will tell us whether the device we're looking at will handle note velocity, and what range from 1-127, or maybe just 64, it transmits or will recognise. So usually &quot;O&quot; plus a range or &quot;X&quot; for not implemented.

After touch
This may have one or two lines two it.
If a one liner the either &quot;O&quot; or &quot;X&quot;, yes or no.
If a two liner then it may include &quot;Keys&quot; or &quot;Poly&quot; and &quot;Channel&quot;.
This will show whether the device will respond to Polyphonic after touch or channel after touch or neither.

Pitch Bend
Again &quot;O&quot; for implemented, &quot;X&quot; for not implemented.
(Many stage pianos will have no pitch bend capability.)
It may also, in the notes section, state whether it will respond to the full 14 bits, or not, as usually encoded by the pitch bend wheel.

Control Change
This is likely to be the largest section of the chart.
It will list all those controllers, starting from CC#0, Bank Select MSB, which the device is capable of sending, and those that it will respond to using &quot;O&quot; or &quot;X&quot; respectively.
You will, almost certainly, get some further explanation of functionality in the remarks column, or in more detail elsewhere in the documentation.

Of course you will need to know what all the various controller numbers do. Lots of the official technical specifications can be found at the [www.midi.org/techspecs/ MMA], with the table of messages and control change [www.midi.org/techspecs/midimessages.php message numbers]

Program Change
Again &quot;O&quot; or &quot;X&quot; in the Transmitted or Recognised column to indicate whether or not the feature is implemented. In addition a range of numbers is shown, typically 0-127, to show what is available.
True # (number): &quot;The range of the program change numbers which correspond to the actual number of patches selected.&quot;

System Exclusive
Used to indicate whether or not the device can send or recognise System Exclusive messages. A short description is often given in the Remarks field followed by a detailed explanation elsewhere in the documentation.

System Common - These include the following:
&lt;pre&gt;
MIDI Time Code Quarter Frame messages (device synchronisation).
Song Position Pointer
Song Select
Tune Request
&lt;/pre&gt;
The section will indicate whether or not the device can send or respond to any of these messages.

System Real Time
These include the following:
&lt;pre&gt;
Timing Clock - often just written as &quot;Clock&quot;
Start
Stop
Continue
&lt;/pre&gt;
These three are usually just referred to as &quot;Commands&quot; and listed.
Again the section will indicate which, if any, of these messages the device can send or respond to.
&lt;pre&gt;
Aux. Messages
Again &quot;O&quot; or &quot;X&quot; for implemented or not.
Aux. = Auxiliary.
Active Sense = Active Sensing.
&lt;/pre&gt;
Often with an explanation of the action of the device.

Notes
The &quot;Notes&quot; section can contain any additional comments to clarify the particular implementation.

Some of the explanations have been drawn directly from the MMA MIDI 1.0 Detailed Specification.
And the detailed explanation of some of the functions will be found there, or in the General MIDI System Level 1 or General MIDI System Level 2 documents also published by the MMA.


 OFFICIAL MIDI SPECIFICATIONS

SUMMARY OF MIDI MESSAGES
Table 1 - Summary of MIDI Messages

The following table lists the major MIDI messages in numerical (binary) order (adapted from &quot;MIDI by the Numbers&quot; by D. Valenti, Electronic Musician 2/88, and updated by the MIDI Manufacturers Association.). This table is intended as an overview of MIDI, and is by no means complete.

WARNING! Details about implementing these messages can dramatically impact compatibility with other products. We strongly recommend consulting the official MIDI Specifications for additional information.

MIDI 1.0 Specification

Message Summary Channel Voice Messages [nnnn = 0-15 (MIDI Channel Number 1-16)]

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1000nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note Off event. 
This message is sent when a note is released (ended). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1001nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note On event. 
This message is sent when a note is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1010nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Polyphonic Key Pressure (Aftertouch). 
This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. (kkkkkkk) is the key (note) number. (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Control Change. 
This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Controller numbers 120-127 are reserved as &quot;Channel Mode Messages&quot; (below). (ccccccc) is the controller number (0-119). (vvvvvvv) is the controller value (0-127).
|-
|&lt;!--Status--&gt;1100nnnn || &lt;!--Data--&gt;0ppppppp || &lt;!--Description--&gt;Program Change. This message sent when the patch number changes. (ppppppp) is the new program number.
|-
|&lt;!--Status--&gt;1101nnnn || &lt;!--Data--&gt;0vvvvvvv || &lt;!--Description--&gt;Channel Pressure (After-touch). This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. This message is different from polyphonic after-touch. Use this message to send the single greatest pressure value (of all the current depressed keys). (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1110nnnn || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Pitch Bend Change. This message is sent to indicate a change in the pitch bender (wheel or lever, typically). The pitch bender is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the receiver, but may be set using RPN 0. (lllllll) are the least significant 7 bits. (mmmmmmm) are the most significant 7 bits.
|}

Channel Mode Messages (See also Control Change, above)

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Channel Mode Messages. 
This the same code as the Control Change (above), but implements Mode control and special message by using reserved controller numbers 120-127. The commands are:
*All Sound Off. When All Sound Off is received all oscillators will turn off, and their volume envelopes are set to zero as soon as possible c = 120, v = 0: All Sound Off
*Reset All Controllers. When Reset All Controllers is received, all controller values are reset to their default values. (See specific Recommended Practices for defaults) c = 121, v = x: Value must only be zero unless otherwise allowed in a specific Recommended Practice.
*Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. 
c = 122, v = 0: Local Control Off
c = 122, v = 127: Local Control On
* All Notes Off. When an All Notes Off is received, all oscillators will turn off. 
c = 123, v = 0: All Notes Off (See text for description of actual mode commands.)
c = 124, v = 0: Omni Mode Off 
c = 125, v = 0: Omni Mode On 
c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) 
c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off)
|}

System Common Messages

System Messages (0xF0)

The final status nybble is a “catch all” for data that doesn’t fit the other statuses. They all use the most significant nybble (4bits) of 0xF, with the least significant nybble indicating the specific category.

The messages are denoted when the MSB of the second nybble is 1. When that bit is a 0, the messages fall into two other subcategories.

System Common

If the MSB of the second second nybble (4 bits) is not set, this indicates a System Common message. Most of these are messages that include some additional data bytes.

System Common Messages
Type Status Byte   Number of Data Bytes      Usage 
&lt;pre&gt;
Time Code Quarter Frame	0xF1	1	Indicates timing using absolute time code, primarily for synthronization with video playback systems. A single location requires eight messages to send the location in an encoded hours:minutes:seconds:frames format*.
Song Position	0xF2	2	Instructs a sequencer to jump to a new position in the song. The data bytes form a 14-bit value that expresses the location as the number of sixteenth notes from the start of the song.
Song Select	0xF3	1	Instructs a sequencer to select a new song. The data byte indicates the song.
Undefined	0xF4	0	
Undefined	0xF5	0	
Tune Request	0xF6	0	Requests that the receiver retunes itself**.
&lt;/pre&gt;
*MIDI Time Code (MTC) is significantly complex. Please see the MIDI Specification
**While modern digital instruments are good at staying in tune, older analog synthesizers were prone to tuning drift. Some analog synthesizers had an automatic tuning operation that could be initiated with this command.


System Exclusive

If you’ve been keeping track, you’ll notice there are two status bytes not yet defined: 0xf0 and 0xf7. These are used by the System Exclusive message, often abbreviated at SysEx. SysEx provides a path to send arbitrary data over a MIDI connection. There is a group of predefined messages for complex data, like fine grained control of MIDI Time code machinery. SysEx is also used to send manufacturer defined data, such as patches, or even firmware updates.

System Exclusive messages are longer than other MIDI messages, and can be any length. The messages are of the following format:

0xF0, 0xID, 0xdd, ...... 0xF7
The message is bookended with distinct bytes.

It opens with the Start Of Exclusive (SOX) data byte, 0xF0.
The next one to three bytes after the start are an identifier.
Values from 0x01 to 0x7C are one-byte vendor IDs, assigned to manufacturers who were involved with MIDI at the beginning.
If the ID is 0x00, it’s a three-byte vendor ID - the next two bytes of the message are the value.
&lt;pre&gt;
ID 0x7D is a placeholder for non-commercial entities.
ID 0x7E indicates a predefined Non-realtime SysEx message.
ID 0x7F indicates a predefined Realtime SysEx message.
&lt;/pre&gt;
After the ID is the data payload, sent as a stream of bytes.
The transfer concludes with the End of Exclusive (EOX) byte, 0xF7.
The payload data must follow the guidelines for MIDI data bytes – the MSB must not be set, so only 7 bits per byte are actually usable. If the MSB is set, it falls into three possible scenarios.

An End of Exclusive byte marks the ordinary termination of the SysEx transfer.
System Real Time messages may occur within the transfer without interrupting it. The recipient should handle them independently of the SysEx transfer.
Other status bytes implicitly terminate the SysEx transfer and signal the start of new messages.
 Some inexpensive USB-to-MIDI interfaces aren’t capable of handling messages longer than four bytes.

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11110000 || &lt;!--Data--&gt;0iiiiiii [0iiiiiii 0iiiiiii]  0ddddddd  --- --- 0ddddddd 11110111 || &lt;!--Description--&gt;System Exclusive. 
This message type allows manufacturers to create their own messages (such as bulk dumps, patch parameters, and other non-spec data) and provides a mechanism for creating additional MIDI Specification messages. The Manufacturer's ID code (assigned by MMA or AMEI) is either 1 byte (0iiiiiii) or 3 bytes (0iiiiiii 0iiiiiii 0iiiiiii). Two of the 1 Byte IDs are reserved for extensions called Universal Exclusive Messages, which are not manufacturer-specific. If a device recognizes the ID code as its own (or as a supported Universal message) it will listen to the rest of the message (0ddddddd). Otherwise, the message will be ignored. (Note: Only Real-Time messages may be interleaved with a System Exclusive.)
|-
|&lt;!--Status--&gt;11110001 || &lt;!--Data--&gt;0nnndddd || &lt;!--Description--&gt;MIDI Time Code Quarter Frame.
nnn = Message Type
dddd = Values
|-
|&lt;!--Status--&gt;11110010 || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Song Position Pointer. 
This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB.
|-
|&lt;!--Status--&gt;11110011 || &lt;!--Data--&gt;0sssssss || &lt;!--Description--&gt;Song Select. 
The Song Select specifies which sequence or song is to be played.
|-
|&lt;!--Status--&gt;11110100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Tune Request. Upon receiving a Tune Request, all analog synthesizers should tune their oscillators.
|-
|&lt;!--Status--&gt;11110111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;End of Exclusive. Used to terminate a System Exclusive dump. 
|}


System Real-Time Messages

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11111000 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Timing Clock. Sent 24 times per quarter note when synchronization is required.
|-
|&lt;!--Status--&gt;11111001 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111010 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Start. Start the current sequence playing. (This message will be followed with Timing Clocks).
|-
|&lt;!--Status--&gt;11111011 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Continue. Continue at the point the sequence was Stopped.
|-
|&lt;!--Status--&gt;11111100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Stop. Stop the current sequence.
|-
|&lt;!--Status--&gt;11111101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Active Sensing. This message is intended to be sent repeatedly to tell the receiver that a connection is alive. Use of this message is optional. When initially received, the receiver will expect to receive another Active Sensing message each 300ms (max), and if it does not then it will assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 
|-
|&lt;!--Status--&gt;11111111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up.
|}


Advanced Messages

Polyphonic Pressure (0xA0) and Channel Pressure (0xD0)

Some MIDI controllers include a feature known as Aftertouch. While a key is being held down, the player can press harder on the key. The controller measures this, and converts it into MIDI messages.

Aftertouch comes in two flavors, with two different status messages.

The first flavor is polyphonic aftertouch, where every key on the controller is capable of sending its own independent pressure information. The messages are of the following format:
&lt;pre&gt;
0xnc, 0xkk, 0xpp
n is the status (0xA)
c is the channel nybble
kk is the key number (0 to 127)
pp is the pressure value (0 to 127)
&lt;/pre&gt;
Polyphonic aftertouch is an uncommon feature, usually found on premium quality instruments, because every key requires a separate pressure sensor, plus the circuitry to read them all.

Much more commonly found is channel aftertouch. Instead of needing a discrete sensor per key, it uses a single, larger sensor to measure pressure on all of the keys as a group. The messages omit the key number, leaving a two-byte format
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xD)
c is the channel number
pp is the pressure value (0 to 127)
&lt;/pre&gt;

Pitch Bend (0xE0)

Many keyboards have a wheel or lever towards the left of the keys for pitch bend control. This control is usually spring-loaded, so it snaps back to the center of its range when released. This allows for both upward and downward bends.

Pitch Bend Wheel

The wheel sends pitch bend messages, of the format
&lt;pre&gt;
0xnc, 0xLL, 0xMM
n is the status (0xE)
c is the channel number
LL is the 7 least-significant bits of the value
MM is the 7 most-significant bits of the value
&lt;/pre&gt;
You’ll notice that the bender data is actually 14 bits long, transmitted as two 7-bit data bytes. This means that the recipient needs to reassemble those bytes using binary manipulation. 14 bits results in an overall range of 214, or 0 to 16,383. Because it defaults to the center of the range, the default value for the bender is halfway through that range, at 8192 (0x2000).

Control Change (0xB0)

In addition to pitch bend, MIDI has provisions for a wider range of expressive controls, sometimes known as continuous controllers, often abbreviated CC. These are transmitted by the remaining knobs and sliders on the keyboard controller shown below.


Continuous Controllers

These controls send the following message format:
&lt;pre&gt;
0xnc, 0xcc, 0xvv
n is the status (0xB)
c is the MIDI channel
cc is the controller number (0-127)
vv is the controller value (0-127)
&lt;/pre&gt;

Typically, the wheel next to the bender sends controller number one, assigned to modulation (or vibrato) depth. It is implemented by most instruments.

The remaining controller number assignments are another point of confusion. The MIDI specification was revised in version 2.0 to assign uses for many of the controllers. However, this implementation is not universal, and there are ranges of unassigned controllers.

On many modern MIDI devices, the controllers are assignable. On the controller keyboard shown in the photos, the various controls can be configured to transmit different controller numbers. Controller numbers can be mapped to particular parameters. Virtual synthesizers frequently allow the user to assign CCs to the on-screen controls. This is very flexible, but it might require configuration on both ends of the link and completely bypasses the assignments in the standard.


Program Change (0xC0)

Most synthesizers have patch storage memory, and can be told to change patches using the following command:
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xc)
c is the channel
pp is the patch number (0-127)
&lt;/pre&gt;
This allows for 128 sounds to be selected, but modern instruments contain many more than 128 patches. Controller #0 is used as an additional layer of addressing, interpreted as a “bank select” command. Selecting a sound on such an instrument might involve two messages: a bank select controller message, then a program change.

Audio &amp; Midi are not synchronized, what I can do ?
Buy a commercial software package but there is a nasty trick to synchronize both. It's a bit hardcore but works for me:

 Simply put one line down to all midi notes on your pattern (use Insert key)
 and go to 'Misc. Setup', adjust the latency and just search a value
 that will make sound sync both audio/midi.

The stock Sin/Saw/Pulse and Rnd waveforms are too simple/common, is there a way to use something more complex/rich ?
You have to ability to redirect the waveforms of the instruments through the synth pipe by selecting the &quot;wav&quot; option for the oscillator you're using for this synth instrument, samples can be used as wavetables to replace the stock signals.


Sound banks like soundfont (sf2) or Kontakt2 are not supported at the moment


====DAW Audio Evolution 4====

Audio Evolution 4 gives you unsurpassed power for digital audio recording and editing on the Amiga. The latest release focusses on time-saving non-linear and non-destructive editing, as seen on other platforms. Besides editing, Audio Evolution 4 offers a wide range of realtime effects, including compression, noise gate, delays, reverb, chorus and 3-band EQ.

Whether you put them as inserts on a channel or use them as auxillaries, the effect parameters are realtime adjustable and can be fully automated. Together with all other mixing parameters, they can even be controlled remotely, using more ergonomic MIDI hardware.

Non-linear editing on the time line, including cut, copy, paste, move, split, trim and crossfade actions

The number of tracks per project(s) is unlimited .... AHI limits you to recording only two at a time. i.e. not on 8 track sound cards like the Juli@ or Phase 88.

sample file import is limited to 16bit AIFF (not AIFC, important distinction as some files from other sources can be AIFC with aiff file extention). and 16bit WAV (pcm only)


Most apps use the Music Unit only but a few apps also use Unit (0-3) instead or as well. 
* Set up AHI prefs so that microphone is available. (Input option near the bottom)


stereo++ allows the audio piece to be placed anywhere and the left-right adjusted to sound positionally right

hifi best for music playback if driver supports this option


Load 16bit .aif .aiff only sample(s) to use not AIFC which can have the same ending. AIFF stands for Audio Interchange File Format 

 sox recital.wav recital.aiff

 sox recital.wav −b 16 recital.aiff channels 1 rate 16k fade 3 norm
 sox input.wav        output.aiff bass −b 16 rate 48k

performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16.

 rec −c 2 radio.aiff trim 0 30:00

records half an hour of stereo audio 

 play existing-file.wav


24bit PCM WAV or AIFF do not work 

*No stream format handling. So no way to pass on an AC3 encoded stream unmodified to the digital outputs through AHI.
*No master volume handling. Each application has to set its own volume. So each driver implements its own custom driver-mixer interface for handling master volumes, mute and preamps.
*Only one output stream. So all input gets mixed into one output.
*No automatic handling of output direction based on connected cables.
*No monitor input selection. Only monitor volume control. 


select the correct input (Don't mistake enabled sound for the correct input.)
The monitor will feedback audio to the lineout and hp out no matter if you have selected the correct input to the ADC. The monitor will provide sound for any valid input. This will result in free mixing when recording from the monitor input instead of mic/line because the monitor itself will provide the hardware mixing for you. Be aware that MIC inputs will give two channel mono. Only Linein will give real stereo.

Now for the not working part. Attempt to record from linein in the AE4 record window, the right channel is noise and the left channel is distorted. Even with the recommended HIFI 16bit Stereo++ mode at 48kHz.


Channels

Monitor

Gain

Inout

Output

Advanced settings - Debugging via serial port


* Options -&gt; Soundcard In/Out
* Options -&gt; SampleRate
* Options -&gt; Preferences

F6 for Sample File List

Setting a grid is easy as is measuring the BPM by marking a section of the sample. Is your kick drum track &quot;not in time&quot; ? If so, you're stumped in AE4 as it has no fancy variable time signatures and definitely no 'track this dodgy rhythm' function like software of the nature of Logic has. So if your drum beat is freeform you will need to work in freeform mode. (Real music is free form anyway).

If the drum *is* accurate and you are just having trouble measuring the time, I usually measure over a range of bars and set the number of beats in range to say 16 as this is more accurate, Then you will need to shift the drum track to match your grid *before* applying the grid. (probably an iterative process as when the grid is active samples snap to it, and when inactive you cannot see it).

AE4 does have ARexx but the functions are more for adding samples at set offsets and starting playback / recording.


These are the usual features found in DAWs...

* Recording digital audio, midi sequencer and mixer 
* virtual VST instruments and plug-ins 
* automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors and music notation editor


* different track views 
* mixer and track layout (but not the same as below) 
* traditional two windows (track and mixer)


Mixing - mixdown

Could not figure out how to select what part I wanted to send to the aux, set it to echo and return. Pretty much the whole echo effect. Or any effect.

Take look at page17 of the manual.

When you open the EQ / Aux send popup window you will see 4 sends. Now from the menu choose the windows menu.

Menus-&gt;Windows-&gt; Aux Returns Window

or press F5

You will see a small window with 4 volume controls and an effects button for each. Click a button and add an effects to that aux channel, then set it up as desired (note the reverb effect has a special AUX setting that improves its use with the aux channel, not compulsory but highly useful). You set the amount of 'return' on the main mix in the Aux Return window, and the amount sent from each main mixer channel in the popup for that channel. Again the aux sends are &quot;prefade&quot; so the volume faders on each channel do not affect them.


Tracking


Effects - fade in

To add some echoes to some vocals, tried to add an effect on a track but did not come out. This is made more complicated as I wanted to mute a vocal but then make it echo at the muting point. Want to have one word of a vocal heard and then echoed off. But when the track is mute the echo is cancelled out.

To correctly understand what is happening here you need to study the figure at the bottom of page 15 on the manual. You will see from that that the effects are applied 'prefade' So the automation you applied will naturally mute the entire signal.

There would be a number of ways to achieve the goal,

You have three real time effects slots, one for smoothing like so

Sample -&gt; Amplify -&gt; Delay

Then automate the gain of the amplify block so that it effectively mutes the sample just before the delay at the appropriate moment, the echo effect should then be heard.

Getting the effects in the right order will require experimentation as they can only be added top down and it's not obvious which order they are applied to the signal, but there only two possibilities, so it wont take long to find out.

Using MUTE can cause clicks to the Amplify can be used to mute more smoothly so that's a secondary advantage.

Signal Processing -


Overdub

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===Office===

====Spreadsheet Leu====

Support for some xlsx, and ods functions 


====Spreadsheet Ignition====

; Needs ABIv1 to be completed before more can be done

File formats supported 
* ascii #?.txt and #?.csv (single sheets with data only). 
* igs and TurboCalc(WIP) #?.tc for all sheets with data, formats and formulas.

There is '''no''' support for xls, xlsx, ods or uos ([http://en.wikipedia.org/wiki/Uniform_Office_Format Uniform Unified Office Format]) at the moment.

* Always use Esc key after editing Spreadsheet cells.
* copy/paste seems to copy the first instance only so go to Edit -&gt; Clipboard to manage the list of remembered actions. 
* Right mouse click on row (1 or 2 or 3) or column header (a or b or c)  to access optimal height or width of the row or column respectively 
* Edit -&gt; Insert -&gt; Row  seems to clear the spreadsheet or clears the rows after the inserted row until undo restores as it should be...

Change Sheet name by  Object -&gt; Sheet -&gt; Properties

Click in the cell which will contain the result, and click '''down arrow button''' to the right of the formula box at the bottom of the spreadsheet and choose the function required from the list provided. Then click on the start cell and click on the bottom right corner, a '''very''' small blob, which allows stretching a bounding box (thick grey outlines) across many cells This grey bounding box can be used to '''copy a formula''' to other cells.

Object -&gt; Cell -&gt; Properties to change cell format - Currency only covers DM and not $, Euro, Renminbi, Yen or Pound etc. 
Shift key and arrow keys selects a range of cells, so that '''formatting can be done to all highlighted cells'''. 
View -&gt; Overview then select ALL with one click (in empty cell in the top left hand corner of the sheet).

Default mode is relative cell referencing e.g. a1+a2 but absolute e.g. $a$1+$a$2 can be entered.

* #sheet-name to '''absolute''' reference another sheet-name cell unless reference() function used.

;Graphs

use shift key and arrow keys to select a bunch of cells to be graph'ed making sure that x axes represents and y axes represents

* value() - 0 value, 1 percent, 2 date, 3 time, 4 unit ...


;Dates 
* Excel starts a running count from the 1st Jan 1900 and Ignition starts from 1st Jan 1AD '''(maybe this needs to change)'''
Set formatting Object -&gt; Cell -&gt; Properties and put date in days


;Time 
Set formatting Object -&gt; Cell -&gt; Properties and put time in seconds taken


;Database (to be done by someone else)

type - standard, reference (bezug), search criterion (suchkriterium), 
* select a bunch of cells and Object -&gt; Database -&gt; Define to set Datenbank (database) and Felder (fields not sure how?) 
* Neu (new) or loschen (delete) to add/remove database headings e.g. Personal, Start Date, Finish Date (one per row?)
* Object -&gt; Database -&gt; Index to add fields (felder) like Surname, First Name, Employee ID, etc. to ?

Filtering done with dbfilter(), dbproduct() and dbposition().

Activities with dbsum(), dbaverage(), dbmin() and dbmax().

Table sorting -


;Scripts (Arexx)

;Excel(TM) to Ignition - commas ''',''' replaced by semi-colons ''';''' to separate values within functions 
*SUM(), 
*AVERAGE(), MAX(), MIN(), INT(), PRODUCT(), MEDIAN(), VAR() becomes Variance(), Percentile(),
*IF(), AND, OR, NOT 
*LEFT(), RIGHT(), MID() becomes MIDDLE(), LEN() becomes LENGTH(), 
*LOWER() becomes LOWERCASE(), UPPER() becomes UPPERCASE(),
* DATE(yyyy,mm,dd) becomes COMPUTEDATE(dd;mm;yyyy), 
*TODAY(), DAY(),WEEK(), MONTH(),=YEAR(TODAY()), 
*EOMONTH() becomes MONTHLENGTH(), 
*NOW() should be date and time becomes time only, SECOND(), MINUTE(), HOUR(),
*DBSUM() becomes DSUM(),


;Missing and possibly useful features/functions needed for ignition to have better support of Excel files 
There is no Merge and Join Text over many cells, no protect and/or freeze row or columns or books but can LOCK sheets, no define bunch of cells as a name, Macros (Arexx?), conditional formatting, no Solver, no Goal Seek, no Format Painter, no AutoFill, no AutoSum function button, no pivot tables, (30 argument limit applies to Excel)

*HLOOKUP(), VLOOKUP(), [http://production-scheduling.com/excel-index-function-most-useful/ INDEX(), MATCH()], CHOOSE(), TEXT(), 
*TRIM(), FIND(), SUBSTITUTE(), CONCATENATE() or &amp;, PROPER(), REPT(), 
*[https://acingexcel.com/excel-sumproduct-function/ SUMPRODUCT()], ROUND(), ROUNDUP(), *ROUNDDOWN(), COUNT(), COUNTA(), SUMIF(), COUNTIF(), COUNTBLANK(), TRUNC(), 
*PMT(), PV(), FV(), POWER(), SQRT(), MODE(), TRUE, FALSE, 
*MODE(), LARGE(), SMALL(), RANK(), STDEV(), 
*DCOUNT(), DCOUNTA(), WEEKDAY(),


;Excel Keyboard [http://dmcritchie.mvps.org/excel/shortx2k.htm shortcuts needed to aid usability in Ignition] 
&lt;pre&gt;
Ctrl Z - Undo

Ctrl D - Fill Down
Ctrl R - Fill right

Ctrl F - Find
Ctrl H - Replace

Ctrl 1 - Formatting of Cells
CTRL SHIFT ~ Apply General Formatting ie a number 
Ctrl ; - Todays Date 

F2 - Edit cell
F4 - toggle cell absolute / relative cell references

&lt;/pre&gt;


====Document Scanning - Scandal====

Scanner usually needs to be connected via a USB port and not via a hub or extension lead.

Check in Trident Prefs -&gt; Devices that the USB Scanner is not bound to anything (e.g. Bindings None)
If not found then reboot the computer and recheck.

Start Scandal, choose Settings from Menu strip at top of screen and in Scanner Driver choose the ?#.device of the scanner (e.g. epson2.device).

The next two boxes - leave empty as they are for morphos SCSI use only
 or put ata.device (use the selection option in bigger box below) and Unit as 0 this is needed for gt68xx

* gt68xx - no editing needed in s/gt68xx.conf but needs a firmware file that corresponds to the scanner [http://www.meier-geinitz.de/sane/gt68xx-backend/ gt68xx firmwares] in sys:s/gt68xx.
* epson2 - Need to edit the file epson2.conf in sys/s that corresponds to the scanner being used

'''Save''' the settings but do not press the Use button (aros freezes)

Back to the Picture Scan window and the right-hand sections.

Click on the '''Information''' tab and press Connect button and the scanner should now be detected.

Go next to the '''Scanner''' tab next to Information Tab should have Color, Black and White, etc. and dpi settings now. Selecting an option Color, B/W etc. can cause dpi settings corruption (especially if the settings are in one line) so set '''dpi first'''. Make sure if Preview is set or not.

In the '''Scan''' Tab, press Scan and the scanner will do its duty. 
Be aware that nothing is saved to disk yet.

In the Save tab, change format JPEG, PNG or IFF DEEP. Tick incremental and base filename if necessary and then click the Save button. The image will now be saved to permanent storage.


The driver ignores a device if it is already bond to another USB class, rejects it from being usable. However, open Trident prefs, select your device and use the right mouse button to open. Select &quot;NONE&quot; to prevent poseidon from touching the device. Now save settings. It should always work now.

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===Emulators===

==== Amiberry ====


==== Amiga Emu - Janus UAE ====

With Amibridge, AROS attempts to make the UAE emulator seem embedded within but it still is acting as an app 

There is no dynarec m68k for each hardware that Aros supports or direct patching of motorola calls to AROS hardware accelerated ones unless the emulator has that included 

Try starting Janus with a priority of -1 like this little script:
&lt;pre&gt;
cd sys:system/AmiBridge/emulator
changetaskpri -1
run janus-uae -f my_uaerc.config &gt;nil:
cd sys:prefs
endcli
&lt;/pre&gt;
This stops Janus hogging all the CPU time.


===Miscellaneous===

====Screensaver Blanker====

Most blankers on the amiga (i.e. aros) run as commodities (they are in the tools/commodities drawer). Double click on blanker.

Control is with an app called Exchange, which you need to run first (double click on app) or  run QUIET sys:tools/commodities/Exchange &gt;NIL: but subsequently can use (Cntrl Alt h).

Icon tool types (may be broken) or command line options 
&lt;pre&gt;
seconds=number 
&lt;/pre&gt;

Once the timing is right then add the following to s:icaros-sequence or s:user-startup

e.g. for 5 minutes

 run QUIET sys:tools/commodities/Blanker seconds=300 &gt;NIL:


*[http://archives.aros-exec.org/index.php?function=showfile&amp;file=graphics/screenblanker/gblanker.i386-aros.zip Garshneblanker] can make Aros unstable or slow. Certain blankers crashes in Icaros 2.0.x like Dragon, Executor.


*[ Acuario AROS version], the aquarium screen saver.

Startup: extras:acuariofv-aros/acuario

Kill: c:break name=extras:acuariofv-aros/acuario

Managed to start Acuario by the Executor blanker.

&lt;pre&gt;
cx_priority=
cx_popkey=    ie CX_POPKEY=&quot;Shift F1&quot; 
cx_popup=Yes or No

&lt;/pre&gt;


&lt;pre&gt;
 Qualifier String    Input Event Class
   ----------------    -----------------
    &quot;lshift&quot;           IEQUALIFIER_LSHIFT
    &quot;rshift&quot;           IEQUALIFIER_RSHIFT
    &quot;capslock&quot;         IEQUALIFIER_CAPSLOCK
    &quot;control&quot;          IEQUALIFIER_CONTROL
    &quot;lalt&quot;             IEQUALIFIER_LALT
    &quot;ralt&quot;             IEQUALIFIER_RALT
    &quot;lcommand&quot;         IEQUALIFIER_LCOMMAND
    &quot;rcommand&quot;         IEQUALIFIER_RCOMMAND
    &quot;numericpad&quot;       IEQUALIFIER_NUMERICPAD
    &quot;repeat&quot;           IEQUALIFIER_REPEAT
    &quot;midbutton&quot;        IEQUALIFIER_MIDBUTTON
    &quot;rbutton&quot;          IEQUALIFIER_RBUTTON
    &quot;leftbutton&quot;       IEQUALIFIER_LEFTBUTTON
    &quot;relativemouse&quot;    IEQUALIFIER_RELATIVEMOUSE
&lt;/pre&gt;


&lt;pre&gt;
    Synonym     Synonym
    String     Identifier
    -------    ----------
    &quot;shift&quot;    IXSYM_SHIFT    /* look for either shift key */
    &quot;caps&quot;     IXSYM_CAPS     /* look for either shift key or capslock */
    &quot;alt&quot;      IXSYM_ALT      /* look for either alt key */

Highmap is one of the following strings:
    &quot;space&quot;, &quot;backspace&quot;, &quot;tab&quot;, &quot;enter&quot;, &quot;return&quot;, &quot;esc&quot;, &quot;del&quot;,
    &quot;up&quot;, &quot;down&quot;, &quot;right&quot;, &quot;left&quot;, &quot;f1&quot;, &quot;f2&quot;, &quot;f3&quot;, &quot;f4&quot;, &quot;f5&quot;,
    &quot;f6&quot;, &quot;f7&quot;, &quot;f8&quot;, &quot;f9&quot;, &quot;f10&quot;, &quot;help&quot;.


&lt;/pre&gt;


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==== World Construction Set WCS (Version 2.031) ====

WCS is a fractal landscape software such as Scenery Animator, Vista Pro and Panorama. Open sourced February 2022, World Construction Set [https://3dnature.com/downloads/legacy-software/ legally and for free] and [https://github.com/AlphaPixel/3DNature c source]. 

Announced August 1994 this version dates from April 1996 developed by Gary R. Huber and Chris &quot;Xenon&quot; Hanson&quot; from Questar 

&lt;pre&gt;
Assign &quot;WCSProjects:&quot; &quot;Volume:Dir/Dir/WCSProjects&quot; 
Assign &quot;WCSFrames:&quot;   &quot;Volume:Dir/Dir/WCSFrames&quot; 
&lt;/pre&gt;

&lt;pre&gt;
Load projects .proj by accessing pull down menu Project -&gt; Open then click on CanyonSunset.proj
OK to changing .par file and enlarge Status Log window to show what is happening 
Render by pull down menu Modules -&gt; Render with End equal 1 not 300 then click bottom middle button Render 
&lt;/pre&gt;

[https://www.youtube.com/watch?v=CxQDmf1ZWG0 Youtube walkthrough of above], [], [], 

Also try working with the already built file ColoDemo - Then open with the drop-down menu: Project/Open, then WCSProject:ColoDemo.proj
Which allows you to use altimetric DEM files already included and Loading scene parameters from ColoDemo.par
Once this is done, save everything with a new name to start working exclusively on your project. 
Then drop-down menu and select Save As (&quot;NewName&quot;.proj name), then drop-down menu to open parameter and select Save All ( .par name)


After launching the software, there is a the Module Control Panel composed of five icons. 
It is a dock type shortcut of the first few functions of the drop-down menu 

*Database   - Load (#?.proj), Append, Create, Edit, Save, Dir List (of WCSProject drawer), 
*Data Ops   - Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats  
*Map View   - Database file Loader leading to Map View Control with option to the Database Editor 
*Parameters - Editor for Motion, Color, Ecosystem, Clouds, Waves, management of altimeter files DEM, sclock settings etc 
*Render     - rendering terrain 

These are more in the pull down menu but not in the dock 
*Motion Editor
*Color Editor
*Ecosys Editor 


Simple minimal workflow 
*Load database (1st icon - 1st)
*Set parameters and save .par file (4th icon)
*Render scene (5th icon) 

[https://www.youtube.com/watch?v=ZbTwwR2qcc4 Youtube], [], 

&lt;pre&gt;
.proj new project name which creates a drawer of additional files 

.binary array, ascii array .xyz , z buffer, DTED .dt0, vista 1990s dem, iff  conversion 
.Obj with .elev, .frd with .hdr maps, - digital elevation model (DEM) is a 3D representation of elevation data in various formats 
USGS 7.5MinDEM, 

.par 


&lt;/pre&gt;


Since for the time being no project is loaded, a query window indicates a procedural error when clicking on the rendering icon (right end of the bar). The menu is quite traditional; it varies according to the activity of the windows. To display any altimetric file in the &quot;Mapview&quot; (third icon of the panel), There are three possibilities:

* Loading of a demonstration project.
* The import of a DEM file, followed by texturing and packaging from the &quot;Database-Editor&quot; and the &quot;Color-Editor&quot;.
* The creation of an altimetric file in WCS format, then texturing.


The altimeter file editing (display in the menu) is only made possible if the &quot;Mapview&quot; window is active.

The software is made up of many windows and won't be able to describe them all. Know that &quot;Color-Editor&quot; and the &quot;Data-Editor&quot; comprise sufficient functions for obtaining an almost real rendering quality. You have the possibility of inserting vector objects in the &quot;Data-Editor&quot; (creation of roads, railways, etc.) 


The Map View (MapView) window

*Database - Objects and Topos
*View     - Align, Center, Zoom, Pan, Move 
*Draw     - Maps and distance 
*Object   - Find, highlight, add points, conform topo, duplicate 
*Motion   - Camera, Focus, path, elevation 
*Windows  - DEM designer, Cloud (.cld) and wave (.wve) editor, 


You will notice that by selecting this window and simply moving the pointer to various points on the map you will see latitude and longitude values ​​change, along with the height.
Drop-down menu and Modules, then select MapView and change the width of the window with the map to arrange it in the best way on the screen. With the Auto button the center. Window that then displays the contents of my DEM file, in this case the Grand Canyon. MapView allows you to observe the shape of the landscape from above
 

ZOOM button

Press the Zoom button and then with the pointer position on a point on the map, press the left mouse button and then move to the opposite corner to circumscribe the chosen area and press the left mouse button again, then we will see the enlarged area selected on the map.
Would add that there is a box next to the Zoom button that allows the direct insertion of a value which, the larger it is, the smaller the magnification and the smaller the value, the stronger the magnification. At each numerical change you will need to press the DRAW button to update the view.

PAN button

Under Zoom you will find the PAN button which allows you to move the map at will in all directions by the amount you want. This is done by drawing a line in one direction, then press PAN and point to an area on the map with the pointer and press the left mouse button. At this point, leave it and move the pointer in one direction by drawing a line and press the left mouse button again to trigger the movement of the map on the screen (origin and end points). Do some experiments and then use the Auto button immediately below to recenter everything.
There are parameters such as TOPO, VEC to be left checked and immediately below one that allows different views of the map with the Style command (Single, Multi, Surface, Emboss, Slope, Contour), each with its own particularities to highlight different details.

Now you have the first basics to manage your project visually on the map. Close the MapView window and go further...


Let's start working on ECOSYSTEMS
If we select Emboss from the MapView Style command we will have a clear idea of ​​how the landscape appears, realizing that it is a predominantly desert region of our planet. Therefore we will begin to act on any vegetation present and the appearance of the landscape.
With WCS we will begin to break down the elements of the landscape by assigning defined characteristics. It will be necessary to determine the classes of the ecosystem (Class) with parameters of Elevation Line (maximum altitude), Relative Elevation (arrangement on basins or convexities with respectively positive or negative parameters), Min Slope and Max Slope (slope). WCS offers the possibility of making ecosystems coexist on the same terrain with the UnderEco function, by setting a Density value.


Ecosys Ecosystem Editor

Let's open it from Modules, then Ecosys Editor. In the left pane you will find the list of ecosystems referring to the files present in our project. It will be necessary to clean up that box to leave only the Water and Snow landscapes and a few other predefined ones. We can do this by selecting the items and pressing the Remove button (be careful not for all elements the button is activated, therefore they cannot all be eliminated).
Once this is done we can start adding new ecosystems. Scroll through the various Unused and as soon as the Name item at the top is activated allowing you to write, type the name of your ecosystem, adding the necessary parameters.
&lt;pre&gt;
Ecosystem1: Name: RockBase Class: Rock Density: 80 MinSlope: 15 UnderEco: Terrain
Ecosystem2: Name: RockIncl Clss: Rock Density: 80 MinSlope: 30 UnderEco: Terrain
Ecosystem3: Name: Grass Class Low Veg Density: 50 Height: 1 Elev Line : 1500 Rel El Eff: 5
Max Slope: 10 – Min Slope: 0 UnderEco: Terrain
Ecosistema4: Name: Shrubs Class: Low Veg Density: 40 Height: 8 Elev Line: 3000
Rel El Eff: -2 Max Slope: 20 Min Slope : 5 UnderEco: Terrain
Ecosistema5: Name: Terrain Class: Ground Density: 100 UnderEco: Terrain
&lt;/pre&gt;

Now we need to identify an intermediate ecosystem that guarantees a smooth transition between all, therefore we select as Understory Ecosystem the one called Terrain in all ecosystems, except Snow and Water .
Now we need to 'emerge' the Colorado River in the Canyon and we can do this by raising the sea level to 900 (Sea Level) in the Ecosystem called Water.
Please note that the order of the ecosystem list gives priority to those that come after. So our list must have the following order: Water, Snow, Shrubs, RockIncl, RockBase, Terrain. It is possible to carry out all movements with the Swap button at the bottom. To put order you can also press Short List. Press Keep to confirm all the work done so far with Ecosystem Editor.
Remember every now and then to save both the Project 'Modules/Save' and 'Parameter/Save All'

EcoModels are made up of .etp .fgp .iff8 for each model 


Color Editor

Now it's time to define the colors of our scene and we can do this by going to Modules and then Color Editor. In the list we focus on our ecosystems, created first.
Let's go to the bottom of the list and select the first white space, assigning the name 'empty1', with a color we like and then we will find this element again in other environments... It could serve as an example for other situations!
So we move to 'grass' which already exists and assign the following colors: R 60 G 70 B50
&lt;pre&gt;
'shrubs': R 60 G 80 B 30
'RockIncl' R 110 G 65 B 60
'RockBase' R 110 G 80 B 80
' Terrain' R 150 G 30 B 30
&lt;pre&gt;
Now we can work on pre-existing colors
&lt;pre&gt;
'SunLight' R 150 G 130 B 130
'Haze and Fog' R 190 G 170 B 170
'Horizon' R 209 G 185 B 190
'Zenith' R 140 G 150 B 200
'Water' R 90 G 125 B 170
&lt;/pre&gt;

Ambient R 0 G 0 B 0

So don't forget to close Color Editor by pressing Keep.
Go once again to Ecosystem Editor and assign the corresponding color to each environment by selecting it using the Ecosystem Color button. Press it several times until the correct one appears. Then save the project and parameters again, as done previously.


Motion Editor

Now it's time to take care of the framing, so let's go to Modules and then to Motion Editor. An extremely feature-rich window will open. Following is the list of parameters regarding the Camera, position and other characteristics:
&lt;pre&gt;
-Camera Altitude: 7.0
-Camera Latitude: 36.075
-Camera Longitude: 112.133
-Focus Attitude: -2.0
-Focus Latitude: 36.275
-Focus Longitude: 112.386
-Camera : 512 → rendering window
-Camera Y: 384 → rendering window
-View Arc: 80 → View width in degrees
-Sun Longitude: 172
-Sun Latitude: -0.9
-Haze Start: 3.8
-Haze Range: 78, 5
&lt;/pre&gt;
As soon as the values ​​shown in the relevant sliders have been modified, we will be ready to open the CamView window to observe the wireframe preview. Let's not consider all the controls that will appear.
Well from the Motion Editor if you have selected Camera Altitude and open the CamView panel, you can change the height of the camera by holding down the right mouse button and moving the mouse up and down. To update the view, press the Terrain button in the adjacent window. As soon as you are convinced of the position, confirm again with Keep. You can carry out the same work with the other functions of the camera, such as Focus Altitude...
Let's now see the next positioning step on the Camera map, but let's leave the CamView preview window open while we go to Modules to open the window at the same time MapView. We will thus be able to take advantage of the view from the other together with a subjective one.


From the MapView window, select with the left mouse button and while it is pressed, move the Camera as desired. To update the subjective preview, always click on Terrain.
While with the same procedure you can intervene on the direction of the camera lens, by selecting the cross and with the left button pressed you can choose the desired view. So with the pressure of Terrain I update the Preview. Possibly can enlarge or reduce the Map View using the Zoom button, for greater precision.
Also write that the circle around the cameras indicates the beginning of the haze, there are two types (haze and fog) linked to the altitude. Would also add that the camera height is editable through the Motion Editor panel.


The sun

Let's see that changing the position of the sun from the Motion Editor. Press the SUN button at the bottom right and set the time and the date. Longitude and latitude are automatically obtained by the program. Always open the View Arc command from the Motion Editor panel, an item present in the Parameter List box.

Once again confirm everything with Keep and then save again.


Animation

The animation part is not left-back and also occupies a window. The settings possibilities are enormous. A time line with dragging functions (&quot;slide&quot;, &quot;drag&quot;...) comparable to that of LightWave completes this window. 


A small window is available for positioning the stars as a function of a date, in order to vary the seasons and their various events (and yes...).

At the bottom of the &quot;Motion-Editor&quot;, a &quot;cam-view&quot; function will give you access to a control panel. Different preview modes are possible. The rendering is also accessible through a window. No less than nine pages compose it. At this level, you will be able to determine the backup name of your images (&quot;path&quot;), the type of texture to be calculated, the resolution of the images, activate or deactivate functions such as the depth buffer (&quot;zbuffer&quot;), the blur, the background image, etc.


Once all these parameters have been set, all you have to do is click on the &quot;Render&quot; button.

For rendering go to Modules and then Render. Select the resolution, then under IMA select the name of the image. Move to FRA and indicate the level of fractal detail which of 4 is quite good. Then Keep to confirm and then reopen the window, pressing Render you will see the result. The image will be opened with any viewing program.


Strengths:

* Multi-window.
* Quality of rendering.
* Accuracy.
* Opening, preview and rendering on CyberGraphX screen.
* Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats 
* The &quot;zbuffer&quot; function.

Weaknesses:

* No OpenGL management 
* Calculation time.
* No network computing tool.


====Writing CD / DVD - Frying Pan====

Can be backup DVDs (4GB ISO size limit due to use of FileInfoBlock), create audio cds from mp3's, and put .iso files on discs

If using for the first time - click Drive button and Device set to ata.device and unit to 0 (zero)

Click Tracks Button - Drive 1 - Create New Disc or Import Existing Disc Image (iso bin/cue etc.) - Session File open cue file

If you're making a data cd, with files and drawers from your hard drive, you should be using the ISO Builder.. which is the MUI page on the left. (&quot;Data/Audio Tracks&quot; is on the right).

You should use the &quot;Data/Audio tracks&quot; page if you want to create music cds with AIFF/WAV/MP3 files, or if you download an .iso file, and you want to put it on a cd.

Click WRITE Button - set write speed - click on long Write button

Examples

Easiest way would be to burn a DATA CD, simply go to &quot;Tracks&quot; page &quot;ISO Builder&quot; and &quot;ADD&quot; everything you need to burn.

On the &quot;Write&quot; page i have &quot;Masterize Disc (DAO)&quot;, &quot;Close Disc&quot; and &quot;Eject after Write&quot; set.

One must not &quot;Blank disc before write&quot; if one uses a CDR


AUDIO CD from MP3's are as easy but tricky to deal with. FP only understands one MP3 format, Layer II, everything else will just create empty tracks

Burning bootable CD's works only with .iso files. Go to &quot;Tracks&quot; page and &quot;Data/Audio Tracks&quot; and add the .iso


====odf====

Every ODF file is a collection of several subdocuments within a package (ZIP file), each of which stores part of the complete document.

* content.xml – Document content and automatic styles used in the content.
* styles.xml – Styles used in the document content and automatic styles used in the styles themselves.
* meta.xml – Document meta information, such as the author or the time of the last save action.
* settings.xml – Application-specific settings, such as the window size or printer information.


To read document follow these steps:

* Extracting .ods file.
* Getting content.xml file (which contains sheets data).
* Creating XmlDocument object from content.xml file.
* Creating DataSet (that represent Spreadsheet file).
* With XmlDocument select “table:table” elements, and then create adequate DataTables.
* Parse child’s of “table:table” element and fill DataTables with those data.
* At the end, return DataSet and show it in application’s interface.


To write document follow these steps:

* Extracting template.ods file (.ods file that we use as template).
* Getting content.xml file.
* Creating XmlDocument object from content.xml file.
* Erasing all “table:table” elements from the content.xml file.
* Reading data from our DataSet and composing adequate “table:table” elements.
* Adding “table:table” elements to content.xml file.
* Zipping that file as new .ods file.

XLS file format

The XLS file format contains streams, substreams, and records.

These sheet substreams include worksheets, macro sheets, chart sheets, dialog sheets, and VBA module sheets. 
All the records in an XLS document start with a 2-byte unsigned integer to specify Record Type (rt), and another for Count of Bytes (cb). A record cannot exceed 8224 bytes. If larger than the rest is stored in one or more continue records.

* Workbook stream 
**Globals substream
***BoundSheet8 record - info for Worksheet substream i.e. name, location, type, and visibility. (4bytes the lbPlyPos FilePointer, specifies the position in the Workbook stream where the sheet substream starts) 
**Worksheet substream (sheet) - Cell Table - Row record - Cells (2byte=row 2byte=column 2byte=XF format)
***Blank cell record
***RK cell record 32-bit number. 
***BoolErr cell record (2-byte Bes structure that may be either a Boolean value or an error code)
***Number cell record (64-bit floating-point number)
***LabelSst cell record (4-byte integer that specifies a string in the Shared Strings Table (SST). Specifically, the integer corresponds to the array index in the RGB field of the SST)
***Formula cell record (FormulaValue structure in the 8 bytes that follow the cell structure. The next 6 bytes can be ignored, and the rest of the record is a CellParsedFormula structure that contains the formula itself)
***MulBlank record (first 2 bytes give the row, and the next 2 bytes give the column that the series of blanks starts at. Next, a variable length array of cell structures follows to store formatting information, and the last 2 bytes show what column the series of blanks ends on)
***MulRK record 
***Shared String Table (SST) contains all of the string values in the workbook.

ACCRINT(), ACCRINTM(), AMORDEGRC(), AMORLINC(), 
COUPDAYBS(), COUPDAYS(), COUPDAYSNC(), COUPNCD(), COUPNUM(), COUPPCD(), 
CUMIPMT(), CUMPRINC(), 
DB(), DDB(), DISC(), 
DOLLARDE(), DOLLARFR(), 
DURATION(), EFFECT(), FV(), FVSCHEDULE(), 
INTRATE(), IPMT(), IRR(), ISPMT(), MDURATION(), MIRR(), NOMINAL(), NPER(), NPV(), 
ODDFPRICE(), ODDFYIELD(), ODDLPRICE(), ODDLYIELD(), 
PMT(), PPMT(), PRICE(), PRICEDISC(), PRICEMAT(), PV(), RATE(), 
RECEIVED(), SLN(), SYD(), TBILLEQ(), TBILLPRICE(), TBILLYIELD(), 
VDB(), XIRR(), XNPV(), YIELD(), YIELDDISC(), YIELDMAT(),


&lt;pre&gt;
&lt;/pre&gt;


&lt;pre&gt;
&lt;/pre&gt;

&lt;pre&gt;
&lt;/pre&gt;

{{BookCat}}</text>
      <sha1>mu9vrmrxsyt3xd90xmr11s5zz61qr7l</sha1>
    </revision>
    <revision>
      <id>4638177</id>
      <parentid>4638117</parentid>
      <timestamp>2026-05-31T08:01:20Z</timestamp>
      <contributor>
        <username>Jeff1138</username>
        <id>301139</id>
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      <text bytes="231587" sha1="stfhmuafbssr6i51o8yo26ej7pzs5pl" xml:space="preserve">
==Introduction==


[[#Graphical Image Editing Art]]
[[#Office Application]]
[[#Audio]]

[[#Misc Application]]
[[#Games &amp; Emulation]]

[[#Application Guides]]

[[#top|...to the top]]


[[#top|...to the top]]

Most apps can be opened on the Workbench (aka publicscreen pubscreen) which is the default display option but can offer a custom one set to your configurations (aka custom screen mode promotion). These custom ones tend to stack so the possible use of A-M/A-N method of switching between full screens and the ability to pull down screens as well 

If you are interested in creating or porting new software, see [http://en.wikibooks.org/wiki/Aros/Developer/Docs here]

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Internet Applications 
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Web Online Browser [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/browser Odyssey 2.0], [https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1175&amp;highlight=odyssey&amp;rowstart=100 Odyssey 3.0], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/comm/www Amelinium], [https://blog.alb42.de/programs/amifox/ amifox] with [https://github.com/alb42/wrp wrp server], IBrowse*, Voyager*, [https://github.com/amigazen/aweb3/ AWeb 3.6 src], [https://github.com/matjam/aweb AWeb Src], [http://aminet.net/package/comm/www/NetSurf-m68k-sources Netsurf], [], 
|&lt;!--AmigaOS4--&gt;[ Odyssey OWB], [ Timberwolf (Firefox port 2011)], [http://amigaworld.net/modules/newbb/viewtopic.php?forum=32&amp;topic_id=32847 OWB-mui], [http://strohmayer.org/owb/ OWB-Reaction], IBrowse*, [http://os4depot.net/index.php?function=showfile&amp;file=network/browser/aweb.lha AWeb], Voyager, [http://www.os4depot.net/index.php?function=browse&amp;cat=network/browser Netsurf], 
|&lt;!--MorphOS--&gt;Wayfarer, [http://fabportnawak.free.fr/owb/ Odyssey OWB], [ Netsurf], IBrowse*, AWeb, [], 
|-
|&lt;!--Sub Menu--&gt;YouTube Viewing and downloading videos 
|&lt;!--AROS--&gt;Odyssey 2.0 can show Youtube webpage, [https://blog.alb42.de/amitube/ Amitube], 
|[https://blog.alb42.de/amitube/ Amitube], [https://github.com/YePpHa/YouTubeCenter/releases or this one], 
|[https://blog.alb42.de/amitube/ Amitube], getVideo, Tubexx, [https://github.com/walkero-gr/aiostreams aiostreams], 
|[ Wayfarer], [https://blog.alb42.de/amitube/ Amitube],Odyssey (OWB), [http://morphos.lukysoft.cz/en/vypis.php?kat=5 getVideo], Tubexx 
|-
|&lt;!--Sub Menu--&gt;E-mailing SMTP POP3 IMAP based 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/email SimpleMail], [http://sourceforge.net/projects/simplemail/files/ src], [https://github.com/jens-maus/yam YAM] 
|&lt;!--Amiga OS--&gt;[http://sourceforge.net/projects/simplemail/files/ SimpleMail], [https://github.com/jens-maus/yam YAM]
|&lt;!--AmigaOS4--&gt;SimpleMail, YAM, 
|&lt;!--MorphOS--&gt; SimpleMail, YAM
|-
|&lt;!--Sub Menu--&gt;IRC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat WookieChat], [https://sourceforge.net/projects/wookiechat/ Wookiechat src], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat AiRcOS], Jabberwocky, 
|&lt;!--Amiga OS--&gt;Wookiechat, AmIRC 
|&lt;!--AmigaOS4--&gt;Wookiechat 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Wookiechat], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 AmIRC], 
|-
|&lt;!--Sub Menu--&gt;Instant Messaging IM like [https://github.com/BlitterStudio/amidon Hollywood lang based Mastodon client], BlueSky AT protocol, Facebook(TM), Twitter X (TM), Bitlbee IRC Gateway and others 
|&lt;!--AROS--&gt;[https://github.com/kaffeine1/telegram-amiga telegram-amiga], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/chat jabberwocky], 
|&lt;!--Amiga OS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], CLIMM, SabreMSN, jabberwocky, 
|&lt;!--AmigaOS4--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], SabreMSN,
|&lt;!--MorphOS--&gt;[http://amitwitter.sourceforge.net/ AmiTwitter], [http://morphos.lukysoft.cz/en/vypis.php?kat=5 PolyglotNG], SabreMSN,
|-
|&lt;!--Sub Menu--&gt;Torrents 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/p2p ArTorr], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;CTorrent, Transmission 
|&lt;!--MorphOS--&gt;MLDonkey, Beehive, [http://morphos.lukysoft.cz/en/vypis.php?kat=5 Transmission], CTorrent, 
|-
|&lt;!--Sub Menu--&gt;FTP 
|&lt;!--AROS--&gt;Plugin included with Dopus Magellan, MarranoFTP, 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/comm/tcp/AmiFTP AmiFTP], AmiTradeCenter, ncFTP, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=5 Pftp], [http://aminet.net/package/comm/tcp/AmiFTP-1.935-OS4 AmiFTP], 
|-
|&lt;!--Sub Menu--&gt;WYSIWYG Web Site Editor
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Internet Radio Streaming Audio [http://www.gnu.org/software/gnump3d/ gnump3d], [http://www.icecast.org/ Icecast2] Server (Broadcast) and Client (Listen), [ mpd], [http://darkice.sourceforge.net/ DarkIce], [http://www.dyne.org/software/muse/ Muse], 
|&lt;!--AROS--&gt;Mplayer (Icecast Client only), 
|&lt;!--Amiga OS--&gt;[https://github.com/sandlbn/TuneFinder TuneFinder C Src], [https://github.com/sandlbn/TuneFinderMUI TuneFinderMUI], [http://amigazeux.net/anr/ AmiNetRadio], [], [], 
|&lt;!--AmigaOS4--&gt;[http://www.tunenet.co.uk/ Tunenet], 
|&lt;!--MorphOS--&gt;Mplayer, AmiNetRadio, 
|-
|&lt;!--Sub Menu--&gt;VoIP (Voice over IP) with SIP Client (Session Initiation Protocol) or Asterisk IAX2 Clients Softphone (skype like) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;AmiPhone with Speak Freely, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Weather Forecast 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ WeatherBar], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench AWeather], []
|&lt;!--Amiga OS--&gt;[http://amigazeux.net/wetter/ Wetter], [https://github.com/emartisoft/AmiWeatherForecasts AmiWeatherForecasts src], 
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/?function=showfile&amp;file=utility/workbench/flipclock.lha FlipClock], 
|&lt;!--MorphOS--&gt;[http://amigazeux.net/wetter/ Wetter], 
|-
|&lt;!--Sub Menu--&gt;Street Road Maps Route Planning GPS Tracking  
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/muimapparium/ MuiMapparium] [https://build.alb42.de/ Build of MuiMapp versions], 
|&lt;!--Amiga OS--&gt;AmiAtlas*, UKRoutePlus*, [http://blog.alb42.de/ AmOSM], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://blog.alb42.de/programs/mapparium/ Mapparium], 
|-
|&lt;!--Sub Menu--&gt;Clock and Date setting from the internet (either ntp or websites) [https://www.timeanddate.com/worldclock/ World Clock], [http://www.time.gov/ NIST], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc ntpsync],  
|&lt;!--Amiga OS--&gt;ntpsync 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Newsgroups
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[http://newscoaster.sourceforge.net/ Newscoaster], [https://github.com/jens-maus/newsrog NewsRog], [ WorldNews], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Graphical Image Editing Art==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Image Editing
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Pixel Raster Artwork [https://github.com/LibreSprite/LibreSprite LibreSprite based on GPL aseprite], [https://github.com/abetusk/hsvhero hsvhero], [], 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/ZunePaint/ ZunePaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit LunaPaint], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit GrafX2], [ LodePaint needs OpenGL], 
|&lt;!--Amiga OS--&gt;[http://www.amigaforever.com/classic/download.html PPaint], GrafX2, [https://github.com/grovdata/Amiga_Sources/blob/master/software.md DeluxePaint], [http://www.amiforce.de/perfectpaint/perfectpaint.php PerfectPaint], Zoetrope, Brilliance2*, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit LodePaint], GrafX2, 
|&lt;!--MorphOS--&gt;Sketch, Pixel*, GrafX2, [http://morphos.lukysoft.cz/en/vypis.php?kat=3 LunaPaint]
|-
|&lt;!--Sub Menu--&gt;Image viewing 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LookHere], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer LoView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer PicShow] , [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--Amiga OS--&gt;PicShow, PicView, Photoalbum,
|&lt;!--AmigaOS4--&gt;WarpView, PicShow, flPhoto, Thumbs, [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], [http://amigaworld.net/modules/newbb/viewtopic.php?mode=viewtopic&amp;topic_id=31400&amp;forum=32&amp;start=80&amp;viewmode=flat&amp;order=0#583458 Picture Album]
|-
|&lt;!--Sub Menu--&gt;Photography retouching / Image Manipulation like Photoshop(tm)  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOEffects], [https://sourceforge.net/projects/zunetools/files/ ZunePaint], [http://sourceforge.net/projects/zunetools/files/ ZuneView], 
|&lt;!--Amiga OS--&gt;[ Tecsoft Video Paint aka TVPaint], Photogenics*, ArtEffect*, ImageFX*, XiPaint, fxPaint, ImageMasterRT, Opalpaint, 
|&lt;!--AmigaOS4--&gt;WarpView, flPhoto, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit Photocrop]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 ShowGirls], ImageFX*, 
|-
|&lt;!--Sub Menu--&gt;Manage RAW picture folder galleries like Darktable, RAWtherapy, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Graphic Format Converter - ICC profile support sRGB, Adobe RGB, XYZ and linear RGB 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;GraphicsConverter, ImageStudio, [http://www.coplabs.org/artpro.html ArtPro]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Thumbnail Generator [], 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/ ZuneView], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/shell Thumbnail Generator]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Icon Editor
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/iconedit Archives], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench Icon Toolbox], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/iconedit IconEditor]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Pixel Art Animation 
|&lt;!--AROS--&gt;Lunapaint
|&lt;!--Amiga OS--&gt;PPaint, AnimatED, Scala*, GoldDisk MovieSetter*, Walt Disney's Animation Studio*, ProDAD*, [https://github.com/historicalsource/DeluxePaint DeluxePaint src], Brilliance
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=3 Titler] 
|-
|&lt;!--Sub Menu--&gt;2D SVG based MovieSetter type 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;MovieSetter*, Fantavision*
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Morphing 
|&lt;!--AROS--&gt;[ GLMorph]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;2D Cad (qcad-&gt;LibreCAD, etc.) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Xcad, MaxonCAD
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Cad like FreeCad, BRL-CAD, OpenSCAD, AvoCADo, etc. using dxf, obj (vertices), blend, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;XCad3d*, DynaCADD*, Cycas, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Model Rendering of glft (json) gbl (png jpg), usdz (USD files with materials, textures, and animations), FBX Filmbox is a proprietary Autodesk format, 
|&lt;!--AROS--&gt;POV-Ray
|&lt;!--Amiga OS--&gt;[http://www.discreetfx.com./amigaproducts.html CINEMA 4D]*, POV-Ray, Lightwave3D*, Real3D*, Caligari24*, Reflections/Monzoom*, [https://github.com/privatosan/RayStorm Raystorm src], Tornado 3D
|&lt;!--AmigaOS4--&gt;Blender, POV-Ray, Yafray
|&lt;!--MorphOS--&gt;Blender, POV-Ray, Yafray
|-
|&lt;!--Sub Menu--&gt;3D Format Converter [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=showfile&amp;file=graphics/convert/ivcon.lha IVCon]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen grabbing display 
|&lt;!--AROS--&gt;[ Screengrabber], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc snapit], [http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record screen recorder], []
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Grab graphics music from apps [https://github.com/Malvineous/ripper6 ripper6], [],
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Office Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Office
!width:10%;|AROS (x86)
!width:10%;|[http://en.wikipedia.org/wiki/Amiga_software Commodore-Amiga OS 3.1] (68k)
!width:10%;|[http://en.wikipedia.org/wiki/AmigaOS_4 Hyperion OS4] (PPC)
!width:10%;|[http://en.wikipedia.org/wiki/MorphOS MorphOS] (PPC)
|-
|&lt;!--Sub Menu--&gt;Word-processing 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=office/wordprocessing Cinnamon Writer], [https://finalwriter.godaddysites.com/ Final Writer 7*], [https://github.com/sodero/MUI-Vim/releases MUI-Vim], [ ], 
|&lt;!--AmigaOS--&gt;[ Softwood FinalCopy II*], Haage AmigaWriter*, Digita WordWorth*, Softwood FinalWriter*, Micro-Systems Excellence 3*, Arnor Protext, Rashumon, [ InterWord], [ KindWords], [WordPerfect], [ New Horizons Flow], [ CygnusEd Pro], [ Micro-systems Scribble], 
|&lt;!--AmigaOS4--&gt;AbiWord, [ CinnamonWriter]
|&lt;!--MorphOS--&gt;[ Cinnamon Writer], [http://www.meta-morphos.org/viewtopic.php?topic=1246&amp;forum=53 scriba], [http://morphos.lukysoft.cz/en/index.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Spreadsheets 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/leu/ Leu], [https://archives.arosworld.org/index.php?function=browse&amp;cat=office/spreadsheet], 
|&lt;!--AmigaOS--&gt;[https://aminet.net/package/biz/spread/ignition-src Ignition Src 1.3], [MaxiPlan 500 Plus], [OXXI Plan/IT v2.0 Speadsheet], [ Superplan], [ Creative Developments TurboCalc], [ ProCalc], [ InterSpread], [Digita DGCalc], [ Gold Disk Advantage], [ Micro-systems Analyze!]
|&lt;!--AmigaOS4--&gt;Gnumeric, [https://ignition-amiga.sourceforge.net/ Ignition], 
|&lt;!--MorphOS--&gt;[ ignition], [http://morphos.lukysoft.cz/en/vypis.php Papyrus Office], 
|-
|&lt;!--Sub Menu--&gt;Presentations
|&lt;!--AROS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, 
|&lt;!--Amiga OS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, MediaPoint, PointRider, Scala*, 
|&lt;!--Amiga OS4--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider 
|&lt;!--MorphOS--&gt;[http://www.hollywoood-mal.com/ Hollywood]*, PointRider
|-
|&lt;!--Sub Menu--&gt;Databases 
|&lt;!--AROS--&gt;[http://sdb.freeforums.org/ SDB], [http://archives.arosworld.org/index.php?function=browse&amp;cat=office/database BeeBase], 
|&lt;!--Amiga OS--&gt;Precision Superbase 4 Pro*, Arnor Prodata*, BeeBase, Datastore, FinalData*, AmigaBase, Fiasco, Twist2*, [Digita DGBase], [], 
|&lt;!--AmigaOS4--&gt;BeeBase, SQLite, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=6 BeeBase], 
|-
|&lt;!--Sub Menu--&gt;PDF Viewing and editing digital signatures 
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/arospdf/ ArosPDF via splash], [https://github.com/wattoc/AROS-vpdf vpdf wip], 
|&lt;!--Amiga OS--&gt;APDF 
|&lt;!--AmigaOS4--&gt;AmiPDF 
|&lt;!--MorphOS--&gt;APDF, vPDF, 
|-
|&lt;!--Sub Menu--&gt;Printing 
|&lt;!--AROS--&gt;Postscript 3 laser printers and Ghostscript internal, [ GutenPrint], 
|&lt;!--Amiga OS--&gt;[http://www.irseesoft.de/tp_what.htm TurboPrint]* 
|&lt;!--AmigaOS4--&gt;(some native drivers), 
|&lt;!--MorphOS--&gt;early TurboPrint included, 
|-
|&lt;!--Sub Menu--&gt;Note Taking markdown support like joplin, OneNote, EverNote Notes, xournalpp, etc 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Study and analyse, collect, organize, annotate, cite, and share
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PIM Personal Information Manager - Day Diary Planner Calendar App 
|&lt;!--AROS--&gt;[ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;Digita Organiser*, On The Ball, Everyday Organiser, [ Contact Manager], 
|&lt;!--AmigaOS4--&gt;AOrganiser, 
|&lt;!--MorphOS--&gt;[http://polymere.free.fr/orga_en.html PolyOrga], 
|-
|&lt;!--Sub Menu--&gt;Accounting
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=office/misc ETB], LoanCalc, [ ], [ ], [ ], 
|[ Digita Home Accounts2], Accountant, Small Business Accounts, Account Master, [ Amigabok], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Project Management Research 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;SuperGantt, SuperPlan, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System Wide Dictionary - multilingual [http://sourceforge.net/projects/babiloo/ Babiloo], [http://code.google.com/p/stardict-3/ StarDict], 
|&lt;!--AROS--&gt;[ ],  
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;System wide Thesaurus - multi lingual
|&lt;!--AROS--&gt;[ ], 
|Kuma K-Roget*, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Sticky Desktop Notes (post it type) 
|&lt;!--AROS--&gt;[http://aminet.net/package/util/wb/amimemos.i386-aros AmiMemos], [https://aminet.net/package/util/wb/amimemos.src-aros AmiMemos Src], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/util/wb/StickIt-2.00 StickIt v2], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DTP Desktop Publishing 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit RNOPublisher], 
|&lt;!--Amiga OS--&gt;[http://pagestream.org/ Pagestream]*, Professional Pro Page*, Saxon Publisher, Pagesetter, PenPal, 
|&lt;!--AmigaOS4--&gt;[http://pagestream.org/ Pagestream]* 
|&lt;!--MorphOS--&gt;[http://pagestream.org/ Pagestream]* 
|-
|&lt;!--Sub Menu--&gt;Scanning 
|&lt;!--AROS--&gt;[ SCANdal], [], 
|&lt;!--Amiga OS--&gt;FxScan*, ScanQuix* 
|&lt;!--AmigaOS4--&gt;SCANdal (Sane)
|&lt;!--MorphOS--&gt;SCANdal
|-
|&lt;!--Sub Menu--&gt;OCR
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/convert gOCR] 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos-files.net/categories/office/text Tesseract] 
|-
|&lt;!--Sub Menu--&gt;Text Editing
|&lt;!--AROS--&gt;Jano Editor (already installed as Editor), [http://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit EdiSyn], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit Annotate], [https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Vim], [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd] [https://github.com/vidarh/FrexxEd src], [ NoWinEd], 
|&lt;!--Amiga OS--&gt;Annotate, MicroGoldED/CubicIDE*, CygnusED*, Turbotext, Protext*, NoWinED, 
|&lt;!--AmigaOS4--&gt;Notepad, Annotate, CygnusED*, NoWinED, 
|&lt;!--MorphOS--&gt;MorphOS ED, NoWinED, GoldED/CubicIDE*, CygnusED*, Annotate, 
|-
|&lt;!--Sub Menu--&gt;Office Fonts [http://sourceforge.net/projects/fontforge/files/fontforge-source/ Font Designer] 
|&lt;!--AROS--&gt;[ ], [ ], 
|&lt;!--Amiga OS--&gt;TypeSmith*, SaxonScript (GetFont Adobe Type 1), 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Drawing Vector
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/amifig/ ZuneFIG previously AmiFIG]
|&lt;!--Amiga OS--&gt;Drawstudio*, ProVector*, ArtExpression*, Professional Draw*, AmiFIG, MetaView, [https://gitlab.com/amigasourcecodepreservation/designworks Design Works Src], [], 
|&lt;!--AmigaOS4--&gt;MindSpace, [http://www.os4depot.net/index.php?function=browse&amp;cat=graphics/edit amifig], 
|&lt;!--MorphOS--&gt;SteamDraw, [http://aminet.net/package/gfx/edit/amifig amiFIG], 
|-
|&lt;!--Sub Menu--&gt;video conferencing (jitsi) 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;source code hosting
|&lt;!--AROS--&gt;Gitlab, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (server)
|&lt;!--AROS--&gt;[http://sourceforge.net/projects/zunetools/files/VNC_Server ArosVNCServer], 
|&lt;!--Amiga OS--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC], [http://dspach.free.fr/amiga/avnc/index.html AVNC]
|&lt;!--AmigaOS4--&gt;[http://s.guillard.free.fr/AmiVNC/AmiVNC.htm AmiVNC] 
|MorphVNC, vncserver
|-
|&lt;!--Sub Menu--&gt;Remote Desktop (client) login and connect to another machine 
|&lt;!--AROS--&gt;[https://sourceforge.net/projects/zunetools/files/VNC_Client/ ArosVNC], [http://archives.arosworld.org/index.php?function=browse&amp;cat=network/misc rdesktop], 
|&lt;!--Amiga OS--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://dspach.free.fr/amiga/vva/index.html VVA], [http://www.hd-zone.com/ RDesktop]
|&lt;!--AmigaOS4--&gt;[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|[http://twinvnc.free.fr/index.php?menu=01&amp;lang=eng TwinVNC], [http://www.hd-zone.com/ RDesktop]
|-
|&lt;!--Sub Menu--&gt;notifications 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Ranchero 
|&lt;!--AmigaOS4--&gt;Ringhio 
|&lt;!--MorphOS--&gt;MagicBeacon 
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Audio==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Audio
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing playback Audio like MP3, [https://github.com/chrg127/gmplayer NSF], [https://github.com/kode54/lazyusf miniusf .usflib], [], etc 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer], [ HarmonyPlayer hp], [http://www.a500.org/downloads/audio/index.xhtml playcdda] CDs, [ WildMidi Player], [https://bszili.morphos.me/ UADE mod player], [], [RNOTunes ], [ mp3Player], [], 
|&lt;!--Amiga OS--&gt;AmiNetRadio, AmigaAmp, playOGG, 
|&lt;!--AmigaOS4--&gt;TuneNet, SimplePlay, AmigaAmp, TKPlayer
|AmiNetRadio, Mplayer, Kaya, AmigaAmp
|-
|&lt;!--Sub Menu--&gt;Editing Audio 
|&lt;!--AROS--&gt;[ Audio Evolution 4] 
|&lt;!--Amiga OS--&gt;[ Samplitude Opus Key], [https://sourceforge.net/projects/hd-rec/ HD-Rec Src], [http://www.sonicpulse.de/eng/news.html SoundFX], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/projects/hd-rec/ HD-Rec], AmiSoundED, [http://os4depot.net/?function=showfile&amp;file=audio/record/audioevolution4.lha Audio Evolution 4] 
|[http://www.hd-rec.de/HD-Rec/index.php?site=home HD-Rec], 
|-
|&lt;!--Sub Menu--&gt;Editing Tracker Music
|&lt;!--AROS--&gt;[https://github.com/hitchhikr/protrekkr Protrekkr], [ Schism Tracker], [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/tracker MilkyTracker], [http://www.hivelytracker.com/ HivelyTracker], [ Radium in AROS already],  [http://www.a500.org/downloads/development/index.xhtml libMikMod], 
|&lt;!--Amiga OS--&gt;MilkyTracker, HivelyTracker, DigiBooster, Octamed SoundStudio, 
|&lt;!--AmigaOS4--&gt;MilkyTracker, HivelyTracker, GoatTracker
|MilkyTracker, GoatTracker, DigiBooster, 
|-
|&lt;!--Sub Menu--&gt;Editing Music [], [https://github.com/kmatheussen/camd CAMD] and/or staves and notes manuscript 
|&lt;!--AROS--&gt;[http://bnp.hansfaust.de/ Bars and Pipes for AROS], [ Audio Evolution], [], 
|&lt;!--Amiga OS--&gt;[http://bnp.hansfaust.de/ Bars'n'Pipes], MusicX* David &quot;Talin&quot; Joiner &amp; Craig Weeks (for Notator-X), Deluxe Music Construction 2*, [https://github.com/timoinutilis/midi-sequencer-amigaos Horny c Src], HD-Rec, [https://aminet.net/package/mus/midi/dominatorV1_51 Dominator], 
|&lt;!--AmigaOS4--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Rockbeat, [http://bnp.hansfaust.de/download.html Bars'n'Pipes], [http://os4depot.net/index.php?function=browse&amp;cat=audio/edit Horny], Audio Evolution 4, 
|&lt;!--MorphOS--&gt;Bars'n'Pipes, 
|-
|&lt;!--Sub Menu--&gt;Sound Sampling 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/record Audio Evolution 4], [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;did=162 Quick Record], [https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc SOX to get AIFF 16bit files], [https://github.com/aros-development-team/AROS/tree/master/workbench/tools/AHIRecord AHIRecord], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/package/mus/edit/AudioEvolution3_src Audio Evolution 3 c src], [ Samplitude-MS Opus Key], Audiomaster IV*, 
|&lt;!--AmigaOS4--&gt;[https://github.com/timoinutilis/phonolith-amigaos phonolith c src], HD-Rec, Audio Evolution 4,
|&lt;!--MorphOS--&gt;[https://sourceforge.net/p/hd-rec/code/HEAD/tree/ HD-Rec Src], Audio Evolution 4,
|-
|&lt;!--Sub Menu--&gt;Live Looping or Audio Misc - Groovebox like
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;CD/DVD burn
|[https://code.google.com/p/amiga-fryingpan/ FryingPan], 
|&lt;!--Amiga OS--&gt;FryingPan, [http://www.estamos.de/makecd/#CurrentVersion MakeCD], 
|&lt;!--AmigaOS4--&gt;FryingPan, AmiDVD, 
|[http://www.amiga.org/forums/printthread.php?t=58736 FryingPan], Jalopeano, 
|-
|&lt;!--Sub Menu--&gt;CD/DVD audio rip
|Lame, [http://www.imica.net/SitePortalPage.aspx?siteid=1&amp;cfid=0&amp;did=167 Quick CDrip],
|&lt;!--Amiga OS--&gt;Lame,  
|&lt;!--AmigaOS4--&gt;Lame, 
|Lame,  
|-
|&lt;!--Sub Menu--&gt;MP3 v1 and v2 Tagger
|&lt;!--AROS--&gt;id3ren (v1), [http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/edit mp3info], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|
|-
|&lt;!--Sub Menu--&gt;Audio Convert
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc Sox], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/mus/misc/SoundBox SoundBox], [http://aminet.net/package/mus/misc/SoundBoxKey SoundBox Key], [http://aminet.net/package/mus/edit/SampleE SampleE], sox 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;DJ mixing jamming 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Radio Automation Software [http://www.rivendellaudio.org/ Rivendell], [http://code.campware.org/projects/livesupport/report/3 Campware LiveSupport], [http://www.sourcefabric.org/en/airtime/ SourceFabric AirTime], [http://www.ohloh.net/p/mediabox404 MediaBox404], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speakers Audio Sonos Mains AC networked wired controlled 
*2005 ZP100 with ZP80 
*2008 Zoneplayer ZP120 (multi-room wireless amp)  ZP90 receiver only with CR100 controller, 
*2009 ZonePlayer S5, 
*2010 BR100 wireless Bridge (no support),   
*2011 Play:3
*2013 Bridge (no support), Play:1,  
*2016 Arc,   Play:1,   
*Beam (Gen 2),   Playbar,  Ray,   Era 100,   Era 300,   Roam,   Move 2,   
*Sub (Gen 3),   Sub Mini,  Five,  Amp  S2 
|&lt;!--AROS--&gt;SonosController 
|&lt;!--Amiga OS--&gt;SonosController
|&lt;!--AmigaOS4--&gt;SonosController
|&lt;!--MorphOS--&gt;SonosController
|-
|&lt;!--Sub Menu--&gt;Smart Speakers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]

==Video Creativity and Production==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Video
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Playing Video 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/play Mplayer VAMP], [http://www.a500.org/downloads/video/index.xhtml CDXL player], [http://www.a500.org/downloads/video/index.xhtml IffAnimPlay], [], 
|&lt;!--Amiga OS--&gt;Frogger*, AMP2, MPlayer, RiVA*, MooViD*, 
|&lt;!--AmigaOS4--&gt;DvPlayer, MPlayer 
|&lt;!--MorphOS--&gt;MPlayer, Frogger, AMP2, VLC 
|-
|&lt;!--Sub Menu--&gt;Streaming Video and game streaming like OBS studio, Parsec, [https://github.com/lizardbyte/sunshine sunshine], [https://github.com/moonlight-stream/moonlight-qt moonlight], etc 
|&lt;!--AROS--&gt;Mplayer, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Mplayer, Gnash, Tubexx 
|&lt;!--MorphOS--&gt;Mplayer, OWB, Tubexx
|-
|&lt;!--Sub Menu--&gt;Playing DVD 
|&lt;!--AROS--&gt;[http://a-mc.biz/ AMC]*, Mplayer 
|&lt;!--Amiga OS--&gt;AMP2, Frogger 
|&lt;!--AmigaOS4--&gt;[http://a-mc.biz/ AMC]*, DvPlayer*, AMP2,  
|&lt;!--MorphOS--&gt;Mplayer 
|-
|&lt;!--Sub Menu--&gt;Screen Recording
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=video/record Screenrecorder], [ ], [ ], [ ], [ ], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Screenrecorder, 
|-
|&lt;!--Sub Menu--&gt;Create and Edit Individual Video NLE 
|&lt;!--AROS--&gt;[ Mencoder], [ Quick Videos], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/edit AVIbuild], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc FrameBuild], FFMPEG, 
|&lt;!--Amiga OS--&gt;[ MainConcept Mainactor Broadcast*], [http://en.wikipedia.org/wiki/Video_Toaster Video Toaster*], MacroSystem MovieShop 4.3*, proDAD Adorage*, [ IOSpirit VHI studio]*, [Gold Disk ShowMaker], [], 
|&lt;!--AmigaOS4--&gt;FFMpeg/GUI 
|&lt;!--MorphOS--&gt;Blender, Mencoder, FFmpeg
|-
|&lt;!--Sub Menu--&gt;Subtitle editor 
|&lt;!--AROS--&gt;[https://aminet.net/package/text/edit/Slarti_Arosx86ABIv0 Slarti_Arosx86ABIv0], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;IP-based video production workflows with High Dynamic Range (HDR), 10-bit color collaborative NDI, 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Blogging like Lemmy or kbin
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR face recognition for Vtubers 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting Live 2D models with Cubism type editor 
&lt;pre&gt;
Model data (cmo3)
Basic motions (can3)
Background image (png)
Set of files for embedding (runtime folder)
• Model data (moc3)
• Motion data (motion3.json)
• Model settings file (model3.json)
• Physics settings file (physics3.json)
• Display auxiliary file (cdi3.json)
&lt;/pre&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;VR chatting chatters .VRML models - standardized 3D file format for VR avatars 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;V-tubers V-tubing like Vseeface with Openseeface tracker or Vpuppr (virtual puppet project) for 2d / 3d art models rigging rigged LIV 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.

[[#top|...to the top]]


==Misc Application==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1 (68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;File Management 
|&lt;!--AROS--&gt;DOpus4, [https://github.com/BlitterStudio/dopus5 DOpus Magellan aka DOpus 5], [ Scalos], [ ], 
|&lt;!--Amiga OS--&gt;DOpus2, DOpus 4, [http://sourceforge.net/projects/dopus5allamigas/files/?source=navbar DOpus Magellan DOpus5], ClassAction, FileMaster, [http://www.amiga.org/forums/showthread.php?t=4897 DirWork 2]*, [https://github.com/RudolphRiedel/DiskMaster2 DiskMaster2 src], 
|&lt;!--AmigaOS4--&gt;DOpus4, DOpus5, Filer, AmiDisk 
|&lt;!--MorphOS--&gt;DOpus4, DOpus5 
|-
|&lt;!--Sub Menu--&gt;File Verification / Repair 
|&lt;!--AROS--&gt;md5 (works in linux compiling shell), [http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/filetool workpar2] (PAR2),  [http://zakalwe.fi/~shd/foss/cksfv/files/ compile cksfv from website], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;Par2, 
|-
|Application Installer 
|&lt;!--AROS--&gt;[], [ InstallerNG], 
|&lt;!--Amiga OS--&gt;InstallerNG, Grunch, 
|&lt;!--AmigaOS4--&gt;Jack
|&lt;!--MorphOS--&gt;Jack 
|-
|&lt;!--Sub Menu--&gt;Compression archiver [https://github.com/FS-make-simple/paq9a paq9a], [], 
|&lt;!--AROS--&gt;XAD system is a toolkit designed for handling various file and disk archiver
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[https://aminet.net/package/util/pack/decrunchmania_os4 Crunchmania CrM2 depacker], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Binary Hexadecimal Editor 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/edit Zaphod], [],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Repository
|&lt;!--AROS--&gt;[ Git]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;Git
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Partition Editor formatter 
|&lt;!--AROS--&gt;[https://www.arosworld.org/infusions/forum/viewthread.php?thread_id=1440&amp;highlight=partition&amp;pid=8821#post_8821 QuickPart], [HDToolBox]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Filesystem Repair
|&lt;!--AROS--&gt;ArSFSDoctor, 
|&lt;!--Amiga OS--&gt; Quarterback Tools, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Multiple File renaming
|&lt;!--AROS--&gt;DOpus 4 or 5, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Anti Virus
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;VChecker, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Random Wallpaper Desktop changer [ DOpus5], [ Scalos],  
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Alarm Clock, Timer, Stopwatch, Countdown 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/workbench DClock], [http://aminet.net/util/time/AlarmClockAROS.lha AlarmClock], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Fortune Cookie Quotes Sayings 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/misc AFortune], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;C/C++ IDE 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/text/edit FrexxEd], [https://github.com/vidarh/FrexxEd FrexxEd src], Annotate, Murks, 
|&lt;!--Amiga OS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Annotate, 
|&lt;!--AmigaOS4--&gt;CodeBench , [https://gitlab.com/boemann/codecraft CodeCraft], 
|&lt;!--MorphOS--&gt;[http://devplex.awardspace.biz/cubic/index.html Cubic IDE]*, Anontate, 
|-
|&lt;!--Sub Menu--&gt;Computer Languages Translation [https://tetracorp.github.io/guide/reverse-engineering-amiga.html ], [https://amigasourcecodepreservation.gitlab.io/amiga-assembler-insider-guide/ ], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://bitbucket.org/rhinoid/convert68000toc/src/main/ convert m68k seka asm-one to c], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Gui Creators
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=development/guitool MuiBuilder], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[ MuiBuilder],  
|-
|&lt;!--Sub Menu--&gt;Catalog .cd .ct Editors 
|&lt;!--AROS--&gt;FlexCat
|&lt;!--Amiga OS--&gt;[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|&lt;!--AmigaOS4--&gt;[http://aminet.net/package/dev/misc/simplecat SimpleCat], FlexCat
|[http://www.geit.de/deu_simplecat.html SimpleCat], FlexCat
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Misc Application 2==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;System 
|&lt;!--AROS--&gt;[ SysExplorer], [ SysMon], [ Scout], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;OSK On Screen Keyboard
|&lt;!--AROS--&gt;[], 
|&lt;!--Amiga OS--&gt;[https://aminet.net/util/wb/OSK.lha OSK]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Magnifier Magnifying Glass Magnification 
|&lt;!--AROS--&gt;[http://www.onyxsoft.se/files/zoomit.lha ZoomIT], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Comic Book CBR CBZ format reader viewer 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comics], [http://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/viewer comicon], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Reader 
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#legadon Legadon EPUB],[]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Ebook Converter 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Text to Speech tts [https://github.com/JonathanFly/bark-installer Bark], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=audio/misc flite], 
|&lt;!--Amiga OS--&gt;[http://www.text2speech.com translator], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=search&amp;tool=simple FLite]
|&lt;!--MorphOS--&gt;[http://se.aminet.net/pub/aminet/mus/misc/ FLite]
|-
|&lt;!--Sub Menu--&gt;Speech Voice Recognition Dictation - [http://sourceforge.net/projects/cmusphinx/files/ CMU Sphinx], [http://julius.sourceforge.jp/en_index.php?q=en/index.html Julius], [http://www.isip.piconepress.com/projects/speech/index.html ISIP], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Speech Voice Changer [], [], [], [], 
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Screen Display Blanker screensaver 
|&lt;!--AROS--&gt;Blanker Commodity (built in), [https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/screenblanker GarshneBlanker], [http://sourceforge.net/projects/gblanker/ GBlanker Src], [], 
|&lt;!--Amiga OS--&gt;MultiCX, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;ModernArt Blanker, 
|-
|}


==Misc Application 3==
{|  class=&quot;wikitable sortable&quot; 
|- 
!width:30%;|Misc Application
!width:10%;|AROS(x86)
!width:10%;|Commodore-Amiga OS 3.1(68k)
!width:10%;|Hyperion OS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Fractals
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/misc ], 
|&lt;!--Amiga OS--&gt;ZoneXplorer, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Landscape Rendering 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=graphics/raytrace WCS World Construction Set], 
|&lt;!--Amiga OS--&gt;[ Vista Pro], [http://en.wikipedia.org/wiki/World_Construction_Set World Construction Set]
|&lt;!--AmigaOS4--&gt;[ WCS World Construction Set],
|&lt;!--MorphOS--&gt;[ WCS World Construction Set],
|-
|&lt;!--Sub Menu--&gt;Astronomy [https://sourceforge.net/projects/skychart/ skychart freepascal], [], [], 
|&lt;!--AROS--&gt;[ Digital Almanac (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/search?query=planetarium Aminet search], [http://aminet.net/misc/sci/DA3V56ISO.zip Digital Almanac], [https://aminet.net/package/misc/sci/da3sourceV58 Src c V58], [ Galileo renamed to Distant Suns]*, [], 
|&lt;!--AmigaOS4--&gt;[http://sourceforge.net/projects/digital-almanac/ Digital Almanac], Distant Suns*, [http://www.digitaluniverse.org.uk/ Digital Universe]*,
|&lt;!--MorphOS--&gt;[http://www.aminet.net/misc/sci/da3.lha Digital Almanac], [http://www.aminet.net/package/misc/sci/da3-mos-src Src c V56], 
|-
|&lt;!--Sub Menu--&gt;Astrology [https://sourceforge.net/projects/skylendar/ skylendar], [https://github.com/CruiserOne/Astrolog Astrolog], [https://www.astrolog.org/astrolog/astfile.htm Astrology alt site], [https://saravali.github.io/download.html Maitreya], [https://github.com/alamahant/Asteria Asteria], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;PCB design
|&lt;!--AROS--&gt; 
|&lt;!--Amiga OS--&gt;[ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Digital Signage
|&lt;!--AROS--&gt;Hollywood, Hollywood Designer 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Genealogy History Family Tree Ancestry Records (FreeBMD, FreeREG, and FreeCEN file formats or GEDCOM GenTree)
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt; [ Origins], [ Your Family Tree], [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Languages 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;Fun School, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Mathematics ([http://www-fourier.ujf-grenoble.fr/~parisse/install_en.html Xcas], etc.), 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/scientific mathX] 
|&lt;!--Amiga OS--&gt;Maple V, mathX, Fun School, GCSE Maths, [ ], [ ], [ ], 
|&lt;!--AmigaOS4--&gt;Yacas 
|&lt;!--MorphOS--&gt;Yacas 
|-
|&lt;!--Sub Menu--&gt;Maths Graph Function Plotting
|&lt;!--AROS--&gt;[https://blog.alb42.de/programs/#MUIPlot MUIPlot], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;App Utility Launcher Dock toolbar  
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=utility/docky BoingBar], [], 
|&lt;!--Amiga OS--&gt;[https://github.com/adkennan/DockBot Dockbot],
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;3D Printer [https://github.com/OrcaSlicer/OrcaSlicer OrcaSlicer]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;BASIC Computer Language 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/language Basic4SDL], [ Ace Basic], [ X-AMOS], [SDLBasic], [ Alvyn], 
|&lt;!--Amiga OS--&gt;[http://www.amiforce.de/main.php Amiblitz 3], [http://amos.condor.serverpro3.com/AmosProManual/contents/c1.html Amos Pro], [http://aminet.net/package/dev/basic/ace24dist ACE Basic], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;sdlBasic
|-
|&lt;!--Sub Menu--&gt;HAM amateur radio  [], [], [], [https://cemaxecuter.com/ Dragon OS], [https://github.com/km4ack/73Linux with 73 link update], [https://www.youtube.com/watch?v=YAL5KNePRSg video for], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;[https://www.amigarealm.com/amiga/amicomms/comm4.htm Comm4], [https://www.amigarealm.com/archives/comms/aarug/ TNC Terminal Node Controller with packets over serial connections on Yaesu or Woxum handheld], [https://aminet.net/comm/misc AmiCom], [ with 7Plus file encoder/decoder], [ mksstv], [ RTTYam], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

&lt;nowiki&gt;*&lt;/nowiki&gt; Commercial product.


==Games &amp; Emulation==

Some emulators/games require OpenGL to function and to adjust ahi prefs channels, frequency and unit0 and unit1 and 
[http://aros.sourceforge.net/documentation/users/shell/changetaskpri.php changetaskpri -1]

Rom patching  https://www.marcrobledo.com/RomPatcher.js/ https://www.romhacking.net/patch/ (ips, ups, bps, etc) and this other site supports the latter formats https://hack64.net/tools/patcher.php 

Free public domain roms for use with emulators can be found [http://www.pdroms.de/ here] as most of the rest are covered by copyright rules. If you like to read about old games see [http://retrogamingtimes.com/ here] and [http://www.armchairarcade.com/neo/ here] and a [http://www.vintagecomputing.com/ blog] about old computers. Possibly some of the [http://www.answers.com/topic/list-of-best-selling-computer-and-video-games best selling] of all time. [http://en.wikipedia.org/wiki/List_of_computer_system_emulators Wiki] with emulated systems list.

[https://archive.gamehistory.org/ Archive of VGHF], [https://library.gamehistory.org/ Video Game History Foundation Library search]


{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Emulation]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|-
|&lt;!--Sub Menu--&gt;Games Emulation Amstrad CPC 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [ Caprice32 (OpenGL &amp; pure SDL)], [ Arnold], [https://retroshowcase.gr/cpcbox-master/], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Apple2 and 2GS
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Arcade
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Mame], [ SI Emu (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;Mame, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem xmame], amiarcadia, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 Mame], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 2600 [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Stella], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 5200 [https://github.com/wavemotion-dave/A5200DS A5200DS], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 7800
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari 400 800 130XL [https://github.com/wavemotion-dave/A8DS A8DS], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Atari800], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Lynx
|&lt;!--AROS--&gt;[http://myfreefilehosting.com/f/6366e11bdf_1.93MB Handy (ABIv0 only)], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Atari Jaguar
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Bandai Wonderswan 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation BBC Micro and Acorn Electron [http://beehttps://bem-unix.bbcmicro.com/download.html BeebEm], [http://b-em.bbcmicro.com/ B-Em], [http://elkulator.acornelectron.co.uk/ Elkulator], [http://electrem.emuunlim.com/ ElectrEm], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Dragon 32 and Tandy CoCo [http://www.6809.org.uk/xroar/ xroar], [], 
|&lt;!--AROS--&gt;[], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C16 Plus4
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore C64
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Vice (ABIv0 only)], [], 
|&lt;!--Amiga OS--&gt;Frodo, 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem viceplus], 
|&lt;!--MorphOS--&gt;Vice, 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Commodore Amiga
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Janus UAE], Emumiga, 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://os4depot.net/index.php?function=browse&amp;cat=emulation/computer UAE], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=2 UAE], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Japanese MSX MSX2 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Intelivision
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Mattel Colecovision and Adam
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Milton Bradley (MB) Vectrex [ Vectrex OpenGL], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation PICO8 Pico-8 fantasy video game console [https://github.com/egordorichev/pemsa-sdl/ pemsa-sdl], [https://github.com/jtothebell/fake-08 fake-08], [https://github.com/Epicpkmn11/fake-08/tree/wip fake-08 fork], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo Gameboy
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem vba no sound], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem vba]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo NES
|&lt;!--AROS--&gt;[ EmiNES], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Fceu], [https://github.com/takahirox/nes-js?tab=readme-ov-file nes-js], [https://github.com/bfirsh/jsnes jsnes], [https://github.com/angelo-wf/NesJs NesJs], 
|&lt;!--Amiga OS--&gt;AmiNES, [http://www.dridus.com/~nyef/darcnes/ darcNES], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem amines]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo SNES
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Zsnes], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem warpsnes]
|&lt;!--MorphOS--&gt;[http://fabportnawak.free.fr/snes/ Snes9x], 
|-
|&lt;!--Sub Menu--&gt;Games Emulation Nintendo N64 
*HLE and plugins [ mupen64], [https://github.com/ares-emulator/ares ares], [https://github.com/N64Recomp/N64Recomp N64Recomp], [https://github.com/rt64/rt64 rt64], [https://github.com/simple64/simple64 Simple64], 
*LLE [], 
|&lt;!--AROS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+],
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/mupen64plus/ Mupen64+], [http://aminet.net/package/misc/emu/tr-981125_src TR64], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Gamecube Wii]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Nintendo Wii U]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/yuzu-emu Nintendo Switch]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation NEC PC Engine 
|&lt;!--AROS--&gt;[], [], [https://github.com/yhzmr442/jspce js-pce], 
|[http://www.hugo.fr.fm/ Hugo], [http://mednafen.sourceforge.net/ Mednafen], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem tgemu]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Master System (SMS)
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem Dega], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem sms], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem osmose]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Genesis/Megadrive
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem gp no sound], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem DGen], 
|&lt;!--Amiga OS--&gt;[http://code.google.com/p/genplus-gx/ Genplus], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem genesisplus]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Saturn 
*HLE [https://mednafen.github.io/ mednafen], [http://yabause.org/ yabause], [], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;[http://yabause.org/ Yabause], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sega Dreamcast 
*HLE [https://github.com/flyinghead/flycast  flycast], [https://code.google.com/archive/p/nulldc/downloads NullDC], 
*LLE [], [], 
|&lt;!--AROS--&gt;?
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair ZX80 and ZX81 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair Spectrum 
|[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Fuse (crackly sound)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer SimCoupe], [ FBZX slow], [https://jsspeccy.zxdemo.org/ jsspeccy], [http://torinak.com/qaop/games qaop], 
|&lt;!--Amiga OS--&gt;[http://www.lasernet.plus.com/ Asp], [http://www.zophar.net/sinclair.html Speculator], [http://www.worldofspectrum.org/x128/index.html X128], 
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/computer]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sinclair QL
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], [], 
|&lt;!--Amiga OS--&gt;[http://aminet.net/package/misc/emu/QDOS4amiga1 QDOS4amiga]
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation SNK NeoGeo Pocket
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem gngeo], NeoPop, 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation Sony PlayStation
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/gamesystem FPSE], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem FPSE]
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS2]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[ Sony PS3]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://vita3k.org/ Sony Vita]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;[https://github.com/shadps4-emu/shadPS4 PS4]
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation [http://en.wikipedia.org/wiki/Tangerine_Computer_Systems Tangerine] Oric and Atmos 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer Oricutron]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.os4depot.net/index.php?function=browse&amp;cat=emulation/gamesystem Oricutron]
|&lt;!--MorphOS--&gt;[http://aminet.net/package/misc/emu/oricutron Oricutron]
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 99/4 99/4A [https://github.com/wavemotion-dave/DS994a DS994a], [], [https://js99er.net/#/ js99er], [], [http://aminet.net/package/misc/emu/TI4Amiga TI4Amiga], [http://aminet.net/package/misc/emu/TI4Amiga_src TI4Amiga src in c], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=emulation/computer], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation HP 38G 40GS 48 49G/50G Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Emulation TI 58 83 84 85 86 - 89 92 Graphing Calculators
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|}

{|  class=&quot;wikitable sortable&quot; 
|- 
!width:10%;|Games [https://www.rockpapershotgun.com/ General]
!width:10%;|AROS(x86)
!width:10%;|AmigaOS3(68k)
!width:10%;|AmigaOS4(PPC)
!width:10%;|MorphOS(PPC)
|- style=&quot;background:lightgrey; text-align:center; font-weight:bold;&quot;
| Games [https://www.trackawesomelist.com/michelpereira/awesome-open-source-games/ Open Source and others] || AROS || Amiga OS || Amiga OS4 || Morphos 
|-
|&lt;!--Sub Menu--&gt;Games Action like [https://github.com/BSzili/OpenLara/tree/amiga/src source of openlara SDL2], [https://github.com/opentomb/OpenTomb opentomb], [https://github.com/LostArtefacts/TRX TRX formerly Tomb1Main], [https://github.com/TombEngine TombEngine], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Thrust], [https://github.com/fragglet/sdl-sopwith sdl sopwith], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/action], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action BOH], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Adventure like [http://dotg.sourceforge.net/ DMJ], [https://github.com/kromenak/gengine Gabriel Knight 3], [http://www.sarien.net/ Sierra Sarien], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/adventure dmagnetic], [https://archives.arosworld.org/?function=browse&amp;cat=emulation/misc ScummVM], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying frotz infocom], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Board like [https://github.com/aperture-software/colditz-escape escape from colditz], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/board], [http://amigan.1emu.net/releases Africa]
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Cards 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/card ], [], 
|&lt;!--AmigaOS--&gt;[http://home.arcor.de/amigasolitaire/e/welcome.html Reko], [https://github.com/samskivert/beschei-en beschei Src], 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Misc [https://github.com/michelpereira/awesome-open-source-games Awesome open], [https://github.com/bobeff/open-source-games General Open Source], [https://github.com/SAT-R/sa2 Sonic Advance 2], [https://github.com/velorek1/cwordle Wordle type], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games FPS like [https://aminet.net/package/game/shoot/D1X_Rebirth_AGA Descent D1X src], [https://github.com/DescentDevelopers/Descent3 Descent 3], [https://github.com/Fewnity/Counter-Strike-Nintendo-DS Counter-Strike-Nintendo-DS], [https://github.com/Aleph-One-Marathon/alephone Bungie Marathon 1994], [https://github.com/ZDoom/gzdoom gzdoom], [], 
|&lt;!--AROS--&gt;Doom, Quake, [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Quake 3 Arena (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Assault Cube (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Cube 2 Sauerbraten (OpenGL)], [http://fodquake.net/test/ FodQuake QuakeWorld], [ Duke Nukem 3D], [ Darkplaces Nexuiz Xonotic], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Doom 3 SDL (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/fps Hexenworld and Hexen 2], [ Aliens vs Predator Gold 2000 (openGL)], [ Odamex (openGL doom)], 
|&lt;!--Amiga OS--&gt;Doom, Quake, AB3D, Fears, Breathless, 
|&lt;!--AmigaOS4--&gt;Doom, Quake, 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12 Doom], Quake, Quake 3 Arena, [https://github.com/OpenXRay/xray-16 S.T.A.L.K.E.R Xray]
|-
|&lt;!--Sub Menu--&gt;Games MMORG like 
|&lt;!--AROS--&gt;[ Eternal Lands (OpenGL)],
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Platform like 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform], [ Maze of Galious], [ Gish]*(openGL), [ Mega Mario], 
[http://www.gianas-return.de/ Giana's Return], [http://www.sqrxz.de/ Sqrxz], [.html Aquaria]*(openGL), 
[http://www.sqrxz2.de/ Sqrxz 2], [http://www.sqrxz.de/sqrxz-3/ Sqrxz 3], [http://www.sqrxz.de/sqrxz-4/ Sqrxz 4], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/platform Cave Story], [https://bszili.morphos.me/ Frogatto], [https://bszili.morphos.me/ OpenJazz], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Puzzle [https://github.com/mariopartyrd/marioparty4/tree/port Party], [], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle], [ Cubosphere (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/puzzle Candy Crisis], [http://bszili.morphos.me/ TailTale], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Racing [ Trigger Rally], [ VDrift], [http://www.ultimatestunts.nl/index.php?page=2&amp;lang=en Ultimate Stunts], [http://maniadrive.raydium.org/ Mania Drive], [https://github.com/plowteam/donut Simpsons Hit and Run], [], 
|&lt;!--AROS--&gt;[ Super Tux Kart (OpenGL)], [http://www.dusabledanslherbe.eu/AROSPage/F1Spirit.30.html F1 Spirit (OpenGL)], [http://bszili.morphos.me/index.html MultiRacer], [https://bszili.morphos.me/ Speed Dreams], [], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://bszili.morphos.me/index.html Speed Dreams], 
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12], [http://bszili.morphos.me/index.html TORCS], 
|-
|&lt;!--Sub Menu--&gt;Games 1st first person DRPG [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/OpenEnroth/OpenEnroth OpenEnroth MM], []
|&lt;!--AROS--&gt;[https://github.com/BSzili/aros-stuff Arx Libertatis], [http://www.playfuljs.com/a-first-person-engine-in-265-lines/ js raycaster], [https://github.com/Dorthu/es6-crpg webgl], [https://github.com/sonountaleban/AmiShockolate System Shock], [], [], 
|&lt;!--AmigaOS--&gt;Phantasie, Faery Tale, Dungeon Master, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 3rd third person action CRPG  [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/alexbatalov/fallout1-ce fallout ce], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games isometric RPG [https://sourceforge.net/projects/sumwars/ Summoning Wars], [https://www.solarus-games.org/ Solarus], [https://wiki.rpg.net/index.php/Open_Game_Systems Misc], [https://github.com/topics/dungeon?l=javascript Dungeon], [], [https://github.com/clintbellanger/heroine-dusk JS Dusk], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying nethack], [https://archives.arosworld.org/index.php?function=browse&amp;cat=game/roleplaying GemRB], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games card based RPG [https://github.com/open-duelyst/duelyst Duelyst], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Rhythm, Beat, Step [], [], [https://clonehero.net/ clonehero], [https://github.com/MatteoGodzilla/Dj-Engine Dj-Engine], 
|&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/misc Frets on Fire], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Shoot Em Ups [http://www.mhgames.org/oldies/formido/ Formido], [http://code.google.com/p/violetland/ Violetland], 
||&lt;!--AROS--&gt;[https://archives.arosworld.org/index.php?function=browse&amp;cat=game/action Open Tyrian], [http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], [ Alien Blaster], [https://github.com/OpenFodder/openfodder OpenFodder], 
|&lt;!--AmigaOS--&gt;
|&lt;!--AmigaOS4--&gt;[http://www.parallelrealities.co.uk/projects/starfighter.php Starfighter], 
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Simulations [http://scp.indiegames.us/ Freespace 2], [http://www.heptargon.de/gl-117/gl-117.html GL117], [http://code.google.com/p/corsix-th/ Theme Hospital], [http://code.google.com/p/freerct/ Rollercoaster Tycoon], [http://hedgewars.org/ Hedgewars], [https://github.com/raceintospace/raceintospace raceintospace], [https://github.com/Return-To-The-Roots RTTR Settlers 2], [https://github.com/OoliteProject/oolite oolite elite], [https://github.com/fesh0r/newkind newkind elite], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;SimCity, SimAnt, Sim Hospital, Theme Park, 
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Life Sim [https://github.com/ACreTeam/forest Animal Crossing], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Strategy [http://rtsgus.org/ RTSgus], [http://wargus.sourceforge.net/ Wargus], [http://stargus.sourceforge.net/ Stargus], [https://github.com/KD-lab-Open-Source/Perimeter Perimeter], [https://matty77.itch.io/conflict-3049 conflict-3049], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy MegaGlest (OpenGL)], [http://archives.arosworld.org/index.php?function=browse&amp;cat=game/strategy UFO:AI (OpenGL)], [http://play.freeciv.org/ FreeCiv], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;[http://morphos.lukysoft.cz/en/vypis.php?kat=12]
|-
|&lt;!--Sub Menu--&gt;Games Horror [https://github.com/Mikompilation/MikuPan Fatal Frame], [ ], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Sandbox Voxel Open World Exploration [https://github.com/UnknownShadow200/ClassiCube Classicube],[http://www.michaelfogleman.com/craft/ Craft], [https://github.com/tothpaul/DelphiCraft DelphiCraft],[https://www.minetest.net/ Luanti formerly Minetest], [ infiniminer], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Battle Royale [https://bruh.io/ Play.Bruh.io], [https://www.coolmathgames.com/0-copter Copter Royale], [https://surviv.io/ Surviv.io], [https://nuggetroyale.io/#Ketchup Nugget Royale], [https://miniroyale2.io/ Miniroyale2.io], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Tower Defense [https://chriscourses.github.io/tower-defense/ HTML5], [https://github.com/SBardak/Tower-Defense-Game TD C++], [https://github.com/bdoms/love_defense LUA and LOVE], [https://github.com/HyOsori/Osori-WebGame HTML5], [https://github.com/PascalCorpsman/ConfigTD ConfigTD Pascal], [https://github.com/GloriousEggroll/wine-ge-custom Wine], []
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Visual Novel Engines [https://github.com/Kirilllive/tuesday-js Tuesday JS], [ Lua + LOVE], [https://github.com/weetabix-su/renpsp-dev RenPSP], [https://github.com/Galladite27/ONScripter-EN ONScripter-EN], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Reality VR [https://gitlab.com/madsbuvi/openmw openmw vr], [https://github.com/Team-Beef-Studios/BeefRaiderXR BeefRaiderXR], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Table Top VTT [ Roll20], [https://www.owlbear.rodeo/ owlbear rodeo], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Computer assisted TableTop TTRPG OSR [https://www.rpgsolo.com/play.php RPGSolo], [https://github.com/fpsvogel/solo-ttrpgs Solo TTRPG], [], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 2D 3D Engines [https://github.com/fegennari/3DWorld 3DWorld], [https://github.com/GarageGames/Torque3D Torque3D], [https://github.com/gameplay3d/GamePlay GamePlay 3D],  [https://www.babylonjs.com/ BabylonJS ], [ Godot], [ Ogre], [ Crystal Space], [], [], [], 
|&lt;!--AROS--&gt;[https://www.arkhamdev.net/wiki.htm?id=agx Arkham Development antiryadgx 8.9 lts with register], [], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games C based game frameworks [https://github.com/orangeduck/Corange Corange], [https://github.com/scottcgi/Mojoc Mojoc], [https://orx-project.org/ Orx], [https://github.com/ioquake/ioq3 Quake 3], [https://www.mapeditor.org/ Tiled], [https://www.raylib.com/ 2d Raylib], [https://github.com/Rabios/awesome-raylib other raylib], [https://github.com/MrFrenik/gunslinger Gunslinger], [https://o3de.org/ o3d], [http://archives.aros-exec.org/index.php?function=browse&amp;cat=development/library GLFW], [], 
|&lt;!--AROS--&gt;[http://archives.arosworld.org/index.php?function=browse&amp;cat=development/library Raylib 5], 
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games Virtual Pinball [https://github.com/vpinball/vpinball vpinball], [], 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|-
|&lt;!--Sub Menu--&gt;Games 
|&lt;!--AROS--&gt;
|&lt;!--Amiga OS--&gt;
|&lt;!--AmigaOS4--&gt;
|&lt;!--MorphOS--&gt;
|}


==Application Guides==

[[#top|...to the top]]

===Web Browser===

OWB is now at version 2.0 (which got an engine refresh, from July 2015 to February 2019) and 3.0.

This latest version has a good support for many/most web sites, even YouTube web page now works. 

This improved compatibility comes at the expense of higher RAM usage (now 1GB RAM is the absolute minimum). 

Also, keep in mind that the lack of a JIT (Just-In-Time) JS compiler on the 32 bit version, makes the web surfing a bit slow. 

Only the 64 bit version of OWB 2.0 will have JIT enabled, thus benefitting of more speed. There are tooltypes that can be added to the icon to provide further features JIT, MSE etc 


Certificates from [https://curl.se/docs/caextract.html ca certs], 


DNS tracking blocking with [https://easylist.to/easylist/easylist.txt easylist.txt] in PROGDIR:Conf before starting browser with enabled AdBlock [https://github.com/easylist/easylist/tree/master easylist], [https://gitlab.com/eyeo anti abp], [https://firebog.net/ big blocklist], [https://github.com/StevenBlack/hosts Steves], [], [], 

This can be enabled with OWB Odyssey with Windows -&gt; Content Blocking and Windows -&gt; Messages and enter 

 https://www.youtube.com/api/stats/ads*
 https://www.youtube.com/pagead/adview*
 https://www.youtube.com#@##player-ads*

into your custom filters 


Element blocker browser extension might be needed for [https://github.com/easylist/easylist/wiki/Youtube-Issues youtube], [ mid roll], [ pre roll], [ ],  


OWB speed is much better when running from RAM Disk, the best way is to add the below into your S:User-Startup which copies OWB drawer from Extras:Internet/OWB to RAM Disk: 

So add this :
&lt;pre&gt;
copy Extras:Internet/OWB Ram:OWB/ ALL CLONE &gt;NIL:
copy Extras:Internet/OWB.info Ram: &gt;NIL:
&lt;/pre&gt;
Open RAM Disk and open OWB drawer and double click on OWB icon so that the above icon tooltypes are activated 

Problems are that the copy time is long (around 20 seconds added in the background), but we can make it faster if we delete useless files from the OWB drawer (docs, …)
If you don’t copy the drawer back onto the HD, you won’t save your cache, cookies, passwords… So you need a script for it.


Error messages 

SSL error &quot;cant verify with ca-certificates&quot;, check bios clock time date is correct 

Error 6, try checking networking prefs settings and Save / Use preferences again or a '''few times''' otherwise the network chipset may not be compatible with Aros 


[https://www.google.com/search?q=%s&amp;udm=14 Google search without AI overview] 


===E-mail===

 YAM does not support SSL and most mail providers now switched to encrypted SMTP/POP3 connections


====SimpleMail====

SimpleMail supports IMAP and appears to work with GMail, but it's never been reliable enough, it can crash with large mailboxes.

Please read more on this [http://www.freelists.org/list/simplemail-usr User list]


 GMail

Be sure to activate the pop3 usage in your gmail account setup / configuration first.

pop3: 
pop.gmail.com
Use SSL: Yes
Port: 995

smtp:
smtp.gmail.com (with authentication)
Use Authentication: Yes
Use SSL: Yes
Port: 465 or 587


 Hotmail/MSN/outlook/Microsoft Mail mid-2017, all outlook.com accounts will be migrated to Office 365 / Exchange

Most users are currently on POP which does not allow showing folders and many other features (technical limitations of POP3). With Microsoft IMAP you will get folders, sync read/unread, and show flags. You still won't get push though, as Microsoft has not turned on the IMAP Idle command as at Sept 2013.

If you want to try it, you need to first remove (you can't edit) your pop account (long-press the account on the accounts screen, delete account). Then set it up this way:

1. Email/Password
2. Manual
3. IMAP
4.

* Incoming: imap-mail.outlook.com, port 993, SSL/TLS should be checked
* Outgoing: smtp-mail.outlook.com, port 587, SSL/TLS should be checked
* POP server name pop-mail.outlook.com, port 995, POP encryption method SSL

 Yahoo  Mail

On April 24, 2002 Yahoo ceased to offer POP access to its free mail service. Introducing instead a yearly payment feature, allowing users POP3 and IMAP server support, along with such benefits as larger file attachment sizes and no adverts.

Sorry to see Yahoo leaving its users to cough up for the privilege of accessing their mail. Understandable, when competing against rivals such as Gmail and Hotmail who hold a large majority of users and were hacked in 2014 as well.


Incoming Mail (IMAP) Server

* Server - imap.mail.yahoo.com
* Port - 993
* Requires SSL - Yes

Outgoing Mail (SMTP) Server

* Server - smtp.mail.yahoo.com
* Port - 465 or 587
* Requires SSL - Yes
* Requires authentication - Yes

Your login info

* Email address - Your full email address (name@domain.com)
* Password - Your account's password
* Requires authentication - Yes


Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a subscription subs fee to have access to SMTP and POP3

* Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
* “Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
* “Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
* “Password” – Your Yahoo Mail password.

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

* Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.


====YAM Yet Another Mailer====

 YAM does not support SSL and most mail providers have now switched to encrypted SMTP/POP3 connections

This email client is POP3 only if the SSL library is available [http://www.freelists.org/list/yam YAM Freelists]

One of the downsides of using a POP3 mailer unfortunately - you have to set an option not to delete the mail if you want it left on the server. IMAP keeps all the emails on the server.

Possible issues

Sending mail issues is probably a matter of using your ISP's SMTP server, though it could also be an SSL issue.


getting a &quot;Couldn't initialise TLSv1 / SSL error

Use of on-line e-mail accounts with this email client is not possible as it lacks the OpenSSL AmiSSl v3 compatible library

 GMail 
Incoming Mail (POP3) Server - requires SSL: pop.gmail.com
Use SSL: Yes
Port: 995

Outgoing Mail (SMTP) Server - requires TLS: smtp.gmail.com (use authentication)
Use Authentication: Yes
Use STARTTLS: Yes (some clients call this SSL)
Port: 465 or 587

Account Name: your Gmail username (including '@gmail.com')
Email Address: your full Gmail email address (username@gmail.com)
Password: your Gmail password

Anyway, the SMTP is pop.gmail.com port 465 and it uses SSLLv3 Authentication. The POP3 settings are for the same server (pop.gmail.com), only on port 995 instead.


 Outlook.com access

&lt;pre &gt;
Outlook.com SMTP server address: smtp.live.com
Outlook.com SMTP user name: Your full Outlook.com email address (not an alias)
Outlook.com SMTP password: Your Outlook.com password
Outlook.com SMTP port: 587
Outlook.com SMTP TLS/SSL encryption required: yes 
&lt;/pre &gt;


 Yahoo  Mail

&lt;pre &gt;
“POP3 Server” – Set the POP server for incoming mails as pop.mail.yahoo.com. You will have to enable “SSL” and use 995 for Port.
“SMTP Server” – Set the SMTP server for outgoing mails as smtp.mail.yahoo.com. You will also have to make sure that “SSL” is enabled and use 465 for port. you must also enable “authentication” for this to work.
“Account Name or Login Name” – Your Yahoo Mail ID i.e. your email address without the domain “@yahoo.com”.
“Email Address” – Your Yahoo Mail address i.e. your email address including the domain “@yahoo.com”. E.g. myname@yahoo.com
“Password” – Your Yahoo Mail password.
&lt;/pre &gt;

Yahoo! Mail Plus users may have to set POP server as plus.pop.mail.yahoo.com and SMTP server as plus.smtp.mail.yahoo.com.

Note that you need to enable “Web &amp; POP Access” in your Yahoo Mail account to send and receive Yahoo Mail messages through any other email program.

You will have to enable “Allow your Yahoo Mail to be POPed” under “POP and Forwarding”, to send and receive Yahoo mails through any other email client.

Cannot be done since 2002 unless the customer pays Yahoo a monthly fee to have access to SMTP and POP3


 Microsoft Outlook Express Mail 

1. Get the files to your PC.
By whatever method get the files off your Amiga onto your PC. In the YAM folder you have a number of different folders, one for each of your folders in YAM. Inside that is a file usually some numbers such as 332423.283. YAM created a new file for every single email you received.

2. Open up a brand new Outlook Express. Just configure the account to use 127.0.0.1 as mail servers. It doesn't really matter. You will need to manually create any subfolders you used in YAM.

3. You will need to do a mass rename on all your email files from YAM. Just add a .eml to the end of it. Amazing how PCs still rely mostly on the file name so it knows what sort of file it is rather than just looking at it! There are a number of multiple renamers online to download and free too.

4. Go into each of your folders, inbox, sent items etc. And do a select all then drag the files into Outlook Express (to the relevant folder obviously) Amazingly the file format that YAM used is very compatible with .eml standard and viola your emails appear. With correct dates and working attachments.

5. If you want your email into Microsoft Outlook. Open that up and create a new profile and a new blank PST file. Then go into File Import and choose to import from Outlook Express. And the mail will go into there. And viola.. you have your old email from your Amiga in a more modern day format.


===FTP===

Magellan has a great FTP module. It allows transferring files from/to a FTP server over the Internet or the local network and, even if FTP is perceived as a &quot;thing of the past&quot;, its usability is all inside the client. The FTP thing has a nice side effect too, since every Icaros machine can be a FTP server as well, and our files can be easily transferred from an Icaros machine to another with a little configuration effort.

First of all, we need to know the 'server' IP address. Server is the Icaros machine with the file we are about to download on another Icaros machine, that we're going to call 'client'. To do that, move on the server machine and 1) run Prefs/Services to be sure &quot;FTP file transfer&quot; is enabled (if not, enable it and restart Icaros); 2) run a shell and enter this command:

ifconfig -a

Make a note of the IP address for the network interface used by the local area network. For cabled devices, it usually is net0:. Now go on the client machine and run Magellan:

Perform these actions: 1) click on FTP; 2) click on ADDRESS BOOK; 3) click on &quot;New&quot;. 
You can now add a new entry for your Icaros server machine:

1) Choose a name for your server, in order to spot it immediately in the address book. Enter the IP address you got before.

2) click on Custom Options:


1) go to Miscellaneous in the left menu;

2) Ensure &quot;Passive Transfers&quot; is NOT selected;

3) click on Use. We need to deactivate Passive Transfers because YAFS, the FTP server included in Icaros, only allows active transfers at the current stage. Now, we can finally connect to our new file source:


1) Look into the address book for the newly introduced server, be sure that name and IP address are right, and

2) click on Connect. A new lister with server's &quot;MyWorkspace&quot; contents will appear. You can now transfer files over the network choosing a destination among your local (client's) volumes.

Can be adapted to any FTP client on any platform of your choice, just be sure your client allows Active Transfers as well.


===IRC Internet Relay Chat===

Jabberwocky is ideal for one-to-one social media communication, use IRC if you require one to many. 

Just type a message in ''lowercase''' letters and it will be posted to all in the [ AROS irc channel]. Please do not use UPPER CASE as it is a sign of SHOUTING which is annoying.

Other things to type in - replace &lt;message&gt; with a line of text and &lt;nick&gt; with a person's name

&lt;pre&gt;
/help

/list

/who
/whois &lt;nick&gt;

/msg &lt;nick&gt; &lt;message&gt;

/query &lt;nick&gt; 
&lt;message&gt;s
/query

/away &lt;message&gt;
/away

/quit &lt;going away message&gt; 
&lt;/pre&gt;


[http://irchelp.org/irchelp/new2irc.html#smiley Intro guide here]. IRC Primer can be found here in [http://www.irchelp.org/irchelp/ircprimer.html html], [http://www.irchelp.org/irchelp/text/ircprimer.txt TXT], [http://www.kei.com/irc/IRCprimer1.1.ps PostScript].


Issue the command /me &lt;text&gt; where &lt;text&gt; is the text that should follow your nickname.
Example: /me slaps ajk around a bit with a large trout

/nick &lt;newNick&gt;

/nickserv register &lt;password&gt; &lt;email address&gt;

/ns instead of /nickserv, while others might need /msg nickserv

/nickserv identify &lt;password&gt;

Alternatives:
/ns identify &lt;password&gt;
/msg nickserv identify &lt;password&gt;


==== IRC WookieChat ====

WookieChat is the most complete internet client for communication across the IRC Network. WookieChat allows you to swap ideas and communicate in real-time, you can also exchange Files, Documents, Images and everything else using the application's DCC capabilities.


add smilies drawer/directory

 run wookiechat from the shell and set stack to 1000000 e.g. wookiechat stack 1000000

select a server / server window

* nickname 
* user name 
* real name - optional

Once you configure the client with your preferred screen name, you'll want to find a channel to talk in.


servers

* New Server - click on this to add / add extra - change details in section below this click box 
* New Group
* Delete Entry
* Connect to server
* connect in new tab
* perform on connect

Change details

* Servername - change text in this box to one of the below Server: 
* Port number - no need to change
* Server password
* Channel - add #channel from below 
* auto join - can click this 
* nick registration password,

Click Connect to server button above


&lt;pre&gt;
Server: irc.freenode.net
Channel: #aros
&lt;/pre&gt;

irc://irc.freenode.net/aros

&lt;pre&gt;
Server: chat.amigaworld.net 
Channel: #amigaworld or #amigans 
&lt;/pre&gt;

&lt;pre&gt;
On Sunday evenings USA time usually starting around 3PM EDT (1900 UTC)
Server:irc.superhosts.net
Channel #team*amiga  
&lt;/pre&gt;

&lt;pre&gt;
BitlBee and Minbif are IRCd-like gateways to multiple IM networks
Server: im.bitlbee.org 
Port 6667 
Seems to be most useful on WookieChat as you can be connected to several servers at once. One for Bitlbee and any messages that might come through that. One for your normal IRC chat server. 
&lt;/pre&gt;

[http://www.bitlbee.org/main.php/servers.html Other servers],

&lt;pre&gt;
#Amiga.org - irc.synirc.net eu.synirc.net dissonance.nl.eu.synirc.net (IPv6: 2002:5511:1356:0:216:17ff:fe84:68a) 
twilight.de.eu.synirc.net zero.dk.eu.synirc.net us.synirc.net avarice.az.us.synirc.net envy.il.us.synirc.net harpy.mi.us.synirc.net 
liberty.nj.us.synirc.net snowball.mo.us.synirc.net - Ports 6660-6669 7001 (SSL)
&lt;/pre&gt;

&lt;pre&gt;
Multiple server support
&quot;Perform on connect&quot; scripts and channel auto-joins
Automatic Nickserv login
Tabs for channels and private conversations
CTCP PING, TIME, VERSION, SOUND
Incoming and Outgoing DCC SEND file transfers
Colours for different events
Logging and automatic reloading of logs
mIRC colour code filters
Configurable timestamps
GUI for changing channel modes easily
Configurable highlight keywords
URL Grabber window
Optional outgoing swear word filter
Event sounds for tabs opening, highlighted words, and private messages
DCC CHAT support
Doubleclickable URL's
Support for multiple languages using LOCALE
Clone detection
Auto reconnection to Servers upon disconnection
Command aliases
Chat display can be toggled between AmIRC and mIRC style
Counter for Unread messages
Graphical nicklist and graphical smileys with a popup chooser
&lt;/pre&gt;


====IRC Aircos ====

Double click on Aircos icon in Extras:Networking/Apps/Aircos. It has been set up with a guest account for trial purposes. Though ideally, choose a nickname and password for frequent use of irc. 


====IRC and XMPP Jabberwocky====
 Servers are setup and close down at random 
You sign up to a server that someone else has setup and access chat services through them. 

The two ways to access chat from jabberwocky
&lt;pre &gt;
Jabberwocky -&gt; Server -&gt; XMPP -&gt; open and ad-free 
Jabberwocky -&gt; Server -&gt; Transports (Gateways) -&gt; Proprietary closed systems 
&lt;/pre &gt;

The Jabber.org service connects with all IM services that use XMPP, the open standard for instant messaging and presence over the Internet. The services we connect with include Google Talk (closed), Live Journal Talk, Nimbuzz, Ovi, and thousands more. However, you can not connect from Jabber.org to proprietary services like AIM, ICQ, MSN, Skype, or Yahoo because they don’t yet use XMPP components (XEP-0114) '''but''' you can use Jabber.com's servers and IM gateways (MSN, ICQ, Yahoo etc.) instead.

The best way to use jabberwocky is in conjunction with a public jabber server with '''transports''' to your favorite services, like gtalk, Facebook, yahoo, ICQ, AIM, etc.


You have to register with one of the servers, [https://list.jabber.at/ this list] or [http://www.jabberes.org/servers/ another list], [http://xmpp.net/ this security XMPP list],

Unfortunately jabberwocky can only connect to one server at a time so it is best to check what services each server offers. If you set it up with separate Facebook and google talk accounts, for example, sometimes you'll only get one or the other.

Jabberwocky open a window where the Jabber server part is typed in as well as your Nickname and Password.

Jabber ID (JID) identifies you to the server and other users.

Once registered the next step is to goto Jabberwocky's &quot;Windows&quot; menu and select the &quot;Agents&quot; option. The &quot;Agents List&quot; window will open.

Roster (contacts list)

[http://search.wensley.org.uk/ Chatrooms] (MUC) are available

File Transfer - can send and receive files through the Jabber service but not with other services like IRC, ICQ, AIM or Yahoo. All you need is an installed webbrowser and OpenURL.

Clickable URLs - The message window uses Mailtext.mcc and you can set a URL action in the MUI mailtext prefs like SYS:Utils/OpenURL %s NEWWIN.

There is no consistent Skype like (H.323 VoIP) video conferencing available over Jabber. The move from xmpp to Jingle should help but no support on any amiga-like systems at the moment. [http://aminet.net/package/dev/src/AmiPhoneSrc192 AmiPhone] and [http://www.lysator.liu.se/%28frame,faq,nobg,useframes%29/ahi/v4-site/ Speak Freely] was an early attempt voice only contact. SIP and Asterisk are other PBX options.


 Facebook

If you're using the XMPP transport provided by Facebook themselves, chat.facebook.com, it looks like they're now requiring SSL transport. This means jabberwocky method below will no longer work. The best thing to do is to create an ID on a public jabber server which has a Facebook gateway.

&lt;pre &gt;
1. launch jabberwocky
2. if the login window doesn't appear on launch, select 'account' from the jabberwocky menu
3. your jabber ID will be user@chat.facebook.com where user is your user ID
4. your password is your normal facebook password
5. to save this for next time, click the popup gadget next to the ID field

6. click the 'add' button
7. click the 'close' button
8. click the 'connect' button
&lt;/pre &gt;

you're done. you can also click the 'save as default account' button if you want. jabberwocky configured to auto-connect when launching the program, but you can configure as you like. there is amigaguide documentation included with jabberwocky.

[http://amigaworld.net/modules/newbb/viewtopic.php?topic_id=37085&amp;forum=32 Read more here]

for Facebook users, you can log-in directly to Facebook with jabberwocky. just sign in as @chat.facebook.com with your Facebook password as the password


 Twitter

For a few years, there has been added a twitter transport. Servers include [http://jabber.hot-chilli.net/ jabber.hot-chili.net],  and .

An [http://jabber.hot-chilli.net/tag/how-tos/ How-to]

:Read [http://jabber.hot-chilli.net/2010/05/09/twitter-transport-working/ more]

 Instagram 

no support at the moment best to use a web browser based client

 ICQ

The new version (beta) of StriCQ uses a newer ICQ protocol. Most of the ICQ Jabber Transports still use an older ICQ protocol. You can only talk one-way to StriCQ using the older Transports. Only the newer ICQv7 Transport lets you talk both ways to StriCQ. Look at the server lists in the first section to check.

Register on a Jabber server, e.g. this one works: http://www.jabber.de/
Then login into Jabberwocky with the following login data e.g. xxx@jabber.de / Password: xxx Now add your ICQ account under the window-&gt;Agents-&gt;&quot;Register&quot;. Now Jabberwocky connects via the Jabber.de server with your ICQ account.

 Yahoo Messenger

although yahoo! does not use xmpp protocol, you should be able to use the transport methods to gain access and post your replies

 MSN

early months of 2013 Microsoft will ditch MSN Messenger client and force everyone to use Skype...but MSN protocol and servers will keep working as usual for quite a long time....

Occasionally the Messenger servers have been experiencing problems signing in.  You may need to sign in at www.outlook.com and then try again.  It may also take multiple tries to sign in.  (This also affects you if you’re using Skype.)

You have to check each servers' Agents List to see what transports (MSN protocol, ICQ protocol, etc.) are supported or use the list address' provided in the section above. Then register with each transport (IRC, MSN, ICQ, etc.) to which you need access. After registering you can Connect to start chatting.

msn.jabber.com/registered should appear in the window.

From this [http://tech.dir.groups.yahoo.com/group/amiga-jabberwocky/message/1378 JW group] guide which  helps with this process in a clear, step by step procedure.

1. Sign up on MSN's site for a passport account. This typically involves getting a Hotmail address.

2. Log on to the Jabber server of your choice and do the following:

* Select the &quot;Windows/Agents&quot; menu option in Jabberwocky.
* Select the MSN Agent from the list presented by the server.
* Click the Register button to open a new window asking for:
**Username = passort account email address, typically your hotmail address.
**Nick = Screen name to be shown to anyone you add to your buddy list.
**Password = Password for your passport account/hotmail address.
* Click the Register button at the bottom of the new window.

3. If all goes well, you will see the MSN Gateway added to your buddy list. If not, repeat part 2 on another server. Some servers may show MSN in their list of available agents, but have not updated their software for the latest protocols used by MSN.

4. Once you are registered, you can now add people to your buddy list. Note that you need to include the '''msn.''' ahead of the servername so that it knows what gateway agent to use. Some servers may use a slight variation and require '''msg.gate.''' before the server name, so try both to see what works.

If my friend's msn was amiga@hotmail.co.uk and my jabber server was @jabber.meta.net.nz..
then amiga'''%'''hotmail.com@'''msn.'''jabber.meta.net.nz

or another the trick to import MSN contacts is that you don't type the hotmail URL but the passport URL... e.g. Instead of: goodvibe%hotmail.com@msn.jabber.com  You type: goodvibe%passport.com@msn.jabber.com 
And the thing about importing contacts I'm afraid you'll have to do it by hand, one at the time...

 Google Talk

any XMPP server will work, but you have to add your contacts manually. a google talk user is typically either @gmail.com or @talk.google.com. a true gtalk transport is nice because it brings your contacts to you and (can) also support file transfers to/from google talk users.

implement Jingle a set of extensions to the IETF's Extensible Messaging and Presence Protocol (XMPP)

support ended early 2014 as Google moved to Google+ Hangouts which uses it own proprietary format


===Video Player MPlayer===

Many of the menu features (such as doubling) do not work with the current version of mplayer but using

4:3
 mplayer -vf scale=800:600 file.avi

16:9
 mplayer -vf scale=854:480 file.avi

if you want gui use;
 mplayer -gui 1 &lt;other params&gt; file.avi

&lt;pre &gt;
stack 1000000

; using AspireOS 1.xx 
; copy FROM SYS:Extras/Multimedia/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 1.x 
; copy FROM SYS:Tools/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

; using Icaros Desktop 2.x 
; copy FROM SYS:Utilities/MPlayer/ TO RAM:MPlayer ALL CLONE &gt; Nil:

cd RAM:MPlayer
run MPlayer -gui &gt; Nil:
;run MPlayer -gui -ao ahi_dev -playlist http://www.radio-paralax.de/listen.pls &gt; Nil: 
&lt;/pre &gt;

$ mplayer rtsp://127.0.0.1:554/sample_300kbit.mp4


MPlayer supports multicast streaming, and rtp/rtsp protocols (it might require [http://www.live555.com/openRTSP/ live555 library] to work with some streams). But you might have to build it where it's disabled. Also, multicast won't work with some AmiTCP-likes. MIAMI supported it, though.

AROS supports IPv4 (old but works) and this includes the needed address space for RTP.

If you mean multicast via RTP - mplayer handles it. You can even force UDP over TCP

-rtsp-stream-over-tcp

If the rtsp Real Time Streaming Protocol  server needs authentification:

-user -passwd


MPlayer - Menu - Open Playlist and load already downloaded .pls or .m3u file - auto starts around 4 percent cache

MPlayer - Menu - Open Stream and copy one of the .pls lines below into space allowed, press OK and press play button on main gui interface


Old 8bit 16bit remixes chip tune game music 
 
http://www.radio-paralax.de/listen.pls 

http://scenesat.com/

http://www.shoutcast.com/radio/Amiga

http://www.theoldcomputer.com/retro_radio/RetroRadio_Main.htm

http://www.kohina.com/

http://www.remix64.com/

http://retrogamer.net/forum/

http://retroasylum.podomatic.com/rss2.xml

http://retrogamesquad.com/

http://www.retronauts.com/

http://monsterfeet.com/noquarter/

http://www.retrogamingradio.com/

http://www.radiofeeds.co.uk/mp3.asp


[[#top|...to the top]]

====ZunePaint==== 

simplified typical workflow

* importing and organizing and photo management
* making global and regional local correction(s) - recalculation is necessary after each adjustment as it is not in real-time 
* exporting your images in the best format available with the preservation of metadata


Whilst achieving 80% of a great photo with just a filter, the remaining 20% comes from a manual fine-tuning of specific image attributes.


For photojournalism, documentary, and event coverage, minimal touching is recommended. Stick to Camera Raw for such shots, and limit changes to level adjustment, sharpness, noise reduction, and white balance correction.

For fashion or portrait shoots, a large amount of adjustment is allowed and usually ends up far from the original. Skin smoothing, blemish removal, eye touch-ups, etc. are common.  Might alter the background a bit to emphasize the subject.

Product photography usually requires a lot of sharpening, spot removal, and focus stacking.

For landscape shots, best results are achieved by doing the maximum amount of preparation before/while taking the shot. No amount of processing can match timing, proper lighting, correct gear, optimal settings, etc. Excessive post-processing might give you a dramatic shot but best avoided in the long term.


* White Balance - Left Amiga or F12 and K and under &quot;Misc color effects&quot; tab with a pull down for White Balance - color temperature also known as AKA tint (movies) or tones (painting) - warm temp raise red reduce green blue - cool raise blue lower red green 
* Exposure - exposure compensation, highlight/shadow recovery
* Noise Reduction - during RAW development or using external software
* Lens Corrections - distortion, vignetting, chromatic aberrations
* Detail - capture sharpening and local contrast enhancement
* Contrast - black point, levels (sliders) and curves tools (F12 and K) 
* Framing - straighten () and crop (F12 and F) 
* Refinements - color adjustments and selective enhancements - Left Amiga or F12 and K for RGB and YUV histogram tabs - 
* Resizing - enlarge for a print or downsize for the web or email (F12 and D) 
* Output Sharpening - customized for your subject matter and print/screen size


White Balance - F12 and K

scan your image for a shade which was meant to be white (neutral with each RGB value being equal) like paper or plastic which is in the same light as the subject of the picture. Use the dropper tool to select this color, similar colours will shift and you will have selected the perfect white balance for your part of the image - for the whole picture make sure RAZ or CLR button at the bottom is pressed before applying to the image above.


Exposure correction

F12 and K - YUV Y luminosity - RGB extra red tint - move red curve slightly down and move blue green curves slightly up

Workflows in practice

* Undo - Right AROS key or F12 and Z 
* Redo - Right AROS key or F12 and R

First flatten your image (if necessary) and then do a rotation until the picture looks level. 
* Crop the picture. Click the selection button and drag a box over the area of the picture you want to keep. Press the crop button and the rest of the photo will be gone. 
* Adjust your saturation, exposure, hue levels, etc., (right AROS Key and K for color correction) until you are happy with the photo. Make sure you zoom in all of the way to 100% and look the photo over, zoom back out and move around. Look for obvious problems with the picture. 
* After coloring and exposure do a sharpen (Right AROS key and E for Convolution and select drop down option needed), e.g. set the matrix to 5x5 (roughly equivalent Amount to 60%) and set the Radius to 1.0. Click OK.


And save your picture


Implemented or would like to see for simplification and ease of use

basic filters (presets) like black and white, monochrome, edge detection (sobel), motion/gaussian blur, 
* negative, sepiatone, retro vintage, night vision, colour tint, color gradient, color temperature, glows, fire, lightning, lens flare, emboss, filmic, pixelate mezzotint, antialias, etc.

adjust / cosmetic tools such as crop, 
* reshaping tools, straighten, smear, smooth, perspective, liquify, bloat, pucker, push pixels in any direction, dispersion, transform like warp, blending with soft light, page-curl, whirl, ripple, fisheye, neon,  etc. 
* red eye fixing, blemish remover, skin smoothing, teeth whitener, make eyes look brighter, desaturate,

effects like oil paint, cartoon, pencil sketch, charcoal, noise/matrix like sharpen/unsharpen, (right AROS key with A for Artistic effects) 
* blend two image, gradient blend, masking blend, explode, implode, custom collage, surreal painting, comic book style, needlepoint, stained glass, watercolor, mosaic, stencil/outline, crayon, chalk, etc.

borders such as 
* dropshadow, rounded, blurred, color tint, picture frame, film strip polaroid, bevelled edge, etc.

brushes e.g.
* frost, smoke, etc.

and manual control of

fix lens issues including vignetting (darkening), color fringing and barrel distortion, and chromatic and geometric aberration -  lens and body profiles

perspective correction

levels - directly modify the levels of the tone-values of an image, by using sliders for highlights, midtones and shadows

curves -  Color Adjustment and Brightness/Contrast

color balance

one single color transparent (alpha channel (color information/selections) for masking and/or blending ) for backgrounds, etc.

Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors

decompose layer into a set of layers with each holding a different type of pattern that is visible within the image

any selection using any selecting tools like lasso tool, marquee tool etc. the selection will temporarily be save to alpha 
If you create your image without transparency then the Alpha channel is not present, but you can add later.

File formats like .psd (Photoshop file has layers, masks etc.  contains edited sensor data. The original sensor data is no longer available) .xcf .raw .hdr

Image Picture Formats
* low dynamic range (JPEG, PNG, TIFF 8-bit), 16-bit (PPM, TIFF), typically as a 16-bit TIFF in either ProPhoto or AdobeRGB colorspace -  TIFF files are also fairly universal – although, if they contain proprietary data, such as Photoshop Adjustment Layers or Smart Filters, then they can only be opened by Photoshop making them proprietary.
* linear high dynamic range (HDR) images (PFM, [http://www.openexr.com/ ILM .EXR], jpg, [http://aminet.net/util/dtype cr2] (canon tiff based), hdr, NEF, CRW, ARW, MRW, ORF, RAF (Fuji), PEF, DCR, SRF, ERF, DNG files are RAW converted to an Adobe proprietary format - a container that can embed the raw file as well as the information needed to open it) 
An old version of [http://archives.aros-exec.org/index.php?function=browse&amp;cat=graphics/convert dcraw]

There is no single RAW file format. Each camera manufacturer has one or more unique RAW formats. RAW files contain the brightness levels data captured by the camera sensor. This data cannot be modified. A second smaller file, separate XML file, or within a database with instructions for the RAW processor to change exposure, saturation etc. The extra data can be changed but the original sensor data is still there. RAW is technically least compatible.

A raw file is high-bit (usually 12 or 14 bits of information) but a camera-generated TIFF file will be usually converted by the camera (compressed, downsampled) to 8 bits. The raw file has no embedded color balance or color space, but the TIFF has both. These three things (smaller bit depth, embedded color balance, and embedded color space) make it so that the TIFF will lose quality more quickly with image adjustments than the raw file. The camera-generated TIFF image is much more like a camera processed JPEG than a raw file. A strong advantage goes to the raw file. The power of RAW files, such as the ability to set any color temperature non-destructively and will contain more tonal values.

The principle of preserving the maximum amount of information to as late as possible in the process. The final conversion - which will always effectively represent a &quot;downsampling&quot; - should prevent as much loss as possible.

Once you save it as TIFF, you throw away some of that data irretrievably. When saving in the lossy JPEG format, you get tremendous file size savings, but you've irreversibly thrown away a lot of image data. As long as you have the RAW file, original or otherwise, you have access to all of the image data as captured.

Keyboard equivalence with Photoshop(tm) would help 

File
PHOTOSHOP	SHORTCUT	GIMP
New	Ctrl+n	New
Open	Ctrl+o	Open
Close	Ctrl+w	Close
Save	Ctrl+s	Save
Save as	Shift+Ctrl+s	Save as
Revert	F12	Revert
Print	Ctrl+p	Print
Exit	Ctrl+q	Quit
 
Edit
PHOTOSHOP	SHORTCUT	GIMP
Undo/Redo (1 level)	Ctrl+z	Undo (Redo is Shift+Ctrl+z)
Cut	Ctrl+x	Cut
Copy	Ctrl+c	Copy
Paste	Ctrl+v	Paste
Paste Into	Shift+Ctrl+v	Paste Into
Fill with FG color	Alt+Backspace	Fill with FG color
Fill with BG color	Control+Backspace	Fill with BG color
 
Image/Colors
PHOTOSHOP	SHORTCUT	GIMP
Levels	Ctrl+l	Levels
Auto Contrast	Shift+Ctrl+Alt+l	Stretch Contrast (same?)
Curves	Ctrl+m	Curves
Color Balance	Ctrl+b	Color Balance
Hue/Saturation	Ctrl+u	Hue-Saturation
Desaturate	Shift+Ctrl+u	Desaturate
Invert	Ctrl+i	Invert
Default Colors	d	Default Colors
Switch Colors	x	Switch Colors
 
Layer
PHOTOSHOP	SHORTCUT	GIMP
New Layer	Shift+Ctrl+n	New Layer
Layer via Copy	Ctrl+j	Duplicate Layer
Bring (layer) to Front	Shift+Ctrl+]	Layer to Top
Send (layer) to Back	Shift+Ctrl+[	Layer to Bottom
Bring (layer) Forward	Ctrl+]	Raise Layer
Send (layer) Backward	Ctrl+[	Lower Layer
Select Top Layer	Shift+Alt+]	Select Top Layer
Select Bottom Layer	Shift+Alt+[	Select Bottom Layer
Select One Layer Forward	Alt+]	Select Previous Layer
Select One Layer Backward	Alt+[	Select Next Layer
Merge Down	Ctrl+e	Merge Down
Merge Visible	Shift+Ctrl+e	Merge Visible
Preserve Transparency	/	Keep Transparency
Cycle Modes Forwards	Shift+=	Next Layer Mode
Cycle Modes Backwards	Shift+-	Previous Layer Mode
 
Select
PHOTOSHOP	SHORTCUT	GIMP
Select All	Ctrl+a	Select All
Deselect	Ctrl+d	Select None
Inverse	Shift+Ctrl+i	Invert
Feather	Ctrl+Alt+d	Feather
 
View
PHOTOSHOP	SHORTCUT	GIMP
Zoom In	Ctrl+=	Zoom In
Zoom Out	Ctrl+-	Zoom Out
Fit on Screen	Ctrl+0	Zoom to Fit Window
Actual Pixels	Ctrl+Alt+0	Zoom 1:1
Show/Hide Extras	Ctrl+h	Toggle Show Selection (close enough?)
Show/Hide Guides	Ctrl+'	Toggle Show Guides
Show/Hide Grid	Ctrl+Alt+'	Toggle Show Grid
Show/Hide Rulers	Ctrl+r	Toggle Show Rulers
Snap	Ctrl+;	Snap to Guides
Scroll View Up	Page Up	Scroll Page Up
Scroll View Down	Page Down	Scroll Page Down
Scroll View Left	Ctrl+Page Up	Scroll Page Left
Scroll View Right	Ctrl+Page Down	Scroll Page Right
 
Window/Dialogs
PHOTOSHOP	SHORTCUT	GIMP
?	F5	Tools Dialog
Color Tab	F6	Colors Dialog
Layers Tab	F7	Layers Dialog
Info Tab	F8	Image Information
 
Tools
PHOTOSHOP	SHORTCUT	GIMP
Rectangular Marquee Tool	m	Rect Select Tool
Elliptical Marquee Tool	Shift+m	Ellipse Select Tool
 	*This is a toggle between 'Elliptical Marquee Tool' and 'Rectangular Marquee Tool' in Photoshop	 
Move Tool	v	Move Tool
Lasso Tool	l	Free Select Tool
Magic Wand Tool	w	Fuzzy Select Tool
Crop Tool	c	Crop &amp; Resize Tool
Airbrush Tool	j	Airbrush Tool
Paintbrush Tool	b	Paintbrush Tool
Clone Stamp Tool	s	Clone Stamp Tool
Eraser Tool	e	Eraser Tool
Gradient Tool	g	Blend Tool
Paint Bucket Tool	Shift+g	Bucket Fill Tool
 	*This is a toggle between 'Paint Bucket Tool' and 'Gradient Tool' in Photoshop	 
Blur Tool	r	Convolve Tool
Dodge Tool	o	DodgeBurn Tool
Type Tool	t	Text Tool
Pen Tool	p	Bezier Select Tool
Eye Dropper Tool	i	Color Picker Tool
Zoom Tool	z	Magnify Tool
Previous Brush	,	Previous Brush
Next Brush	.	Next Brush
First Brush	Shift+&lt;	First Brush
Last Brush	Shift+&gt;	Last Brush
Decrease Brush Size	[	Decrease Brush Size
Increase Brush Size	]	Increase Brush Size
Decrease Brush Hardness	{	Decrease Brush Hardness
Increase Brush Hardness	}	Increase Brush Hardness
 
Help
PHOTOSHOP	SHORTCUT	GIMP
Help	F1	Help
Context Help	Shift+F1	Context Help
 
Misc.
PHOTOSHOP	SHORTCUT	GIMP
Last Filter	Ctrl+f	Repeat Last Filter
?	Shift+Ctrl+f	Reshow Last Filter
Preferences	Ctrl+k	Preferences
Liquify	Shift+Ctrl+x	IWarp (close enough?)
Toggle Quick Mask	q	Toggle Quick Mask


Spotlights - triangle of white opaque shape

Cutting out and/or replacing unwanted background or features - select large areas with the selection option like the Magic Wand tool (aka Color Range) or the Lasso (quick and fast) with feather 2 to soften edge or the pen tool which adds points/lines/Bézier curves (better control but slower), hold down the shift button as you click to add extra points/areas of the subject matter to remove. Increase the tolerance to cover more areas. To subtract from your selection hold down alt as you're clicking. 
* Layer masks are a better way of working than Erase they clip (black hides/hidden white visible/reveal). Clone Stamp can be simulated by   and brushes for other areas. 
* Leave the fine details like hair, fur, etc. to later with lasso and the shift key to draw a line all the way around your subject. Gradient Mapping - Inverse - Mask. i.e. Refine your selected image with edge detection and using the radius and edge options / adjuster (increase/decrease contrast) so that you will capture more fine detail from the background allowing easier removal. 
Remove fringe/halo

saving image as png rather than jpg/jpeg to keep transparency background intact.


Implemented [http://colorizer.org/ colour model representations] [http://paulbourke.net/texture_colour/colourspace/ Mathematical approach] - Photo stills are spatially 2d (h and w), but are colorimetrically 3d (r g and b, or H L S, or Y U V etc.) as well. 
* RGB - split cubed mapped color model for photos and computer graphics hardware using the light spectrum (adding and subtracting) 
* YUV - Y-Lightness U-blue/yellow V-red/cyan (similar to YPbPr and YCbCr) used in the PAL, NTSC, and SECAM composite digital TV color [http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299 video]


Histograms

White balanced (neutral) if the spike happens in the same place in each channel of the RGB graphs. If not, you're not balanced. 
If you have sky you'll see the blue channel further off to the right.

RGB is best one to change colours. These elements RGB is a 3-channel format containing data for Red, Green, and Blue in your photo scale between 0 and 255. The area in a picture that appears to be brighter/whiter contains more red color as compared to the area which is relatively darker. Similarly in the green channel the area that appears to be darker contains less amount of green color as compared to the area that appears to be brighter.  Similarly in the blue channel the area appears to be darker contains less amount of blue color as compared to the area that appears to be brighter. Brightness luminance histogram also matches the green histogram more than any other color - human eye interprets green better e.g. RGB rough ratio 15/55/30%

RGBA (RGB+A, A means alpha channel) .  The alpha channel is used for &quot;alpha compositing&quot;, which can mostly be associated as &quot;opacity&quot;.  AROS deals in RGB with two digits for every color (red, green, blue), in ARGB you have two additional hex digits for the alpha channel.

The shadows are represented by the left third of the graph.  The highlights are represented by the right third.  And the midtones are, of course, in the middle.  The higher the black peaks in the graph, the more pixels are concentrated in that tonal range (total black area). 
By moving the black endpoint, which identifies the shadows (darkness) and a white light endpoint (brightness) up and down either sides of the graph, colors are adjusted based on these points. 
By dragging the central one, can increased the midtones and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .


RGB Curves

* Move left endpoint (black point) up or right endpoint (white point) up brightens 
* Move left endpoint down or right endpoint down darkens

Color Curves

* Dragging up on the Red Curve increases the intensity of the reds in the image but 
* Dragging down on the Red Curve decreases the intensity of the reds and thus increases the apparent intensity of its complimentary color, cyan. Green’s complimentary color is magenta, and blue’s is yellow.
&lt;pre&gt;
 Red &lt;-&gt; Cyan
 Green &lt;-&gt;Magenta
 Blue &lt;-&gt;Yellow 
&lt;/pre&gt;

YUV Best option to analyse and pull out statistical elements of any picture (i.e.  separate luminance data from color data). The line in Y luma tone box represents the brightness of the image with the point in the bottom left been black, and the point in the top right as white.  A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram.   A histogram that is skewed to the right would indicate a picture that is a bit overexposed because most of the color data is on the lighter side (increase exposure with higher value F), while a histogram with the curve on the left shows a picture that is underexposed. This is good information to have when using post-processing software because it shows you not only where the color data exists for a given picture, but also where any data has been clipped (extremes on edges of either side): that is, it does not exist and, therefore, cannot be edited.  By dragging the endpoints of the line and as well as the central one, can increased the dark/shadows, midtones and light/bright parts and control the contrast, raise shadows levels, clip or softly eliminate unsafe levels, alter gamma, etc... in a way that is much more precise and creative .

The U and V chroma parts show color difference components of the image. It’s useful for checking whether or not the overall chroma is too high, and also whether it’s being limited too much
Can be used to create a negative image but also 
With U (Cb), the higher value you are, the more you're on the blue primary color. If you go to the low values then you're on blue complementary color, i.e. yellow.
With V (Cr), this is the same principle but with Red and Cyan.
e.g. If you push U full blue and V full red, you get magenta. If you push U full yellow and V full Cyan then you get green.

YUV simultaneously adds to one side of the color equation while subtracting from the other.  
using YUV to do color correction can be very problematic because each curve alters the result of each other: the mutual influence between U and V often makes things tricky. You may also be careful in what you do to avoid the raise of noise (which happens very easily). Best results are obtained with little adjustments

sunset that looks uninspiring and needs some color pop especially for the rays over the hill, a subtle contrast raise while setting luma values back to the legal range without hard clipping.


Free royalty pictures, [www.freeimages.com ], [http://imageshack.us/ ], [http://photobucket.com/ ], [http://rawpixels.net/], [], [], [], 


====Lunapaint====

Pixel based drawing app with onion-skin animation function

 Blocking, Shading, Coloring, adding detail 

&lt;pre&gt;
b BRUSH
e ERASER

alt eyedropper 
v layer tool 

z ZOOM / MAGNIFY &lt; &gt; n 
spc panning 
m  marque 
q lasso 
w same color selection / region 
&lt;/pre&gt;

&lt;pre&gt;
, LM RM
v 
V
f  filter 
F 
.  size 

p 
,  pick color 
[] last / next color 
&lt;/pre&gt;


There is not much missing in Lunapaint to be as good as FlipBook and then you have to take into account that Flipbook is considered to be amongst the best and easiest to use animation software out there. Ok to be honest Flipbook has some nice features that require more heavy work but those aren't so much needed right away, things like camera effects, sound, smart fill, export to different movie file formats etc.

Tried Flipbook with my tablet and compared it to Luna. The feeling is the same when sketching. LunaPaint is very responsive/fluent to draw with. Just as Flipbook is, and that responsiveness is something its users have mentioned as one of the positive sides of said software.

 author was learning MUI. Some parts just have to be rewritten with proper MUI classes before new features can be added.

* add [Frame Add] / [Frame Del]
* whole animation feature is impossible to use. If you draw 2 color maybe but if you start coloring your cells then you get in trouble
* pickup the entire image as a brush, not just a selection ? And consequently remove the brush from memory when one doesn't need it anymore. can pick up a brush and put it onto a new image but cropping isn't possible, nor to load/save brushes.
* Undo is something I longed for ages in Lunapaint.
* to import into the current layer, other types of images (e.g. JPEG) besides RAW64.
* implement graphic tablet features support


**GENERAL DRAWING**

Miss it very much:
UNDO
ERASER
COLORPICKER - has to show on palette too which color got picked.
BACKGROUND COLOR -Possibility to select from &quot;New project screen&quot;

Miss it somewhat:
ICON for UNDO
ICON for ERASER
ICON for CLEAR SCREEN ( What can I say? I start over from scratch very often )
BRUSH - possibility to cut out as brush not just copy off image to brush

**ANIMATING**

Miss it very much:
NUMBER OF CELLS - Possibity to change total no. of cells during project
ANIM BRUSH - Possibility to pick up a selected part of cells into an animbrush

Miss it somewhat:
ADD/REMOVE FRAMES: Add/remove single frame

In general LunaPaint is really well done and it feels like a new DeluxePaint version. It works with my tablet. Sure there's much missing of course but things can always be added over time. So there is great potential in LunaPaint that's for sure. Animations could be made in it and maybe put together in QuickVideo, saving in .gif or .mng etc some day.


LAYERS
-Layers names don't get saved globally in animation frames
-Layers order don't change globally in an animation (perhaps as default?).

EXPORTING IMAGES
-Exporting frames to JPG/PNG gives problems with colors. (wrong colors. See my animatiopn --&gt; My robot was blue now it's &quot;gold&quot; ) I think this only happens if you have layers.
-Trying to flatten the layers before export doesn't work if you have animation frames only the one you have visible will flatten properly all other frames are destroyed. (Only one of the layers are visible on them)
-Exporting images filenames should be for example e.g. file0001, file0002...file0010 instead as of now file1, file2...file10

LOAD/SAVE (Preferences)
-Make a setting for the default &quot;Work&quot; folder.

* Destroyed colors if exported image/frame has layers 
* mystic color cycling of the selected color while stepping frames back/forth (annoying)

&lt;pre&gt;
Deluxe Paint II enhanced key shortcuts 
    NOTE: @ denotes the ALT key

    [Technique]

    F1  - Paint
    F2  - Single Colour
    F3  - Replace
    F4  - Smear
    F5  - Shade
    F6  - Cycle
    F7  - Smooth
     M  - Colour Cycle

    [Brush]

     B  - Restore
     O  - Outline
     h  - Halve brush size
     H  - Double brush size
     x  - Flip brush on X axis
     X  - Double brush size on X axis only
     y  - Flip on Y 
     Y  - Double on Y
     z  - Rotate brush 90 degrees
     Z  - Stretch

    [Stencil]

     `  - Stencil On

    [Miscellaneous]

    F9  - Info Bar
    F10 - Selection Bar
    @o  - Co-Ordinates
    @a  - Anti-alias
    @r  - Colourise
    @t  - Translucent
    TAB - Colour Cycle

    [Picture]

     L  - Load
     S  - Save
     j  - Page to Spare(Flip)
     J  - Page to Spare(Copy)
     V  - View Page
     Q  - Quit

    [General Keys]

     m  - Magnify
     &lt;  - Zoom In
     &gt;  - Zoom Out
     [  - Palette Colour Up
     ]  - Palette Colour Down
     (  - Palette Colour Left
     )  - Palette Colour Right
     ,  - Eye Dropper
     .  - Pixel / Brush Toggle
     /  - Symmetry
     |  - Co-Ordinates
    INS - Perspective Control
    +/- - Brush Size (Fine Control)
     w  - Unfilled Polygon
     W  - Filled Polygon
     e  - Unfilled Ellipse
     E  - Filled Ellipse
     r  - Unfilled Rectangle
     R  - Filled Rectangle
     t  - Type/text tool
     a  - Select Font
    u/U - Undo
     d  - Brush
     D  - Filled Non-Uniform Polygon
    f/F - Fill Options
    g/G - Grid
    h/H - Brush Size (Coarse Control)
     K  - Clear
     c  - Unfilled Circle
     C  - Filled Circle
     v  - Line
     b  - Scissor Select and Toggle
     B  - Brush
    {,} - Toggle between two background colours
&lt;/pre&gt;

====Lodepaint====

Pixel based painting artwork app

====Grafx2====

Pixel based painting artwork app aesprite like 

[https://www.youtube.com/watch?v=59Y6OTzNrhk aesprite workflow keys and tablet use], [], 


====Vector Graphics ZuneFIG====

Vector Image Editing of files .svg .ps .eps


*Objects - raise lower rotate flip aligning snapping 
*Path - unify subtract intersect exclude divide 
*Colour - fill stroke 
*Stroke - size 
*Brushes - 
*Layers - 
*Effects - gaussian bevels glows shadows 
*Text    - 
*Transform - 


 AmiFIG ([http://epb.lbl.gov/xfig/frm_introduction.html xfig manual]) 

[[File:MyScreen.png|thumb|left|alt=Showing all Windows open in AmiFIG.|All windows available to AmiFIG.]]

for drawing simple to intermediate vector graphic images for scientific and technical uses and for illustration purposes for those with talent

;Menu options
* Load - fig format but import(s) SVG
* Save - fig format but export(s) eps, ps, pdf, svg and png
* PAN = Ctrl + Arrow keys 
* Deselect all points

There is no selected object until you apply the tool, and the selected object is not highlighted.

;Metrics - to set up page and styles - first window to open on new drawings

;Tools - Drawing Primitives - set Attributes window first before clicking any Tools button(s) 
* Shapes - circles, ellipses, arcs, splines, boxes,  polygon 
* Lines - polylines
* Text &quot;T&quot; button 
* Photos - bitmaps
* Compound - Glue, Break, Scale 
* POINTs - Move, Add, Remove 
* Objects - Move, Copy, Delete, Mirror, Rotate, Paste 
use right mouse button to stop extra lines, shapes being formed and the left mouse to select/deselect tools button(s)
* Rotate - moves in 90 degree turns centered on clicked POINT of a polygon or square

;Attributes which provide change(s) to the above primitives 
* Color
* Line Width
* Line Style
* arrowheads

;Modes 
Choose from freehand, charts, figures, magnet, etc.

;Library - allows .fig clip-art to be stored 
* compound tools to add .fig(s) together

;FIG 3.2 [http://epb.lbl.gov/xfig/fig-format.html Format] as produced by xfig version 3.2.5 
&lt;pre&gt;
Landscape
Center
Inches
Letter 
100.00
Single
-2
1200 2
4 0 0 50 -1 0 12 0.0000 4 135 1050 1050 2475 This is a test.01
&lt;/pre&gt;

# change the text alignment within the textbox. I can choose left, center, or right aligned by either changing the integer in the second column from 0 (left) to 1 or 2 (center, or right). 
# The third integer in the row specifies fontcolor. For instance, 0 is black, but blue is 1 and Green3 is 13.
# The sixth integer in the bottom row specifies fontface. 0 is Times-Roman, but 16 is Helvetica (a MATLAB default).
# The seventh number is fontsize. 12 represents a 12pt fontsize. Changing the fontsize of an item really is as easy as changing that number to 20.
# The next number is the counter-clockwise angle of the text. Notice that I have changed the angle to .7854 (pi/4 rounded to four digits=45 degrees).
# twelfth number is the position according to the standard “x-axis” in Xfig units from the left. Note that 1200 Xfig units is equivalent to once inch.
# thirteenth number is the “y-position” from the top using the same unit convention as before.

* The nested text string is what you entered into the textbox.
* The “01″ present at the end of that line in the .fig file is the closing tag. For instance, a change to \100 appends a @ symbol at the end of the period of that sentence.

; Just to note there are no layers, no 3d functions, no shading, no transparency, no animation


[[#top|...to the top]]

===Audio===


# AHI uses linear panning/balance, which means that in the center, you will get -6dB. If an app uses panning, this is what you will get. Note that apps like Audio Evolution need panning, so they will have this problem.

# When using AHI Hifi modes, mixing is done in 32-bit and sent as 32-bit data to the driver. The Envy24HT driver uses that to output at 24-bit (always).

# For the Envy24/Envy24HT, I've made 16-bit and 24-bit inputs (called Line-in 16-bit, Line-in 24-bit etc.). There is unfortunately no app that can handle 24-bit recording.


====Music Mods====

Digital module (mods) trackers are music creation software using samples and sometimes soundfonts, audio plugins (VST, AU or RTAS), MIDI.

Generally, MODs are similar to MIDI in that they contain note on/off and other sequence messages that control the mod player. Unlike (most) midi files, however, they also contain sound samples that the sequence information actually plays. MOD files can have many channels (classic amiga mods have 4, corresponding to the inbuilt sound channels), but unlike MIDI, each channel can typically play only one note at once. However, since that note might be a sample of a chord, a drumloop or other complex sound, this is not as limiting as it sounds.

Like MIDI, notes will play indefinitely if they're not instructed to end. Most trackers record this information automatically if you play your music in live. If you're using manual note entry, you can enter a note-off command with a keyboard shortcut - usually Caps Lock.

In fact when considering file size MOD is not always the best option. Even a dummy song wastes few kilobytes for nothing when a simple SID tune could be few hundreds bytes and not bigger than 64kB. AHX is another small format, AHX tunes are never larger than 64kB excluding comments.

[https://www.youtube.com/watch?v=rXXsZfwgil Protrekkr] (previously aka [w:Juan_Antonio_Arguelles_Rius|NoiseTrekkr])

If Protrekkr does not start, please check if the Unit 0 has been setup in the AHI prefs and still not, go to the directory utilities/protrekkr and double click on the Protrekkr icon

*Sample
*Note - Effect 
*Track (column) - Pattern - Order

It all starts with the Sample which is used to create Note(s) in a Track (column of a tracker) 
The Note can be changed with an Effect.  A Track of Note(s) can be collected into a Pattern (section of a song) and these can be given Order to create the whole song.

Patience (notes have to be entered one at a time) or playing the bassline on a midi controller (faster - see midi section above).  Best approach is to wait until a melody popped into your head.

*Up-tempo means the track should be reasonably fast, but not super-fast. 
*Groovy and funky imply the track should have some sort of &quot;swing&quot; feel, with plenty of syncopation or off beat emphasis and a recognizable, melodic bass line. 
*Sweet and happy mean upbeat melodies, a major key and avoiding harsh sounds.
*Moody - minor key

First, create a quick bass sound, which is basically a sine wave, but can be hand drawn for a little more variance. It could also work for the melody part, too.

This is usually a bass guitar or some kind of synthesizer bass. The bass line is often forgotten by inexperienced composers, but it plays an important role in a musical piece. Together with the rhythm section the bass line forms the groove of a song. It's the glue between the rhythm section and the melodic layer of a song.

The drums are just pink noise samples, played at different frequencies to get a slightly different sound for the kick, snare, and hihats.

Instruments that fall into the rhythm category are bass drums, snares, hi-hats, toms, cymbals, congas, tambourines, shakers, etc. Any percussive instrument can be used to form part of the rhythm section.

The lead is the instrument that plays the main melody, on top of the chords. There are many instruments that can play a lead section, like a guitar, a piano, a saxophone or a flute. The list is almost endless. There is a lot of overlap with instruments that play chords. Often in one piece an instrument serves both roles. The lead melody is often played at a higher pitch than the chords.

Listened back to what was produced so far, and a counter-melody can be imagined, which can be added with a triangle wave.

To give the ends of phrases some life, you can add a solo part with a crunchy synth. By hitting random notes in the key of G, then edited a few of them.

For the climax of the song, filled out the texture with a gentle high-pitch pad… …and a grungy bass synth.


The arrow at A points at the pattern order list. As you see, the patterns don't have to be in numerical order. This song starts with pattern &quot;00&quot;, then pattern &quot;02&quot;, then &quot;03&quot;, then &quot;01&quot;, etcetera. Patterns may be repeated throughout a song.

The B arrow points at the song title. Below it are the global BPM and speed parameters. These determine the tempo of the song, unless the tempo is altered through effect commands during the song.

The C arrow points at the list of instruments. An instrument may consist of multiple samples. Which sample will be played depends on the note. This can be set in the Instrument Editing screen. Most instruments will consist of just one sample, though. The sample list for the selected instrument can be found under arrow D.

Here's a part of the main editing screen. This is where you put in actual notes. Up to 32 channels can be used, meaning 32 sounds can play simultaneously. The first six channels of pattern &quot;03&quot; at order &quot;02&quot; are shown here. The arrow at A points at the row number. The B arrow points at the note to play, in this case a C4. The column pointed at by the C arrow tells us which instrument is associated with that note, in this case instrument #1 &quot;Kick&quot;.

The column at D is used (mainly) for volume commands. In this case it is left empty which means the instrument should play at its default volume. You can see the volume column being used in channel #6.

The E column tells us which effect to use and any parameters for that effect. In this case it holds the &quot;F&quot; effect, which is a tempo command. The &quot;04&quot; means it should play at tempo 4 (a smaller number means faster).

Base pattern

When I create a new track I start with what I call the base pattern. It is worthwhile to spend some time polishing it as a lot of the ideas in the base pattern will be copied and used in other patterns. At least, that's how I work. Every musician will have his own way of working. In &quot;Wild Bunnies&quot; the base pattern is pattern &quot;03&quot; at order &quot;02&quot;.

In the section about selecting samples I talked about the four different categories of instruments: drums, bass, chords and leads. That's also how I usually go about making the base pattern. I start by making a drum pattern, then add a bass line, place some chords and top it off with a lead. This forms the base pattern from which the rest of the song will grow.


Drums

Here's a screenshot of the first four rows of the base pattern. I usually reserve the first four channels or so for the drum instruments. Right away there are a couple of tricks shown here. In the first channel the kick, or bass drum, plays some notes. Note the alternating F04 and F02 commands. The &quot;F&quot; command alters the tempo of the song and by quickly alternating the tempo; the song will get some kind of &quot;swing&quot; feel.

In the second channel the closed hi-hat plays a fairly simple pattern. Further down in the channel, not shown here, some open hi-hat notes are added for a bit of variation.

In the third and fourth channel the snare sample plays. The &quot;8&quot; command is for panning. One note is panned hard to the left and the other hard to the right. One sample is played a semitone lower than the other. This results in a cool flanging effect. It makes the snare stand out a little more in the mix.


Bass line

There are two different instruments used for the bass line. Instrument #6 is a pretty standard synthesized bass sound. Instrument #A sounds a bit like a slap bass when used with a quick fade out. By using two different instruments the bass line sounds a bit more ”human”. The volume command is used to cut off the notes. However, it is never set to zero. Setting the volume to a very small value will result in a reverb-like effect. This makes the song sound more &quot;live&quot;.

The bass line hints at the chords that will be played and the key the song will be in. In this case the key of the song is D-major, a positive and happy key.


Chords

The D major chords that are being played here are chords stabs; short sounds with a quick decay (fade out). Two different instruments (#8 and #9) are used to form the chords. These instruments are quite similar, but have a slightly different sound, panning and volume decay. Again, the reason for this is to make the sound more human. The volume command is used on some chords to simulate a delay, to achieve more of a live feel. The chords are placed off-beat making for a funky rhythm.


Lead

Finally the lead melody is added. The other instruments are invaluable in holding the track together, but the lead melody is usually what catches people's attention.

A lot of notes and commands are used here, but it looks more complex than it is. A stepwise ascending melody plays in channel 13. Channel 14 and 15 copy this melody, but play it a few rows later at a lower volume. This creates an echo effect. A bit of panning is used on the notes to create some stereo depth. Like with the bass line, instead of cutting off notes the volume is set to low values for a reverb effect. The &quot;461&quot; effect adds a little vibrato to the note, which sounds nice on sustained notes.

Those paying close attention may notice the instrument used here for the lead melody is the same as the one used for the bass line (#6 &quot;Square&quot;), except played two or three octaves higher. This instrument is a looped square wave sample. Each type of wave has its own quirks, but the square wave (shown below) is a really versatile wave form.

Song structure

Good, catchy songs are often carefully structured into sections, some of which are repeated throughout the song with small variations.

A typical pop-song structure is: Intro - Verse - Chorus - Verse - Chorus - Bridge - Chorus.

Other single sectional song structures are

&lt;pre&gt;
Strophic or AAA Song Form - oldest story telling with refrain (often title of the song) repeated in every verse section melody 
AABA Song Form - early popular, jazz and gospel fading during the 1960s 
AB or Verse/Chorus Song Form - songwriting format of choice for modern popular music since the 1960s 
Verse/Chorus/Bridge Song Form
ABAB Song Form
ABAC Song Form
ABCD Song Form
AAB 12-Bar Song Form - three four-bar lines or sub-sections 
8-Bar Song Form
16-Bar Song Form
Hybrid / Compound Song Forms
&lt;/pre&gt;

The most common building blocks are:

#INTRODUCTION(INTRO)
#VERSE
#REFRAIN
#PRE-CHORUS / RISE / CLIMB
#CHORUS
#BRIDGE
#MIDDLE EIGHT
#SOLO / INSTRUMENTAL BREAK
#COLLISION
#CODA / OUTRO
#AD LIB (OFTEN IN CODA / OUTRO)

The chorus usually has more energy than the verse and often has a memorable melody line. As the chorus is repeated the most often during the song, it will be the part that people will remember.

The bridge often marks a change of direction in the song. It is not uncommon to change keys in the bridge, or at least to use a different chord sequence. The bridge is used to build up tension towards the big finale, the last repetition of chorus.


 Playing

RCTRL:                           Play song from row 0.

LSHIFT + RCTRL:                  Play song from current row.

RALT:                            Play pattern from row 0.

LSHIFT + RALT:                   Play pattern from current row.

Left mouse on '&gt;':               Play song from row 0.

Right mouse on '&gt;':              Play song from current row.

Left mouse on '|&gt;':              Play pattern from row 0.

Right mouse on '|&gt;':             Play pattern from current row.

Left mouse on 'Edit/Record':     Edit mode on/off.

Right mouse on 'Edit/Record':    Record mode on/off.


 Editing 


LSHIFT + ESCAPE:                 Switch large patterns view on/off

TAB:                    Go to next track

LSHIFT + TAB:                    Go to prev. track

LCTRL + TAB:                    Go to next note in track

LCTRL + LSHIFT + TAB:           Go to prev. note in track

SPACE:                           Toggle Edit mode On &amp; Off

(Also stop if the song is being played)

SHIFT SPACE:                     Toggle Record mode On &amp; Off

(Wait for a key note to be pressed

or a midi in message to be received)

DOWN ARROW:                      1 Line down

UP ARROW:                        1 Line up

LEFT ARROW:                      1 Row left

RIGHT ARROW:                     1 Row right

PREV. PAGE:                      16 Arrows Up

NEXT PAGE:                       16 Arrows Down

HOME / END:                      Top left / Bottom right of pattern

LCTRL + HOME / END:              First / last track

F5, F6, F7, F8, F9:              Jump to 0, 1/4, 2/4, 3/4, 4/4 lines of the patterns

+ - (Numeric keypad):           Next / Previous pattern

LCTRL + LEFT / RIGHT:           Next / Previous pattern

LCTRL + LALT + LEFT / RIGHT:    Next / Previous position

LALT + LEFT / RIGHT:           Next / Previous instrument

LSHIFT + M:                      Toggle mute state of the current channel

LCTRL + LSHIFT + M:             Solo the current track / Unmute all

LSHIFT + F1 to F11:              Select a tab/panel

LCTRL + 1 to 4:                 Select a copy buffer


 Tracking 

1st and 2nd keys rows:           Upper octave row

3rd and 4th keys rows:           Lower octave row

RSHIFT:                          Insert a note off

/ and * (Numeric keypad)

or F1 F2:                        -1 or +1 octave

INSERT / BACKSPACE:              Insert or Delete a line in current track

or current selected block.

LSHIFT + INSERT / BACKSPACE:     Insert or Delete a line in current pattern

DELETE (NOT BACKSPACE):          Empty a column or a selected block.


 Blocks

(Blocks can also be selected with the mouse by holding the right button and scrolling the pattern with the mouse wheel).


LCTRL + A:          Select entire current track

LCTRL + LSHIFT + A: Select entire current pattern

LALT + A:          Select entire column note in a track

LALT + LSHIFT + A: Select all notes of a track

LCTRL + X:          Cut the selected block and copy it into the block-buffer

LCTRL + C:          Copy the selected block into the block-buffer

LCTRL + V:          Paste the data from the block buffer into the pattern

LCTRL + I:          Interpolate selected data from the first to the last row of a selection

LSHIFT + ARROWS

PREV. PAGE

NEXT PAGE: Select a block

LCTRL + R:          Randomize the select columns of a selection, works similar to CTRL + I (interpolating them)

LCTRL + U:          Transpose the note of a selection to 1 seminote higher

LCTRL + D:          Transpose the note of a selection to 1 seminote lower

LCTRL + LSHIFT + U: Transpose the note of a selection to 1 seminote higher (only for the current instrument)

LCTRL + LSHIFT + D: Transpose the note of a selection to 1 seminote lower  (only for the current instrument)

LCTRL + H:          Transpose the note of a selection to 1 octave higher

LCTRL + L:          Transpose the note of a selection to 1 octave lower

LCTRL + LSHIFT + H: Transpose the note of a selection to 1 octave higher (only for the current instrument)

LCTRL + LSHIFT + L: Transpose the note of a selection to 1 octave lower (only for the current instrument)

LCTRL + W:          Save the current selection into a file


 Misc 


LALT + ENTER:     Switch between full screen / windowed mode

LALT + F4:        Exit program (Windows only)

LCTRL + S:         Save current module

LSHIFT + S:         Switch top right panel to synths list

LSHIFT + I:         Switch top right panel to instruments list


&lt;pre&gt;
C-x   xh xx xx hhhh             Volume 
B-x   xh xx xx hhhh             Jump to 
A#x  xh xx xx hhhh hhhh   Slide 
F-x    xh xx xx hhhh            Tempo 
D-x   xh xx xx hhhh             Pattern Break 
G#x  xh xx xx hhhh
&lt;/pre&gt;

h Hex 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13

d Dec 01 02 03 04 05 06 07 08 09 10  11 12 13 14 15 16 17 18 19

The Set Volume command: C. Input a note, then move the cursor to the effects command column and type a C. Play the pattern, and you shouldn't be able to hear the note you placed the C by. This is because the effect parameters are 00. Change the two zeros to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the pattern again, and the note should come in at full volume.

The Position Jump command next. This is just a B followed by the position in the playing list that you want to jump to. One thing to remember is that the playing list always starts at 0, not 1. This command is usually in Hex.

Onto the volume slide command: A. This is slightly more complex (much more if you're using a newer tracker, if you want to achieve the results here, then set slides to Amiga, not linear), due to the fact it depends on the secondary tempo. For now set a secondary tempo of 06 (you can play around later), load a long or looped sample and input a note or two. A few rows after a note type in the effect command A. For the parameters use 0F. Play back the pattern, and you should notice that when the effect kicks in, the sample drops to a very low volume very quickly. Change the effect parameters to F0, and use a low volume command on the note. Play back the pattern, and when the slide kicks in the volume of the note should increase very quickly.
This because each part of the effect parameters for command A does a different thing. The first number slides the volume up, and the second slides it down. It's not recommended that you use both a volume up and volume down at the same time, due to the fact the tracker only looks for the first number that isn't set to 0. If you specify parameters of 8F, the tracker will see the 8, ignore the F, and slide the volume up. Using a slide up and down at same time just makes you look stupid. Don't do it...

The Set Tempo command: F, is pretty easy to understand. You simply specify the BPM (in Hex) that you want to change to. One important thing to note is that values of lower than 20 (Hex) sets the secondary tempo rather than the primary.

Another useful command is the Pattern Break: D. This will stop the playing of the current pattern and skip to the next one in the playing list. By using parameters of more than 00 you can also specify which line to begin playing from.

Command 3 is Portamento to Note. This slides the currently playing note to another note, at a specified speed. The slide then stops when it reaches the desired note. 
&lt;pre&gt;
   C-2 1 000 - Starts the note playing
   ---      000
   C-3    330 - Starts the slide to C-3 at a speed of 30.
   ---     300 - Continues the slide
   ---     300 - Continues the slide
&lt;/pre&gt;
Once the parameters have been set, the command can be input again without any parameters, and it'll still perform the same function unless you change the parameters. This memory function allows certain commands to function correctly, such as command 5, which is the Portamento to Note and Volume Slide command. Once command 3 has been set up command 5 will simply take the parameters from that and perform a Portamento to Note. Any parameters set up for command 5 itself simply perform a Volume Slide identical to command A at the same time as the Portamento to Note.

This memory function will only operate in the same channel where the original parameters were set up.
There are various other commands which perform two functions at once. They will be described as we come across them.

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  00

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  02

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  05

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  08

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0A

C-3  04  ..  ..  09  00 ---&gt; C-3  04  ..  ..  09  0D

C-3  04  ..  ..  09  10 ---&gt; C-3  04  ..  ..  09  10

(You can also switch on the Slider Rec to On, and perform parameter-live-recording, such as cutoff transitions, resonance or panning tweaking, etc..)  Note: this command only works for volume/panning and fx datas columns.


The next command we'll look at is the Portamento up/down: 1 and 2. Command 1 slides the pitch up at a specified speed, and 2 slides it down. This command works in a similar way to the volume slide, in that it is dependent on the secondary tempo. Both these commands have a memory dependent on each other, if you set the slide to a speed of 3 with the 1 command, a 2 command with no parameters will use the speed of 3 from the 1 command, and vice versa.

Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just try it, and you'll see what I mean. Parameters are in the format of xy, where x is the speed of the slide, and y is the depth of the slide. One important point to remember is to keep your vibratos subtle and natural so a depth of 3 or less and a reasonably fast speed, around 8, is usually used. Setting the depth too high can make the part sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and Volume Slide command, and it has a memory like command 5, which you already know how to use.

Command 7 is Tremolo. This is similar to vibrato. Rather than changing the pitch it slides the volume. The effect parameters are in exactly the same format.   vibrato effect (0x1dxy) x = speed y = depth (can't be used if arpeggio (0x1b) is turned on) 

&lt;pre&gt;
 C-7 00 .. .. 1B37 &lt;-  Turn Arpeggio effect on
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B38 &lt;- Change datas
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 0000
  --- .. .. .. 1B00 &lt;- Turn it off
&lt;/pre&gt;

Command 9 is Sample Offset. This starts the playback of the sample from a different place than the start. The effect parameters specify the sample offset, but only very roughly. Say you have a sample which is 8765(Hex) bytes long, and you wanted it to play from position 4321(Hex). The effect parameter could only be as accurate as the 43 part, and it would ignore the 21.

Command B is the Playing List/Order Jump command. The parameters specify the position in the Playing List/Order to jump to. When used in conjunction with command D you can specify the position and the line to play from.

Command E is pretty complex, as it is used for a lot of different things, depending on what the first parameter is. Let's take a trip through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a low pass filter, cuts off the highest frequencies being played back. There are very few players and trackers on other system that simulate this function, not that you should need to use it. The second parameter, if set to 1, turns on the filter. If set to 0, the filter gets turned off.

Commands E1/E2 are Fine Portamento Up/Down. Exactly the same functions as commands 1/2, except that they only slide the pitch by a very small amount. These commands have a memory the same as 1/2 as well.

Command E3 sets the Glissando control. If parameters are set to 1 then when using command 3, any sliding will only use the notes in between the original note and the note being slid to. This produces a somewhat jumpier slide than usual. The best way to understand is to try it out for yourself. Produce a slow slide with command 3, listen to it, and then try using E31.

Command E4 is the Set Vibrato Waveform control. This command controls how the vibrato command slides the pitch. Parameters are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to the parameters, the waveform will not be restarted when a new note is played e.g. 5 - Sine without restart.

Command E5 sets the Fine Tune of the instrument being played, but only for the particular note being played. It will override the default Fine Tune for the instrument. The parameters range from 0 to F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives no Fine Tune. If you're using a newer tracker that supports more than -8 to +8 e.g. -128 to +128, these parameters will give a rough Fine Tune, accurate to the nearest 16.

Command E6 is the Jump Loop command. You mark the beginning of the part of a pattern that you want to loop with E60, and then specify with E6x the end of the loop, where x is the number of times you want it to loop.

Command E7 is the Set Tremolo Waveform control. This has exactly the same parameters as command E4, except that it works for Tremolo rather than Vibrato.

Command E9 is for Retriggering the note quickly. The parameter specifies the interval between the retrigs. Use a value of less than the current secondary tempo, or else the note will not get retrigged.

Command EA/B are for Fine Volume Slide Up/Down. Much the same as the normal Volume Slides, except that these are easier to control since they don't depend on the secondary tempo. The parameters specify the amount to slide by e.g. if you have a sample playing at a volume of 08 (Hex) then the effect EA1 will slide this volume to 09 (Hex). A subsequent effect of EB4 would slide this volume down to 05 (Hex).

Command EC is the Note Cut. This sets the volume of the currently playing note to 0 at a specified tick. The parameters should be lower than the secondary tempo or else the effect won't work.

Command ED is the Note Delay. This should be used at the same time as a note is to be played, and the parameters will specify the number of ticks to delay playing the note. Again, keep the parameters lower than the secondary tempo, or the note won't get played!

Command EE is the Pattern Delay. This delays the pattern for the amount of time it would take to play a certain number of rows. The parameters specify how many rows to delay for.

Command EF is the Funk Repeat command. Set the sample loop to 0-1000. When EFx is used, the loop will be moved to 1000- 2000, then to 2000-3000 etc. After 9000-10000 the loop is set back to 0- 1000. The speed of the loop &quot;movement&quot; is defined by x. E is two times as slow as F, D is three times as slow as F etc. EF0 will turn the Funk Repeat off and reset the loop (to 0-1000).

effects 0x41 and 0x42 to control the volumes of the 2 303 units

There is a dedicated panel for synth parameter editing with coherent sections (osc, filter modulation, routing, so on) the interface is much nicer, much better to navigate with customizable colors, the reverb is now customizable (10 delay lines), It accepts newer types of Waves (higher bit rates, at least 24). Has a replay routine.

It's pretty much your basic VA synth. The problem isn't with the sampler being to high it's the synth is tuned two octaves too low, but if you want your samples tuned down just set the base note down 2 octaves (in the instrument panel).

so the synth is basically divided into 3 sections from left to right: oscillators/envelopes, then filter and LFO's, and in the right column you have mod routings and global settings.

for the oscillator section you have two normal oscillators (sine, saw, square, noise), the second of which is tunable, the first one tunes with the key pressed. Attached to OSC 1 is a sub-oscillator, which is a sawtooth wave tuned one octave down. The phase modulation controls the point in the duty cycle at which the oscillator starts. The ADSR envelope sliders (grouped with oscs) are for modulation envelope 1 and 2 respectively. you can use the synth as a sampler by choosing the instrument at the top.

In the filter column, the filter settings are: 1 = lowpass, 2 = highpass, 3 = off. cutoff and resonance. For the LFOs they are LFO 1 and LFO 2, the ADSR sliders in those are for the LFO itself.

For the modulation routings you have ENV 1, LFO 1 for the first slider and ENV 2, LFO 2 for the second, you can cycle through the individual routings there, and you can route each modulation source to multiple destinations of course, which is another big plus for this synth. Finally the glide time is for portamento and master volume, well, the master volume... it can go quite loud.

The sequencer is changed too, It's more like the one in AXS if you've used that, where you can mute tracks to re-use patterns with variation.


&lt;pre&gt;
Support for the following modules formats:
669 (Composer 669, Unis 669), 
AMF (DSMI Advanced Module Format), 
AMF (ASYLUM Music Format V1.0), 
APUN (APlayer), DSM (DSIK internal format), 
FAR (Farandole Composer), 
GDM (General DigiMusic), 
IT (Impulse Tracker), 
IMF (Imago Orpheus), 
MOD (15 and 31 instruments), 
MED (OctaMED), 
MTM (MultiTracker Module editor), 
OKT (Amiga Oktalyzer), 
S3M (Scream Tracker 3), 
STM (Scream Tracker), 
STX (Scream Tracker Music Interface Kit), 
ULT (UltraTracker), 
UNI (MikMod), 
XM (FastTracker 2),
Mid (midi format via timidity)
&lt;/pre&gt;


Possible plugin options include [http://lv2plug.in/ LV2],


====Midi - Musical Instrument Digital Interface====

A midi file typically contains music that plays on up to 16 channels (as per the midi standard), but many notes can simultaneously play on each channel (depending on the limit of the midi hardware playing it).

'''Timidity'''

Although usually already installed, you can uncompress the [http://www.libsdl.org/projects/SDL_mixer/ timidity.tar.gz (14MB)] into a suitable drawer like below's SYS:Extras/Audio/ 
 assign timidity: SYS:Extras/Audio/timidity
added to SYSːs/User-Startup

'''WildMidi playback'''


'''Audio Evolution 4 (2003) 4.0.23 (from 2012)'''


*Sync Menu    - CAMD Receive, Send checked 
*Options Menu - MIDI Machine Control - Midi Bar Display - Select CAMD MIDI in / out - Midi Remote Setup 


MCB Master Control Bus 
*Sending a MIDI start-command and a Song Position Pointer, you can synchronize audio with an external MIDI sequencer (like B&amp;P). 
*B&amp;P Receive, start AE, add AudioEvolution.ptool in Bars&amp;Pipes track, press play / record in AE then press play in Pipes 
*CAMD Receive, receive MIDI start or continue commands via camd.library sync to AE 


*MIDI Machine Control
*Midi Bar Display 
*Select CAMD MIDI in / out
*Midi Remote Setup - open requester for external MIDI controllers to control app mixer and transport controls cc remotely 
 Channel   - mixer(vol, pan, mute, solo), eq, aux, fx, 
 Subgroup  - Volume, Mute, Solo 
 Transport - Start, End, Play, Stop, Record, Rewind, Forward 
 Misc      - Master vol., Bank Down, Bank up 


&lt;pre&gt;
q        - quit 

First 3 already opened when AE started 
F1       - timeline window
F2       - mixer 
F3       - control 
F4       - subgroups 
F5       - aux returns 
F6       - sample list 

i        - Load sample to use 

space    - start/stop play 
b        - reset time 0:00


s        - split mode 
r        - open recording window 
a        - automation edit mode with p panning, m mute and v volume 


[ / ]    - zoom in / out 
:        - previous track
*        - next track 

x c v f  - cut copy paste cross-fade 
g        - snap grid 


&lt;/pre&gt;


 '''[http://bnp.hansfaust.de/ Bars n Pipes sequencer]'''

 BarsnPipes debug ... in shell 

Menu (right mouse)  
*Song        - Songs load and save in .song format but option here to load/save Midi_Files .mid in FORMAT0 or FORMAT1 
*Track       - 
*Edit        -
*Tool        - 
*Timing      - SMTPE Synchronizing 
*Windows     - 
*Preferences - Multiple MIDI-in option 

Windows (some of these are usually already opened when Bars n Pipes starts up for the first time) 
*Workflow -&gt; Tracks, .... Song Construction, Time-line Scoring, Media Madness, Mix Maestro, 
*Control  -&gt; Transport (or mini one), Windows (which collects all the Windows icons together-shortcut), .... Toolbox, Accessories, Metronome, 

Once you have your windows placed on the screen that suits your workflow, Song -&gt; Save as Default will save the positions, colors, icons, etc as you'd like them 

If you need a particular setup of Tracks, Tools, Tempos etc, you save them all as a new song you can load each time 

Right mouse menu -&gt; Preferences -&gt; Environment... -&gt; ScreenMode  - Linkages for Synch (to Slave) usbmidi.out.0 and Send (Master) usbmidi.in.0 - Clock MTC 


'''Tracks'''

#Double-click on B&amp;P's icon. B&amp;P will then open with an empty Song. You can also double-click on a song icon to open a song in B&amp;P.
#Choose a track. The B&amp;P screen will contain a Tracks Window with a number of tracks shown as pipelines (Track 1, Track 2, etc...). To choose a track, simply click on the gray box to show an arrow-icon to highlight it. This icon show whether a track is chosen or not. To the right of the arrow-icon, you can see the icon for the midi-input. If you double-click on this icon you can change the MIDI-in setup.
#Choose Record for the track. To the right of the MIDI-input channel icon you can see a pipe. This leads to another clickable icon with that shows either P, R or M. This stands for Play, Record or Merge. To change the icon, simply click on it. If you choose P, this track can only play the track (you can't record anything). If you choose R, you can record what you play and it overwrites old stuff in the track. If you choose M, you merge new records with old stuff in the track. Choose R now to be able to make a record.
#Chose MIDI-channel. On the most right part of the track you can see an icon with a number in it. This is the MIDI-channel selector. Here you must choose a MIDI-channel that is available on your synthesizer/keyboard. If you choose General MIDI channel 10, most synthesizer will play drum sounds. To the left of this icon is the MIDI-output icon. Double-click on this icon to change the MIDI-output configuration.
#Start recording. The next step is to start recording. You must then find the control buttons (they look like buttons on a CD-player). To be able to make a record. you must click on the R icon. You can simply now press the play button (after you have pressed the R button) and play something on you keyboard. To playback your composition, press the Play button on the control panel.
#Edit track. To edit a track, you simply double click in the middle part of a track. You will then get a new window containing the track, where you can change what you have recorded using tools provided. Take also a look in the drop-down menus for more features.


Videos to help understand [https://www.youtube.com/watch?v=A6gVTX-9900 small intro], [https://www.youtube.com/watch?v=abq_rUTiSA4&amp;t=3s Overview], [https://www.youtube.com/watch?v=ixOVutKsYQo Workplace Setup CC PC Sysex], [https://www.youtube.com/watch?v=dDnJLYPaZTs Import Song], [https://www.youtube.com/watch?v=BC3kkzPLkv4 Tempo Mapping], [https://www.youtube.com/watch?v=sd23kqMYPDs ptool Arpeggi-8], [https://www.youtube.com/watch?v=LDJq-YxgwQg  PlayMidi Song], [https://www.youtube.com/watch?v=DY9Pu5P9TaU Amiga Midi], [https://www.youtube.com/watch?v=abq_rUTiSA4 Learning Amiga bars and Pipes], 

Groups like [https://groups.io/g/barsnpipes/topics this] could help 


'''Tracks window'''

* blue &quot;1 2 3 4 5 6 7 8 Group&quot; and transport tape deck VCR-type controls
* Flags 
* [http://theproblem.alco-rhythm.com/org/bp.html Track 1, Track2, to Track 16, on each Track there are many options that can be activated] 

Each Track has a 

*Left LHS  - Click in grey box to select what Track to work on, Midi-In ptool icon should be here (5pin plug icon), and many more from the Toolbox on the Input Pipeline 
*Middle    - (P, R, M) Play, Record, Merge/Multi before the sequencer line and a blue/red/yellow (Thru Mute Play) Tap 
*Right RHS - Output pipeline, can have icons placed uopn it with the final ptool icon(s) being the 5pin icon symbol for Midi-OUT 

Clogged pipelines may need Esc pressed several times 


'''Toolbox (tools affect the chosen pipeline)'''

After opening the Toolbox window you can add extra Tools (.ptool) for the pipelines like keyboard(virtual), midimonitor, quick patch, transpose, triad, (un)quantize, feedback in/out, velocity etc
 right mouse -&gt; Toolbox menu option -&gt; Install Tool... and navigate to Tool drawer (folder) and select requried .ptool 

Accompany B tool to get some sort of rythmic accompaniment, Rythm Section and Groove Quantize are examples of other tools that make use of rythms
[https://aminet.net/search?query=bars Bars &amp; Pipes pattern format .ptrn] for drawer (folder). Load from the Menu as Track or Group 


'''Accessories (affect the whole app)''' 

Accessories -&gt; Install... and goto the Accessories drawer for .paccess like adding ARexx scripting support 


'''Song Construction'''
&lt;pre&gt;
F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Duplicator 
F5  Eraser 
F6  Toolpad 
F7  Bounding box 
F8  Lock to A-B-A 

A-B-A strip, section, edit flags, white boxes, 

&lt;/pre&gt;


Bars&amp;Pipes Professional offers three track formats; basic song tracks, linear tracks — which don't loop — and finally real‑time tracks. The difference between them is that both song and linear tracks respond to tempo changes, while real‑time tracks use absolute timing, always trigger at the same instant regardless of tempo alterations 

'''Tempo Map'''

F1  Pencil
F2  Magic Wand
F3  Hand 
F4  Eraser 
F5  Curve 
F6  Toolpad 


Compositions

Lyrics, Key, Rhythm, Time Signature 

'''Master Parameters'''

Key, Scale/Mode

'''Track Parameters'''

Dynamics 


'''Time-line Scoring'''


'''Media Madness'''


'''Mix Maestro'''


*ACCESSORIES         Allows the importation of other packages and additional modules 
*CLIPBOARD           Full cut, copy and paste operations, enabling user‑definable clips to be shared between tracks.
*INFORMATION         A complete rundown on the state of the current production and your machine.
*MASTER PARAMETERS   Enables global definition of time signatures, lyrics, scales, chords, dynamics and rhythm changes.
*MEDIA MADNESS       A complete multimedia sequencer which allows samples, stills, animation, etc 
*METRONOME           Tempo feedback via MIDI, internal Amiga audio and colour cycling — all three can be mixed and matched as required.
*MIX MAESTRO         Completely automated mixdown with control for both volume and pan. All fader alterations are memorised by the software 
*RECORD ACTIVATION   Complete specification of the data to be recorded/merged. Allows overdubbing of pitch‑bend, program changes, modulation etc
*SET FLAGS           Numeric positioning of location and edit flags in either SMPTE or musical time 
*SONG CONSTRUCTION   Large‑scale cut and paste of individual measures, verses or chorus, by means of bounding box and drag‑n‑drop mouse selections
*TEMPO MAP           Tempo change using a variety of linear and non‑linear transition curves 
*TEMPO PALETTE       Instant tempo changes courtesy of four user‑definable settings.
*TIMELINE SCORING    Sequencing of a selection of songs over a defined period — ideal for planning an entire set for a live performance.
*TOOLBOX             Selection screen for the hundreds of signal‑processing tools available 
*TRACKS              Opens the main track window to enable recording, editing and the use of tools.
*TRANSPORT           Main playback control window, which also provides access to user‑ defined flags, loop and punch‑in record modes.


Bars and Pipes Pro 2.5 is using internal 4-Byte IDs, to check which kind of data are currently processed.
Especially in all its files the IDs play an important role. The IDs are stored into the file in the same order they are laid out in the memory.

In a Bars 'N' Pipes file (no matter which kind) the ID &quot;NAME&quot; (saved as its ANSI-values) is stored on a big endian system (68k-computer) as &quot;NAME&quot;. On a little endian system (x86 PC computer) as &quot;EMAN&quot;.  The target is to make the AROS-BnP compatible to songs, which were stored on a 68k computer (AMIGA).

If possible, setting MIDI channels for Local Control for your keyboard 

http://www.fromwithin.com/liquidmidi/archive.shtml


MIDI files are essentially a stream of event data. An event can be many things, but typically &quot;note on&quot;, &quot;note off&quot;, &quot;program change&quot;, &quot;controller change&quot;, or messages that instruct a MIDI compatible synth how to play a given bit of music.

* Channel     - 1 to 16 -
* Messages    - PC presets, CC effects like delays, reverbs,  etc 
* Sequencing  - MIDI instruments, Drums, Sound design, 
* Recording   - 
* GUI         - Piano roll or Tracker, Staves and Notes 

MIDI events/messages like step entry e.g. Note On, Note Off 

MIDI events/messages like PB, PC, CC, Mono and Poly After-Touch, Sysex, etc 

MIDI sync - Midi Clocks (SPS Measures), Midi Time Code (h, m, s and frames) SMPTE 

Individual track editing with audition edits so easier to test any changes. Possible to stop track playback, mix clips from the right edit flag and scroll the display using arrow keys. 

Step entry, to extend a selected note hit the space bar and the note grows accordingly. Ability to cancel mouse‑driven edits by simply clicking the right mouse button — at which point everything snaps back into its original form. Lyrics can now be put in with syllable dividers, even across an entire measure or section. Autoranging when you open a edit window, the notes are automatically displayed — working from the lowest upwards. 

Flag editing, shift‑click on a flag immediately open the bounds window, ready for numeric input. Ability to cancel edits using the right‑hand mouse button, plus much improved Bounding Box operations.

Icons other than the BarsnPipes icon -&gt; PUBSCREEN=BarsnPipes (cannot choose modes higher than 8bit 256 colors)

Preferences -&gt; Menu in Tracks window - Send MIDI defaults OFF 

Prefs -&gt; Environment -&gt; screenmode (saved to BarsnPipes.prefs binary file) 

Customization -&gt; pics in gui drawer (folder) - 


Can save as .song files and .mid General Midi 

SMF is a “Standard Midi File”  ([http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html SMF0, SMF1 and SMF2]), [https://github.com/stump/libsmf libsmf], [https://github.com/markc/midicomp MIDIcomp], [https://github.com/MajicDesigns/MD_MIDIFile C++ src], [], [https://github.com/newdigate/midi-smf-reader Midi player], 

* SMF0        All MIDI data is stored in one track only, separated exclusively by the MIDI channel.
* SMF1        The MIDI data is stored in separate tracks/channels.
* SMF2 (rarely used) The MIDI data is stored in separate tracks, which are additionally wrapped in containers, so it's possible to have e.g. several tracks using the same MIDI channels.


Would it be possible to enrich Bars N’Pipes with software synth and sample support along with audio recording and mastering tools like in the named MAC or PC music sequencers?
On the classic AMIGA-OS this is not possible because of missing CPU-power. The hardware of the classic AMIGA is not further developed. So we must say (unfortunately) that those dreams can’t become reality

BarsnPipes is best used with external MIDI-equipment. This can be a keyboard or synthesizer with MIDI-connectors. 

&lt;pre&gt;
MIDI can control 16 channels 
There are USB-MIDI-Interfaces on the market with 16 independent MIDI-lines (multi-port), which can handle 16 MIDI devices independently – 16×16 = 256 independent MIDI-channels or instruments 
handle up to 16 different USB-MIDI-Interfaces (multi-device). That is: 16X16X16 = 4096 independent MIDI-channels – theoretically 
&lt;/pre&gt;

&lt;pre&gt;
Librarian MIDI SYStem EXplorer (sysex) - PatchEditor and used to be supplied as a separate program like PatchMeister but currently not at present 
It should support MIDI.library (PD), BlueRibbon.library (B&amp;P), TriplePlayPlus, and CAMD.library (DeluxeMusic) and 
MIDI information from a device's user manual and configure a custom interface to access parameters for all MIDI products connected to the system 
Supports ALL MIDI events and the Patch/Librarian data is stored in MIDI standard format 
Annette M.Crowling, Missing Link Software, Inc.
&lt;/pre&gt;


Composers
&lt;pre&gt;
[https://x.com/hirasawa/status/1403686519899054086 Susumu Hirasawa] 

&lt;/pre&gt;


&lt;pre&gt;
1988 Todor Fay and his wife Melissa Jordan Gray, who founded the Blue Ribbon Inc
1992 Bars&amp;Pipes Pro published 
November 2000, Todor Fay announcement to release the sourcecode of Bars&amp;Pipes Pro 2.5c beta
end of May 2001, the source of the main program and the sources of some tools and accessories were in a complete and compileable state 
end of October 2009 stop further development of BarsnPipes New for now on all supported systems and made freeware 
2013 Alfred Faust diagnosed with incureable illness, called „Myastenia gravis“ (weak muscles) 
&lt;/pre&gt;


 Protrekkr

How to use Midi In/Out in Protrekkr ?

First of all, midi in &amp; out capabilities of this program are rather limited.

# Go to Misc. Setup section and select a midi in or out device to use (ptk only supports one device at a time).
# Go to instrument section, and select a MIDI PRG (the default is N/A, which means no midi program selected).
# Go to track section and here you can assign a midi channel to each track of ptk.
# Play notes :]. Note off works. F'x' note cut command also works too, and note-volume command (speed) is supported.

Also, you can change midicontrollers in the tracker, using '90' in the panning row:

&lt;pre&gt;
    C-3 02 .. .. 0000....


    --- .. .. 90 xxyy.... &lt;&lt; This will set the value 
    --- .. .. .. 0000....    of the controller n.'xx' to 'yy' (both in hex)
    --- .. .. .. 0000....
&lt;/pre&gt;

So &quot;--- .. .. 90 2040....&quot; will set the controller number $20(32) to $40(64).

You will need the midi implementation table of your gear to know what you can change with midi controller messages.

 N.B. Not all MIDI devices are created equal!

Although the MIDI specification defines a large range of MIDI messages of various kinds, not every MIDI device is required to work in exactly the same way and respond to all the available messages and ways of working. For example, we don't expect a wind synthesiser to work in the same way as a home keyboard.

Some devices, the older ones perhaps, are only able to respond to a single channel. With some of those devices that channel can be altered from the default of 1 (probably) to another channel of the 16 possible.

Other devices, for instance monophonic synthesisers, are capable of producing just one note at a time, on one MIDI channel. Others can produce many notes spread across many channels.

Further devices can respond to, and transmit, &quot;breath controller&quot; data (MIDI controller number 2 (CC#2)) others may respond to the reception of CC#2 but not be able to create and to send it.

A controller keyboard may be capable of sending &quot;expression pedal&quot; data, but another device may not be capable of responding to that message.

Some devices just have the basic GM sound set. The &quot;voice&quot; or &quot;instrument&quot; is selected using a &quot;Program Change&quot; message on its own.

Other devices have a greater selection of voices, usually arranged in &quot;banks&quot;, and the choice of instrument is made by responding to &quot;Bank Select MSB&quot; (MIDI controller 0 (CC#0)), others use &quot;Bank Select LSB&quot; (MIDI controller number 32 (CC#32)), yet others use both MSB and LSB sent one after the other, all followed by the Program Change message. The detailed information about all the different voices will usually be available in a published MIDI Data List.


 MIDI Implementation Chart

But in the User Manual there is sometimes a summary of how the device works, in terms of MIDI, in the chart at the back of the manual, the MIDI Implementation Chart.

If you require two devices to work together you can compare the two implementation charts to see if they are &quot;compatible&quot;. In order to do this we will need to interpret that chart.

The chart is divided into four columns headed &quot;Function&quot;, &quot;Transmitted&quot; (or &quot;Tx&quot;), &quot;Received&quot; (or &quot;Rx&quot;), or more correctly &quot;Recognised&quot;, and finally, &quot;Remarks&quot;.

&lt;pre&gt;
The left hand column defines which MIDI functions are being described.
The 2nd column defines what the device in question is capable of transmitting to another device.
The 3rd column defines what the device is capable of responding to.
The 4th column is for explanations of the values contained within these previous two columns.
&lt;/pre&gt;

There should then be twelve sections, with possibly a thirteenth containing extra &quot;Notes&quot;. Finally there should be an explanation of the four MIDI &quot;modes&quot; and what the &quot;X&quot; and the &quot;O&quot; mean.
&lt;pre&gt;
Mode 1: Omni On, Poly; 
Mode 2: Omni On, Mono; 
Mode 3: Omni Off, Poly; 
Mode 4: Omni Off, Mono.
&lt;/pre&gt;
O means &quot;yes&quot; (implemented), X means &quot;no&quot; (not implemented).

Sometimes you will find a row of asterisks &quot;**************&quot;, these seem to indicate that the data is not applicable in this case. Seen in the transmitted field only (unless you've seen otherwise).

Lastly you may find against some entries an asterisk followed by a number e.g. *1, these will refer you to further information, often on a following page, giving more detail.

Basic Channel
But the very first set of boxes will tell us the &quot;Basic Channel(s)&quot; that the device sends or receives on. 
&quot;Default&quot; is what happens when the device is first turned on, &quot;changed&quot; is what a switch of some kind may allow the device to be set to. 
For many devices e.g. a GM sound module or a home keyboard, this would be 1-16 for both. That is it can handle sending and receiving on all MIDI channels.

On other devices, for example a synthesiser, it may by default only work on channel 1. But the keyboard could be &quot;split&quot; with the lower notes e.g. on channel 2. If the synth has an arppegiator, this may be able to be set to transmit and or receive on yet another channel.
So we might see the default as &quot;1&quot; but the changed as &quot;1-16&quot;.

Modes.
We need to understand Omni On and Off, and Mono and Poly, then we can decipher the four modes.

But first we need to understand that any of these four Mode messages can be sent to any MIDI channel. They don't necessarily apply to the whole device.

If we send an &quot;Omni On&quot; message (CC#125) to a MIDI channel of a device, we are, in effect, asking it to respond to e.g. a Note On / Off message pair, received on any of the sixteen channels. Sound strange? Read it again. Still strange? It certainly is. We normally want a MIDI channel to respond only to Note On / Off messages sent on that channel, not any other. In other words, &quot;Omni Off&quot;.

So &quot;Omni Off&quot; (CC#124) tells a channel of our MIDI device to respond only to messages sent on that MIDI channel.

&quot;Poly&quot; (CC#127) is for e.g. a channel of a polyphonic sound module, or a home keyboard, to be able to respond to many simultaneous Note On / Off message pairs at once and produce musical chords.

&quot;Mono&quot; (CC#126) allows us to set a channel to respond as if it were e.g. a flute or a trumpet, playing just one note at a time. If the device is capable of it, then the overlapping of notes will produce legato playing, that is the attack portion of the second note of two overlapping notes will be removed resulting in a &quot;smoother&quot; transition.

So a channel with a piano voice assigned to it will have Omni Off, Poly On (Mode 3), a channel with a saxophone voice assigned could be Omni Off, Mono On (Mode 4).

We call these combinations the four modes, 1 to 4, as defined above. 
Most modern devices will have their channels set to Mode 3 (Omni Off, Poly) but be switchable, on a per channel basis, to Mode 4 (Omni Off, Mono).

This second section of data will include first its default value i.e. upon device switch on. Then what Mode messages are acceptable, or X if none.

Finally, in the &quot;Altered&quot; field, how a Mode message that can't be implemented will be interpreted. Usually there will just be a row of asterisks effectively meaning nothing will be done if you try to switch to an unimplemented mode.

Note Number
&lt;pre&gt;
The next row will tell us which MIDI notes the device can send or receive, normally 0-127.
The second line, &quot;True Voice&quot; has the following in the MIDI specification: 
&quot;Range of received note numbers falling within the range of true notes produced by the instrument.&quot;
My interpretation is that, for instance, a MIDI piano may be capable of sending all MIDI notes (0 to 127) by transposition, but only responding to the 88 notes (21 to 108) of a real piano. 
&lt;/pre&gt;

Velocity
This will tell us whether the device we're looking at will handle note velocity, and what range from 1-127, or maybe just 64, it transmits or will recognise. So usually &quot;O&quot; plus a range or &quot;X&quot; for not implemented.

After touch
This may have one or two lines two it.
If a one liner the either &quot;O&quot; or &quot;X&quot;, yes or no.
If a two liner then it may include &quot;Keys&quot; or &quot;Poly&quot; and &quot;Channel&quot;.
This will show whether the device will respond to Polyphonic after touch or channel after touch or neither.

Pitch Bend
Again &quot;O&quot; for implemented, &quot;X&quot; for not implemented.
(Many stage pianos will have no pitch bend capability.)
It may also, in the notes section, state whether it will respond to the full 14 bits, or not, as usually encoded by the pitch bend wheel.

Control Change
This is likely to be the largest section of the chart.
It will list all those controllers, starting from CC#0, Bank Select MSB, which the device is capable of sending, and those that it will respond to using &quot;O&quot; or &quot;X&quot; respectively.
You will, almost certainly, get some further explanation of functionality in the remarks column, or in more detail elsewhere in the documentation.

Of course you will need to know what all the various controller numbers do. Lots of the official technical specifications can be found at the [www.midi.org/techspecs/ MMA], with the table of messages and control change [www.midi.org/techspecs/midimessages.php message numbers]

Program Change
Again &quot;O&quot; or &quot;X&quot; in the Transmitted or Recognised column to indicate whether or not the feature is implemented. In addition a range of numbers is shown, typically 0-127, to show what is available.
True # (number): &quot;The range of the program change numbers which correspond to the actual number of patches selected.&quot;

System Exclusive
Used to indicate whether or not the device can send or recognise System Exclusive messages. A short description is often given in the Remarks field followed by a detailed explanation elsewhere in the documentation.

System Common - These include the following:
&lt;pre&gt;
MIDI Time Code Quarter Frame messages (device synchronisation).
Song Position Pointer
Song Select
Tune Request
&lt;/pre&gt;
The section will indicate whether or not the device can send or respond to any of these messages.

System Real Time
These include the following:
&lt;pre&gt;
Timing Clock - often just written as &quot;Clock&quot;
Start
Stop
Continue
&lt;/pre&gt;
These three are usually just referred to as &quot;Commands&quot; and listed.
Again the section will indicate which, if any, of these messages the device can send or respond to.
&lt;pre&gt;
Aux. Messages
Again &quot;O&quot; or &quot;X&quot; for implemented or not.
Aux. = Auxiliary.
Active Sense = Active Sensing.
&lt;/pre&gt;
Often with an explanation of the action of the device.

Notes
The &quot;Notes&quot; section can contain any additional comments to clarify the particular implementation.

Some of the explanations have been drawn directly from the MMA MIDI 1.0 Detailed Specification.
And the detailed explanation of some of the functions will be found there, or in the General MIDI System Level 1 or General MIDI System Level 2 documents also published by the MMA.


 OFFICIAL MIDI SPECIFICATIONS

SUMMARY OF MIDI MESSAGES
Table 1 - Summary of MIDI Messages

The following table lists the major MIDI messages in numerical (binary) order (adapted from &quot;MIDI by the Numbers&quot; by D. Valenti, Electronic Musician 2/88, and updated by the MIDI Manufacturers Association.). This table is intended as an overview of MIDI, and is by no means complete.

WARNING! Details about implementing these messages can dramatically impact compatibility with other products. We strongly recommend consulting the official MIDI Specifications for additional information.

MIDI 1.0 Specification

Message Summary Channel Voice Messages [nnnn = 0-15 (MIDI Channel Number 1-16)]

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1000nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note Off event. 
This message is sent when a note is released (ended). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1001nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Note On event. 
This message is sent when a note is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
|-
|&lt;!--Status--&gt;1010nnnn || &lt;!--Data--&gt;0kkkkkkk 0vvvvvvv || &lt;!--Description--&gt;Polyphonic Key Pressure (Aftertouch). 
This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. (kkkkkkk) is the key (note) number. (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Control Change. 
This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Controller numbers 120-127 are reserved as &quot;Channel Mode Messages&quot; (below). (ccccccc) is the controller number (0-119). (vvvvvvv) is the controller value (0-127).
|-
|&lt;!--Status--&gt;1100nnnn || &lt;!--Data--&gt;0ppppppp || &lt;!--Description--&gt;Program Change. This message sent when the patch number changes. (ppppppp) is the new program number.
|-
|&lt;!--Status--&gt;1101nnnn || &lt;!--Data--&gt;0vvvvvvv || &lt;!--Description--&gt;Channel Pressure (After-touch). This message is most often sent by pressing down on the key after it &quot;bottoms out&quot;. This message is different from polyphonic after-touch. Use this message to send the single greatest pressure value (of all the current depressed keys). (vvvvvvv) is the pressure value.
|-
|&lt;!--Status--&gt;1110nnnn || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Pitch Bend Change. This message is sent to indicate a change in the pitch bender (wheel or lever, typically). The pitch bender is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the receiver, but may be set using RPN 0. (lllllll) are the least significant 7 bits. (mmmmmmm) are the most significant 7 bits.
|}

Channel Mode Messages (See also Control Change, above)

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;1011nnnn || &lt;!--Data--&gt;0ccccccc 0vvvvvvv || &lt;!--Description--&gt;Channel Mode Messages. 
This the same code as the Control Change (above), but implements Mode control and special message by using reserved controller numbers 120-127. The commands are:
*All Sound Off. When All Sound Off is received all oscillators will turn off, and their volume envelopes are set to zero as soon as possible c = 120, v = 0: All Sound Off
*Reset All Controllers. When Reset All Controllers is received, all controller values are reset to their default values. (See specific Recommended Practices for defaults) c = 121, v = x: Value must only be zero unless otherwise allowed in a specific Recommended Practice.
*Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. 
c = 122, v = 0: Local Control Off
c = 122, v = 127: Local Control On
* All Notes Off. When an All Notes Off is received, all oscillators will turn off. 
c = 123, v = 0: All Notes Off (See text for description of actual mode commands.)
c = 124, v = 0: Omni Mode Off 
c = 125, v = 0: Omni Mode On 
c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) 
c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off)
|}

System Common Messages

System Messages (0xF0)

The final status nybble is a “catch all” for data that doesn’t fit the other statuses. They all use the most significant nybble (4bits) of 0xF, with the least significant nybble indicating the specific category.

The messages are denoted when the MSB of the second nybble is 1. When that bit is a 0, the messages fall into two other subcategories.

System Common

If the MSB of the second second nybble (4 bits) is not set, this indicates a System Common message. Most of these are messages that include some additional data bytes.

System Common Messages
Type Status Byte   Number of Data Bytes      Usage 
&lt;pre&gt;
Time Code Quarter Frame	0xF1	1	Indicates timing using absolute time code, primarily for synthronization with video playback systems. A single location requires eight messages to send the location in an encoded hours:minutes:seconds:frames format*.
Song Position	0xF2	2	Instructs a sequencer to jump to a new position in the song. The data bytes form a 14-bit value that expresses the location as the number of sixteenth notes from the start of the song.
Song Select	0xF3	1	Instructs a sequencer to select a new song. The data byte indicates the song.
Undefined	0xF4	0	
Undefined	0xF5	0	
Tune Request	0xF6	0	Requests that the receiver retunes itself**.
&lt;/pre&gt;
*MIDI Time Code (MTC) is significantly complex. Please see the MIDI Specification
**While modern digital instruments are good at staying in tune, older analog synthesizers were prone to tuning drift. Some analog synthesizers had an automatic tuning operation that could be initiated with this command.


System Exclusive

If you’ve been keeping track, you’ll notice there are two status bytes not yet defined: 0xf0 and 0xf7. These are used by the System Exclusive message, often abbreviated at SysEx. SysEx provides a path to send arbitrary data over a MIDI connection. There is a group of predefined messages for complex data, like fine grained control of MIDI Time code machinery. SysEx is also used to send manufacturer defined data, such as patches, or even firmware updates.

System Exclusive messages are longer than other MIDI messages, and can be any length. The messages are of the following format:

0xF0, 0xID, 0xdd, ...... 0xF7
The message is bookended with distinct bytes.

It opens with the Start Of Exclusive (SOX) data byte, 0xF0.
The next one to three bytes after the start are an identifier.
Values from 0x01 to 0x7C are one-byte vendor IDs, assigned to manufacturers who were involved with MIDI at the beginning.
If the ID is 0x00, it’s a three-byte vendor ID - the next two bytes of the message are the value.
&lt;pre&gt;
ID 0x7D is a placeholder for non-commercial entities.
ID 0x7E indicates a predefined Non-realtime SysEx message.
ID 0x7F indicates a predefined Realtime SysEx message.
&lt;/pre&gt;
After the ID is the data payload, sent as a stream of bytes.
The transfer concludes with the End of Exclusive (EOX) byte, 0xF7.
The payload data must follow the guidelines for MIDI data bytes – the MSB must not be set, so only 7 bits per byte are actually usable. If the MSB is set, it falls into three possible scenarios.

An End of Exclusive byte marks the ordinary termination of the SysEx transfer.
System Real Time messages may occur within the transfer without interrupting it. The recipient should handle them independently of the SysEx transfer.
Other status bytes implicitly terminate the SysEx transfer and signal the start of new messages.
 Some inexpensive USB-to-MIDI interfaces aren’t capable of handling messages longer than four bytes.

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11110000 || &lt;!--Data--&gt;0iiiiiii [0iiiiiii 0iiiiiii]  0ddddddd  --- --- 0ddddddd 11110111 || &lt;!--Description--&gt;System Exclusive. 
This message type allows manufacturers to create their own messages (such as bulk dumps, patch parameters, and other non-spec data) and provides a mechanism for creating additional MIDI Specification messages. The Manufacturer's ID code (assigned by MMA or AMEI) is either 1 byte (0iiiiiii) or 3 bytes (0iiiiiii 0iiiiiii 0iiiiiii). Two of the 1 Byte IDs are reserved for extensions called Universal Exclusive Messages, which are not manufacturer-specific. If a device recognizes the ID code as its own (or as a supported Universal message) it will listen to the rest of the message (0ddddddd). Otherwise, the message will be ignored. (Note: Only Real-Time messages may be interleaved with a System Exclusive.)
|-
|&lt;!--Status--&gt;11110001 || &lt;!--Data--&gt;0nnndddd || &lt;!--Description--&gt;MIDI Time Code Quarter Frame.
nnn = Message Type
dddd = Values
|-
|&lt;!--Status--&gt;11110010 || &lt;!--Data--&gt;0lllllll 0mmmmmmm || &lt;!--Description--&gt;Song Position Pointer. 
This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB.
|-
|&lt;!--Status--&gt;11110011 || &lt;!--Data--&gt;0sssssss || &lt;!--Description--&gt;Song Select. 
The Song Select specifies which sequence or song is to be played.
|-
|&lt;!--Status--&gt;11110100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11110110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Tune Request. Upon receiving a Tune Request, all analog synthesizers should tune their oscillators.
|-
|&lt;!--Status--&gt;11110111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;End of Exclusive. Used to terminate a System Exclusive dump. 
|}


System Real-Time Messages

{| class=&quot;wikitable sortable&quot; width=&quot;90%&quot;
! width=&quot;10%&quot;  |Status D7----D0 
! width=&quot;10%&quot;  |Data Byte(s) D7----D0 
! width=&quot;20%&quot;  |Description
|-
|&lt;!--Status--&gt;11111000 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Timing Clock. Sent 24 times per quarter note when synchronization is required.
|-
|&lt;!--Status--&gt;11111001 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111010 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Start. Start the current sequence playing. (This message will be followed with Timing Clocks).
|-
|&lt;!--Status--&gt;11111011 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Continue. Continue at the point the sequence was Stopped.
|-
|&lt;!--Status--&gt;11111100 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Stop. Stop the current sequence.
|-
|&lt;!--Status--&gt;11111101 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Undefined. (Reserved)
|-
|&lt;!--Status--&gt;11111110 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Active Sensing. This message is intended to be sent repeatedly to tell the receiver that a connection is alive. Use of this message is optional. When initially received, the receiver will expect to receive another Active Sensing message each 300ms (max), and if it does not then it will assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 
|-
|&lt;!--Status--&gt;11111111 || &lt;!--Data--&gt; || &lt;!--Description--&gt;Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up.
|}


Advanced Messages

Polyphonic Pressure (0xA0) and Channel Pressure (0xD0)

Some MIDI controllers include a feature known as Aftertouch. While a key is being held down, the player can press harder on the key. The controller measures this, and converts it into MIDI messages.

Aftertouch comes in two flavors, with two different status messages.

The first flavor is polyphonic aftertouch, where every key on the controller is capable of sending its own independent pressure information. The messages are of the following format:
&lt;pre&gt;
0xnc, 0xkk, 0xpp
n is the status (0xA)
c is the channel nybble
kk is the key number (0 to 127)
pp is the pressure value (0 to 127)
&lt;/pre&gt;
Polyphonic aftertouch is an uncommon feature, usually found on premium quality instruments, because every key requires a separate pressure sensor, plus the circuitry to read them all.

Much more commonly found is channel aftertouch. Instead of needing a discrete sensor per key, it uses a single, larger sensor to measure pressure on all of the keys as a group. The messages omit the key number, leaving a two-byte format
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xD)
c is the channel number
pp is the pressure value (0 to 127)
&lt;/pre&gt;

Pitch Bend (0xE0)

Many keyboards have a wheel or lever towards the left of the keys for pitch bend control. This control is usually spring-loaded, so it snaps back to the center of its range when released. This allows for both upward and downward bends.

Pitch Bend Wheel

The wheel sends pitch bend messages, of the format
&lt;pre&gt;
0xnc, 0xLL, 0xMM
n is the status (0xE)
c is the channel number
LL is the 7 least-significant bits of the value
MM is the 7 most-significant bits of the value
&lt;/pre&gt;
You’ll notice that the bender data is actually 14 bits long, transmitted as two 7-bit data bytes. This means that the recipient needs to reassemble those bytes using binary manipulation. 14 bits results in an overall range of 214, or 0 to 16,383. Because it defaults to the center of the range, the default value for the bender is halfway through that range, at 8192 (0x2000).

Control Change (0xB0)

In addition to pitch bend, MIDI has provisions for a wider range of expressive controls, sometimes known as continuous controllers, often abbreviated CC. These are transmitted by the remaining knobs and sliders on the keyboard controller shown below.


Continuous Controllers

These controls send the following message format:
&lt;pre&gt;
0xnc, 0xcc, 0xvv
n is the status (0xB)
c is the MIDI channel
cc is the controller number (0-127)
vv is the controller value (0-127)
&lt;/pre&gt;

Typically, the wheel next to the bender sends controller number one, assigned to modulation (or vibrato) depth. It is implemented by most instruments.

The remaining controller number assignments are another point of confusion. The MIDI specification was revised in version 2.0 to assign uses for many of the controllers. However, this implementation is not universal, and there are ranges of unassigned controllers.

On many modern MIDI devices, the controllers are assignable. On the controller keyboard shown in the photos, the various controls can be configured to transmit different controller numbers. Controller numbers can be mapped to particular parameters. Virtual synthesizers frequently allow the user to assign CCs to the on-screen controls. This is very flexible, but it might require configuration on both ends of the link and completely bypasses the assignments in the standard.


Program Change (0xC0)

Most synthesizers have patch storage memory, and can be told to change patches using the following command:
&lt;pre&gt;
0xnc, 0xpp
n is the status (0xc)
c is the channel
pp is the patch number (0-127)
&lt;/pre&gt;
This allows for 128 sounds to be selected, but modern instruments contain many more than 128 patches. Controller #0 is used as an additional layer of addressing, interpreted as a “bank select” command. Selecting a sound on such an instrument might involve two messages: a bank select controller message, then a program change.

Audio &amp; Midi are not synchronized, what I can do ?
Buy a commercial software package but there is a nasty trick to synchronize both. It's a bit hardcore but works for me:

 Simply put one line down to all midi notes on your pattern (use Insert key)
 and go to 'Misc. Setup', adjust the latency and just search a value
 that will make sound sync both audio/midi.

The stock Sin/Saw/Pulse and Rnd waveforms are too simple/common, is there a way to use something more complex/rich ?
You have to ability to redirect the waveforms of the instruments through the synth pipe by selecting the &quot;wav&quot; option for the oscillator you're using for this synth instrument, samples can be used as wavetables to replace the stock signals.


Sound banks like soundfont (sf2) or Kontakt2 are not supported at the moment


====DAW Audio Evolution 4====

Audio Evolution 4 gives you unsurpassed power for digital audio recording and editing on the Amiga. The latest release focusses on time-saving non-linear and non-destructive editing, as seen on other platforms. Besides editing, Audio Evolution 4 offers a wide range of realtime effects, including compression, noise gate, delays, reverb, chorus and 3-band EQ.

Whether you put them as inserts on a channel or use them as auxillaries, the effect parameters are realtime adjustable and can be fully automated. Together with all other mixing parameters, they can even be controlled remotely, using more ergonomic MIDI hardware.

Non-linear editing on the time line, including cut, copy, paste, move, split, trim and crossfade actions

The number of tracks per project(s) is unlimited .... AHI limits you to recording only two at a time. i.e. not on 8 track sound cards like the Juli@ or Phase 88.

sample file import is limited to 16bit AIFF (not AIFC, important distinction as some files from other sources can be AIFC with aiff file extention). and 16bit WAV (pcm only)


Most apps use the Music Unit only but a few apps also use Unit (0-3) instead or as well. 
* Set up AHI prefs so that microphone is available. (Input option near the bottom)


stereo++ allows the audio piece to be placed anywhere and the left-right adjusted to sound positionally right

hifi best for music playback if driver supports this option


Load 16bit .aif .aiff only sample(s) to use not AIFC which can have the same ending. AIFF stands for Audio Interchange File Format 

 sox recital.wav recital.aiff

 sox recital.wav −b 16 recital.aiff channels 1 rate 16k fade 3 norm
 sox input.wav        output.aiff bass −b 16 rate 48k

performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16.

 rec −c 2 radio.aiff trim 0 30:00

records half an hour of stereo audio 

 play existing-file.wav


24bit PCM WAV or AIFF do not work 

*No stream format handling. So no way to pass on an AC3 encoded stream unmodified to the digital outputs through AHI.
*No master volume handling. Each application has to set its own volume. So each driver implements its own custom driver-mixer interface for handling master volumes, mute and preamps.
*Only one output stream. So all input gets mixed into one output.
*No automatic handling of output direction based on connected cables.
*No monitor input selection. Only monitor volume control. 


select the correct input (Don't mistake enabled sound for the correct input.)
The monitor will feedback audio to the lineout and hp out no matter if you have selected the correct input to the ADC. The monitor will provide sound for any valid input. This will result in free mixing when recording from the monitor input instead of mic/line because the monitor itself will provide the hardware mixing for you. Be aware that MIC inputs will give two channel mono. Only Linein will give real stereo.

Now for the not working part. Attempt to record from linein in the AE4 record window, the right channel is noise and the left channel is distorted. Even with the recommended HIFI 16bit Stereo++ mode at 48kHz.


Channels

Monitor

Gain

Inout

Output

Advanced settings - Debugging via serial port


* Options -&gt; Soundcard In/Out
* Options -&gt; SampleRate
* Options -&gt; Preferences

F6 for Sample File List

Setting a grid is easy as is measuring the BPM by marking a section of the sample. Is your kick drum track &quot;not in time&quot; ? If so, you're stumped in AE4 as it has no fancy variable time signatures and definitely no 'track this dodgy rhythm' function like software of the nature of Logic has. So if your drum beat is freeform you will need to work in freeform mode. (Real music is free form anyway).

If the drum *is* accurate and you are just having trouble measuring the time, I usually measure over a range of bars and set the number of beats in range to say 16 as this is more accurate, Then you will need to shift the drum track to match your grid *before* applying the grid. (probably an iterative process as when the grid is active samples snap to it, and when inactive you cannot see it).

AE4 does have ARexx but the functions are more for adding samples at set offsets and starting playback / recording.


These are the usual features found in DAWs...

* Recording digital audio, midi sequencer and mixer 
* virtual VST instruments and plug-ins 
* automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors and music notation editor


* different track views 
* mixer and track layout (but not the same as below) 
* traditional two windows (track and mixer)


Mixing - mixdown

Could not figure out how to select what part I wanted to send to the aux, set it to echo and return. Pretty much the whole echo effect. Or any effect.

Take look at page17 of the manual.

When you open the EQ / Aux send popup window you will see 4 sends. Now from the menu choose the windows menu.

Menus-&gt;Windows-&gt; Aux Returns Window

or press F5

You will see a small window with 4 volume controls and an effects button for each. Click a button and add an effects to that aux channel, then set it up as desired (note the reverb effect has a special AUX setting that improves its use with the aux channel, not compulsory but highly useful). You set the amount of 'return' on the main mix in the Aux Return window, and the amount sent from each main mixer channel in the popup for that channel. Again the aux sends are &quot;prefade&quot; so the volume faders on each channel do not affect them.


Tracking


Effects - fade in

To add some echoes to some vocals, tried to add an effect on a track but did not come out. This is made more complicated as I wanted to mute a vocal but then make it echo at the muting point. Want to have one word of a vocal heard and then echoed off. But when the track is mute the echo is cancelled out.

To correctly understand what is happening here you need to study the figure at the bottom of page 15 on the manual. You will see from that that the effects are applied 'prefade' So the automation you applied will naturally mute the entire signal.

There would be a number of ways to achieve the goal,

You have three real time effects slots, one for smoothing like so

Sample -&gt; Amplify -&gt; Delay

Then automate the gain of the amplify block so that it effectively mutes the sample just before the delay at the appropriate moment, the echo effect should then be heard.

Getting the effects in the right order will require experimentation as they can only be added top down and it's not obvious which order they are applied to the signal, but there only two possibilities, so it wont take long to find out.

Using MUTE can cause clicks to the Amplify can be used to mute more smoothly so that's a secondary advantage.

Signal Processing -


Overdub

[[#top|...to the top]]

===Office===

====Spreadsheet Leu====

Support for some xlsx, and ods functions 


====Spreadsheet Ignition====

; Needs ABIv1 to be completed before more can be done

File formats supported 
* ascii #?.txt and #?.csv (single sheets with data only). 
* igs and TurboCalc(WIP) #?.tc for all sheets with data, formats and formulas.

There is '''no''' support for xls, xlsx, ods or uos ([http://en.wikipedia.org/wiki/Uniform_Office_Format Uniform Unified Office Format]) at the moment.

* Always use Esc key after editing Spreadsheet cells.
* copy/paste seems to copy the first instance only so go to Edit -&gt; Clipboard to manage the list of remembered actions. 
* Right mouse click on row (1 or 2 or 3) or column header (a or b or c)  to access optimal height or width of the row or column respectively 
* Edit -&gt; Insert -&gt; Row  seems to clear the spreadsheet or clears the rows after the inserted row until undo restores as it should be...

Change Sheet name by  Object -&gt; Sheet -&gt; Properties

Click in the cell which will contain the result, and click '''down arrow button''' to the right of the formula box at the bottom of the spreadsheet and choose the function required from the list provided. Then click on the start cell and click on the bottom right corner, a '''very''' small blob, which allows stretching a bounding box (thick grey outlines) across many cells This grey bounding box can be used to '''copy a formula''' to other cells.

Object -&gt; Cell -&gt; Properties to change cell format - Currency only covers DM and not $, Euro, Renminbi, Yen or Pound etc. 
Shift key and arrow keys selects a range of cells, so that '''formatting can be done to all highlighted cells'''. 
View -&gt; Overview then select ALL with one click (in empty cell in the top left hand corner of the sheet).

Default mode is relative cell referencing e.g. a1+a2 but absolute e.g. $a$1+$a$2 can be entered.

* #sheet-name to '''absolute''' reference another sheet-name cell unless reference() function used.

;Graphs

use shift key and arrow keys to select a bunch of cells to be graph'ed making sure that x axes represents and y axes represents

* value() - 0 value, 1 percent, 2 date, 3 time, 4 unit ...


;Dates 
* Excel starts a running count from the 1st Jan 1900 and Ignition starts from 1st Jan 1AD '''(maybe this needs to change)'''
Set formatting Object -&gt; Cell -&gt; Properties and put date in days


;Time 
Set formatting Object -&gt; Cell -&gt; Properties and put time in seconds taken


;Database (to be done by someone else)

type - standard, reference (bezug), search criterion (suchkriterium), 
* select a bunch of cells and Object -&gt; Database -&gt; Define to set Datenbank (database) and Felder (fields not sure how?) 
* Neu (new) or loschen (delete) to add/remove database headings e.g. Personal, Start Date, Finish Date (one per row?)
* Object -&gt; Database -&gt; Index to add fields (felder) like Surname, First Name, Employee ID, etc. to ?

Filtering done with dbfilter(), dbproduct() and dbposition().

Activities with dbsum(), dbaverage(), dbmin() and dbmax().

Table sorting -


;Scripts (Arexx)

;Excel(TM) to Ignition - commas ''',''' replaced by semi-colons ''';''' to separate values within functions 
*SUM(), 
*AVERAGE(), MAX(), MIN(), INT(), PRODUCT(), MEDIAN(), VAR() becomes Variance(), Percentile(),
*IF(), AND, OR, NOT 
*LEFT(), RIGHT(), MID() becomes MIDDLE(), LEN() becomes LENGTH(), 
*LOWER() becomes LOWERCASE(), UPPER() becomes UPPERCASE(),
* DATE(yyyy,mm,dd) becomes COMPUTEDATE(dd;mm;yyyy), 
*TODAY(), DAY(),WEEK(), MONTH(),=YEAR(TODAY()), 
*EOMONTH() becomes MONTHLENGTH(), 
*NOW() should be date and time becomes time only, SECOND(), MINUTE(), HOUR(),
*DBSUM() becomes DSUM(),


;Missing and possibly useful features/functions needed for ignition to have better support of Excel files 
There is no Merge and Join Text over many cells, no protect and/or freeze row or columns or books but can LOCK sheets, no define bunch of cells as a name, Macros (Arexx?), conditional formatting, no Solver, no Goal Seek, no Format Painter, no AutoFill, no AutoSum function button, no pivot tables, (30 argument limit applies to Excel)

*HLOOKUP(), VLOOKUP(), [http://production-scheduling.com/excel-index-function-most-useful/ INDEX(), MATCH()], CHOOSE(), TEXT(), 
*TRIM(), FIND(), SUBSTITUTE(), CONCATENATE() or &amp;, PROPER(), REPT(), 
*[https://acingexcel.com/excel-sumproduct-function/ SUMPRODUCT()], ROUND(), ROUNDUP(), *ROUNDDOWN(), COUNT(), COUNTA(), SUMIF(), COUNTIF(), COUNTBLANK(), TRUNC(), 
*PMT(), PV(), FV(), POWER(), SQRT(), MODE(), TRUE, FALSE, 
*MODE(), LARGE(), SMALL(), RANK(), STDEV(), 
*DCOUNT(), DCOUNTA(), WEEKDAY(),


;Excel Keyboard [http://dmcritchie.mvps.org/excel/shortx2k.htm shortcuts needed to aid usability in Ignition] 
&lt;pre&gt;
Ctrl Z - Undo

Ctrl D - Fill Down
Ctrl R - Fill right

Ctrl F - Find
Ctrl H - Replace

Ctrl 1 - Formatting of Cells
CTRL SHIFT ~ Apply General Formatting ie a number 
Ctrl ; - Todays Date 

F2 - Edit cell
F4 - toggle cell absolute / relative cell references

&lt;/pre&gt;


====Document Scanning - Scandal====

Scanner usually needs to be connected via a USB port and not via a hub or extension lead.

Check in Trident Prefs -&gt; Devices that the USB Scanner is not bound to anything (e.g. Bindings None)
If not found then reboot the computer and recheck.

Start Scandal, choose Settings from Menu strip at top of screen and in Scanner Driver choose the ?#.device of the scanner (e.g. epson2.device).

The next two boxes - leave empty as they are for morphos SCSI use only
 or put ata.device (use the selection option in bigger box below) and Unit as 0 this is needed for gt68xx

* gt68xx - no editing needed in s/gt68xx.conf but needs a firmware file that corresponds to the scanner [http://www.meier-geinitz.de/sane/gt68xx-backend/ gt68xx firmwares] in sys:s/gt68xx.
* epson2 - Need to edit the file epson2.conf in sys/s that corresponds to the scanner being used

'''Save''' the settings but do not press the Use button (aros freezes)

Back to the Picture Scan window and the right-hand sections.

Click on the '''Information''' tab and press Connect button and the scanner should now be detected.

Go next to the '''Scanner''' tab next to Information Tab should have Color, Black and White, etc. and dpi settings now. Selecting an option Color, B/W etc. can cause dpi settings corruption (especially if the settings are in one line) so set '''dpi first'''. Make sure if Preview is set or not.

In the '''Scan''' Tab, press Scan and the scanner will do its duty. 
Be aware that nothing is saved to disk yet.

In the Save tab, change format JPEG, PNG or IFF DEEP. Tick incremental and base filename if necessary and then click the Save button. The image will now be saved to permanent storage.


The driver ignores a device if it is already bond to another USB class, rejects it from being usable. However, open Trident prefs, select your device and use the right mouse button to open. Select &quot;NONE&quot; to prevent poseidon from touching the device. Now save settings. It should always work now.

[[#top|...to the top]]

===Emulators===

==== Amiberry ====


==== Amiga Emu - Janus UAE ====

With Amibridge, AROS attempts to make the UAE emulator seem embedded within but it still is acting as an app 

There is no dynarec m68k for each hardware that Aros supports or direct patching of motorola calls to AROS hardware accelerated ones unless the emulator has that included 

Try starting Janus with a priority of -1 like this little script:
&lt;pre&gt;
cd sys:system/AmiBridge/emulator
changetaskpri -1
run janus-uae -f my_uaerc.config &gt;nil:
cd sys:prefs
endcli
&lt;/pre&gt;
This stops Janus hogging all the CPU time.


===Miscellaneous===

====Screensaver Blanker====

Most blankers on the amiga (i.e. aros) run as commodities (they are in the tools/commodities drawer). Double click on blanker.

Control is with an app called Exchange, which you need to run first (double click on app) or  run QUIET sys:tools/commodities/Exchange &gt;NIL: but subsequently can use (Cntrl Alt h).

Icon tool types (may be broken) or command line options 
&lt;pre&gt;
seconds=number 
&lt;/pre&gt;

Once the timing is right then add the following to s:icaros-sequence or s:user-startup

e.g. for 5 minutes

 run QUIET sys:tools/commodities/Blanker seconds=300 &gt;NIL:


*[http://archives.aros-exec.org/index.php?function=showfile&amp;file=graphics/screenblanker/gblanker.i386-aros.zip Garshneblanker] can make Aros unstable or slow. Certain blankers crashes in Icaros 2.0.x like Dragon, Executor.


*[ Acuario AROS version], the aquarium screen saver.

Startup: extras:acuariofv-aros/acuario

Kill: c:break name=extras:acuariofv-aros/acuario

Managed to start Acuario by the Executor blanker.

&lt;pre&gt;
cx_priority=
cx_popkey=    ie CX_POPKEY=&quot;Shift F1&quot; 
cx_popup=Yes or No

&lt;/pre&gt;


&lt;pre&gt;
 Qualifier String    Input Event Class
   ----------------    -----------------
    &quot;lshift&quot;           IEQUALIFIER_LSHIFT
    &quot;rshift&quot;           IEQUALIFIER_RSHIFT
    &quot;capslock&quot;         IEQUALIFIER_CAPSLOCK
    &quot;control&quot;          IEQUALIFIER_CONTROL
    &quot;lalt&quot;             IEQUALIFIER_LALT
    &quot;ralt&quot;             IEQUALIFIER_RALT
    &quot;lcommand&quot;         IEQUALIFIER_LCOMMAND
    &quot;rcommand&quot;         IEQUALIFIER_RCOMMAND
    &quot;numericpad&quot;       IEQUALIFIER_NUMERICPAD
    &quot;repeat&quot;           IEQUALIFIER_REPEAT
    &quot;midbutton&quot;        IEQUALIFIER_MIDBUTTON
    &quot;rbutton&quot;          IEQUALIFIER_RBUTTON
    &quot;leftbutton&quot;       IEQUALIFIER_LEFTBUTTON
    &quot;relativemouse&quot;    IEQUALIFIER_RELATIVEMOUSE
&lt;/pre&gt;


&lt;pre&gt;
    Synonym     Synonym
    String     Identifier
    -------    ----------
    &quot;shift&quot;    IXSYM_SHIFT    /* look for either shift key */
    &quot;caps&quot;     IXSYM_CAPS     /* look for either shift key or capslock */
    &quot;alt&quot;      IXSYM_ALT      /* look for either alt key */

Highmap is one of the following strings:
    &quot;space&quot;, &quot;backspace&quot;, &quot;tab&quot;, &quot;enter&quot;, &quot;return&quot;, &quot;esc&quot;, &quot;del&quot;,
    &quot;up&quot;, &quot;down&quot;, &quot;right&quot;, &quot;left&quot;, &quot;f1&quot;, &quot;f2&quot;, &quot;f3&quot;, &quot;f4&quot;, &quot;f5&quot;,
    &quot;f6&quot;, &quot;f7&quot;, &quot;f8&quot;, &quot;f9&quot;, &quot;f10&quot;, &quot;help&quot;.


&lt;/pre&gt;


[[#top|...to the top]]

==== World Construction Set WCS (Version 2.031) ====

WCS is a fractal landscape software such as Scenery Animator, Vista Pro and Panorama. Open sourced February 2022, World Construction Set [https://3dnature.com/downloads/legacy-software/ legally and for free] and [https://github.com/AlphaPixel/3DNature c source]. 

Announced August 1994 this version dates from April 1996 developed by Gary R. Huber and Chris &quot;Xenon&quot; Hanson&quot; from Questar 

&lt;pre&gt;
Assign &quot;WCSProjects:&quot; &quot;Volume:Dir/Dir/WCSProjects&quot; 
Assign &quot;WCSFrames:&quot;   &quot;Volume:Dir/Dir/WCSFrames&quot; 
&lt;/pre&gt;

&lt;pre&gt;
Load projects .proj by accessing pull down menu Project -&gt; Open then click on CanyonSunset.proj
OK to changing .par file and enlarge Status Log window to show what is happening 
Render by pull down menu Modules -&gt; Render with End equal 1 not 300 then click bottom middle button Render 
&lt;/pre&gt;

[https://www.youtube.com/watch?v=CxQDmf1ZWG0 Youtube walkthrough of above], [], [], 

Also try working with the already built file ColoDemo - Then open with the drop-down menu: Project/Open, then WCSProject:ColoDemo.proj
Which allows you to use altimetric DEM files already included and Loading scene parameters from ColoDemo.par
Once this is done, save everything with a new name to start working exclusively on your project. 
Then drop-down menu and select Save As (&quot;NewName&quot;.proj name), then drop-down menu to open parameter and select Save All ( .par name)


After launching the software, there is a the Module Control Panel composed of five icons. 
It is a dock type shortcut of the first few functions of the drop-down menu 

*Database   - Load (#?.proj), Append, Create, Edit, Save, Dir List (of WCSProject drawer), 
*Data Ops   - Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats  
*Map View   - Database file Loader leading to Map View Control with option to the Database Editor 
*Parameters - Editor for Motion, Color, Ecosystem, Clouds, Waves, management of altimeter files DEM, sclock settings etc 
*Render     - rendering terrain 

These are more in the pull down menu but not in the dock 
*Motion Editor
*Color Editor
*Ecosys Editor 


Simple minimal workflow 
*Load database (1st icon - 1st)
*Set parameters and save .par file (4th icon)
*Render scene (5th icon) 

[https://www.youtube.com/watch?v=ZbTwwR2qcc4 Youtube], [], 

&lt;pre&gt;
.proj new project name which creates a drawer of additional files 

.binary array, ascii array .xyz , z buffer, DTED .dt0, vista 1990s dem, iff  conversion 
.Obj with .elev, .frd with .hdr maps, - digital elevation model (DEM) is a 3D representation of elevation data in various formats 
USGS 7.5MinDEM, 

.par 


&lt;/pre&gt;


Since for the time being no project is loaded, a query window indicates a procedural error when clicking on the rendering icon (right end of the bar). The menu is quite traditional; it varies according to the activity of the windows. To display any altimetric file in the &quot;Mapview&quot; (third icon of the panel), There are three possibilities:

* Loading of a demonstration project.
* The import of a DEM file, followed by texturing and packaging from the &quot;Database-Editor&quot; and the &quot;Color-Editor&quot;.
* The creation of an altimetric file in WCS format, then texturing.


The altimeter file editing (display in the menu) is only made possible if the &quot;Mapview&quot; window is active.

The software is made up of many windows and won't be able to describe them all. Know that &quot;Color-Editor&quot; and the &quot;Data-Editor&quot; comprise sufficient functions for obtaining an almost real rendering quality. You have the possibility of inserting vector objects in the &quot;Data-Editor&quot; (creation of roads, railways, etc.) 


The Map View (MapView) window

*Database - Objects and Topos
*View     - Align, Center, Zoom, Pan, Move 
*Draw     - Maps and distance 
*Object   - Find, highlight, add points, conform topo, duplicate 
*Motion   - Camera, Focus, path, elevation 
*Windows  - DEM designer, Cloud (.cld) and wave (.wve) editor, 


You will notice that by selecting this window and simply moving the pointer to various points on the map you will see latitude and longitude values ​​change, along with the height.
Drop-down menu and Modules, then select MapView and change the width of the window with the map to arrange it in the best way on the screen. With the Auto button the center. Window that then displays the contents of my DEM file, in this case the Grand Canyon. MapView allows you to observe the shape of the landscape from above
 

ZOOM button

Press the Zoom button and then with the pointer position on a point on the map, press the left mouse button and then move to the opposite corner to circumscribe the chosen area and press the left mouse button again, then we will see the enlarged area selected on the map.
Would add that there is a box next to the Zoom button that allows the direct insertion of a value which, the larger it is, the smaller the magnification and the smaller the value, the stronger the magnification. At each numerical change you will need to press the DRAW button to update the view.

PAN button

Under Zoom you will find the PAN button which allows you to move the map at will in all directions by the amount you want. This is done by drawing a line in one direction, then press PAN and point to an area on the map with the pointer and press the left mouse button. At this point, leave it and move the pointer in one direction by drawing a line and press the left mouse button again to trigger the movement of the map on the screen (origin and end points). Do some experiments and then use the Auto button immediately below to recenter everything.
There are parameters such as TOPO, VEC to be left checked and immediately below one that allows different views of the map with the Style command (Single, Multi, Surface, Emboss, Slope, Contour), each with its own particularities to highlight different details.

Now you have the first basics to manage your project visually on the map. Close the MapView window and go further...


Let's start working on ECOSYSTEMS
If we select Emboss from the MapView Style command we will have a clear idea of ​​how the landscape appears, realizing that it is a predominantly desert region of our planet. Therefore we will begin to act on any vegetation present and the appearance of the landscape.
With WCS we will begin to break down the elements of the landscape by assigning defined characteristics. It will be necessary to determine the classes of the ecosystem (Class) with parameters of Elevation Line (maximum altitude), Relative Elevation (arrangement on basins or convexities with respectively positive or negative parameters), Min Slope and Max Slope (slope). WCS offers the possibility of making ecosystems coexist on the same terrain with the UnderEco function, by setting a Density value.


Ecosys Ecosystem Editor

Let's open it from Modules, then Ecosys Editor. In the left pane you will find the list of ecosystems referring to the files present in our project. It will be necessary to clean up that box to leave only the Water and Snow landscapes and a few other predefined ones. We can do this by selecting the items and pressing the Remove button (be careful not for all elements the button is activated, therefore they cannot all be eliminated).
Once this is done we can start adding new ecosystems. Scroll through the various Unused and as soon as the Name item at the top is activated allowing you to write, type the name of your ecosystem, adding the necessary parameters.
&lt;pre&gt;
Ecosystem1: Name: RockBase Class: Rock Density: 80 MinSlope: 15 UnderEco: Terrain
Ecosystem2: Name: RockIncl Clss: Rock Density: 80 MinSlope: 30 UnderEco: Terrain
Ecosystem3: Name: Grass Class Low Veg Density: 50 Height: 1 Elev Line : 1500 Rel El Eff: 5
Max Slope: 10 – Min Slope: 0 UnderEco: Terrain
Ecosistema4: Name: Shrubs Class: Low Veg Density: 40 Height: 8 Elev Line: 3000
Rel El Eff: -2 Max Slope: 20 Min Slope : 5 UnderEco: Terrain
Ecosistema5: Name: Terrain Class: Ground Density: 100 UnderEco: Terrain
&lt;/pre&gt;

Now we need to identify an intermediate ecosystem that guarantees a smooth transition between all, therefore we select as Understory Ecosystem the one called Terrain in all ecosystems, except Snow and Water .
Now we need to 'emerge' the Colorado River in the Canyon and we can do this by raising the sea level to 900 (Sea Level) in the Ecosystem called Water.
Please note that the order of the ecosystem list gives priority to those that come after. So our list must have the following order: Water, Snow, Shrubs, RockIncl, RockBase, Terrain. It is possible to carry out all movements with the Swap button at the bottom. To put order you can also press Short List. Press Keep to confirm all the work done so far with Ecosystem Editor.
Remember every now and then to save both the Project 'Modules/Save' and 'Parameter/Save All'

EcoModels are made up of .etp .fgp .iff8 for each model 


Color Editor

Now it's time to define the colors of our scene and we can do this by going to Modules and then Color Editor. In the list we focus on our ecosystems, created first.
Let's go to the bottom of the list and select the first white space, assigning the name 'empty1', with a color we like and then we will find this element again in other environments... It could serve as an example for other situations!
So we move to 'grass' which already exists and assign the following colors: R 60 G 70 B50
&lt;pre&gt;
'shrubs': R 60 G 80 B 30
'RockIncl' R 110 G 65 B 60
'RockBase' R 110 G 80 B 80
' Terrain' R 150 G 30 B 30
&lt;pre&gt;
Now we can work on pre-existing colors
&lt;pre&gt;
'SunLight' R 150 G 130 B 130
'Haze and Fog' R 190 G 170 B 170
'Horizon' R 209 G 185 B 190
'Zenith' R 140 G 150 B 200
'Water' R 90 G 125 B 170
&lt;/pre&gt;

Ambient R 0 G 0 B 0

So don't forget to close Color Editor by pressing Keep.
Go once again to Ecosystem Editor and assign the corresponding color to each environment by selecting it using the Ecosystem Color button. Press it several times until the correct one appears. Then save the project and parameters again, as done previously.


Motion Editor

Now it's time to take care of the framing, so let's go to Modules and then to Motion Editor. An extremely feature-rich window will open. Following is the list of parameters regarding the Camera, position and other characteristics:
&lt;pre&gt;
-Camera Altitude: 7.0
-Camera Latitude: 36.075
-Camera Longitude: 112.133
-Focus Attitude: -2.0
-Focus Latitude: 36.275
-Focus Longitude: 112.386
-Camera : 512 → rendering window
-Camera Y: 384 → rendering window
-View Arc: 80 → View width in degrees
-Sun Longitude: 172
-Sun Latitude: -0.9
-Haze Start: 3.8
-Haze Range: 78, 5
&lt;/pre&gt;
As soon as the values ​​shown in the relevant sliders have been modified, we will be ready to open the CamView window to observe the wireframe preview. Let's not consider all the controls that will appear.
Well from the Motion Editor if you have selected Camera Altitude and open the CamView panel, you can change the height of the camera by holding down the right mouse button and moving the mouse up and down. To update the view, press the Terrain button in the adjacent window. As soon as you are convinced of the position, confirm again with Keep. You can carry out the same work with the other functions of the camera, such as Focus Altitude...
Let's now see the next positioning step on the Camera map, but let's leave the CamView preview window open while we go to Modules to open the window at the same time MapView. We will thus be able to take advantage of the view from the other together with a subjective one.


From the MapView window, select with the left mouse button and while it is pressed, move the Camera as desired. To update the subjective preview, always click on Terrain.
While with the same procedure you can intervene on the direction of the camera lens, by selecting the cross and with the left button pressed you can choose the desired view. So with the pressure of Terrain I update the Preview. Possibly can enlarge or reduce the Map View using the Zoom button, for greater precision.
Also write that the circle around the cameras indicates the beginning of the haze, there are two types (haze and fog) linked to the altitude. Would also add that the camera height is editable through the Motion Editor panel.


The sun

Let's see that changing the position of the sun from the Motion Editor. Press the SUN button at the bottom right and set the time and the date. Longitude and latitude are automatically obtained by the program. Always open the View Arc command from the Motion Editor panel, an item present in the Parameter List box.

Once again confirm everything with Keep and then save again.


Animation

The animation part is not left-back and also occupies a window. The settings possibilities are enormous. A time line with dragging functions (&quot;slide&quot;, &quot;drag&quot;...) comparable to that of LightWave completes this window. 


A small window is available for positioning the stars as a function of a date, in order to vary the seasons and their various events (and yes...).

At the bottom of the &quot;Motion-Editor&quot;, a &quot;cam-view&quot; function will give you access to a control panel. Different preview modes are possible. The rendering is also accessible through a window. No less than nine pages compose it. At this level, you will be able to determine the backup name of your images (&quot;path&quot;), the type of texture to be calculated, the resolution of the images, activate or deactivate functions such as the depth buffer (&quot;zbuffer&quot;), the blur, the background image, etc.


Once all these parameters have been set, all you have to do is click on the &quot;Render&quot; button.

For rendering go to Modules and then Render. Select the resolution, then under IMA select the name of the image. Move to FRA and indicate the level of fractal detail which of 4 is quite good. Then Keep to confirm and then reopen the window, pressing Render you will see the result. The image will be opened with any viewing program.


Strengths:

* Multi-window.
* Quality of rendering.
* Accuracy.
* Opening, preview and rendering on CyberGraphX screen.
* Extract / Convert Interp DEM, Import DLG, DXF, WDB and export LW map 3d formats 
* The &quot;zbuffer&quot; function.

Weaknesses:

* No OpenGL management 
* Calculation time.
* No network computing tool.


====Writing CD / DVD - Frying Pan====

Can be backup DVDs (4GB ISO size limit due to use of FileInfoBlock), create audio cds from mp3's, and put .iso files on discs

If using for the first time - click Drive button and Device set to ata.device and unit to 0 (zero)

Click Tracks Button - Drive 1 - Create New Disc or Import Existing Disc Image (iso bin/cue etc.) - Session File open cue file

If you're making a data cd, with files and drawers from your hard drive, you should be using the ISO Builder.. which is the MUI page on the left. (&quot;Data/Audio Tracks&quot; is on the right).

You should use the &quot;Data/Audio tracks&quot; page if you want to create music cds with AIFF/WAV/MP3 files, or if you download an .iso file, and you want to put it on a cd.

Click WRITE Button - set write speed - click on long Write button

Examples

Easiest way would be to burn a DATA CD, simply go to &quot;Tracks&quot; page &quot;ISO Builder&quot; and &quot;ADD&quot; everything you need to burn.

On the &quot;Write&quot; page i have &quot;Masterize Disc (DAO)&quot;, &quot;Close Disc&quot; and &quot;Eject after Write&quot; set.

One must not &quot;Blank disc before write&quot; if one uses a CDR


AUDIO CD from MP3's are as easy but tricky to deal with. FP only understands one MP3 format, Layer II, everything else will just create empty tracks

Burning bootable CD's works only with .iso files. Go to &quot;Tracks&quot; page and &quot;Data/Audio Tracks&quot; and add the .iso


====odf====

Every ODF file is a collection of several subdocuments within a package (ZIP file), each of which stores part of the complete document.

* content.xml – Document content and automatic styles used in the content.
* styles.xml – Styles used in the document content and automatic styles used in the styles themselves.
* meta.xml – Document meta information, such as the author or the time of the last save action.
* settings.xml – Application-specific settings, such as the window size or printer information.


To read document follow these steps:

* Extracting .ods file.
* Getting content.xml file (which contains sheets data).
* Creating XmlDocument object from content.xml file.
* Creating DataSet (that represent Spreadsheet file).
* With XmlDocument select “table:table” elements, and then create adequate DataTables.
* Parse child’s of “table:table” element and fill DataTables with those data.
* At the end, return DataSet and show it in application’s interface.


To write document follow these steps:

* Extracting template.ods file (.ods file that we use as template).
* Getting content.xml file.
* Creating XmlDocument object from content.xml file.
* Erasing all “table:table” elements from the content.xml file.
* Reading data from our DataSet and composing adequate “table:table” elements.
* Adding “table:table” elements to content.xml file.
* Zipping that file as new .ods file.

XLS file format

The XLS file format contains streams, substreams, and records.

These sheet substreams include worksheets, macro sheets, chart sheets, dialog sheets, and VBA module sheets. 
All the records in an XLS document start with a 2-byte unsigned integer to specify Record Type (rt), and another for Count of Bytes (cb). A record cannot exceed 8224 bytes. If larger than the rest is stored in one or more continue records.

* Workbook stream 
**Globals substream
***BoundSheet8 record - info for Worksheet substream i.e. name, location, type, and visibility. (4bytes the lbPlyPos FilePointer, specifies the position in the Workbook stream where the sheet substream starts) 
**Worksheet substream (sheet) - Cell Table - Row record - Cells (2byte=row 2byte=column 2byte=XF format)
***Blank cell record
***RK cell record 32-bit number. 
***BoolErr cell record (2-byte Bes structure that may be either a Boolean value or an error code)
***Number cell record (64-bit floating-point number)
***LabelSst cell record (4-byte integer that specifies a string in the Shared Strings Table (SST). Specifically, the integer corresponds to the array index in the RGB field of the SST)
***Formula cell record (FormulaValue structure in the 8 bytes that follow the cell structure. The next 6 bytes can be ignored, and the rest of the record is a CellParsedFormula structure that contains the formula itself)
***MulBlank record (first 2 bytes give the row, and the next 2 bytes give the column that the series of blanks starts at. Next, a variable length array of cell structures follows to store formatting information, and the last 2 bytes show what column the series of blanks ends on)
***MulRK record 
***Shared String Table (SST) contains all of the string values in the workbook.

ACCRINT(), ACCRINTM(), AMORDEGRC(), AMORLINC(), 
COUPDAYBS(), COUPDAYS(), COUPDAYSNC(), COUPNCD(), COUPNUM(), COUPPCD(), 
CUMIPMT(), CUMPRINC(), 
DB(), DDB(), DISC(), 
DOLLARDE(), DOLLARFR(), 
DURATION(), EFFECT(), FV(), FVSCHEDULE(), 
INTRATE(), IPMT(), IRR(), ISPMT(), MDURATION(), MIRR(), NOMINAL(), NPER(), NPV(), 
ODDFPRICE(), ODDFYIELD(), ODDLPRICE(), ODDLYIELD(), 
PMT(), PPMT(), PRICE(), PRICEDISC(), PRICEMAT(), PV(), RATE(), 
RECEIVED(), SLN(), SYD(), TBILLEQ(), TBILLPRICE(), TBILLYIELD(), 
VDB(), XIRR(), XNPV(), YIELD(), YIELDDISC(), YIELDMAT(),


&lt;pre&gt;
&lt;/pre&gt;


&lt;pre&gt;
&lt;/pre&gt;

&lt;pre&gt;
&lt;/pre&gt;

{{BookCat}}</text>
      <sha1>stfhmuafbssr6i51o8yo26ej7pzs5pl</sha1>
    </revision>
  </page>
  <page>
    <title>Apache Ant/Creating a .xar file</title>
    <ns>0</ns>
    <id>281398</id>
    <revision>
      <id>4638085</id>
      <parentid>3679124</parentid>
      <timestamp>2026-05-30T15:49:13Z</timestamp>
      <contributor>
        <username>ShakespeareFan00</username>
        <id>46022</id>
      </contributor>
      <minor />
      <origin>4638085</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8305" sha1="9p9ymcvjvxxelxd0l9ju6a9yq68k431" xml:space="preserve">== Motivation ==
&lt;span style=&quot;color:red&quot;&gt;This example is under development!&lt;/span&gt;

You want to create an XML archive file (.xar file) directly from your source code that can be used to load library modules or applications into a native XML database.  This makes it much easier for users to install your module or application.  The packaging process does all the work of uploading your files into the correct location on a running eXist server and also sets all the permissions of the XQuery files (.xq) for you automatically.

== Method ==
We need to create a &quot;zip&quot; file with all the right components in it.

The format of the package is here:

http://expath.org/spec/pkg

The eXist-specific package documentation is here:

http://demo.exist-db.org/exist/apps/doc/repo.xml

== GUI Package vs. On-Disk Library vs. In DB Library==

There are three types of installation packages:
# A external library that is not in the database
# A library that is loaded into the database
# A full application with a GUI

For all library apps without GUI but deployed into db you must use two attributes, one for the target the type=&quot;library&quot; use the following structure:
  target=&quot;some /db path&quot; + type=&quot;library&quot;

For a simple XQuery library package, which only needs to be registered with eXist but not deployed within the exist database the target attribute should not be used.
  no target + type=&quot;library&quot;

== Sample Package Structure ==
The archive must contain two XML descriptor files in the root directory: expath-pkg.xml and repo.xml

Sample '''expath-pkg.xml''' file
&lt;syntaxhighlight lang=&quot;xml&quot;&gt;
&lt;package xmlns=&quot;http://expath.org/ns/pkg&quot; name=&quot;http://example.com/apps/myapp&quot; 
         abbrev=&quot;myapp&quot; version=&quot;0.1&quot; spec=&quot;1.0&quot;&gt;
    &lt;title&gt;My Cool Application&lt;/title&gt;
    &lt;dependency package=&quot;http://exist-db.org/apps/xsltforms&quot;/&gt;
&lt;/package&gt;
&lt;/syntaxhighlight&gt;

Note that the file name and the string in the namespace are &quot;pkg&quot; but the element name and the attribute in the dependency are &quot;package&quot;.  Make sure to keep these clear.

The format of this XML file is describe in the EXPath documentation.

Sample '''repo.xml''' file that contains instructions for the eXist-specific packaging
&lt;syntaxhighlight lang=&quot;xml&quot;&gt;
&lt;meta xmlns=&quot;http://exist-db.org/xquery/repo&quot;&gt;
    &lt;description&gt;My eXist application&lt;/description&gt;
    &lt;author&gt;Dan McCreary&lt;/author&gt;
    &lt;website&gt;http://danmccreary.com&lt;/website&gt;
    &lt;status&gt;alpha&lt;/status&gt;
    &lt;license&gt;GNU-LGPL&lt;/license&gt;
    &lt;copyright&gt;true&lt;/copyright&gt;
    &lt;!-- set this to &quot;application&quot; (without quotes) for system that have a GUI --&gt;
    &lt;type&gt;application&lt;/type&gt;
    &lt;target&gt;myapp&lt;/target&gt;
    &lt;prepare&gt;pre-install.xql&lt;/prepare&gt;
    &lt;finish&gt;post-install.xql&lt;/finish&gt;
    &lt;permissions user=&quot;admin&quot; password=&quot;&quot; group=&quot;dba&quot; mode=&quot;rw-rw-r--&quot;/&gt;
    &lt;!-- this element is automatically added by the deployment tool --&gt;
    &lt;deployed&gt;2012-11-28T23:15:39.646+01:00&lt;/deployed&gt;
&lt;/meta&gt;
&lt;/syntaxhighlight&gt;

== Sample Apache Ant Target to Generate an Application .xar file ==

This ant target needs the following inputs:

  source-dir - the place you keep your source code
  package-dir - a temp dir such as /tmp/my-package to store temporary files
  app-name - the name of your application
  app-version - the version of your application

# verify that repo.xml and expath-package.xml exist in the source dir and copy them into temp.dir
# copy all application files temp.dir
# create zip file from contents of temp.dir in the packages area and upload it to repositories if needed

&lt;syntaxhighlight lang=&quot;xml&quot;&gt;
&lt;target name=&quot;generate-app-xar&quot; description=&quot;Generate Application xar archive file&quot;&gt;
   &lt;echo&gt;Making Package for ${app-name} use source from ${source-dir}&lt;/echo&gt;
   &lt;zip destfile=&quot;${package-dir}/${app-name}-${app-version}.xar&quot;&gt;
         &lt;fileset dir=&quot;${source-dir}&quot;&gt;
            &lt;include name=&quot;**/*.*&quot; /&gt;
            &lt;exclude name=&quot;**/.svn&quot; /&gt;
      &lt;/fileset&gt;
   &lt;/zip&gt;
   &lt;echo&gt;Package is stored at ${package-dir}/${app-name}-${app-version}.xar&lt;/echo&gt;
&lt;/target&gt;
&lt;/syntaxhighlight&gt;

== Sample Apache Ant Target to Generate a Library .xar file ==

This script depends on the following Ant properties:

  ant.project.name - the name of the project
  xslt.dir - the directory that the XSLT script are stored
  temp.dir - a temp dir such as /tmp to store temporary files
  web.specs.dir - the place to put the results

&lt;syntaxhighlight lang=&quot;xml&quot;&gt;
&lt;target name=&quot;generate-xar&quot; description=&quot;Generate xar archive&quot;&gt;
        &lt;echo&gt;Making ${ant.project.name}.xar...&lt;/echo&gt;

        &lt;!-- run a transform in the input specification file to create the a.xml file --&gt;
        &lt;xslt force=&quot;true&quot; style=&quot;${xslt.dir}/generate-xar-descriptors.xsl&quot; 
              in=&quot;${web.specs.dir}/${ant.project.name}/${ant.project.name}.xml&quot; 
              out=&quot;${temp.dir}/files/a.xml&quot;&gt;
            &lt;param name=&quot;module-version&quot; expression=&quot;${module-version}&quot; /&gt;
            &lt;param name=&quot;eXist-main-class-name&quot; expression=&quot;${eXist-main-class-name}&quot; /&gt;
        &lt;/xslt&gt;
        &lt;delete file=&quot;${temp.dir}/files/a.xml&quot; /&gt;
        
        &lt;!-- now create the .xar file with all our files in the right place --&gt;
        &lt;zip destfile=&quot;${temp.dir}/archives/${ant.project.name}-${module-version}.xar&quot;&gt;
            &lt;fileset dir=&quot;${temp.dir}/files&quot;&gt;
                &lt;include name=&quot;**/*.*&quot; /&gt;
                &lt;exclude name=&quot;*-tests.jar&quot; /&gt;
            &lt;/fileset&gt;
        &lt;/zip&gt;
    &lt;/target&gt;
&lt;/syntaxhighlight&gt;

== Sample XSLT Script ==
&lt;syntaxhighlight lang=&quot;xml&quot;&gt;
&lt;xsl:stylesheet xmlns:xsl=&quot;http://www.w3.org/1999/XSL/Transform&quot; version=&quot;2.0&quot;&gt;

	&lt;xsl:output method=&quot;xml&quot; /&gt;

	&lt;xsl:param name=&quot;module-version&quot; /&gt;
	&lt;xsl:param name=&quot;eXist-main-class-name&quot; /&gt;

	&lt;xsl:template match=&quot;/&quot;&gt;
		&lt;xsl:variable name=&quot;module-namespace&quot;&gt;
			&lt;xsl:copy-of select=&quot;//element()[@id = 'module-namespace']&quot; /&gt;
		&lt;/xsl:variable&gt;
		&lt;xsl:variable name=&quot;module-prefix&quot;&gt;
			&lt;xsl:copy-of select=&quot;//element()[@id = 'module-prefix']&quot; /&gt;
		&lt;/xsl:variable&gt;
		&lt;xsl:variable name=&quot;spec-title&quot;&gt;
			&lt;xsl:copy-of select=&quot;concat('EXPath ', //element()[local-name() = 'title'])&quot; /&gt;
		&lt;/xsl:variable&gt;
		&lt;xsl:variable name=&quot;author&quot;&gt;
			&lt;xsl:copy-of select=&quot;//element()[local-name() = 'author'][1]/element()[1]&quot; /&gt;
		&lt;/xsl:variable&gt;

		&lt;xsl:result-document href=&quot;target/files/expath-pkg.xml&quot;&gt;
			&lt;package xmlns=&quot;http://expath.org/ns/pkg&quot; name=&quot;http://expath.org/lib/{$module-prefix}&quot; abbrev=&quot;{concat('expath-', $module-prefix)}&quot;
				version=&quot;{$module-version}&quot; spec=&quot;1.0&quot;&gt;
				&lt;title&gt;
					&lt;xsl:value-of select=&quot;$spec-title&quot; /&gt;
				&lt;/title&gt;
				&lt;dependency processor=&quot;http://exist-db.org/&quot; /&gt;
			&lt;/package&gt;
		&lt;/xsl:result-document&gt;

		&lt;xsl:result-document href=&quot;target/files/repo.xml&quot;&gt;
			&lt;meta xmlns=&quot;http://exist-db.org/xquery/repo&quot;&gt;
				&lt;description&gt;
					&lt;xsl:value-of select=&quot;$spec-title&quot; /&gt;
				&lt;/description&gt;
				&lt;author&gt;
					&lt;xsl:value-of select=&quot;$author&quot; /&gt;
				&lt;/author&gt;
				&lt;website /&gt;
				&lt;status&gt;stable&lt;/status&gt;
				&lt;license&gt;GNU-LGPL&lt;/license&gt;
				&lt;copyright&gt;true&lt;/copyright&gt;
				&lt;type&gt;library&lt;/type&gt;
			&lt;/meta&gt;
		&lt;/xsl:result-document&gt;

		&lt;xsl:result-document href=&quot;target/files/exist.xml&quot;&gt;
			&lt;package xmlns=&quot;http://exist-db.org/ns/expath-pkg&quot;&gt;
				&lt;jar&gt;
					&lt;xsl:value-of select=&quot;concat('expath-', $module-prefix, '.jar')&quot; /&gt;
				&lt;/jar&gt;
				&lt;java&gt;
					&lt;namespace&gt;
						&lt;xsl:value-of select=&quot;$module-namespace&quot; /&gt;
					&lt;/namespace&gt;
					&lt;class&gt;
						&lt;xsl:value-of select=&quot;concat('org.expath.exist.', $eXist-main-class-name)&quot; /&gt;
					&lt;/class&gt;
				&lt;/java&gt;
			&lt;/package&gt;
		&lt;/xsl:result-document&gt;

		&lt;xsl:result-document href=&quot;target/files/cxan.xml&quot;&gt;
			&lt;package xmlns=&quot;http://cxan.org/ns/package&quot; id=&quot;{concat('expath-', $module-prefix, '-exist')}&quot; name=&quot;http://expath.org/lib/{$module-prefix}&quot;
				version=&quot;{$module-version}&quot;&gt;
				&lt;author id=&quot;{$author/element()/@id}&quot;&gt;
					&lt;xsl:value-of select=&quot;$author&quot; /&gt;
				&lt;/author&gt;
				&lt;category id=&quot;libs&quot;&gt;Libraries&lt;/category&gt;
				&lt;category id=&quot;exist&quot;&gt;eXist extensions&lt;/category&gt;
				&lt;tag&gt;
					&lt;xsl:value-of select=&quot;$module-prefix&quot; /&gt;
				&lt;/tag&gt;
				&lt;tag&gt;expath&lt;/tag&gt;
				&lt;tag&gt;library&lt;/tag&gt;
				&lt;tag&gt;exist&lt;/tag&gt;
			&lt;/package&gt;
		&lt;/xsl:result-document&gt;

	&lt;/xsl:template&gt;
&lt;/xsl:stylesheet&gt;
&lt;/syntaxhighlight&gt;

== Sample XQuery Script ==
&lt;syntaxhighlight lang=&quot;xml&quot;&gt;

&lt;/syntaxhighlight&gt;

== Acknowledgements ==
The Apache Ant target and the XSLT script were provided by Claudius Teodorescu.
{{BookCat}}</text>
      <sha1>9p9ymcvjvxxelxd0l9ju6a9yq68k431</sha1>
    </revision>
  </page>
  <page>
    <title>Module:Sandbox</title>
    <ns>828</ns>
    <id>289550</id>
    <revision>
      <id>4638183</id>
      <parentid>2674847</parentid>
      <timestamp>2026-05-31T09:58:30Z</timestamp>
      <contributor>
        <username>Addonian1123</username>
        <id>3471203</id>
      </contributor>
      <comment>Replaced content with &quot;--- Test page&quot;</comment>
      <origin>4638183</origin>
      <model>Scribunto</model>
      <format>text/plain</format>
      <text bytes="13" sha1="1nbt33r47imwrd1zp65p636pg8962b8" xml:space="preserve">--- Test page</text>
      <sha1>1nbt33r47imwrd1zp65p636pg8962b8</sha1>
    </revision>
    <revision>
      <id>4638184</id>
      <parentid>4638183</parentid>
      <timestamp>2026-05-31T09:59:04Z</timestamp>
      <contributor>
        <username>Quinlan83</username>
        <id>3290607</id>
      </contributor>
      <minor />
      <comment>[[WB:REVERT|Reverted]] edit by [[Special:Contributions/Addonian1123|Addonian1123]] ([[User talk:Addonian1123|talk]]) to last version by Renamed user 5f91ca71739b07cfce8397eed758fe13</comment>
      <origin>2674847</origin>
      <model>Scribunto</model>
      <format>text/plain</format>
      <text bytes="627" sha1="5amuhkps58r6t580n841u9ngzo9cm9r" xml:space="preserve">local p = {}

function p.list(frame)
    local args = frame.args
    
    if mw.ustring.match( args[1], &quot;%s*%*&quot; ) then
        return &quot;Found list:\n\n&quot; .. args[1]
    elseif mw.ustring.match( args[1], &quot;UNIQ&quot; ) then
        local links = mw.text.unstrip( args[1] ):gmatch( '&lt;a href=&quot;[^&quot;]*&quot; title=&quot;[^&quot;]*&quot;&gt;(.-)&lt;/a&gt;' )
        local link = {}
        
        for l in links do
            table.insert( link, table.concat({ '* [[', l, ']]' }) )
        end
        
        return table.concat(link, '\n')
    else
        return mw.text.nowiki( args[1] ):gsub( '[ \n]', { [' ']='&amp;nbsp;', ['\n']='&lt;br/&gt;' } );
    end
end

return p</text>
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  <page>
    <title>User:PeterEasthope/sandbox</title>
    <ns>2</ns>
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      <id>4638128</id>
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      <timestamp>2026-05-30T23:35:25Z</timestamp>
      <contributor>
        <username>PeterEasthope</username>
        <id>660399</id>
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{{b:User:PeterEasthope/ThreeBoxes
| '''Host Environment'''&lt;ref name=&quot;HostEnvironment&quot;/&gt;
| '''Software'''
| '''Installation'''
| 25px}}

{{b:User:PeterEasthope/ThreeBoxes
| Bare [[w:X86|X86 PC]]&lt;ref name=&quot;Transmeta&quot;/&gt;
| [[Oberon/ETH Oberon|ETH Oberon]], formerly System 3, PC-Native Oberon. [[w:Oberon_(operating_system)#Native_Oberon|Wikipedia]]
| [https://sourceforge.net/projects/nativeoberon/files/nativeoberon/ SourceForge] [[Oberon/ETH Oberon/install|ETHZ, actual diskettes]] [[Oberon/ETH_Oberon/QEMUinstall|Hypervisor using diskette images]]. [https://www.youtube.com/watch?v=Do2O1yFrnos Oberon Tutorials] at YouTube&lt;ref name=&quot;YouTube&quot;/&gt;
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| [[w:X86|X86 PC]] with [[w:MS_DOS|MS-DOS]] or [[w:FreeDOS|compatible OS]]
| DOS Oberon System3, Version 2.0, [[Oberon/Bibliography#Dis93|Dis93]]&lt;ref name=&quot;DOS&quot;/&gt;
| [https://sourceforge.net/projects/dosoberon/files/DOS%20Oberon%20System%203%20Version%202.0/ SourceForge] [https://github.com/Classic-Tools/DOSOberon/tree/master/DOSOberon-S3R2.0|Github]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| [[w:X86|X86 PC]]
| DOS Oberon System3, Version 2.0,
| [https://sourceforge.net/projects/dosoberon/files/DOS%20Oberon%20System%203%20Version%202.0/ SourceForge] [https://github.com/Classic-Tools/DOSOberon/tree/master/DOSOberon-S3R2.0|Github]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| X86 PC with MS Windows
| ETH Oberon for Windows
| [https://github.com/pcayuela/oldftpETHZOberon/tree/master/System3/Win95NT Github]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| HP Alpha [aka DEC AXP] with OpenVMS
| [http://www.modulaware.com/mwovms.htm 64 bit (Linz-)Oberon System], [[Oberon/Linz Oberon, V4|V4]]
| [http://www.modulaware.com/zel/aos/ modulaware.com] [http://www.modulaware.com/zel/aos/ OpenVMS Alpha]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| X86, ARM, ARMv7,&lt;br&gt;[[w:RISC-V|RISC-V]] or [[w:MIPS_architecture|MIPS]] with Linux
| [http://oberon.wikidot.com/oberon-linux-revival-olr Oberon Linux Revival, OLR]&lt;ref name=&quot;OLR&quot;/&gt;
| [http://oberon.wikidot.com/ P. Matthias]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| X86 PC with Linux, UltraSPARC with Solaris or Sun3 with SunOS
| [http://www.mathematik.uni-ulm.de/oberon/ Ulm Oberon]
| [http://www.mathematik.uni-ulm.de/oberon/ftp/ HTTP server] at [[w:University_of_Ulm|UUlm]]  [http://www.mathematik.uni-ulm.de/oberon/ulm.html HTML page] and manual pages in the downloads
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| X86 PC with various operating systems&lt;ref name=&quot;Linz&quot;/&gt;
| [http://ssw.jku.at/Research/Projects/Oberon.html Linz-Oberon], [[Oberon/Linz Oberon, V4|V4]]
| [http://olymp.idle.at/tanis/oberon.linux.html olymp.idle.at]&lt;ref name=&quot;olymp&quot;/&gt;,&lt;br&gt;[https://ssw.jku.at/Research/Projects/Oberon.html JKU Linz] and&lt;br&gt;[https://sourceforge.net/projects/oberon/files/ SourceForge] [http://olymp.idle.at/~tanis/INSTALL INSTALL at olymp.idle.at]&lt;br&gt;[https://sourceforge.net/p/oberon/wiki/Home/ Wiki at Sourceforge]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| X86 PC with Windows or with *nix and Wine
| [[w:BlackBox Component Builder|BlackBox Component Builder]], an&lt;br&gt;[[w:Integrated_development_environment|IDE]] for [[w:Component_Pascal|Component Pascal]] | | [http://blackboxframework.org/index.php?cID=goto-download-page BB Community download area]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| [[w:Common Language Infrastructure|.NET and CLI]]
| [[w:Component_Pascal|Gardens Point Component Pascal, GPCP]] application for .NET and CLI&lt;ref name=&quot;GPCP&quot;/&gt;
| [https://github.com/k-john-gough/gpcp Current project at github] &lt;br&gt; [https://web.archive.org/web/20120911105411/http://plas.fit.qut.edu.au/gpcp/ Original site from Archive.org]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| [[w:Java Virtual Machine|JVM]]
| [[w:Component_Pascal|Gardens Point Component Pascal]] application for JVM&lt;ref name=&quot;GPCP&quot;/&gt; 
| [https://github.com/k-john-gough/gpcp Current project at github] &lt;br&gt; [https://web.archive.org/web/20120911105411/http://plas.fit.qut.edu.au/gpcp/ Original site from Archive.org]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| [[w:Linux|Linux]]-[[w:IA-32|386]], [[w:Raspberry_Pi_OS|Rasbian]], [[w:Microsoft_Windows|Windows]]
| Ofront Oberon to C translator  
| Josef Templ, [https://github.com/jtempl/ofront/ github]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| [[w:Linux|Linux]], [[w:OS X|OS X]] or [[w:MS Windows|MS Windows]]
| [https://ecs.openbrace.org/ Eigen Compiler Suite]
| [https://ecs.openbrace.org/releases/ Releases] [https://ecs.openbrace.org/manual User Manual]
| 100px}}

{{b:User:PeterEasthope/ThreeBoxes
| Subsystem for Blackbox
| Ofront+ Oberon to C translator  
| various Oberon dialects [https://github.com/Oleg-N-Cher/OfrontPlus/ github]
| 100px}}</text>
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  <page>
    <title>Chess/Computer Chess/Star Wars Chess/Printable version</title>
    <ns>0</ns>
    <id>433456</id>
    <revision>
      <id>4638057</id>
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      <timestamp>2026-05-30T13:29:44Z</timestamp>
      <contributor>
        <username>User97104</username>
        <id>3562800</id>
      </contributor>
      <comment>Undid revision [[Special:Diff/4623528|4623528]] by [[Special:Contributions/~2026-16785-92|~2026-16785-92]] ([[User talk:~2026-16785-92|discuss]]) what?</comment>
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      <text bytes="48" sha1="1dgnhyztt6xuni0t3lkxouk7z2m9z6o" xml:space="preserve">{{:Wikibooks:Collections/Preface}}
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  <page>
    <title>Introducing Julia/Jobs</title>
    <ns>0</ns>
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      <id>4638116</id>
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      <contributor>
        <username>~2026-32125-40</username>
        <id>3598158</id>
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      <text bytes="32051" sha1="9e2pannejyotmjzx92g1tofr0h7rvu6" xml:space="preserve">To fight the perception that there are &quot;no Julia jobs&quot; (or just used in academia), here is a list of companies that are known to have hired people to use Julia (&quot;the issue is not the jobs not existing, it's the there's no complete list that shows just how many there are&quot;):

&lt;!-- Chris: https://www.reddit.com/r/Julia/comments/tck9v6/is_it_worth_learning_julia_in_2022_considering/i0dy7h9/

&quot;there are tons of Julia jobs&quot;
--&gt;
* PumasAI
* Pfizer, Moderna, Johnson &amp; Johnson, Sanofi (and more pharma related)
* Beacon Biosignals
* JuliaHub (current name, founded in 2015 as Julia Computing Inc.) &lt;!-- most not web-related, but also hiring for web-work, then not mainly for Julia &quot;Expert JavaScript knowledge as a front-end language [..] Some familiarity with Julia is a plus. Knowledge of security aspects of Web applications Some web application development experience, in Julia or other dynamic languages (Python/Ruby), and/or automated API building tools like Prisma or Hasura.&quot;--&gt;
* The Ohio State University, Pheasant Senior Research Technician, using Julia and &quot;&lt;!-- (and R) and assuming that package since &quot;Required&quot;: The primary responsibilities of this position are to carry out multiscale occurrence analyses and connectivity modeling of ring-necked pheasants in Ohio. The successful applicant will also need to write and submit quarterly reports of their progress. Connectivity modeling will require the use of Julia while other analyses will be done in the R programming language.

Minimum Required Qualifications

*    Bachelor's degree in biology, natural resources, wildlife ecology, or equivalent experience and 2-3 years of relevant experience
*    Previous experience with connectivity modeling using --&gt;the Julia [https://conscape.org/faq.html package ConScape]&lt;!--
*    Advanced R coding skills.
*    Excellent record keeping and organization skills.
*    Able to work independently and interact professionally and respectfully with project managers, biologists, technicians, the public, and volunteers.
--&gt;&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=20&amp;vjk=30fa8cc91e7081a6&lt;/ref&gt;
* and startup companies, and numerous hedge funds and trading firms&lt;ref&gt;{{Cite web |first=Sarah |last=Butcher |date=2021-07-20 |title=The niche coding language for machine learning jobs |url=https://www.efinancialcareers.com/news/2021/07/julia-coding-language |access-date=2022-10-19 |work=eFinancialCareers}}&lt;/ref&gt;
&lt;!-- Add BlackRock here(?) and more in finance known to use Julia, unclear if some companies have hired people or already existing people have discovered and started using Julia. Intel used Julia, but lets not add such companies unless still using or actively hiring recently.
--&gt;
** Invenia (went out of business, though still left behind 142 Julia packages they made on GitHub&lt;ref&gt;https://github.com/orgs/invenia/repositories?q=&amp;type=all&amp;language=julia&amp;sort=&lt;/ref&gt;)
** Zipline (drone tech/medical supplies/blood delivery company&lt;ref&gt;{{Cite web |date=2023-11-07 |title=Zipline hiring Staff Software Engineer - Simulation in South San Francisco, California, United States &lt;!--|url= LinkedIn on [[MediaWiki:Spam-blacklist]] |url=https://www.linkedin.com/jobs/view/staff-software-engineer-simulation-at-zipline-3400040421 |access-date=2023-11-10 --&gt; |publisher=Zipline |via=www.linkedin.com |language=en |quote=proficiency in at least one strongly typed language (e.g. Julia, C, C++, Python)}}&lt;/ref&gt;)

Julia jobs include many remote, plus e.g. located in &lt;!-- likely outdated: mostly &quot;remote, but also --&gt; &quot;San Diego, Bay Area, Boston, India, Germany, Sweden, UK.&quot;

Julia is also used e.g. for finance, and in science/academia, at NASA, and the Brazilian National Institute for Space Research (INPE) used Julia relating to the launch of Brazil's Amazonia-1 Satellite, CERN (for &lt;!-- analyze data from --&gt; the Large Hadron Collider), the Federal Reserve Bank (of New York), FAA, BlackRock AI Labs,&lt;ref&gt;{{Cite web |first=Ellis |last=Brown |work=BlackRockEngineering (BlackRock AI Labs) |date=2021-07-22 |title=Open-source Julia packages for first-order optimization |url=https://medium.com/blackrock-engineering/open-source-julia-packages-for-first-order-optimization-ac51f0f1aa09 |access-date=2022-10-19 |quote=we present two Julia packages that the BlackRock AI Labs has released, PiecewiseQuadratics.jl and SeparableOptimization.jl, along with a new Julia organization we created that is dedicated to first-order optimization methods.}}&lt;/ref&gt; State Street, Los Alamos National Laboratory, The Brazilian National Bank for Economic and Social Development, RIKEN (at their Center for Biosystems Dynamics Research, for RNA sequencing), Google Research,&lt;ref&gt;{{Cite web |title=Google Research |url=https://github.com/orgs/google-research/repositories?q=&amp;type=all&amp;language=julia&amp;sort= |access-date=2022-10-19 |work=Google Research's GitHub}}&lt;/ref&gt; and AstraZeneca.

Some companies that have placed job ads for people with Julia experience (or Julia is one of languages mentioned):
* &lt;!-- Amazon jobs are for e.g. Singapore, &quot;Virtual Location - California&quot;, others for non-virtual CA, Pasadena, and &quot;US, CA, San Francisco&quot;: &quot;Pursuant to the San Francisco Fair Chance Ordinance, we will consider for employment qualified applicants with arrest and conviction records.&quot;--&gt; The Amazon Web Services (AWS) Center for Quantum Computing (some jobs only mention Julia&lt;ref&gt;{{Cite web |title=Software Development Engineer, Design and Simulation, Center for Quantum Computing |url=https://www.amazon.jobs/en/jobs/2245904/software-development-engineer-design-and-simulation-center-for-quantum-computing |access-date=2022-11-06 |work=amazon.jobs}}&lt;/ref&gt; other &quot;Julia (preferred) or Python&quot;&lt;ref&gt;{{Cite web |title=Software Engineer, Center for Quantum Computing |url=https://www.amazon.jobs/en/jobs/2243491/software-engineer-center-for-quantum-computing |access-date=2022-11-06 |work=amazon.jobs |quote=No quantum experience required for this role. &lt;!-- [..] BASIC QUALIFICATIONS [..] 2+ years of experience developing software in Julia (preferred) or Python PREFERRED QUALIFICATIONS 2+ years using Julia and Python in a professional setting, or with a track record of open source contributions --&gt;}}&lt;/ref&gt;), e.g. Quantum Research Scientist&lt;!--, AWS Center for Quantum Computing – Materials - job post Pasadena, CA•Hybrid work From $136,000 a year - Full-time --&gt;;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=20&amp;vjk=09702f4fd0485d35&lt;/ref&gt; Amazon Dev Center U.S., Inc&lt;!-- &quot;2+ years using Julia and Python in a professional setting&quot;--&gt;; Amazon.com Services LLC (Applied Scientist, Optimization); Amazon Web Services, Inc. (Applied Scientist, Sales Insights, Analytics &amp; Data Science) and Amazon Web Services Singapore (Principal Architect – Data and Analytics)&lt;!-- &quot;PREFERRED QUALIFICATIONS Programming skills: Python, R, SQL, Java, Julia, Scala, Spark/Numpy/Pandas/scikit, JavaScript&quot; --&gt;
* AMD
* Arcfield/Orion Space Solutions, Satellite GNC Engineer, &quot;&lt;!-- Arcfield is a leading provider of full lifecycle, mission-focused systems engineering and integration capabilities to the U.S. government and its allies. [..]
Orion Space Solutions (an Arcfield company) was born out of the vision for applying fundamental space physics knowledge to address real-world problems. Founded in 2005, and based in Louisville, Colorado, Orion Space Solutions is a leader in the “New Space” small satellite industry. 

The ideal candidate enjoys writing new GNC algorithms and is fervent on good software practices. They should be comfortable with Python and C++, but --&gt;experience with and willingness to learn other languages is preferred (e.g., Julia).&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=20&amp;vjk=e0f2401cd23738e4&lt;/ref&gt;&lt;!-- They also have many other jobs, including non-programming/Julia &quot;Counterintelligence Program Assistant&quot;: https://www.indeed.com/cmp/Arcfield/jobs?jk=4da73420370f3f5d&amp;start=0&amp;clearPrefilter=1 --&gt;
* Argonne National Laboratory (Energy Systems Scientist at Center for Energy, Environmental, and Economic Systems Analysis (CEEESA)&lt;!-- &quot;with mainstream programming languages such as Julia, Python, Java, C/C++, etc.&quot;--&gt;)
* ASML, Netherlands, and in San Diego (many positions mentioning Julia, such as Machine Learning Mathematics Engineer, Senior Image Processing, Machine Learning Design Engineer, Laser and Plasma Physics Engineer&lt;!-- San Diego, CA 92127•Hybrid work $114,375 - $190,625 a year --&gt;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=30&amp;vjk=3d9309b86f0638e6&lt;/ref&gt;)
* Blue Origin, Seattle, WA, Special Programs Lead, &quot;&lt;!-- we envision millions of people living and working in space for the benefit of Earth. We’re working to develop reusable, safe, and low-cost space vehicles and systems within a culture of safety, collaboration, and inclusion. Join our diverse team of problem solvers as we add new chapters to the history of spaceflight!
--&gt;The role is part of the In-Space Systems business unit, which is focused on the development, manufacturing, and operation of spacecraft and systems. &lt;!--The vehicles and technologies we develop will provide mobility and infrastructure to enable persistent, dynamic operations in GEO and beyond. --&gt; [..] Utilize design tools (CAD, MATLAB, Julia, etc.) to develop and analyze mission and payload concepts.&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia+-Python&amp;start=30&amp;vjk=e62ae26b15dc5b2d&lt;/ref&gt;
* Boston Dynamics, Machine Learning Platform Engineer, &quot;Demonstrated proficiency in Python, Julia, or R, and related frameworks (PyTorch, Tensorflow, Pandas, Numpy)&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=20&amp;vjk=56a06978b5e3862e&lt;/ref&gt;
* Eclipse Technologies LLC, Wright-Patterson Air Force Base, Ohio, Research Scientist – Polymer Theory and Simulation&lt;!-- Programming skills in at least one of the following: Python, C, C++, Julia, R--&gt;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=20&amp;vjk=f1cad2ba12068629&lt;/ref&gt;
* Facebook (see Meta below)
* U.S. Department of Defense (DOD)&lt;!--&quot;Scientific programming experience with Python, Matlab, R, and/or Julia&quot;--&gt;
* Howard Hughes Medical Institute (i.e. HHMI Janelia Research Campus&lt;ref&gt;{{Cite web |title=Howard Hughes Medical Institute |url=https://github.com/orgs/JaneliaSciComp/repositories?q=&amp;type=all&amp;language=julia&amp;sort= |access-date=2022-10-22 |work=its JaneliaSciComp GitHub}}&lt;/ref&gt;)
* J.P. Morgan AI Research
* Lawrence Berkeley National Laboratory, &lt;!--- San Francisco Bay Area, CA $77,172 - $103,704 a year - Full-time --&gt; NESAP for Programming Environments and Models Postdoc, &quot;The National Energy Research Scientific Computing Center (NERSC) at Berkeley Lab seeks a highly motivated postdoctoral fellow to join the Programming Environments and Models team as part of NERSC’s Exascale Science Acceleration Program (NESAP). [..] The Perlmutter Supercomputer is NERSC’s first production GPU-based system. [..] &lt;!--
Required Qualifications:

* Ph.D. in Computer Science, Computational Science, Applied Mathematics or an equivalent/related field awarded within the last five years.
* --&gt; Experience programming in one or more of python, C++, Fortran, Julia.&quot;&lt;ref&gt;{{Cite web |title=NESAP for Programming Environments and Models Postdoc |url=https://www.indeed.com/jobs?q=Julia&amp;l=&amp;from=searchOnDesktopSerp&amp;vjk=5d6bd4bffe203b07 |publisher=Lawrence Berkeley National Laboratory |via=indeed.com |access-date=2024-07-05}}&lt;/ref&gt;
* Lawrence Livermore National Laboratory, Synthetic Biology/Microbial Genetics/Biochemistry - Postdoctoral Researcher &lt;!-- Livermore, CA $113,760 a year .. &quot;Experience in bioinformatics and/or proficiency in programming in one or more of the following languages: Python, Julia, C, C++, R, Java, or Matlab&quot; https://www.indeed.com/jobs?q=Julia&amp;l=&amp;from=searchOnHP&amp;vjk=4f0a36df0ce7b5ed --&gt;
* Los Alamos National Laboratory
** Optimization and Infrastructure Post-Master's Researchers &lt;!-- Programming experience; for example: Java, C++, Python, MATLAB, or Julia

Desired Qualifications:

Technical Knowledge:

*    Experience in developing fundamental approaches that can be applied to practical science and engineering problems, especially in the context of infrastructure networks
*    Mathematical modeling experience with AMPL, GAMS, JuMP, or Pyomo
*    Experience with commercial and open-source solvers (CPLEX, Gurobi, IPOPT, etc.)
[..]
Completion of a Master's Degree in a STEM field within the past 2 years or expected completion within the current academic year.--&gt;
** Programming Models and Runtime Systems (Scientist 2/3)
&lt;!-- &quot;This position will be filled at either the Scientist 2 or Scientist 3 level, depending on the skills of the selected candidate. Additional job responsibilities (outlined below) will be assigned if the candidate is hired at the higher level.&quot; --&gt;
*** Programming Models and Runtime Systems Scientist 2 ($101,700-$168,200)
*** Programming Models and Runtime Systems Scientist 3 ($122,300-206,300), &quot;&lt;!-- In addition to the Scientist 2 responsibilities the successful candidate must demonstrate advanced experience in one or more of the following: the LLVM compiler infrastructure, the Legion programming system, or in advanced compiler or parallel runtime system research and development. [..]

--&gt;Minimum Job Requirements: &lt;!--

* Established expertise in a subset of fundamental Computer Science topics including design and/or implementation of, parallel algorithms, parallel programming systems, programming languages, compilers (code analysis, optimization, code generation, code transformation), and parallel runtime systems (e.g., threading, message passing, tasking, etc.).
* --&gt; Demonstrated experience of strong programming skills in C/C++ as well as some experience with other languages such as Rust, Python, Julia, etc. [..] &lt;!--

--&gt;Desired Qualifications: &lt;!--

* Experience with modern machine-learning and data-centric computing libraries (e.g., PyTorch, NumPy, JAX), data-centric computing, and especially familiarity with parallelism and the underlying implementations of these.
* [..] --&gt;Ability to obtain a Q clearance.&quot;&lt;ref&gt;{{Cite web |title=Programming Models and Runtime Systems (Scientist 2/3) |url=https://www.indeed.com/jobs?q=Julia&amp;start=10&amp;vjk=d32881531df8c6ab |publisher=Los Alamos National Laboratory |via=indeed.com |access-date=2024-07-05}}&lt;/ref&gt;
** AI Test and Evaluation Postdoc, &quot;Familiarity with scientific computing (e.g. Python, Julia, Assembler) and/or high-performance computing [..] No Clearance: Position does not require a security clearance. Selected candidates will be subject to drug testing and other pre-employment background checks.&quot;&lt;ref&gt;{{Cite web |title=AI Test and Evaluation Postdoc |url=https://www.indeed.com/jobs?q=Julia&amp;start=10&amp;vjk=d200b184b7bce817 |publisher=Los Alamos National Laboratory |via=indeed.com |access-date=2024-07-05}}&lt;/ref&gt;
* Meta (Facebook), [https://about.meta.com/realitylabs/ Reality Labs], System Thermal Performance Engineer &quot;&lt;!-- Sunnyvale, CA $170,000 - $240,000 a year .. At Reality Labs we aim to bring together the brightest cross-disciplinary minds in one place to deliver on our mission: build tools that help people feel connected, anytime, anywhere. As a System Thermal Performance Engineer you will take a critical role in developing systems for VR, AR, Smart Glasses and Wearables, or New Technology Initiatives. You will be part of a team exploring and developing consumer electronics products over the full lifecycle, from prototypes to mass-production. You will work as part of a cross functional team requiring collaboration and curiosity in domains inside and outside thermal engineering
..
Minimum Qualifications: 4+ years experience in simulation or methodology development --&gt;using tools such as Julia or Python&lt;!-- Preferred Qualifications: [..] Experience in Python, Julia, Matlab in a package development environment.--&gt;&quot;&lt;ref&gt;{{Cite web |title=System Thermal Performance Engineer |url=https://www.indeed.com/cmp/Meta-dd1502f2/jobs?jk=8d46892df4d6a8d7&amp;q=Meta%20Julia&amp;l=&amp;start=0 |publisher=Meta/Facebook |via=indeed.com}}&lt;/ref&gt;
* MIT (e.g. for CliMA, built with Julia, and used in many departments e.g. JuliaLab/Comp Sci &amp; Artificial Intelligence Lab&lt;!-- and Economics and Department: Picower Institute for Learning &amp; Memory [..] imaging experiments aimed at understanding how neural circuits generate complex behaviors in the nematode C. elegans [..] REQUIRED:  high school diploma or its equivalent; proficiency with MATLAB, R, Julia, and/or Python&quot;--&gt;) and other universities, e.g. Princeton (Postdoctoral Research Associate&lt;!-- &quot;e.g. Julia/[https://jump.dev/ JuMP], Python/Pyomo, AMPL, GAMS&quot; --&gt;), University of Florida (Research Assistant Scientist to support research in the Algebraic Julia ecosystem at The Herbert Wertheim College of Engineering; also Assistant Professor - AI at The Marketing Department in the Warrington College of Business at the University of Florida) &lt;!--&quot;Candidates must have a Ph.D. in an area related to the position or be expected to finish their Ph.D. by August 2022 [..] Applicants should be proficient in at least one artificial intelligence or machine learning language (e.g., Python, R, SAS, MATLAB, Julia, or similar tools).&quot; --&gt; and University of Pennsylvania &lt;!-- &quot;the largest private employer in Philadelphia&quot; --&gt; (Research Specialist D (Department of Radiology)), University of Maryland (Assistant Research Professor or Assistant Research Scientist; familiarity with the Julia preferred&lt;!--&quot;Preferences: [..] In addition to Python, familiarity with the Julia and C++ programming languages.&quot;--&gt;)
* MIT
** Postdoctoral Associate, &quot;''Chemical Engineering (ChemE)'', to join a project focused on developing advanced decision-support tools for exploring the potential of demand-side flexibility in decarbonizing energy systems. [..] familiarity with algebraic modeling languages used for linear, nonlinear, and mixed-integer programming (e.g., Julia/JuMP and/or Python/Pyomo)&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=20&amp;vjk=a856e79b306e832c&lt;/ref&gt;
** MIT Energy Initiative (MITEI), Postdoctoral Associate, &quot;&lt;!-- Job Requirements

REQUIRED: Ph.D. in chemical engineering, electrical engineering, mechanical engineering, or a subject pertinent to the research area; excellent communication skills; ability to produce with minimal supervision, prioritize work, and meet deadlines; and fluency in spoken and written English. PREFERRED: expertise and a relevant track record in optimization, process systems engineering, techno-economic assessment (cash flow analysis) and life cycle assessment (GREET or other LCA software); experience using commercial process modeling software (e.g., Aspen Plus), --&gt;programming languages (e.g., Python, Julia, and MATLAB), and optimization packages (e.g., JuMP and Pyomo).&quot;
* Microsoft, for a) the Datacenter Integration Services (DCIS) &lt;!-- team is part of CO+I--&gt; &quot;Strategy and Analytics team is looking for a Principal Data Scientist to provide deep, data-driven insights into datacenter operations processes and systems that will inform strategy in key areas.&quot;&lt;!-- Jun 14, 2023 Up to 100% work from home &quot;7+ years of experience using statistical computing languages (R, Python, Julia, SQL, etc.) to manipulate data and draw insights from large data sets
7+ years of experience visualizing complex data in popular frameworks or platforms (such as ggplot, Matplotlib, Plotly, Bokeh, Altair, Power BI, Tableau, etc.)&quot; i.e. apparently already using Python and R, maybe not Julia yet, planning to or open to such people. &quot;Data Science IC5 - The typical base pay range for this role across the U.S. is USD $133,600 - $256,800 [up to for some locations] $282,200 per year.--&gt;&lt;ref&gt;https://jobs.careers.microsoft.com/global/en/job/1561015/Principal-Data-Scientist&lt;/ref&gt; and b) the Microsoft Quantum program also has job ads mentioning Julia, e.g. for Applied Researcher&lt;!-- &quot;Experience with Python, Julia, C/C++, or similar languages.&quot; Jun 09, 2023 Up to 50% work from home &quot;USD $145,800 - $238,600 per year.&quot; --&gt;&lt;ref&gt;https://jobs.careers.microsoft.com/global/en/job/1560050/Applied-Researcher&lt;/ref&gt;
&lt;!-- Sep 26, 2022: https://careers.microsoft.com/us/en/job/1470257/Applied-Researcher-Quantum-Computing
&quot;Microsoft Quantum has assembled a talented and diverse international team to create the world’s first scalable quantum computing system. [..] We are on the cusp of an accelerated effort in quantum computing. This position offers an opportunity to have a meaningful influence on a revolutionary technology.

Qualifications
Basic qualifications:

    Experience with Python, Julia, C/C++, or similar languages.
    A degree in Physics, Mathematics, Computer Science, Electrical or Computer Engineering, or related field with the matching following criteria

    Bachelor's with 4+ years of related experience
    Master's with 3+ years of related experience
    Doctorate with 1+ year(s) related experience
    OR equivalent experience&quot; --&gt;
* NASA/JPL (Robotics Technologist, related to rover missions including for Mars&lt;!-- &quot;This Robotics Technologist II/III will be responsible for [..] software development, and related planning and proposals for future planetary mission activities. This will include: Terrain-vehicle interaction for flight projects; Mars 2020 rover mission; Europa Lander mission; distributed robotics applications [..] Knowledge and experience with Matlab, Python, Julia, C++ programming is highly desirable.&quot; --&gt;)&lt;ref&gt;{{Cite web |title=Robotics Technologist, Modeling &amp; Simulation {{!}} Careers at NASA's Jet Propulsion Laboratory (JPL) |url=https://www.jpl.jobs/job/R1698/Robotics-Technologist-Modeling-Simulation |access-date=2022-11-11 |website=JPL (Jet Propulsion Laboratory)}}&lt;/ref&gt;
* National Renewable Energy Laboratory,
** Postdoctoral Researcher – Mathematical Optimization for Energy Systems, &quot;&lt;!-- Golden, CO $73,200 - $120,800 a year
..
The Complex Systems Simulation and Optimization (CSSO) Group in the NREL Computational Science Center has an opening for a full-time Postdoctoral Researcher – Computational Science, with emphasis on mathematical optimization and its application to the design and control of energy systems. ..
Please see more about our Postdoc experience in the Materials, Chemical and Computational Science Directorate and NREL
https://www.youtube.com/watch?v=dmE7-M723oo
..
Additional Required Qualifications

*    Experience formulating optimization problems in an algebraic modeling language, e.g., Pyomo, JuMP, PuLP, GAMS.
*    Experience with mathematical optimization solvers, e.g., CPLEX, Gurobi, Xpress, Cbc, Ipopt, and their capabilities.
*    Good understanding of optimization fundamentals, both computational and mathematical.

Preferred Qualifications

*    Familiarity with distributed computing frameworks such as MPI and OpenMP
*    --&gt;Experience with Pyomo and/or JuMP&lt;!--
*    Experience programming in Python and/or Julia&lt;!--
*    Experience with scalable machine learning frameworks, e.g, PyTorch--&gt;&quot;
** &lt;!-- $79,600 - $143,300 a year - Full-time --&gt; Electricity Markets Modeler and Software Developer II/III, &quot;&lt;!--
Additional Required Qualifications
* Advanced to expert proficiency with collaborative software development and deployment, specifically experience with Python, Julia, or similar
[..]
--&gt;Preferred Qualifications [..] Julia / [https://jump.dev/ JuMP] experience&quot;&lt;ref&gt;{{Cite web |title=Electricity Markets Modeler and Software Developer II/III |url=https://www.indeed.com/jobs?q=Julia&amp;l=&amp;from=searchOnDesktopSerp&amp;vjk=212770acda0980b4 |publisher=National Renewable Energy Laboratory |via=indeed.com |access-date=2024-07-05}}&lt;/ref&gt;
* Nvidia, Machine Learning Engineer - Reinforcement&lt;!--11001 Lakeline Blvd., Austin, TX 78717, $148,000 - $276,000 a year - Full-time--&gt;, &quot;Experience with Lisp / Scheme, Python, Julia, and C / C++.&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;l=&amp;from=searchOnDesktopSerp&amp;vjk=750a4de96f4a9e32&lt;/ref&gt;
* Oak Ridge National Laboratory, Postdoctoral Research Associate - Building Sensing and Control, &quot;&lt;!-- Oak Ridge, TN 37830
Basic Qualifications: [..]
 * Experience in developing software with Python for building-related applications.
[..]

--&gt;Preferred Qualifications: [..] Demonstrated ability to program in Julia or Modelica.&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;start=30&amp;vjk=d0c1519003f16893&lt;/ref&gt;
* Pfizer, Postdoctoral Fellow, Quantitative Systems Pharmacology, &quot;Nice-to-Have [..] In-depth, hands-on knowledge of modeling and simulation software (MATLAB/Simbiology, Julia, Python, R, C/C++ preferred)&quot;
* Play [https://www.magnuscarlsen.com/en Magnus] &lt;!-- &quot;the software company of reigning World Chess Champion Magnus Carlsen&quot;; since had an ad &quot;This is not primarily a Julia job&quot; (and unclear he hired a Julia person?): https://discourse.julialang.org/t/developer-position-at-play-magnus-computer-chess/52938  interesting quote from another of their ads: https://thehub.io/jobs/5c1b82d12b87b0c170da3d7b  &quot;Be able to impress people by saying that you work in a team that develops apps for the World Champion in chess. It works better than Tinder, we’ve heard.&quot; --&gt; (the company since acquired by Chess.com in 2022)
* Sandia National Laboratories (R&amp;D Computer Science (Early Career) &quot;&lt;!--&quot;The selected applicant can be a virtual worker located in any U.S. State or District of Columbia. [..]
    Bachelor's degree in a STEM related field
    Programming skills applicable to the HPC environment (C/C++, Fortran, Bash, Python, Julia, R, or similar languages) [..]
    --&gt;Able to acquire and maintain a DOE Q-level security clearance&quot;)
* Simons Foundation (Pre-Doctoral Researcher, Center for Computational Quantum Physics)
* SLAC National Accelerator Laboratory, Research Associate - AD ARD Machine Learning, &quot;&lt;!-- Menlo Park, CA 94025•Hybrid work  $54,000 - $100,000 a year - Temporary, Full-time
 * --&gt;Familiarity with accelerators/accelerator physics in some capacity (e.g. experimental, theoretical) &lt;!--
 * --&gt;Experience with a variety of programming codes (e.g. Julia, MATLAB, python)&lt;!-- 
 * Familiarity with EPICS and/or other accelerator control systems--&gt;&quot;
* Tesla, Senior Imaging Scientist, &quot;&lt;!-- to join the Camera Technology team to own  [..] the --&gt;development of imaging algorithms &lt;!-- used for image quality metrics, simulation, and ISP. This is not running a toolbox, but--&gt; [..] designing new methodologies from fundamental physics. [..] Writing Python/Julia/Matlab/C++ code for digital image processing with experience in OpenCV/CUDA/OpenGL&quot;&lt;ref&gt;{{Cite web |date=2024 |title=Image Scientist, Camera Technology |url=https://www.tesla.com/careers/search/job/image-scientist-camera-technology-194479 |publisher=Tesla |access-date=2024-03-14}}&lt;/ref&gt;
* UCLA, Assistant Researcher, &quot;Participate in NASA Sea Level Change Team science team meetings to present new products. [..] Strong coding skills using multiple languages (particularly MATLAB, python, or Julia and bash)&quot;&lt;ref&gt;https://www.indeed.com/jobs?q=Julia&amp;l=&amp;from=searchOnDesktopSerp&amp;vjk=76a4d503d1f80590&lt;/ref&gt;
* University of Massachusetts Medical School, Post Doc - Open Rank, &quot;&lt;!-- The Department of Genomics and Computational Biology at UMass Chan Medical School,
located in the state-of-the-art Albert Sherman Center, is a forefront of research in
Computational Biology, Evolutionary Biology, and Genomics. The Department focuses on
deciphering complex biological data using computational and genomic methods. [..]
--&gt;Proficient in at least one modern programming language such as Python, Julia, and R&quot;&lt;ref&gt;https://www.dice.com/job-detail/a5e0f235-94f8-4c33-ae09-c4d98fd4e54e?searchlink=search%2F%3Fq%3Djulia%26countryCode%3DUS%26radius%3D30%26radiusUnit%3Dmi%26page%3D1%26pageSize%3D20%26language%3Den&amp;searchId=9ff116fd-495d-420c-996c-5f2b9f684b99&lt;/ref&gt;
* Visionist, Inc., Data Scientist, Fort Meade, MD 20755&lt;!-- intriguingly NSA zip code, they/job ad do not give their own zip/address: 6700 Alexander Bell Dr #440, Columbia, MD 21046  https://www.indeed.com/jobs?q=Julia&amp;start=10&amp;vjk=87b536df7ff3334a --&gt;, &quot;Active Top Secret (TS/SCI) clearance with polygraph is required.&lt;!--
Visionist has an exciting new, fully FUNDED opportunity for a Data Scientist. You will deliver data analytics support across a variety of areas, from the development of advanced data analytics to understanding, evaluating, and implementing customer requirements. You will work with the latest trends and technologies while developing, designing, maintaining, and enhancing data analytic solutions for our customers.

For over 13 years, Visionist has been solving the Intelligence Community's toughest software and analysis challenges. We embed small engineering teams with analysts to rapidly identify and solve mission capability gaps playing a critical role in defending our nation’s cyber infrastructure &amp; providing expertise in malware analysis, attribution, mapping adversarial infrastructure, pen testing, and operational planning. If you'd like to join a collaborative group supporting mission critical tasking in a cleared environment, then Visionist is the place for you. Learn more about us at www.visionistinc.com.

Benefits of becoming a Visionist:

* We are a 100% employee-owned company, so our employees see the benefit of their contributions and have a stake in our overall success! [..]

[..]
We are a 100% employee-owned company, so our employees see the benefit of their contributions and have a stake in our overall success!

* Bachelor's degree in computer science, analytics, mathematics, or related technical field
* 5 years of experience in data science or software development
* Experience with Python, R, Scala, or Julia
* Experience with large data sets (Map/Reduce, Hadoop, Spark, Flink) [..]
* Knowledge of machine learning methods (neural networks &amp; deep learning) and platforms (TensorFlow, H20)
[..]
Not a good fit? Check out our other opportunities: https://jobs.jobvite.com/visionist  [E.g. there Signal Analyst job, also top secret &quot;Completion of Analyst course 451 and/or 452&quot;, and many others, some of with 20K signing bonus.]
[..]
Interested in learning more about Visionist and the work we do? Check out our website! https://www.visionistinc.com/what-we-do --&gt;&quot;
* The Walt Disney Company (Corporate) (Decision Scientist&lt;!-- &quot;Must exhibit competence in at least one computing topic: General computing (Python, Java, C, C++, etc.) Statistical computing (R, SAS, etc.) Scientific computing (Julia, MATLAB, etc.)&quot; --&gt;)

Internship job ads (for students) have included:
* Airbus Defence and Space GmbH, München area, full time &lt;!-- &quot;1XRD is the Artificial Intelligence domain of Central Research &amp; Technology composed of researchers and research engineers in artificial intelligence working to develop technologies bridging the gap between research and business. The team collaborates with academics and stirs research projects to push the state-of-the art towards solving Airbus relevant problems. --&gt; for supporting research activities in AI research and creating and contributing to Julia packages
* NASA/JPL&lt;ref&gt;{{Cite web |date=2022-11-11 |title=NASA internships : Next-generation tools for Earth Observing analytics in Julia |url=https://discourse.julialang.org/t/nasa-internships-next-generation-tools-for-earth-observing-analytics-in-julia/90134 |access-date=2022-11-11 |website=Julia Programming Language}}&lt;/ref&gt;

Many of the jobs or internships, especially related to SciML (one of) Julia's killer application (much used in e.g. pharma), have hired PhD students (or placed job ads for), such as (and some have experience in Neural ODE as the major requirement, or need &lt;!-- &quot;Ford is looking for someone with --&gt; prior knowledge with PINNs&lt;!-- .&quot; --&gt;):

&lt;!-- https://discourse.julialang.org/t/internship-positions-using-julia/88376/3 --&gt;
* Merck, Pfizer, Genentech (and other pharma companies)
* Bosch Research Center at Sunnyvale, California &lt;!-- is looking for a remote intern (US students) working on Neural ODE development in the next several months. Experience in Neural ODE is the major requirement.--&gt;

== References ==
&lt;references /&gt;

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{{ambox|type=notice|image=[[File:Printer.svg|40x40px]]|text='''This is the [[Help:Print versions|print version]] of [[Latin]]'''&lt;br/&gt;You won't see this message or any elements not part of the book's content when you print or [{{fullurl:{{existlist|Latin/Print version|{{FULLPAGENAME}}}}|printable=yes}} preview] this page.}}

== A Progressive Latin Grammar and Exercises ==
Introduction to the origins and structure of Latin:

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= How to study a language on the Internet and in your head = How do you think about languages as you study them? Typically, you will consider every punctuation mark and letter, all the verbs and nouns, adverbs and adjectives, and study them in order to make connections. Ideally, you will have a teacher to point you in the right direction, and help you make those connections. But when you have no teacher, those connections are left for you to discover. They may be clear or hidden, but either way you will have to make them yourself. As you explore this Wikibook, it will require the skill of critical thinking.

You can never go wrong studying a language if you remember that exposing yourself to a language, even if you stumble in practice, is itself learning it. Looking things up too much can sometimes impede progress. Stretch your memory, read slowly, and re-read. As you will soon discover, you are about to study a language that is rich and full of meaning, the ancestor of the Romance languages, such as Spanish, French, Portuguese, Italian, and Romanian, and an outsized influence on many other languages besides, including English.

== So do not assume that... ==
...Latin is like any other language. Do not assume ancient Roman culture is entirely unlike other cultures, however. The Romans grappled with issues that are universally dealt with.

We, the authors, endorse memorization, and after that, immersion. You must develop Latin muscles, and a willingness to write or type things out, or drill using software, or with a friend. Note the patterns after you have memorized the forms, not before. Allow yourself to be mesmerized by them. Similarly, seek out explanation only after you have memorized forms. Memorize forms, then make sentences, then use your knowledge to speak or to write the language.

==See also==
*[[How to learn a language]]

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Special consideration: How to use a Wikibook when progress may mean inaccuracy = The current rule for dealing with inaccuracy in this book is: if you are skilled enough then simply delete or fix what you don't understand or you think is wrong (but then add a full description before committing your changes) else try to note your level of schooling and your country of origin writing (in the summary box) about what confused you. Also, try to use the &quot;revert?&quot; keyword near the confusing text.

In other words, do not tolerate inaccuracy!

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Grammatical Introduction to Latin = {{Latin}}
----
=What is Latin?=
&lt;small&gt;
''Parts of this introduction were taken from [[Wikipedia:en:Latin|The Latin Language]] on the [[en:Main Page|Wikipedia]].''
&lt;/small&gt;

Latin was the language originally spoken in the region around the city of Rome called Latium. It gained great importance as the formal language of the Roman Empire. 

All [[Wikipedia:en:Romance languages|Romance languages]] &amp;mdash; including Italian, French, Spanish, Portuguese, Romanian, and others &amp;mdash; descend from a Latin parent, and many words in English and other languages today are based on Latin roots. Moreover, Latin was a ''lingua franca'', the learned language for scientific and political affairs in Europe, for more than one and a half thousand years, being eventually replaced by French in the 18th century and English by the middle of the 20th. Latin remains the formal language of the Roman Catholic Church to this day and is the official language of the Vatican. 

Romance languages are not derived from Classical Latin, a literary language for writing and oration, but rather from Vulgar Latin, the language spoken by the common people, or '' vulgus, '' of Rome. Classical Latin and Vulgar Latin (Romance) differ (for example) in that Romance had distinctive stress whereas Classical had distinctive length of vowels. In Italian and Sardo logudorese, there is distinctive length of consonants and stress, in Spanish only distinctive stress, and in French even stress is no longer distinctive. Stress refers to the emphasis of pronunciation on syllabic units. Most English nouns not derived from other parts of speech have an emphasis on the first syllable. Foreign loan words in English sometimes retain their original stress, which may be on the second or third syllable, though assimilation into English will usually result in a vowel shift towards emphasis on the first syllable.

Another major distinction between Classical and Romance is that modern Romance languages, excluding Romanian, have lost their case endings (suffixes at the end of the word used in place of prepositions) in most words (some pronouns being exceptions). Romanian is still equipped with several cases though some, notably the ablative, are no longer represented.

Here are some current English words which are Latin derivativesː

* Video is the Latin verb &quot;I see&quot; which in English is a noun referring to a recording and playback device.
* Audio is the Latin verb &quot;I hear&quot; which in English is a noun referring to a sound wave.
* Victoria is the Latin noun &quot;victory&quot; which in English is a proper noun and a woman's name.
* Carmen is the Latin noun &quot;song&quot; which in English is a proper noun and a woman's name.

=Introduction to the Latin Language=

== Simple and Compound Words ==

In Latin, words are either:
* ''' simple ''' (words that consist of only one part). For example:

{| class=&quot;wikitable&quot; style=&quot;width: 300px&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''eō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I go'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ferō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I carry'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''dō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I give'''
|}
* ''' compound ''' (words that consist of more than one part, for example, a root word combined with a prefix). For example:

{| class=&quot;wikitable&quot; style=&quot;width: 300px&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''abeō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I go away'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''trānsferō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I carry across'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''reddō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I give back'''
|}

==Word Parts==

Inflected words (i.e., words having ending- or spelling-changes according to their grammatical functions in the sentence) have a '''stem''' and a '''root.''' 

&lt;B&gt;The Stem&lt;/B&gt;

The stem is the part of the word to which various suffixes are added. The final suffix determines either the role of the word in the sentence (for example, when a Roman slave wished to address his ''dominus'' (master), he used the vocative form ''domine'' -- equivalent to &quot;O master&quot; in English) or the person/subject involved in the action (for example, &quot;I dominate&quot; may be expressed as &quot;domin-or&quot;, and &quot;they dominate&quot; as &quot;domin-antur&quot;). In these cases, ''domin-'' is the stem and ''-us'', ''-e'', ''-or'' and ''-antur'' are suffixes. The addition of such suffixes is called ''inflection''. This is discussed further in the [[#Summary|Summary]].

&lt;B&gt;The Root&lt;/B&gt;

The root is the part of the word that carries the essential meaning. For example the stem of ''agitō'' (I drive onward) is ''agit-'', whose root is ''ag'' (do, drive), which is in common to words of similar meaning: ''agō'' (I do, drive), ''agmen'' (that which is driven, such as a flock), etc. Notice the essential difference between a root and a stem. To the root &quot;ag&quot; has been added a suffix &quot;(i)tō-&quot; which denotes frequency of action (so &quot;agit-&quot; means to do or drive more than once, hence &quot;agit-ō&quot;, I agitate, I keep (something) moving, I urge, I impel).

In contrast, English uses word order more than inflection to determine the function of a word within a sentence. English also uses words like pronouns (I, she, etc.) and prepositions (to, at, etc.) where Latin generally prefers inflexions. Thus &quot;dom-ī&quot; (noun -- &quot;at home&quot;), &quot;ag-unt&quot; (verb -- &quot;they do/drive&quot;).

&lt;B&gt;Primitives&lt;/B&gt;

Primitives occur when both the stem and the root are the same. For example, in the word ''agere'' (to do, drive) both the stem and the root are the same: &quot;ag-&quot;.

&lt;B&gt;Derivatives&lt;/B&gt;

Derivatives occur when the root or stem is modified. For example, the stem ''flamm-'' from the noun ''flamma'' has the root &quot;flag&quot; (&quot;blaze&quot;), &quot;nōscō&quot; (I know) from the verb &quot;nōscere&quot; has the root &quot;gnō-&quot; (&quot;know&quot;).

&lt;B&gt;Suffixes&lt;/B&gt;

Latin attaches suffixes (&quot;endings&quot;) to stems to turn them into words (most stems and roots cannot be used in sentences without an ending). This inflection is essential to forming Latin sentences. The various suffixes and their translations will be learned in the later lessons.

=Types of Words used in Latin=

==Nouns==

A noun (Latin: ''nōmen'') is &quot;something perceived or conceived by the mind.&quot;

There are two kinds of nouns: Substantives and Pronouns. 

1. &lt;B&gt;Substantive&lt;/B&gt; (''nōmen substantīvum'') is a name simply denoting something perceived or conceived: ''psittacus'' - the parrot, ''nix'' - the snow, ''virtus'' - virtue.

2. &lt;B&gt;Pronoun&lt;/B&gt; (''prōnōmen'') is a word used in place of a ''substantivum'', usually when the ''substantivum'' is already known: ''ea'' - she, ''ille'' - that man

Nouns have changing endings on the stem (known as declension) and three incidents: number, gender and case. Number concerns whether the thing referred to is singular or plural (and the ending shows this); gender classifies a substantive as masculine, feminine or neuter (this determines how the endings of adjectives and pronouns behave) and case (where the ending must show how the noun fits in to the sentence). Adjectives and Pronouns must agree in all incidents when they refer to a substantive.

==Verbs==

Verbs (''verba'') express an action or a state of being, e.g., ''agō'' (I do), ''dīxit'' (he said), ''venīs'' (you come). Conjugation is the term for adding inflections to verb stems to indicate person (first, second or third), number (singular or plural), tense (present, future, imperfect, perfect, pluperfect or future perfect), voice (active or passive), and mood (indicative, subjunctive or imperative).

A verb can be either ''finite'' or ''infinite'':

1. &lt;B&gt;Finite&lt;/B&gt; verbs (''verba finīta'') are inflected and have a subject, e.g., I run, you run, he runs, they drive, the computer is turned on.

2. The &lt;B&gt;infinite&lt;/B&gt; verbs (''verba infinīta'') are not inflected and have no subject, e.g. to run, to drive, to turn on, to have drawn. ''Participles'', which are inflected as substantives rather than as verbs, may also be considered infinite, e.g., the ''running'' boy.

==Modifiers==

1. &lt;B&gt;Adjectives&lt;/B&gt; (''adiectīva'') are used to describe nouns. They indicate a quality perceived or conceived as inherent in, or attributed to, something denoted. E.g., ''vir &lt;U&gt;magnus&lt;/U&gt;'' (the &lt;U&gt;great&lt;/U&gt; man), ''puella &lt;U&gt;pulchra&lt;/U&gt;'' (the &lt;U&gt;fair&lt;/U&gt; girl)

2. &lt;B&gt;Adverbs&lt;/B&gt; (''adverbia'') are similar to adjectives, except that they are used to qualify verbs, adjectives or other adverbs, rather than nouns. In practice, they restrict the meaning of the verb or adjective by specifying how or how much. E.g., ''currō &lt;U&gt;celeriter&lt;/U&gt;'' (I run &lt;U&gt;quickly&lt;/U&gt;), ''pugnat &lt;U&gt;fortiter&lt;/U&gt;'' (he fights &lt;U&gt;bravely&lt;/U&gt;), ''&lt;U&gt;vērē&lt;/U&gt; iūcundus est'' (he's &lt;U&gt;really&lt;/U&gt; nice), ''&lt;U&gt;incrēdibile&lt;/U&gt; callida est'' (she's &lt;U&gt;incredibly&lt;/U&gt; clever).

==Other==

Particles are uninflected words that provide extra meaning.

1. &lt;B&gt;Prepositions&lt;/B&gt; (''praepositiōnēs'') are little words which tell you how one word is behaving in relation to another word (&quot;the &lt;U&gt;duck&lt;/U&gt; was &lt;B&gt;near&lt;/B&gt; the &lt;B&gt;pond&lt;/B&gt;&quot;, &quot;&lt;U&gt;she&lt;/U&gt; went &lt;B&gt;towards&lt;/B&gt; the &lt;B&gt;wood&lt;/B&gt;&quot;). In Latin, the noun that follows a preposition takes a particular ending (called a &quot;case&quot;), depending on the nature of the relationship, or on the nature of the preposition itself. E.g., ''ad'' (by), ''in'' (in), ''sub'' (under). What all this means is that a preposition is a sort of adverb, telling you how something is done. For example, &quot;you go&quot; is a simple statement, but &quot;you go in&quot; suggests that you don't just &quot;go&quot;, you go so as to enter something, and so you need a noun for the &quot;something&quot;. In English, we might say &quot;you go &lt;B&gt;into&lt;/B&gt; the house&quot;. In Latin, this would be: &quot;&lt;B&gt;in&lt;/B&gt; domum inīs&quot;. Notice the form &quot;in domum&quot;, which means &quot;into&quot; the house -- you're going into it, you're not yet exactly inside it (the ending -um of &quot;domum&quot; is called &quot;accusative&quot;). When you are inside the house, what you do is &quot;in&quot; the house, which is &quot;in domō&quot; (the ending -ō of &quot;domō&quot; is called &quot;ablative&quot;).

2. &lt;B&gt;Conjunctions&lt;/B&gt; (''coniunctiōnēs'') join together clauses and sentences. E.g., ''et'' (and), ''atque'' (as well as), ''sed'' (but).

3. &lt;B&gt;Interjections&lt;/B&gt; (''interiectiōnēs'') are exclamations used to express feeling or to gain attention. E.g., ''ō!'' (oh!), ''ēheu!'' (alas!), ''ecce!'' (behold!).

==Articles==
Latin has no definite article or indefinite article, respectively &quot;the&quot; and &quot;a/an&quot;. When translating Latin into English the appropriate article must be added.

=Summary=


{| BORDER
|-
| COLSPAN=&quot;2&quot; | &lt;center&gt;&lt;big&gt;&lt;big&gt;'''Parts of Speech'''&lt;/big&gt;&lt;/big&gt;&lt;/center&gt;
|-
| '''Inflected''' || '''Uninflected'''
|-
| ''Substantives:'' things perceived or conceived
| ''Adverbs:'' describe adjectives, verbs, and other adverbs
|-
| ''Adjectives:'' indicate a quality perceived or conceived as inherent of something in the substantive
| ''Prepositions:'' help nouns define their relations to other nouns
|-
| ''Pronouns:'' nouns used in place of substantives and adjectives
| ''Conjunctions:'' Join clauses and sentences
|-
| ''Verbs:'' mark the beginning of an independent [[wikipedia:clause|clause]]. The verb in Latin is inflected so that we know the subject (&quot;I learn&quot;), and its tense (to what general or specific time the clause relates to). We call the inflection of a verb '''conjugation'''
| ''Interjection:'' exclamation
|}

=Exercises=
{{Latin/Exercise|Questions|
1. What is the shared root in the following English words?&lt;br/&gt;
* actor, reaction, radioactive
* transfer, fertile, interference
2. In the following English words, what is the stem and what is the ending? &lt;br/&gt;
* knights
* riding
* horses
* jumped
3. What parts of speech are each of the English words in (2), as well as the following:
* with
* and
* because
* hooray
* silently
* never
4. Answer the following questions about the Latin language:
* In what area of Italy was Latin originally spoken?
* Name the two varieties of Latin that existed in antiquity.
* What major organization still uses Latin today?
|
1. What is the shared root in the following English words?&lt;br/&gt;
* act
* fer
2. In the following English words, what is the stem and what is the ending?&lt;br/&gt;
* knight-, -s
* ride-, -ing
* horse-, -s
* jump-, -ed
3. What parts of speech are each of the English words in (2), as well as the following:
* ''in 2:'' noun, verb, noun, verb
* preposition
* conjunction
* conjunction
* interjection
* adverb
* adverb
4. Answer the following questions about the Latin language:
* Latium
* Classical latin and Vulgar latin
* Roman Catholic Church
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Basic Grammar = {{Latin}}
----
==Spelling and Pronunciation==
The Latin alphabet, on which the English alphabet is based, has mostly the same letters as the English alphabet, except that it has no &amp;lt;k&amp;gt; or &amp;lt;w&amp;gt;, and that in its original form, it lacked &amp;lt;j&amp;gt;, which only some modern texts use, and &amp;lt;u&amp;gt;. Many European languages use the Latin alphabet as the basis for their own alphabet.

Latin pronunciation has varied somewhat over the course of its long history, and there are some differences between Old Latin, spoken in the Roman Republic, Classical Latin, spoken in the Roman Empire, Medieval Latin, spoken in the Middle Ages, and Ecclesiastical Latin, spoken in the Catholic Church. This text focuses on the pronunciation of Classical Latin.

{|
|a || /a/, approximately as in English &quot;p'''a'''lm&quot;
|-
|ā || /aː/, approximately as in English &quot;f'''a'''ther&quot;
|-
|ae || /ai̯~ae̯/, as in English &quot;real'''i'''ze&quot;, &quot;b'''uy'''&quot;
|-
|au || /au̯/, as in English &quot;br'''ow'''n&quot;, &quot;h'''ow'''&quot;
|-
|b || /b/, as in English &quot;'''b'''it&quot;
|-
|c || always /k/, as in English &quot;s'''c'''an&quot;; never /s/, as in English &quot;sui'''c'''ide&quot;
|-
|ch || always /kʰ/, as in English &quot;'''k'''ey&quot;; never /t͡ʃ/, as in English “'''ch'''ur'''ch'''”
|-
|d || always /d/, as in &quot;'''d'''im&quot;; never /ɾ/, as in &quot;me'''d'''al&quot;
|-
|e || usually /ɛ/, as in English &quot;b'''e'''st”; /æ/, as in English &quot;f'''a'''ct&quot;, before &amp;lt;r&amp;gt;; /e/, approximately as in English &quot;letter '''A'''&quot;, &quot;h'''ay'''&quot;, before another vowel
|-
|ē || /eː/, approximately as in English &quot;letter '''A'''&quot;, &quot;h'''ay'''&quot;
|-
|f || always /f/, as in English &quot;'''f'''an&quot;; never /v/, as in English &quot;o'''f'''&quot;
|-
|g || always /g/, as in English &quot;'''g'''ood&quot;; never /ʒ/, as in English &quot;delu'''g'''e&quot;, or /d͡ʒ/, as in English &quot;'''g'''el&quot;
|-
|gn || /ŋn/, as in English &quot;han'''gn'''ail&quot;, &quot;sin'''g n'''ow&quot;; at the beginning of words it may also be pronounced as just /n/, as in English &quot;'''n'''o&quot; or &quot;'''gn'''at&quot;
|-
|gu || /gʊ/, as in English &quot;'''goo'''d&quot;, before consonants; /gᶣ/, no English equivalent, before &amp;lt;e/ē/i/ī&amp;gt;; /gʷ/, as in English &quot;lan'''gu'''age&quot;, before all other vowels
|-
|h || /h/, as in English &quot;'''h'''am&quot;
|-
|i || usually /ɪ/, as in English &quot;k'''i'''t&quot;; /j/, as in English &quot;'''y'''es&quot;, between the start of a word and a vowel; /jː/, as in English &quot;to'''y y'''acht&quot;, between two vowels; /i/, as in English &quot;tid'''y'''&quot;, between a consonant and a vowel 
|-
|ī || /iː/, as in English &quot;letter '''E'''&quot;, &quot;fl'''ee'''t&quot;
|-
|j || used by some in place of Latin &amp;lt;i&amp;gt; when it represents /j/; this Wikibook does not follow this convention
|-
|k || not in the Latin alphabet
|-
|l || /l/, as in English &quot;'''l'''eaf&quot; (called ''l exīlis'', &quot;Thin L&quot;); possibly sometimes /ɫ/, as in English &quot;fu'''ll'''&quot; (called ''l plēnus/pinguis'', &quot;Thick L&quot;); scholars do not agree on whether ''l plēnus'' still existed beyond Old Latin, and if so, where it occurred
|-
|ll || always /lː/, as in English &quot;'''l'''eaf&quot;, but pronounced longer; never /ɫ/, as in “fu'''ll'''”
|-
|m || /m/, as in English &quot;'''m'''ap&quot;, unless following a vowel and either before &amp;lt;f&amp;gt; or &amp;lt;s&amp;gt;, or at the end of a word, in which case it's silent and the previous vowel is pronounced as its long form (the one with the macron over it), and is nasalized
|-
|n || /n/, as in English &quot;'''n'''o&quot;, unless it's preceding &amp;lt;c&amp;gt;, &amp;lt;g&amp;gt;, or &amp;lt;q&amp;gt;, in which case it's /ŋ/, as in English &quot;ha'''ng'''&quot;, or following a vowel and preceding &amp;lt;f&amp;gt; or &amp;lt;s&amp;gt;, or at the end of a word, in which case it's silent and the previous vowel is pronounced as its long form (the one with the macron over it), and is nasalized
|-
|o || /ɔ/, approximately as in English &quot;c'''o'''st&quot; or &quot;cl'''o'''th&quot;
|-
|ō || /oː/, approximately as in English &quot;letter '''O'''&quot;, &quot;g'''oa'''l&quot;
|-
|oe || /oi̯~oe̯/, approximately as in English &quot;p'''oi'''nt&quot;, &quot;b'''oy'''&quot;
|-
|p || /p/, as in English &quot;s'''p'''in&quot;
|-
|ph || always /pʰ/, as in English &quot;'''p'''in&quot;; never /f/, as in English &quot;'''ph'''one&quot;
|-
|q || /k/, only occurs alongside &amp;lt;u&amp;gt;
|-
|qu || /kᶣ/, no English equivalent, before &amp;lt;e/ē/i/ī&amp;gt;; /kʷ/, as in English &quot;lan'''gu'''age”, before all other vowels
|-
|r || /r/, like Spanish &amp;lt;rr&amp;gt;
|-
|s || always /s/, as in English &quot;'''s'''ee&quot;; never /z/, as in English &quot;ea'''s'''e&quot;
|-
|t || always /t/, as in English &quot;s'''t'''eam&quot;; never /ɾ/, as in English &quot;bu'''tt'''er&quot;, or /ʔ/, as in English &quot;si'''t'''&quot;
|-
|th || always /tʰ/, as in English &quot;'''t'''eam&quot;; never /θ/, as in English &quot;'''th'''ree&quot; or /ð/, as in English &quot;'''th'''is&quot;
|-
|u || always /ʊ/, as in English &quot;w'''o'''lf&quot;; never /ʌ/, as in English &quot;s'''u'''n&quot;
|-
|ū || always /uː/, as in English &quot;f'''oo'''d&quot; or &quot;f'''oo'''l&quot;; never /ju/, as in English &quot;m'''u'''te&quot;, or /ʊ/, as in English &quot;f'''oo'''t&quot;
|-
|v || always /w/, as in English &quot;'''w'''e&quot;; never /v/, as in English &quot;fi'''v'''e&quot;
|-
|w || not in the Latin alphabet
|-
|x || always /k͡s/, as in English &quot;wi'''cks'''&quot;; never /g͡z/, as in English &quot;e'''x'''aggerate&quot;, or /z/, as in English &quot;'''x'''ylophone&quot;
|-
|y || /ʏ/, as in German &quot;M'''ü'''nster&quot;, no direct English equivalent, but similar to British English &quot;p'''u'''t&quot;; generally only present in words borrowed from Greek
|-
|ȳ || /yː/, as in German &quot;'''ü'''ber&quot;, no direct English equivalent, but similar to British English &quot;f'''oo'''d&quot;; generally only present in words borrowed from Greek
|-
|z || /zː/, approximately as in English &quot;hi'''s'''&quot;; generally only present in words borrowed from Greek
|}

Note that Latin, as written by the Romans, did not have &amp;lt;j&amp;gt;, &amp;lt;k&amp;gt;, &amp;lt;u&amp;gt;, &amp;lt;w&amp;gt;, or macrons over vowels (the lines indicating that vowels are long), although they did sometimes mark long vowels with apices (e.g. &amp;lt;ó&amp;gt; for /oː/); macrons are used today as pronunciation guides and do not necessarily need to be written. /w/, /ʊ/, and /uː/ were all represented with &amp;lt;v&amp;gt;. Modern texts often use &amp;lt;v&amp;gt; for /w/, &amp;lt;u&amp;gt; for /ʊ/, and &amp;lt;ū&amp;gt; for /uː/. In some modern texts (this Wikibook not included), &amp;lt;j&amp;gt; is used for /j/.

==Declension Tables==
The following tables will be both referenced and explained in all of the following sections, and hence are placed here.

{| class=&quot;wikitable&quot; align=&quot;center&quot;
|+Singular Nouns
!Declension (Gender)
!1st (F) !! 2nd (M/N) !!3rd (M/F/N) !! 4th (M/N) !! 5th (F)
|-
|'''Nominative'''&lt;br/&gt;Subject || puell'''a''' || serv'''us''' || rēx || grad'''us''' || r'''ēs'''
|-
|'''Genitive'''&lt;br/&gt;Possessive || puell'''ae''' || serv'''ī''' || rēg'''is''' || grad'''ūs''' || r'''ēī'''
|-
|'''Dative'''&lt;br/&gt;Indirect Object || puell'''ae''' || serv'''ō''' || rēg'''ī''' || grad'''uī''' || r'''ēī'''
|-
|'''Accusative'''&lt;br/&gt;Object || puell'''am''' || serv'''um''' || rēg'''em''' || grad'''um''' || r'''ēm'''
|-
|'''Ablative'''&lt;br/&gt;Modifies or Limits Verb|| puell'''ā''' || serv'''ō''' || rēg'''e''' || grad'''ū''' || r'''ē'''
|-
|'''Vocative'''&lt;br /&gt;Direct Address || puell'''a''' || serv'''e''' || rēx || grad'''us''' || r'''ēs'''
|}

Note that nouns in the 3rd declension nominative can have any ending, hence why none is given in bold.

{| class=&quot;wikitable&quot; align=&quot;center&quot;
|+Plural Nouns
!Declension (Gender) !! 1st (F) !! 2nd (M/N) !! 3rd (M/F/N) !! 4th (M/N) !! 5th (F)
|-
|'''Nominative''' || puell'''ae''' || serv'''ī''' || rēg'''ēs''' || corn'''ūs''' || r'''ēs'''
|-
|'''Genitive''' || puell'''ārum''' || serv'''ōrum''' || rēg'''um''' || corn'''uum''' || r'''ērum'''
|-
|'''Dative''' || puell'''īs''' || serv'''īs''' || rēg'''ibus''' || corn'''ibus''' || r'''ēbus'''
|-
|'''Accusative''' || puell'''ās''' || serv'''ōs''' || rēg'''ēs''' || corn'''ūs''' || r'''ēs'''
|-
|'''Ablative''' || puell'''īs''' || serv'''īs''' || rēg'''ibus''' || corn'''ibus''' || r'''ēbus'''
|-
|'''Vocative''' || puell'''ae''' || serv'''ī''' || rēg'''ēs''' || corn'''ūs''' || r'''ēs'''
|}

==Grammar Part 1: Nouns and Their Role in Sentences==
[[w:Noun|Noun]]s in Latin are [[w:Inflected language|inflected]], which means that endings (also known as [[w:suffix|suffix]]es or ''suffices'') are appended to the end of the [[w:stem|stem]] to denote these things:
#Number (whether the noun is singular or plural)
#[[w:Declension|Case]] of the noun (role of the noun in the sentence)
#[[w:Grammatical gender|Gender]] (the gender of the word - one of masculine, feminine, or neuter)

Most nouns in English can be modified to indicate number (cat versus cats), and many pronouns can be modified to indicate case (who versus whose) or gender (he versus she, his versus hers). Case is especially important in Latin as meaning cannot be determined by word order as it can be in English, but purely by word endings, or &quot;inflection&quot;. Indeed, the words in a Latin sentence can appear in almost any order with little change in meaning. Two sentences with the word orders &quot;Sam ate the orange&quot; and &quot;The orange ate Sam&quot; could potentially mean the same thing in Latin, though the spellings of &quot;orange&quot; and &quot;Sam&quot; would have to change slightly to denote which was the subject (the one eating) and which was the object (the one being eaten).

It is important to note here that although the genders of many words make sense (for example, &quot;puella&quot;, meaning a girl, is feminine) many are simply assigned and hold no real meaning. Luckily, as you will find, the gender can often be determined by the spelling of the word (words ending in &quot;us&quot; are almost always masculine, and words ending in &quot;a&quot; are almost always feminine). For many words, however, you will simply have to memorize their gender.

[[w:Adjective|Adjective]]s themselves must match the number, case, and gender of the noun (be it a substantive or a pronoun) they modify. If a noun is nominative singular feminine (see [[#case|case table]] below), then the adjective describing it must also be nominative singular feminine. If the noun is accusative plural masculine, then the adjective must be accusative plural masculine. This will be expanded on in the [[#Adjectives|Adjectives]] section below. The advantage of this system is that adjectives do not need to be adjacent to their respective nouns, as one would be able to tell which noun they modify by which noun they appear to agree with.

===Declension===
'''All substantives''' are part of one of 5 categories, called '''declensions'''.  A substantive is a stem, modified by adding a declension suffix.  Each declension has a set of standard suffixes that indicate case and number. Usually gender is indicated by the suffix, although there are many exceptions. Therefore, you must memorize the gender of every substantive you learn.

By familiarizing yourself with the [[#Declension Tables|above tables]], you could deduce that originally the suffix indicating number, case, and gender was the same for every noun. However, as the language developed, nouns with a common stem formed declensions and sounds changed. Similar processes happen continually over time, even today.

The above tables allow you to familiarize yourself with the existence of each declension, though by no means are you expected to memorize it now. Nonetheless, you will have to memorize it as you are formally introduced to individual cases and declensions in future lessons. Because of its introductory purpose, it is considerably simplified and incomplete, and therefore should not be used as a reference in the future.

Adjectives are also classed into declensions which must match the declension of the noun they describe:
#'''1st/2nd declension adjectives'''...
##...Use 1st declension suffixes from the substantive declension table when describing feminine nouns.
##...Use 2nd declension masculine suffixes from the above table when describing masculine nouns.
##...Use 2nd declension neuter suffixes (''not'' found in the above table) when describing neuter nouns.
#'''3rd declension adjectives''' behave as 'i' stem substantives unless specified.  An 'i' stem substantive is one where the stem word ends in the letter 'i.'   Masculine and Feminine suffixes (which are the same) will be used if describing masculine and feminine nouns, and Neuter suffixes will be used when describing neuter nouns.

Pronouns are not part of any declension, as they are all irregular, and simply have to be memorized.

===Case===
Cases (Latin: ''casus'') determine the role of the noun in the sentence in relation to other parts of the sentence.

There are six cases, Nominative, Genitive, Dative, Accusative, Ablative, and Vocative.  Vocative case (Lesson 3), can be considered a sort of miniature case, generally not being accepted as a true one. Additionally, some nouns have a vocative case, which will be covered later. As nominative and accusative are the most basic, these will be taught first (the rest will be covered in later lessons).

{| border=&quot;1&quot; align=&quot;center&quot;
|-
! colspan=&quot;4&quot; |'''The Use of the Cases'''&lt;br/&gt;(all words in bold are in the case specified in the first column)
|-
! Case
! Role in sentence
! bgcolor=&quot;#CCFFFF&quot; | Example (Latin)
! bgcolor=&quot;#CCFFCC&quot; | Example (English)
|-
| Nominative || Subject (performs the verb)
| bgcolor=&quot;#CCFFFF&quot; | '''vir''' lupum vult.
| bgcolor=&quot;#CCFFCC&quot; | '''The man''' wants a wolf.
|-
| Genitive || Description and possession
| bgcolor=&quot;#CCFFFF&quot; | lupus '''virī''' est.
| bgcolor=&quot;#CCFFCC&quot; | It is the '''man's''' wolf/It is the wolf ''of'' the '''man'''.
|-
| Dative || Indirect object (receives the direct object)
| bgcolor=&quot;#CCFFFF&quot; | '''lupō''' dedit vir.
| bgcolor=&quot;#CCFFCC&quot; | The man gave to '''the wolf'''.
|-
| Accusative || Direct object (receives the action of the verb)
| bgcolor=&quot;#CCFFFF&quot; | vir '''lupum''' videt.
| bgcolor=&quot;#CCFFCC&quot; | The man sees '''the wolf'''.
|-
| Ablative || Various (modify or limit nouns by ideas of where, when, how, etc.)
| bgcolor=&quot;#CCFFFF&quot; | ā quō datum? '''ā virō'''.
| bgcolor=&quot;#CCFFCC&quot; | By whom given? '''By a man'''.
|-
| Vocative || Direct address (speaking to somebody directly)
| bgcolor=&quot;#CCFFFF&quot; | salvē, '''Brute'''!
| bgcolor=&quot;#CCFFCC&quot; | Hello, '''Brutus'''!
|}

===Gender===
'''All substantives''', including inanimate objects, have a particular gender (Latin: ''genus'', pl. ''genera''), which is either masculine, feminine, or neuter.

For example, Vir, &quot;a man,&quot; is masculine. Marītus, &quot;a husband,&quot; is also masculine. Puella, &quot;a girl,&quot; is feminine. Māter, &quot;a mother,&quot; is feminine. Even inanimate objects are assigned gender, including all the moons, stars, trees, tools, and so forth. Logic will give you little help in determining what the genders of inanimate objects are, and with many nouns memorization is required. Luckily, for many nouns, the spelling of the word indicates the gender.

Certain rules may be utilized to determine the gender of an inanimate substantive. Declension is a good indication of gender, especially for 1st and 2nd declension substantives. 1st declension substantives (substantives with an -a suffix) are usually feminine and second declension nouns (substantives with an -us suffix) are usually masculine or neuter. There are a few exceptions, and they will have to be learned. 3rd declension nouns can be either masculine, feminine or neuter (thus the gender will often have to be memorized). 4th declension nouns are usually masculine, sometimes neuter while 5th declension nouns are usually feminine.

Nouns undeclined, words which are not substantives but used as such, sentences used as substantives and the products of trees are generally neuter.

1st/2nd declension adjectives alternate the set of endings depending on the gender of the noun it describes (see the next section below). If the adjective describes a feminine noun, the adjective must use 1st declension endings, if the adjective describes a masculine noun, the adjective must use 2nd declension masculine endings, if the adjective describes a neuter noun, the adjective must use 2nd declension neuter endings.

3rd declension adjectives use the same set of endings for masculine and feminine nouns. However, a slightly different set of endings are used when describing neuter nouns.

==Adjectives==
As stated above, adjectives must match the gender, number, and case of the noun (be the noun a substantive, or a pronoun) they modify.  Similar to the &quot;Sam ate the orange&quot; example above, if the adjective uses the wrong declension it could change the meaning of the sentence.  For example, &quot;The girl loves big trees,&quot; versus &quot;the big girl loves trees&quot; have different meanings.  There are many occasions where logic cannot be used to determine the gender of inanimate objects, as genders are generally arbitrary when the noun has no literal gender. Furthermore, the declension of the noun, often determined by the spelling, can in turn be used to determine the gender, especially for the 1st and 2nd. However, this is never the case for the third declension, as the declension itself is not primarily assigned to any gender and the spelling of the nominative (&quot;default&quot;) stem is random, leaving you with no hints.

A noun and its adjective must also be in the same case. Otherwise, it is impossible to tell which nouns pair up to their respective adjectives in a sentence, as the words in a Latin sentence can appear in any order. See the examples below.

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
|+align=&quot;bottom&quot;|Notice how &quot;magna&quot; changes to &quot;magnae&quot; to agree with the pluralized &quot;puellae&quot;.
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puella (nominative sing., fem.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Girl
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puella magna
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big girl
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puellae (nominative '''pl.''', fem.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Girls
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puellae magnae
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big girls
|}

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
|+align=&quot;bottom&quot;|Notice how &quot;magna&quot; becomes &quot;magnus&quot; to agree with the masculine word &quot;servus&quot;. Also notice that &quot;magnus&quot; changes to &quot;magnum&quot; to agree with the noun it's describing in case, though do not concern yourself with the difference between cases for the time being.
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servus (nominative sing, mas.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Slave
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servus magnus
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big slave
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servum ('''accusative''' sing, mas.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Slave
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servum magnum
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big slave
|}

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
|+align=&quot;bottom&quot;|Notice that &quot;magna&quot; is feminine because &quot;arbor&quot; is feminine, despite that it does not end in &quot;a&quot; like &quot;puella&quot;. The word &quot;arbor&quot; is one of the situations where you will simply have to memorize the gender.
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|arbor (nominative sing, fem.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Tree
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|arbor magna
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big tree
|}

==Recapitulation==
*Declensions are used to categorize nouns in groups. There are 5 declensions total.
*Each of the five declensions has a distinct set of endings which are appended to nouns of that declension.
*The endings indicate the case and number when appended to the stem of a noun.
*A substantive may use only the endings of the declension of which it is a part.
*Each substantive has a predefined gender which almost never changes and is separate from the suffix.
*Adjectives are a part of the 1st/2nd declension and 3rd declension.
*Adjectives use the gender of the noun that they modify.

'''Therefore:'''
*An adjective of the 1st/2nd declension uses 1st declension endings when describing a feminine noun, a 2nd declension masculine ending when describing a masculine noun, and 2nd declension neuter when describing a neuter noun.
*An adjective of the 3rd declension uses the same set of endings when describing masculine and feminine nouns and another set of endings when describing neuter nouns. (Actually, there are 3-termination, 2-termination, and 1-termination 3rd declension adjectives. If the adjective is 3-termination, e.g., acer (f. sing.), acris (m. sing.), acer (n. sing.), acres (f. pl.), acres (m. pl.), or acria (n. pl.), then use the appropriate ending; if the adjective is 2-termination, then one termination will be masculine/feminine and the other neuter; if the adjective is 1-termination, the common form is used.)

Before you proceed to the next lesson, complete the exercises below so you will be able to apply this knowledge to Latin.

==Exercises==
{{Latin/Exercise|Questions|
#What are the three genders?
#What is the number (singular/plural) of the following English words:
##cow
##dogs
##genders
##adjective
##children
##slice
##mice
##geese
#Describe the relationship between an adjective and the noun which it modifies.
#How many declensions are there?
#Determine the declension of each Latin word:
#*puella (''girl'')
#*ianua (''door'')
#*amīcus (''friend'')
#*ludus (''game'')
#*casa (''house'')
#*rēx (''king'')
#What gender are 1st declension substantives mostly?
#What genders are 2nd declension substantives mostly?
#What grammatical features of a word that can be determined by looking at its ending?
|
#Masculine, Feminine, and Neuter
#What is the number (singular/plural) of the following English words:
##S
##P
##P
##S
##P
##S
##P
##P
#The adjective takes on the number, case and gender (but not always the declension) of the noun it describes
#Five
#Determine the declension of each Latin word:
##1st
##1st
##2nd
##2nd
##1st
##3rd
#Feminine
#Masculine and Neuter
#It varies slightly from word-to-word; Declension/Case, Number, and sometimes Gender.
}}

{{BookCat}}
----

== Chapter 1: Basic Sentences ==
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Nominative Case = {{Latin}}

== The Nominative Case ==

The Nominative case refers to the subject of a sentence. For example:

&lt;blockquote&gt;The girl is pretty&lt;/blockquote&gt;

&quot;The girl&quot; is the subject of this sentence. In its simplest form a sentence will have a subject stated as a noun and will give some further information about the subject. The second part of this sentence tells the reader that the girl is pretty. This is called predicating the noun. This sentence consists of a subject and a predicate. As you know from English, an adjective is a word that denotes some quality, which in this sentence is attractiveness. The noun and adjective are joined together by the word &quot;is&quot;, which is called the copula. Note that the copula simply connects the words and gives almost no information about the subject.

The sentence in Latin has the same grammatical elementsː

&lt;blockquote&gt;puella est pulchra&lt;/blockquote&gt;

The noun is followed by the predicate. The only difference is the absence of an article which has to be supplied by the translator. Puella can be translated as &quot;girl&quot;, &quot;the girl&quot;, or &quot;a girl&quot;. Can you tell which word is the copula?

Translate the followingː

* Rōma est fāma
* Rōma est magna
* Rōma est in Italia

Which region of Europe was the Roman historian Tacitus referring to as Caledonia in his book ''Agricola'', which records the military campaigns of his father-in-law?

Translate the followingː

* Italia est in Eurōpa
* Germānia est in Eurōpa
* Britannia est in Eurōpa

Note the conjunction given in the Vocabulary, and translate the followingː

* Rōma est fāma et magna
* Germānia est magna et Britannia est fāma
* Germānia et Britannia sunt in Eurōpa

Give the meaning of the complete word on this inscription fragment from Roman Britainː

[[File:Roman Museum 063.jpg|thumb|none|]]

== Vocabulary ==
{| class=&quot;wikitable&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;span style=&quot;font-size:large;&quot;&gt;Latin&lt;/span&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;span style=&quot;font-size:large;&quot;&gt;English&lt;/span&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''magna''' (adj.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''great'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''bona''' (adj.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''good'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''pulchra''' (adj.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''pretty'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''fāma''' (adj.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''famous'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''puella''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''girl'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''puer''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''boy'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''pater''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''father'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''māter''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''mother'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''domina''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''mistress'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''dominus''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''master'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''lūdus''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''school'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''Rōma''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''Rome'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''Germānia''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''Germany'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''Britannia''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''Britain'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''trīclīnium''' (n.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''dining couch (room)'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; |'''Ego sum'''&lt;br /&gt;'''es'''&lt;br /&gt;'''est'''&lt;br /&gt;'''sumus'''&lt;br /&gt;'''estis'''&lt;br /&gt;'''sunt'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; |'''I am'''&lt;br /&gt;'''you are (sg.)'''&lt;br /&gt;'''he/she/it is'''&lt;br /&gt;'''we are'''&lt;br /&gt;'''you are (pl.)'''&lt;br /&gt;'''they are'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''laborat''', '''laborant'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''(he/she/it is) working, (they are) working'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''amat''', '''amant'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''(he/she/it) loves, (they) love'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''et''' (conj.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''and'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| colspan=&quot;2&quot; | Some second declension masculine end in ''-r'' instead of ''-us'' in the nominative case — boy is ''puer'', not ''puer-us''. Of the nouns discussed on this page, this rule only applies to ''puer''.
|}

Key to Vocabulary:

*''m.'' = masculine
*''f.'' = feminine
*''n.'' = neuter

*Latin nouns have gender and are formed into five groups of declension. Feminine nouns ending in &quot;-a&quot; in the Nominative Singular and &quot;-ae&quot; in the Genitive Singular are of the 1st declension. Most Latin names for countries and cities are 1st declension feminine nouns, so they end with &quot;-a&quot; in the Nominative Singular.

*''sg.'' = singular
*''pl.'' = plural

== Overview of Adjectives ==
An adjective is any word that qualifies a noun. For example:
{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
!bgcolor=&quot;#CCFFCC&quot;|English
!bgcolor=&quot;#CCFFFF&quot;|Latin
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The good master
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|dominus bonus
|}

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
!bgcolor=&quot;#CCFFCC&quot;|English
!bgcolor=&quot;#CCFFFF&quot;|Latin
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The boy is good
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puer bonus est
|}

== Adjectives in Latin ==
Adjectives must agree with the nouns they describe in gender, number, and case.

*Adjectives are made to agree with first and second declension nouns by using the -a, -us, -um (feminine, masculine, and neuter) suffixes.

*Third declension adjectives are given with the nominative and genitive singular. This, however, is only true for third declension adjectives of one termination. Most third declension adjectives do not have separate masculine and feminine forms. (Neuter adjectives follow the third declension neuter pattern.)

These words will look like the adjective antiquus (old, ancient):
:''antiquus'' (masculine), ''antiqua'' (feminine), ''antiquum'' (neuter).

Third declension adjectives typically look more like ferox, ferocis (wild, bold). This is because the third declension has no stem assigned to the nominative singular.

Adjectives often come after the word they describe. Since word order is not central to the meaning of a Latin sentence the adjective may appear anywhere in the sentence.

In the following examples the ''-us'' is masculine (m.), ''-a'' is feminine (f.) and ''-um'' is neuter (n.).
So magnus is masculine, magna is feminine, and magnum is neuter.

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;60%&quot;
!bgcolor=&quot;#CCFFCC&quot;|Latin
!bgcolor=&quot;#CCFFFF&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|puella bona est
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|The girl is good
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|dominus bonus est
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|The master is good
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|templum magnum est
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|The temple is big
|}

== Basic verbs ==
Verbs in Latin work quite differently than those in English. Study the following table then view the examples below.

{| class=&quot;wikitable&quot;
! !! English !! Latin
|-
|Number || In English we use pronouns to denote number when using verbs. Compare &quot;I work&quot; and &quot;we work&quot;. || In Latin the ending of the verb changes to denote number. Compare &quot;laboro&quot; (I work) and &quot;laboramus&quot; (we work). The two personal endings are &quot;-o&quot; and &quot;-mus&quot;. The archaic &quot;laborao&quot; was eventually replaced by &quot;laboro&quot; to simplify pronunciation.
|-
|Tense ||Tense refers to past, present and future. Consider these examples: I walked, I am walking, I will walk. || The stem is used to denote the tense, though this will be covered in a future lesson. In this lesson, only the present tense is being taught.
|-
|Person ||First person refers to the speaker. Second person refers to the person being spoken to. Third person refers to what is being said about someone or something. The vocabulary, starting with sum for I am, clearly illustrates this concept. Note that the 1st person plural is &quot;we&quot;. || Latin verbs are conjugated to show person. The verb will undergo changes in the stem and it is these inflections that denote 1st, 2nd or 3rd person singular or plural.
|}

=== Personal Endings ===

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;85%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | Latin
! bgcolor=&quot;#CCFFCC&quot; | English
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | am-ō
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | I love
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amā-s
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | you love (sg.)
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | ama-t
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | he, she, it loves
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amā-mus
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | we love
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amā-tis
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | you love (pl.)
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | ama-nt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | they love
|}

&lt;u&gt;Archaic&lt;/u&gt;

Latin was spoken and written in Europe for over two thousand years and since all languages change gradually this sometimes makes it difficult for beginners to see patterns of change. English has also had a long development that is now divided into three periods called Old English, Middle English and Modern English. Compare the following English verbsː

* grindan (OE), grinde (ME), grind (Modern English verb)
* climban (OE), climbe (ME), climb (Modern English verb)

The contraction of the archaic &quot;laborao&quot; to &quot;laboro&quot; would have undergone the same gradual process. The archaic &quot;amao&quot; (I love) eventually became &quot;amo&quot;. If you look at the Vocabulary you will see that &quot;amat&quot; and &quot;amant&quot; retain the original letter &quot;a&quot; of the stem.

== Further Examples ==
=== Example 1 ===
{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;85%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | Latin
! bgcolor=&quot;#CCFFCC&quot; | English
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | templum magnum est
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The temple is big
|}

;Notes
*The adjective ''magnus -a -um'' must agree with ''templum'' in gender, number, and case, so the correct form is ''magnum'' (neuter nominative singular).
*Note ''templum magnus est'' is incorrect because ''magn-us'' does not agree with ''templ-um''.

=== Example 2 ===
{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;85%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | Latin
! bgcolor=&quot;#CCFFCC&quot; | English
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | puella pulchra est
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The girl is pretty
|}

'''Notes:''' In the same way, the adjective ''pulcher -ra -rum'' must agree with ''puella'' in gender, number, and case, so the correct form is ''pulchra'' (agreement with the feminine nominative singular noun of the first declension).

=== Example 3 ===
{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;85%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | Latin
! bgcolor=&quot;#CCFFCC&quot; | English
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puer puellam amat
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The boy loves the girl
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puella puerum amat
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The girl loves the boy
|}

=== Example 4 ===
{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;85%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | Latin
! bgcolor=&quot;#CCFFCC&quot; | English
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | lūdī magnī sunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The schools are big
|}

'''Notes:''' The adjective ''magnus -a -um'' in this case must agree with ''lūdī'' in gender, number, and case, so the correct form is ''magnī'' (masculine nominative plural).

== Third Declension Nouns and Adjectives ==
Third declension nouns and adjectives follow a different pattern. The nominative singular stem is not defined, and as such, any letter (or letters) can serve as a third declension stem. For example, ''Māter'' (mother) is a third declension noun in the nominative case. When pluralized, it becomes ''Mātrēs''. &quot;-ēs&quot; is attached to the end of a third declension noun to pluralize it, as opposed to changing the ending completely, because there is no uniform way to do so.

You may have also noticed that the &quot;e&quot; in &quot;Māter&quot; was dropped when pluralized. This often happens when a stem is attached to a third declension noun of similar spelling (example, &quot;Pater&quot; (father) becomes &quot;Patrēs&quot;)

Examples:
{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;85%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | Latin
! bgcolor=&quot;#CCFFCC&quot; | English
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | māter bona est
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The mother is good
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | mātrēs bonae sunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The mothers are good
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | pater magnus est
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The father is large
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | patrēs magnī sunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The fathers are large
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amīcus fortis est
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The friend is strong
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amīcī fortēs sunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | The friends are strong
|}

Third declension nouns are listed with the nominative case and the genitive case to provide the main stem. For example:
{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;span style=&quot;font-size:large;&quot;&gt;Latin&lt;/span&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;span style=&quot;font-size:large;&quot;&gt;English&lt;/span&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''pater, patris'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''father'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''oratio, orationis'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''speech'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''uxor, uxoris'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''wife'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''canis, canis'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''dog'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''proelium, -ī'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''battle'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''oculus, -ī'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''eye'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''amīcus, -ī'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''friend'''
|}

All other types of nouns are also generally listed with the genitive

Adjectives with a nominative ending in -is and the same stem in the nominative and in the other cases (eg. fortis) end in -e in the neuter and -ia in the neuter plural.

For example:
*dies difficilis = the difficult day
*proelium difficile = the difficult battle
*proelia difficilia = the difficult battles

== Exercises ==
{{Latin/Exercise|Translation|
#Translate the following Latin words into English.
##dominus bonus
##lūdus malus
##puella pulchra
##trīclīnium est magnum
#Translate into Latin.
##the good boy
##the large master
##The temple is large
##The master is bad
|
#Translate the following Latin words into English.
##The good master
##The bad school
##The pretty girl
##The dining room is large
#Translate into Latin.
##puer bonus
##dominus magnus
##templum magnum est
##dominus malus est
}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Present indicative active construct =  {{Latin}}

= Grammatical Introduction to Verbs =

This introductory section may be a bit overwhelming, but is an overall look at verbs. The majority of this section will be covered in later chapters. Nevertheless, looking over this chapter may help you to familiarize yourself with verbs. 

Verbs are parts of speech which denote action. There are two main forms of verbs in Latin:

• Principal Verbs (the main verb which is found in every sentence. e.g.,: vir &lt;B&gt;ambulat&lt;/B&gt; = the man &lt;B&gt;is walking&lt;/B&gt;)

• Adjectival Verbs (also known as participles, gerunds and gerundives which describe the state of the described noun. e.g.,: vir &lt;B&gt;ambulans&lt;/B&gt; = the &lt;B&gt;walking&lt;/B&gt; man. The verb behaves as an adjective)

Every sentence &lt;B&gt;must&lt;/B&gt; have a verb. In a sense, the principal verb is the sentence and all the nouns, adverbs and participles are only describing the scenario of the verb. Thus in Latin this constitutes a sentence:

 &lt;I&gt;est.&lt;/I&gt;

If you want to explain 'who' is or exists, you add a nominative substantive:

 &lt;I&gt;Cornēlia est.&lt;/I&gt;

We now know Cornelia 'is'. But what is she? So we add an adjective.

 &lt;I&gt;Cornēlia est bona.&lt;/I&gt;

Now we can see that Cornelia is good, but to elaborate further we can add an adverb:

 &lt;I&gt;Cornēlia vix est bona.&lt;/I&gt;

Now we know that Cornelia is 'hardly' (''[[wiktionary:vix#Latin|vix]]'': hardly, scarcely, barely) good.

Thus, in English, the shortest Latin sentence is:

You are.

in Latin:

 &lt;I&gt;es&lt;/I&gt;

==Examples==

These two examples will demonstrate the difference between an adjectival verb and a principal verb.

{| border=&quot;1&quot;
|-
| bgcolor=&quot;#CCFFFF&quot; | The '''resurrected''' Jesus '''appeared''' to his disciples.
|-
| 'resurrected' is a ''perfect participle'' (Adjectival) describing Jesus, while 'appeared' is the ''principal verb'' in the sentence.
|-
| bgcolor=&quot;#CCFFFF&quot; | The '''shocked''' disciples '''see''' Jesus.
|-
| 'shocked' is a ''perfect participle'' (Adjectival) describing the disciples, while 'see' is the ''principal verb'' in the sentence.
|}

===Exercises===
{{Latin/Exercise|Answer|
#What is the difference between a principal and adjectival verb?
#What constitutes a sentence?
#Write a sentence in English, and Latin.
#Conjugate the verb 'to be' in the present tense in English and Latin (I am, You are, He is etc.)
|
#The principal verb is the main verb which is found in every sentence. Adjectival verbs are participles, gerunds and gerundives which describe the state of the described noun.
#a verb
#egō sum, I am
#sum, es, est, sumus, estis, sunt
  
}}

==Personal Endings==

Verbs in Latin are inflected to reflect the person who performs the action. English does the same to some extent in the verb to be:


{| border=&quot;1&quot;
|-
| Latin || English
|-
| sum || I am
|-
| es || You are
|-
| est || (He/she/it) is
|-
| sumus || We are
|-
| estis || You (all) are
|-
| sunt || They are
|}

Latin, however, inflects all verbs, and is much more extensive than English, allowing writers and speakers of Latin to often drop the personal pronoun, as the performer of the action is understood by the formation of the verb. The Personal pronoun is only usually added for emphasis. In a way, the ending on Latin verbs are a type of pronoun.

===Exercises===

{{Latin/Exercise|Answer|
# What do the personal pronouns indicate?
|
# Personal pronouns (ego, tu, nos, vos, etc.) add emphasis. They are usually omitted (left out) because they are understood.
#: Example: ''[ego] amō [[wikt:pater#Latin|patrem]] meum et [[wikt:mater#Latin|matrem]] meam.'' 
#: I love my mother and my father. (you don't have to write ''ego'', it is understood)
}}

== Moods ==

There are several moods. Each has its own uses to convey certain ideas.  The most commons moods are:

• Indicative
• Subjunctive or Conjunctive
• Imperative

The two moods we will first learn are the &lt;B&gt;imperative&lt;/B&gt; (commands and orders) and the &lt;B&gt;indicative&lt;/B&gt; (declarative statements and factual questions).

=== Exercises ===

{{Latin/Exercise|Answer|
# List the most common moods.
# What two moods are we going to learn about in this lesson, and what do they let us construct?
|
# Indicative, subjunctive (or conjunctive) and imperative.
# The moods we are going to learn about first are:
#: '''Imperative''': Which we use when we make orders.
#:: ''Go'' away. ''Fetch'' me the keys. ''Do'' not order me around!
#: '''Indicative''': Statements which are declarative, and questions concerning facts.
#:: John ''plays'' football.
}}

== Voice ==

There are two constructions verbs can have regarding voice.

Verbs can have either an active or passive voice.

E.g.  'I smash the car.' 'smash' is an active verb construct.

The passive is used when the nominative is affected by the verb. 

E.g. 'The car is smashed by me.' 'is smashed' is a passive construct.

=== Exercises ===

{{Latin/Exercise|Translate|
# What is 'voice'?
# What is active voice?
# What is passive voice?
# Construct a sentence in English using each of these voices.
|
# Voice is how a verb is constructed.
# When the subject affects the verb
# When the nominative is affected by the verb
#Ex.- I carried, I am being carried.
}}

== Tense ==

Tense in Latin comprises two parts: TIME and ASPECT.  Time reflects when the action is occurring or did occur: past, present, or future.  Aspect refers to the nature of the action: simple, completed, or repeated.  The &quot;completed&quot; aspect is generally termed &quot;perfective&quot; and repeated aspect &quot;imperfective.&quot;  

Theoretically, a verb could have nine tenses (combinations of time and aspect).  However, Latin only has six, since some possible combinations are expressed by the same verb forms.  Latin tenses do not correspond exactly to English ones.

Below is a rough guide to tense in Latin.


{| border=&quot;1&quot;
|-
|
| colspan=&quot;5&quot; | &lt;CENTER&gt;&lt;B&gt;Time&lt;/B&gt;&lt;/CENTER&gt;
|-
| rowspan=&quot;4&quot; | &lt;CENTER&gt;&lt;B&gt;A&lt;BR&gt;S&lt;BR&gt;P&lt;BR&gt;E&lt;BR&gt;C&lt;BR&gt;T&lt;/B&gt;&lt;/CENTER&gt;
|
 || Present || Future || Past
|-
| Simple
&lt;TD&gt;&lt;i&gt;Present Tense&lt;/i&gt;&lt;br&gt;&quot;I walk&quot;
| &lt;i&gt;Future Tense&lt;/i&gt;&lt;br&gt;&quot;I will walk&quot;
| &lt;i&gt;Perfect Tense&lt;/i&gt;&lt;br&gt;&quot;I walked&quot;
|-
| Imperfective
| &lt;i&gt;Present Tense&lt;/i&gt;&lt;br&gt;&quot;I am walking&quot;
| &lt;i&gt;Future Tense&lt;/i&gt;&lt;br&gt;&quot;I will be walking&quot;
| &lt;i&gt;Imperfect Tense&lt;/i&gt;&lt;br&gt;&quot;I was walking&quot;
|-
| Perfective
| &lt;i&gt;Perfect Tense&lt;/i&gt;&lt;br&gt;&quot;I have walked&quot;
| &lt;i&gt;Future Perfect Tense&lt;/i&gt;&lt;br&gt;&quot;I will have walked&quot;
| &lt;i&gt;Pluperfect Tense&lt;/i&gt;&lt;br&gt;&quot;I had walked&quot;
|}

As is evident, some Latin tenses do &quot;double duty.&quot;  The Latin Present and Future Tenses can either express simple or progressive aspect.  Particularly difficult to grasp is the Latin Perfect tense, which can either express an action completed from the point of view of the present (&quot;I have just now finished walking&quot;), or a simple action in past time (its &quot;aorist&quot; sense, from the old Indo European aorist tense, which Latin lost but is still present in Greek).

=== Exercises ===
{{Latin/Exercise|Translate|
#Copy out the above table.
#Study the table.
|
Vide (see) the table above.
}}

== Infinitive ==

The infinitive (impersonal) is the form of the verb which simply means 'to (verb)' e.g. 'to do', or 'to be', or 'to love', or 'to hate' etc. All forms which are not in the infinitive are in the finite (personalised) form.

The infinitive has a -re at the end of the stem of the verb. The infinitive of 'to be' is an exception and is 'esse'.

dēbeō curre&lt;B&gt;re&lt;/B&gt; nunc = I ought to run now.

esse, aut nōn esse = To be, or not to be?

===Exercises===

Answer these two questions about the '''infinitive''' and '''finite'''.

{{Latin/Exercise|Answer|
# What is the '''infinitive'''? Give an example.
# What is the '''finite'''? Give an example.
|
# The '''infinitive''' is the verb-form that simply mean &quot;to (verb)&quot;.
#: To ''sing'', to ''dance'', to ''drink'', to ''love''.
# Every verb which is not in the infinitive, is in the '''finite'''.
#: He ''smells'', we ''plot'', she had ''drunk'', he ''pours''.
}}

== Irregularities ==

Verbs which use the passive formation in an active sense are known as deponent. Verbs which don't have a form for every tense and mood are known as defective. You will meet a few words like this soon.

===Exercises===
{{Latin/Exercise|Answer|
#What is a deponent verb?
#What is an irregular verb?
#What is a defective verb?
|
#A verb which uses the passive voice in an active sense.
#A verb that does not follow the normal rules of conjugation.
#A verb missing forms for some tenses or moods.
}}

== Personal Pronouns ==

In case you do ever use a personal pronoun to emphasise the SUBJECT of the verb, you must remember that the personal pronoun must be in the nominative case and the number and person of the verb must match that of the subject. (Review Lesson 7 if unfamiliar with the terms person and subject).

=== Exercises ===
{{Latin/Exercise|Translate|
#What case should the subject (performer) of the verb be in?
#What number should the principal verb be?
#What person and number is 'ego'?
#What person and number is 'I'?
#What person and number is 'we'?
#What person and number is 'thou'?
#What person and number is 'ye'?
#What person and number is 'vōs'?
#What person and number is 'nōs'?
#What person and number is 'tū'?
#What person and number is 'boy'?
|
# Nominative case
# First person, singular.
# First person, singular.
# First person, singular.
# First person, plural.
# Second person, singular.
# Second person, plural.
# Second person, plural.
# First person, plural.
# Second person, singular.
# Third person, singular.
}}

== Principal Parts ==

When one looks up a verb in the dictionary, the principal parts are given. From these principal parts you can find the correct form of the verb for every circumstance.


{| border=&quot;1&quot;
|-
| Present Indicative Active 1st Person || Present Infinitive
| Perfect Indicative Active 1st Person || Supine
|-
| amō || amāre || amāvi || amātum
|-
| Determines whether the vowel is dropped in the 1st person singular present.
| Gives the imperfect stem and infinitive
| Gives the perfect stem
| Allows you to form adjectival forms of the verb (Participles)
|}

=== Exercises ===
Answer this question about '''principal parts'''.

{{Latin/Exercise|Answer|
# What do the '''principal parts''' allow you to do?
|
# The principal parts are the verb-forms you find when you look in the dictionary. E.g. if you look for the verb ''amō'' (love) in a dictionary you would find:
#: amō • amāre • amāvi • amātum 
:: These four forms will help you form every Latin verb you want.
}}

== Using the Dictionary ==

All nouns are given in the nominative, as well as the declension and gender of the noun. Verbs are alphabetized using the 1st person singular  (the first principal part) and the infinitive is given.  Supplementary principal parts are given if the various other principal parts do not follow the standard pattern of formation from the infinitive and 1st person singular.

=Verbs: Conjugation in the Present Imperfect =
 
The present imperfect is the simplest tense. To form the present imperfect all that is required is to place the personal endings at the end of the verb stem.
 
Thus, if you have the stem 'ama' (love), to make it 'I love' you place an ō at the end.

 I love  =  amō (amaō*)
 we love =  amāmus

* Latin drops the 'a' in amaō forming amō.

Latin '''could''' add personal pronouns, however only for added emphasis and in conjunction with the corresponding person ending on the verb. Otherwise the sentence will not make sense. For example:
 
ego amō = I (not you) love

nōs amāmus = We (not you) love
 
but that would be for special emphasis: It's '''I''', not you, who loves.

Here are the forms of the verb 'porta', carry, in the present imperfect tense:

 portō     I carry                     first person singular
 portās    thou carriest, you carry    second person singular
 portat    he, she, it carries         third person singular 
 portāmus  we carry                    first person plural
 portātis  you (all) carry             second person plural
 portant   they carry                  third person plural

'porto' can also be translated 'I am carrying' (present imperfect), 'I do carry' (present emphatic).  'I carry' is known as the 'present simple' tense in English. Again the 'a' gets dropped when the 'ō' is placed on porta. Porta, and ama are known as 1st conjugation verbs; in other words, verbs which have a stem ending in 'a'.

There are three other conjugations, and below are some examples of verbs from each of the four conjugations (present imperfect tense):

 
{| border=&quot;1&quot;
|-
| portā, carry (1st. Conj) || monē, warn (2nd Conj)
| rege, rule (3rd Conj.) || audī, hear (4th Conj)
|-
| portō, I carry || moneō, I warn || regō, I rule
| audiō, I hear
|-
| portās, thou carriest || monēs, thou warnest
| regis, thou rulest || audīs, thou hearest
|-
| portat, he/she/it carries || monet, he/she/it warns
| regit, he/she/it rules || audit, he/she/it hears
|-
| portāmus, we carry || monēmus, we warn
| regimus, we rule || audīmus, we hear
|-
| portātis, ye carry || monētis, ye warn
| regitis, ye rule || audītis, ye hear
|-
| portant, they carry || monent, they warn
| regunt, they rule || audiunt, they hear
|}

Each verb uses the same final letter or letters to indicate the 'subject' - I, thou, he/she/it, we, you, they.

Before these final letters, the first conjugation has an 'a' (although when an 'o' is placed, the 'a' is often dropped), the second an 'e', and the third and fourth usually an 'i'. The third person plural forms in the third and fourth conjugations have a 'u'. These verb forms really should be learned by heart.

The most common verb of all is irregular (see next lesson). Here is a table of the verb 'to be' in Latin, English, and four Romantic languages (French, Spanish, Italian and Portuguese)

{| border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | esto: be
|-
| &lt;B&gt;Latin&lt;/B&gt; || &lt;B&gt;English&lt;/B&gt; || &lt;B&gt;French&lt;/B&gt;
| &lt;B&gt;Spanish&lt;/B&gt;|| &lt;B&gt;Italian&lt;/B&gt; || &lt;B&gt;Portuguese&lt;/B&gt;
|-
| sum || I am || je suis || yo soy || sono || eu sou
|-
| es || thou art || tu es || tú eres || sei || tu és
|-
| est || he/she/it is || il/elle est || él/ella es || è || ele/ela é
|-
| sumus || we are || nous sommes || nosotros/-as somos || siamo || nós somos
|-
| estis || ye are || vous &amp;ecirc;tes || vosotros/-as sois || siete  || vós sois
|-
| sunt || they are || ils/elles sont || ellos/-as son || sono  || eles/elas são
|}

The personal endings are the same as in the four regular conjugations.

=== Exercises ===
:''Conjugate (find how a verb is in different forms) the verb 'amō'.''

{{Latin/Exercise|Translate|What form of the verb 'amō' (hint: amō is conjugated like portō in the table above) would the following words use to become the suffix:
#ego (I)
#tū (thou)
#puer (the boy)
#nōs (we)
#vōs (ye)
#puellae (the girls)
|
#[ego] amō (I love)
#[tu] amās (thou lovest ''pl.'', you love ''pl.'')
#puer amat (the boy loves)
#[nos] amāmus (we love)
#[vos] amātis (ye love ''pl.'', you love ''pl.'')
#puellae amant (the girls love)
}}

&lt;br&gt;

== Imperative Mood ==

The imperative mood conveys an order (e.g. Go!, Run!, Away Now!). The imperative mood is formed by simply using the stem of the verb. If the order is to a large group of people, or you are trying to show respect, you must use the -te suffix.

amō eum = I love him.

amā eum = Love him!

amāte eum = Love (respectful, or plural) him!


currō casam = I run home.

curre casam = Run home!

currite casam = Run (respectful, or plural) home!


regō prudente = I rule wisely.

rege prudente = Rule wisely!

regite prudente = Rule (respectful order) wisely!

=== Exercises ===
{{Latin/Exercise|Translate Latin verbs.|
# portāmus
# regunt
# monēs
# estis
# audītis
# monent
# regō
# portās
# sunt
|
# we carry
# they rule
# thou warnest
# ye are
# ye hear
# they warn
# I rule
# thou carriest
# they are
}}

{{Latin/Exercise|Translate sentences into Latin.|
# I carry my book.
# You do not kill.
# They hear music.
|
# meum lībrum portō.
# interficis nōn.
# mūsicam audiunt.
}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Adverbs &amp; Prepositions = {{Latin}}

==Comparatives and Superlatives of Adjectives (Comparativa et superlativa adjectivorum)==

{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''fortis, forte'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''strong, brave'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''vir'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''man'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''long-us, -a, -um'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''long'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ingeniosus, -a, -um'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''clever, talented'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''denarius, -i, m.'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''denarius (unit of currency)'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''soror, sororis, f.'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''sister'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''quam'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''than'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''habet'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she has'''
|}

There are three types of adjectives: Positive (the 'normal' adjective, eg. the &lt;B&gt;brave&lt;/B&gt; man: &lt;B&gt;fortis&lt;/B&gt; vir), Comparative (eg. the &lt;B&gt;braver&lt;/B&gt; man, or the &lt;B&gt;rather brave&lt;/B&gt; man: &lt;B&gt;fortior&lt;/B&gt; vir) and Superlative (eg. the &lt;B&gt;bravest&lt;/B&gt; man, or the &lt;B&gt;very brave&lt;/B&gt; man: &lt;B&gt;fortissimus&lt;/B&gt; vir). Comparatives and superlatives of adjectives are usually formed by appending the suffix -ior for masculine/feminine nouns and -ius for neuter ones (genitive is -ioris) to form the comparative. Append the suffix -issimus to form the superlative. However, the superlatives of adjectives ending in -er (eg. the &lt;B&gt;fair&lt;/B&gt; boy: &lt;B&gt;pulcher&lt;/B&gt; puer) are formed by adding the suffix -rimus to the Nominative, then we will have &lt;B&gt;pulcherrimus&lt;/B&gt; puer (&lt;B&gt;fairest&lt;/B&gt; puer).

All comparatives are declined like third declension nouns while superlatives are declined like second declension nouns, and thus must match the gender of the noun the superlative modifies. Often stem changes occur when appending theses suffixes.

{| border=&quot;1&quot;                                                                      
|-
| colspan=&quot;3&quot; | &lt;CENTER&gt;&lt;B&gt;Adjective: longus (long)&lt;/B&gt;&lt;/CENTER&gt;
|-
| longus || longior || longissimus
|-
| long || longer || longest
|}


{| border=&quot;1&quot;
|-
| colspan=&quot;3&quot; | &lt;CENTER&gt;&lt;B&gt;Adjective: pulcher (fair)&lt;/B&gt;&lt;/CENTER&gt;
|-
| pulcher || pulchrior || pulcherrimus
|-
| fair || fairer || fairest
|}

===Irregular Adjectives===

Fortunately, there are only a few irregular adjectives.

{| border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | &lt;CENTER&gt;&lt;B&gt;Irregular Adjectives&lt;/B&gt;&lt;/CENTER&gt;
|-
| &lt;b&gt;Meaning&lt;/b&gt; || &lt;b&gt;Positive&lt;/b&gt; || &lt;b&gt;Comparative&lt;/b&gt; || &lt;b&gt;Superlative&lt;/b&gt;
|-
| good || bonus || melior (&lt;i&gt;better&lt;/i&gt;)|| optimus (&lt;i&gt;best&lt;/i&gt;)
|-
| bad || malus || peior (&lt;i&gt;worse&lt;/i&gt;)|| pessimus (&lt;i&gt;worst&lt;/i&gt;)
|-
| large, great || magnus || maior || maximus
|-
| small || parvus || minor || minimus
|-
| many || multus || plus || plurimus
|}
&lt;br&gt;
&lt;br&gt;
'''Examples:'''
{| class=&quot;wikitable&quot;
|'''Latin'''
|'''English'''
|-
| bgcolor=&quot;#CCFFFF&quot; | Marcus est fortior quam Publius
| bgcolor=&quot;#CCFFCC&quot; | Marcus is braver than Publius
|-
| bgcolor=&quot;#CCFFFF&quot; | Publius ingeniosior est quam Marcus
| bgcolor=&quot;#CCFFCC&quot; | Publius is more clever than Marcus
|-
| bgcolor=&quot;#CCFFFF&quot; | Marcus plures denarios habet quam Publius
| bgcolor=&quot;#CCFFCC&quot; | Marcus has more denariuses&lt;sup&gt;1&lt;/sup&gt; than Publius
|-
| bgcolor=&quot;#CCFFFF&quot; | Publius plures sorores habet quam Marcus
| bgcolor=&quot;#CCFFCC&quot; | Publius has more sisters than Marcus
|-
|colspan=&quot;2&quot; | &lt;small&gt;1: We won't say &quot;Marcus has more money&quot; (''pecunia'') since plus in the singular takes the genitive case, which will not be covered for a few more lessons&lt;/small&gt;
|}

==Adverbs==

Adverbs are formed usually by replacing the suffix appended to the stem with the -e, or -i and sometimes -um in the first and second declension. For the third declension, usually the suffix appended is replaced by -iter. 

Adverbs modify the verb in the clause that contains the adverb.  The adverb may be placed anywhere with the clause.  Adverbs may be of positive, comparative and superlative form. Unlike adjectives and substantives, adverbs do not have declension or gender. And thus they are referred to as being 'indeclinable.' The following suffixes are appended to form the comparative and superlative forms of adverbs: -ius for comparatives and -issime for superlative.

===Examples===

{| border=&quot;1&quot;
|-
| colspan=&quot;3&quot; | &lt;CENTER&gt;&lt;B&gt;Adverbs&lt;/B&gt;&lt;/CENTER&gt;
|-
| verum || verius || verissime
|-
| truly || more truly || most truly
|}


{| border=&quot;1&quot;
|-
| colspan=&quot;3&quot; | &lt;CENTER&gt;&lt;B&gt;Adverbs&lt;/B&gt;&lt;/CENTER&gt;
|-
| fortiter || fortius || fortissime
|-
| bravely || more bravely || most bravely
|}

Irregular adjectives form adverbs regularly from the adjective forms.

For example:

*melior (better) -&gt; melius
*maximus (greatest) -&gt; maxime

Some adverbs do not come from adjectives but rather exist on their own:

*diu (for a long time) -&gt; diutius, diutissime
*saepe (often) -&gt; saepius, saepissime

===Exercise 1===
{{Latin/Exercise|Answer|
#What is the comparative adverbial form of sol-us, sol-a, sol-um (alone)?
#What is the positive adverbial form of laetus? (happy)
#What is the positive adjectival form of īrātior? (angrier)
#What is the positive adverbial form of certus? (certain)
#What is the superlative adjectival form of certus?
#What is the superlative adverbial form of certe?
#What is the superlative adjectival form of male?
#What is the superlative adverbial form of malus?
#What is the comparative adjectival form of dēsertus? (deserted)
|
#Solius
#Laete
#Īrātus
#Certe
#Certissimus
#Certissime
#Pessimus
#Pessime
#Dēsertior
}}

==Conjunctions==

Conjunctions are indeclinable particles that join clauses together to form sentences.  Examples of forms of conjunctions in English are: and, but and so. Conjunctions are either coordinating (joining two main clauses) or subordinating (joining a subclause to a main clause).


{| border=&quot;1&quot;
|-
| colspan=&quot;2&quot; | &lt;B&gt;List of Common Conjunctions&lt;/B&gt;
|-
| colspan=&quot;2&quot; | &lt;I&gt;Coordinating Conjunctions&lt;/I&gt;
|-
| atque || and
|-
| aut || or
|-
| aut...aut^^ || either...or
|-
| enim (usually placed second in sentence)
| for
|-
| ergo || and so, therefore
|-
| et || and
|-
| et...et^ || both...and
|-
| igitur || therefore
|-
| itaque || and so
|-
| nam || for
|-
| nec/neque || and not, nor
|-
| nec/neque...nec/neque^ || neither...nor
|-
| -que* || and
|-
| sed || but
|-
| tamen (usually placed second in a sentence
| however
|-
| colspan=&quot;2&quot; | &lt;I&gt;Subordinating Conjunctions&lt;/I&gt;
|-
| cum || when
|-
| dum || while, for the time
|-
| nisī || unless, except
|-
| quamquam || however
|-
| quod || because
|-
| sī || if
|-
| ubi || where, when
|-
| ut
| as/with result clauses: in order to, so, to
|}

===Exercise 2===

{| class=&quot;wikitable&quot; width=&quot;75%&quot;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;English&lt;/font&gt;
! bgcolor=&quot;#FFCCCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;Notes&lt;/font&gt;
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''virtus, virtutis'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''virtue, courage'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | 
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''in animo habeo'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I have in mind, I intend'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''Takes an infinitive'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ire'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to go'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''The indicative forms (I go, you go, etc) are &lt;i&gt;eo, is, it, imus, itis, eunt&lt;/i&gt;'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''hodie'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''today'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''&lt;i&gt;hodie&lt;/i&gt; is an adverb, don't try to use it as a noun (&quot;Today is a good day&quot;)'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''domi'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''at home'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''An instance of the &lt;i&gt;locative case&lt;/i&gt;, normally used for cities'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ambulat'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she walks'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | ''' '''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''forum, -i'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''marketplace'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | ''' '''
|-
|}

Based upon your reading of the table of conjunctions, how would one translate these sentences?

#Aut tu es bonus aut tu es malus ergo dīc mihi vēritātem (&lt;i&gt;tell me the truth&lt;/i&gt;).
#Cavēte canem quod nec estis fortes nec cum virtūte.
#Puer ē forō cum canē ambulat
#Et canis et cattus sunt laetī.
#In animō habeō īre ad grammaticum hodiē sed habeō labōrem (&lt;i&gt;work&lt;/i&gt;) domī.

==Prepositions==

You have met a few prepositions already.  Prepositions are indeclinable and genderless.  Prepositions are placed before substantives and adjectives.  Most prepositions take only the accusative or ablative case.  Some prepositions may take both, however their meanings differ depending on the case.

{| border=&quot;1&quot;
|-
| colspan=&quot;2&quot; | &lt;B&gt;List of Common Prepositions&lt;/B&gt;
|-
| colspan=&quot;2&quot; | &lt;I&gt;Prepositions Taking the Accusative Case&lt;/I&gt;
|-
| ad || to
|-
| ante || before
|-
| circum || around
|-
| contra || against
|-
| extra || outside
|-
| in* || into
|-
| inter || between, among
|-
| per || through
|-
| post || after
|-
| prope || near
|-
| propter || because of
|-
| super || above
|-
| trans || across
|-
| colspan=&quot;2&quot; | &lt;I&gt;Prepositions Taking The Ablative Case&lt;/I&gt;
|-
| a/ab** || from
|-
| cum || with
|-
| de || about, down from
|-
| e/ex** || out of
|-
| in* || in
|-
| pro || for, on behalf of
|-
| sine || without
|-
| sub || under
|-
| colspan=&quot;2&quot; | *notice the two different meanings of &lt;i&gt;in&lt;/i&gt; depending on the case
|-
| colspan=&quot;2&quot; | ** Similar to a/an in English, the form with the consonant is used when the following word begins with a vowel or 'h'.
|}

{| class=&quot;wikitable&quot;
| colspan=&quot;5&quot; | Ablative case forms for nouns and adjectives
|-
|Nominative singular
|'''puell-a''' (1st decl.)
|'''domin-us''' (2nd decl. m.)
|'''triclini-um''' (2nd decl. n.)
|'''canis''' (3rd decl.)
|-
|Ablative singular
|'''puell-ā'''
|'''domin-o'''
|'''tricilini-o'''
|'''can-e'''
|-
|Ablative plural
|'''puell-is'''
|'''domin-is'''
|'''triclini-is'''
|'''can-ibus'''
|}

===Exercise 3===

{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ero&lt;br&gt;eris&lt;br&gt;erit&lt;br&gt;erimus&lt;br&gt;eritis&lt;br&gt;erunt'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I will be&lt;br&gt;You will be&lt;br&gt;He/she will be&lt;br&gt;We will be&lt;br&gt;You will be&lt;br&gt;They will be'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''dives, divitis'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''wealthy'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''aedificium, -i'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''building'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''anima, -ae'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''mind, soul'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''venit'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she comes'''
|-
|}

Translate the following sentences:

#ero domum (Latin omits 'ad' with 'domus,' specific city names, and small islands; e.g. Eunt Romam = They go [to] Rome.)
#cum bona fortuna ero dives!
#circum agrum est aedificium cum atrio
#tu non es vir sine animis.
#familia venit cum amore.

== List of Frequent Adverbs, Prepositions, and Conjunctions in Latin ==

Taken from http://www.georgetown.edu/faculty/irvinem/classics203/resources/latin.lex

*atque, ac (conj): and [also], and; atque is used before consonants, ac before vowels
*ad modum: adv. very, quite; fully; + neg. = at all
*ad huc/adhuc: thus far, as yet, still, in addition, in the future
*aliquam: in some degree
*aliqui -qua -quod: some, any
*aliquis -qua -quid: someone, something; some, any
*aliquando: at times, sometimes; once, formerly
*aliquotiens: several times, at different times
*at (form of ad = in addition to): but (intro startling transitions)
*atque: and as well, even, together with, in everything;
*atque...atque, both..and
*atqui: rather, however, but at any rate, but for all that (transition in arg.)
*aut: or, at least, or else; aut...aut: either...or
*autem: but, on the other hand, however
*coram: adv. and prep. in the presence of, before
*dehinc: adv. while, from here, from now, henceforth; then, next
*deinde: adv. from there; then, afterwards; secondly, next (in order), in the second (next) place
*demum: adv. at last, finally, not till then; precisely, exactly, just, in fact, certainly, to be sure; modo demum: only now, just now.
*denique: adv. finally
*donec: while, as long as, until
*dum: conj. while, now; so long as, provided that, if only; until
*enim: (conj) namely, indeed, certainly, in fact, for, because
*eo quod: because
*etenim: (conj) and indeed, for, as a matter of fact
*etiam: also, besides; even, actually; (time) still
*etsi: (conj.) though, although, and yet
*fas (est): indecl. (it is) right, proper
*huc: here, to this place; so far, for this purpose
*ibi: there, then, therein, on that occassion
*idcirco: for that reason, on that account, therefore
*ideo: therefore, for this reason
*illuc: (adv.) (to) there; to that; to him/her
*immo: (adv.) or rather; indeed; no, yes (emphasis)
*interdum: occasionally, sometimes, now and then
*inde: from there, from that source, then, after; from then
*iuxta: (adv) near by, alike, equally; (prep) close to, right after, near to, beside.
**iuxta (7th-15th c.): according to
**iuxta aliquid: to some extent
*ita: thus, so, in this way; ita...ut: just as, so...that
**ita...quomodo: just as
*licet: all right; (with dat + inf) it is right for someone to; (conj) although, even if
*modo: only, just now
*necnon: also, moreover, certainly, besides
*nempe: to be sure, of course
*non numquam: sometimes
*nondum: not yet
*nonnullus -a -um: some, several
*nuper: recently, lately
*nusquam: nowhere
*ob: before, in front of; on account of, because of; for the sake of; instead of; in proportion to
**ob rem: to the purpose, usefully
**quam ob rem: wherefore, accordingly
*olim: once; of old; one day
*praeterea: besides, moreover; hereafter
*postea: afterwards
*postmodum: afterwards; presently
*procul: far off
*proinde: adv. consequently, therefore; just as
*propterea: for that reason, therefore
*prorsus/prorsum: (adv.) forwards; absolutely; in short
*prout: (conj) according as
*qua: (adv) where, as far as, how; qua..qua: partly...partly
*qualibit: anywhere, any way, as you please
*qualis -e: what sort of, what kind of, such as, as
*qualiter: adv. how, as, just as
*quam: (adv) how, how much; as, very
*quamdiu: as long as; while; inasmuch as
*quamquam: although
*quamvis: (adv) however; (conj) although
*quando: when (after nisi, ne) ever; (conj) when, since, because
*quandoque: (adv) at some time; (conj) whenever, as often as, since
*quantum: (adv) as much as, as far as, so much as, to what extent
*quantus: how great, how much
**in quantum: to what extent
**quanto: for how much
*quantum ad: in terms of, as far as x is concerned, with respect to
*quapropter: wherefore
*quare: by what means, how; why, wherefore
*quasi: as if, as though
*quatenus: adv.(inter.) how far, how long? (rel.) as far as, in so far as, since
*quemadmodum: (adv) in what way, how; (conj) as, just as
*quicquam: anything
*quicumque quae- quod-: whoever, whatever; all that, any whatever
*quidam quae- quid-: a certain one, someone, a kind of
*quidem: indeed, in fact
*quippe: adv. certainly, of course; conj.(explaining) for in fact, because, since
*quisquam quid-: anyone, anything
*quisque quidque: each, each one, every
*quisquis, quidquid: whoever, whatever; all
*quo: where, what for, to what end
*quoad: as to, with respect to
*quocumque: wither so ever, how so ever
*quod: (conj) because, as far as, in so far as, as for the fact that, in that, that
**quod si: but if
*quodamodo: in a way
*quomodo: how, in what way; (rel) as, just as
*quondam: once, sometimes, formerly
*quoniam: because, since, seeing that, now that
*quoque: also, too
*quot: how many; (conj) as many
*quotiens: how often (rel) as often as
*rursus: again, in turn
*recte: rightly, correctly
*rursum: again
*sane: reasonably, sensibly; certainly, doubtless, truly; of course; c. neg. = really, at all; to be sure, however
*scilicet: adv. evidently, naturally, of course; (as explan. particle:) namely, that is to say, in other words
*semel: once
*seu: and
*simul: at the same time; together; likewise
*sin: but if
*siquidem: if in fact; if only, if indeed; since indeed, since that
*talis -e: adj. such, of such a kind, the following
*taliter: in such a manner, so
*tam: so, so greatly; tam...quam: so...as, much...as well as
*tamen: yet, nevertheless, still
*tamquam: as, just as; (conj) as if, just as if
*tandem: at last, finally
*tantum: (adv) so much, so greatly; to such a degree; so far; only
*tantus -a -um (adj): of such (a size); so great, so much
*tot: as many, so many
*tunc: (avd) then, just the; thereupon, accordingly, consequently
*ubicumque: wherever, everywhere
*unde: whence, from where; wherefore; this being the case
*usque: as far as, all the way, continually, straight on, up to; until
*ut...ita: while...nevertheless
*uterque -raque -rumque: both, each (of two)
*utinam: would that, if only
*utique: anyhow, at least, at any rate
*utpote: as, in as much as
*utrum: (conj) either, whether
*velut: as, just as, as it were, as though
*verumtamen: but yet, nevertheless
*vero (conj): but, truly
*videlicet: clearly, evidently; namely

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Accusative Case = {{Latin}}

== Grammar: The Accusative ==
{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''vendit'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she sells'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''videt'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she sees'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''amat'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she loves'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''cist-a -ae''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''box'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ferox, ferocis''' (m/f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''wild'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ager''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''field'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''bell-um''' (n.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''war'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''serv-us''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''slave'''
|}

As you learned in the last lesson, the verb 'esse' (to be) usually takes the nominative case, because then the word after it is a complement.  Most other verbs take the 'accusative' case. 

In a sentence, the accusative is the &quot;what&quot; - in English grammar, this is known as the direct object.

&lt;b&gt;For example:&lt;/b&gt;
The girl sells the box.

What did the girl sell? The box. Thus, box is the direct object, and when we translate it into Latin:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | '''Example'''
|-
| ''English:'' || The girl|| sells|| the box.
|-
| ''Latin:'' || Puella|| vendit|| cistam.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| ACCUSATIVE
|}

Cistam, then, is in the accusative, because it is the direct object.

Again, when an adjective describes a noun in the accusative case, the adjective must agree in number, case, and gender.

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;5&quot; | '''Example'''
|-
| ''English:'' || The girl|| sells|| the big || box.
|-
| ''Latin:'' || Puella|| vendit|| magnam || cistam.
|-
| ''Explanation:'' || NOMINATIVE || VERB || ADJECTIVE ACCUSATIVE|| NOUN ACCUSATIVE
|}

Because Latin uses cases to mark the subject and the object of a sentence, word order does not matter. Consider:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| puer puellam videt || The boy sees the girl
|-
| puerum puella videt || The girl sees the boy
|-
| puellam puer videt || The boy sees the girl
|-
| puella puerum videt || The girl sees the boy
|}

=== Examples of Adjectives Agreeing with the Nominative and Accusative Case ===

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''good'' boy loves the ''wild'' dog.
|-
| ''Latin:'' || puer || '''bonus''' || amat || canem (acc) || '''ferocem''' (acc).
|-
| ''English:'' || [The] boy || '''good''' || [he] loves || [the] dog || '''wild'''. 
|}

''Bonus'', a first and second declension adjective, is masculine, nominative, and singular to agree with ''puer'', the word it is describing.

''Ferocem'', a third declension adjective, is masculine, accusative, and singular to agree with ''canem''. ''Canem'' is accusative because it is the object of ''amat''.

Here is an example of plural adjectives:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''good'' boys love the ''wild'' dogs.
|-
| ''Latin:'' || Pueri (plur) || '''boni''' (plur)|| amant (plur) || canes (plur, acc) || '''feroces''' (plur, acc).
|-
| ''English:'' || [The] boys || '''good''' || [they] love || [the] dogs || '''wild'''. 
|}

The words  ''bonus'' and ''ferocem'' become ''boni'' and ''feroces'' to agree with the plurals ''pueri'' and ''canes''.

However, if a girl ([[wiktionary:en:puella#Latin|puella]]) happened to love that boy:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''good'' girl loves the ''good'' boy.
|-
| ''Latin:'' || Puella || '''bona'''|| amat || puerum (acc) || '''bonum''' (acc).
|-
| ''English:'' || [The] girl|| '''good''' || [she] loves || [the] boy|| '''good'''. 
|}

''Bonus'' must become ''bona'' in order to modify ''puella'', which is feminine.

Finally, if the girl isn't good, but rather wild:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''wild'' girl loves the ''good'' boy.
|-
| ''Latin:'' || Puella || '''ferox'''|| amat || puerum (acc) || '''bonum''' (acc).
|-
| ''English:'' || [The] girl|| '''wild''' || [she] loves || [the] boy|| '''good'''. 
|}

Even though ''puella'' is first declension, ''ferox'' remains third declension. In the same way, a good lion would be ''bonus leo''.

=== Exercise 1 ===
{{Latin/Exercise|Give the accusative singular.|
# lud-us
# magn-us
# triclīni-um
# bell-um
# puell-a
# serv-us
# ager
|
# lud'''um'''
# magn'''um'''
# triclīni'''um'''
# bell'''um'''
# puell'''am'''
# serv'''um'''
# agr'''um'''
}}

{{Latin/Exercise|Give the accusative plural.|
# lud-us
# magn-us
# triclīni-um
# bell-um
# puell-a
# serv-us
# ager
|
# lud'''os'''
# magn'''os'''
# triclīni'''a'''
# bell'''a'''
# puell'''as'''
# serv'''os'''
# agr'''os'''
}}

{{Latin/Exercise|Give the nominative singular.|
# bon-ī
# bell-a
# triclīni-a
# puell-am
# agr-ōs
# serv-ōs
# puell-ae
|
# bon'''us'''
# bell'''um'''
# triclīni'''um'''
# puell'''a'''
# ager
# serv'''us'''
# puell'''a'''
}}

=== Exercise 2 ===

Determine whether the adjective agrees with the substantive in all three categories: case, gender, number.

{| border=&quot;1&quot;
|-
! Questions:
! Does it Agree?
|-
| 1. magn-us agr-ōs || True/False
|-
| 2. magn-a puella || True/False
|-
| 3. poet-a* bon-us || True/False
|-
| 4. magn-um serv-um || True/False
|-
| 5. poet-ae* magn-ae || True/False
|-
| 6. bell-a magn-a || True/False
|}

:''* Nota bene: ''Poeta'' (meaning poet) is a masculine noun, even though it ends in '''-a'''.''

{{Latin/Exercise|Answer|
See table above. Determine whether the adjective (magnus, bonus..) agrees with the substantives (ager, puella, poeta) in both case (nominative, accusative...), gender (masculine, female and neuter) and number (singular and plural).
|
# '''False.''' ''Magnus'' doesn't agree with ''agrōs''; in number and case.
#:''Magnus'': Masculine, singular, nominative.
#:''Agrōs'': Masculine, plural, accusative.
# '''True.''' ''Magna'' agrees with ''puella''.
#:''Magna'': Feminine, singular, nominative.
#:''Puella'': Feminine, singular, nominative.
# '''True.''' ''Bonus'' agrees with ''poeta''.
#:''Bonus'': Masculine, singular, nominative.
#:''Poeta'': Masculine, singular, nominative.
# '''True.''' ''Magnum'' agrees with ''servum''.
#:''Magnum'': Neuter, singular, nominative.
#:''Servum'': Neuter, singular, nominative.
# '''False.''' ''Magnae'' doesn't agree with ''poetae''; in gender.
#:''Magnae'': Feminine, plural, nominative.
#:''Poetae'': Masculine, plural, nominative.
# '''True.''' ''Bella'' agrees with ''magna''.
#:''Bella'': Neuter, plural, nominative.
#:''Magna'': Neuter, plural, nominative.
}}

== Grammar: The Use of the Accusative ==

{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''curri-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she runs'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''porta-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she carries'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''specta-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she watches'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''da-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she gives'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | &lt;B&gt;fuisse&lt;/B&gt;&lt;BR&gt;fuī&lt;BR&gt;fuistī&lt;BR&gt;(puer) fuit&lt;BR&gt;fuimus&lt;BR&gt;fuistis&lt;BR&gt;fuērunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | &lt;B&gt;to have been&lt;/B&gt;&lt;BR&gt;I have been&lt;BR&gt;you have been&lt;BR&gt;(the boy) has been&lt;BR&gt;we have been&lt;BR&gt;you (pl.) have been&lt;BR&gt;they have been
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| colspan=&quot;2&quot; | Nota Bene: 'fuisse' and all the forms of it, the past tense of 'esse', behaves exactly like the present tense.
|}


The newly introduced verbs, ama-t, curri-t, and porta-t take the accusative as the 'object'.  Unless specified, any verb you look up in the dictionary will take the accusative, not the nominative. This means that they are '''transitive verbs''', verbs that happen to someone or something, e.g.:

 I heal '''you'''. (''acc.'')
 You make '''my day'''. (''acc.'')
 She hit '''your arm'''. (''acc.'')

In the examples above, the '''bold''' words are the subject of the sentence clause. Because something happens &quot;to&quot; them, they can't be in nominative.

=== Grammatical Explanation Using English Sentences ===


{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | '''Grammatical Explanation 1'''
|-
| ''English:'' || The boy || hits || the car.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| ACCUSATIVE
|}


{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | '''Grammatical Explanation 2'''
|-
| ''English:'' || The girl || hugs || the boy.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| ACCUSATIVE
|}


{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;5&quot; | '''Grammatical Explanation 3'''
|-
| ''English:'' || He who || flees, || deserves || the guillotine.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| VERB || ACCUSATIVE
|}

=== Exercise 3: Find the Nominative and Accusative ===
{{Latin/Exercise|Find the Nominative and Accusative (if present) in each sentence.|
# The boy is good.
# The girl kisses the boy.
# The boy gives the book.
# The child watches the TV.
# Whom it concerns.
# To the kitchen I run
# I eat the pizza.
|
# The boy {nom} is good {nom}.
#: ''Puer {nom} est bonus {nom}''.
# The girl {nom} kisses the boy {acc}.
#: ''Puella {nom} puerum {acc} basiat.''
# The boy {nom} gives the book {acc}.
#: ''Puer {nom} librum {acc} dat.''
# The child {nom} watches the TV {acc}.
#: ''Infans {nom} televisorium {acc} videt.''
# Whom {acc} it {nom} concerns.
#: ''???''
# To the kitchen {acc} I {nom} run.
#: ''Ad culinam {acc} [ego {nom}] curro.''
# I {nom} eat the pizza {acc}.
#:''Pittam {acc} [ego {nom}] edo.''
}}

{{Latin/Exercise|In the following sentences, identify the accusative and nominative. Then translate.|
# Puer est bonus.
# Puella puerum amat.
# Puer cistam portat.
# Fīlius virum spectat.
# Ad culīnam currit.
|
# Puer {nom} est bonus {nom}.
#: The boy {nom} is good {nom}.
# Puella {nom} puerum {acc} amat.
#: The girl {nom} loves the boy {acc}.
# Puer {nom} cistam {acc} portat.
#: The boy {nom} carries the box {acc}.
# Fīlius {nom} virum {acc} spectat.
#: The son {nom} watches the man (father?) {acc}.
# Ad culīnam {acc} currit.
#: To the kitchen {acc} [he {nom}] runs. (He runs to the kitchen)
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Pronouns = {{Latin}}

==Personal Pronouns in English ==
{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''cibus'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''food'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''laborat'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she works'''
|}

Pronouns are nouns which are used instead of another noun ('pro', in place of 'noun', noun.)

There are three categories of pronouns which are divided up into persons: 1st, 2nd, and 3rd. In addition, pronouns can be singular or plural. They are declined like all other nouns.

{| class=&quot;wikitable&quot;
!Person
!Singular
!Plural
|-
|1st
|I
|we
|-
|2nd
|you, thou
|you (all)
|-
|3rd
|he/she/it
|they
|}

==Personal Pronouns in Latin==
===1st/2nd Person Pronouns===
====Table of Personal Pronouns in all of their cases: I, thou, we, ye====
Note: ''{{wt|thou}}'' is the archaic singular of the archaic plural ''{{wt|ye}}'' - useful for distinguishing ''you'' (singular) from ''you'' (plural)

{| class=&quot;wikitable&quot;
|-
|
! colspan=&quot;4&quot; | Singular
! colspan=&quot;4&quot; | Plural
|-
! Case
| colspan=&quot;2&quot; | 1st Person
| colspan=&quot;2&quot; | 2nd Person
| colspan=&quot;2&quot; | 1st Person || colspan=&quot;2&quot; | 2nd Person 
|-
! Nominative
| ego || I || tū || you
| nōs || we || vōs || you
|-
! Genitive 
| meī || of me || tuī || of you
| nostrī(nostrum) || of us || vestrī (vestrum)
| of you
|-
! Dative 
| mihi || to me || tibi || to/for you
| nōbīs || to us || vōbīs || to/for you
|-
! Accusative 
| mē || me || tē || you
| nōs || us || vōs || you
|-
! Ablative 
| mē || from me || tē || from you
| nōbīs || from us || vōbīs || from you
|}  

Nota Bene: the genitive is used in certain phrases like:
#memor nostrī, mindful of us
#paucī vestrum, a few of you.

For the possessive uses (my sister, your bicycle) sometimes uses the possessive adjectives:

{| class=&quot;wikitable&quot; 
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|meus, mea, meum ||bgcolor=&quot;#CCFFCC&quot;| my
|-
|bgcolor=&quot;#CCFFFF&quot;|tuus, tua, tuum ||bgcolor=&quot;#CCFFCC&quot;| thy
|-
|bgcolor=&quot;#CCFFFF&quot;|suus, sua, suum ||bgcolor=&quot;#CCFFCC&quot;| his/hers, its, their
|-
|bgcolor=&quot;#CCFFFF&quot;|noster, nostra, nostrum ||bgcolor=&quot;#CCFFCC&quot;| our
|-
|bgcolor=&quot;#CCFFFF&quot;|vester, vestra, vestrum  ||bgcolor=&quot;#CCFFCC&quot;| your
|-
|bgcolor=&quot;#CCFFFF&quot;|Pater noster ||bgcolor=&quot;#CCFFCC&quot;| Our father
|}

===3rd Person Pronouns===
Technically, 3rd person pronouns do not exist in Latin as they do in English. However, they do have equivalents.

Adjectives modify nouns and take the gender of the noun which they modify. However, adjectives do not necessarily need a substantive present in the sentence to modify. The substantive can be presumed. In this way, '3rd person' pronouns are formed. 

====Example 1====
Take the masculine form of the adjective 'ille'. Literally it means 'That (masculine) thing.' However one could take it for simply meaning 'he', depending on the context. Similarly, the pronoun 'iste' means 'that (masc.) thing'. Iste and ille are declined in exactly the same way, but there are a slight difference of meaning between them: 'ille' is often used with proper names for marking dignity or worth and 'iste' conveys a contemptuous sense.

Examples:

- Annibal, ille inclytus filius Amilcaris (Hannibal, that renowned Hamilcar's son).

- Iste servus improbus ante te (this bad slave in front of you).


If no substantive is provided assume words like these: 'man', 'woman', 'thing', 'idea', 'concept', 'reason' etc. Let context be your guide.

===Common Adjectives Used as 3rd Person Pronouns In Latin===
====Declension of Ille (that)====

{| class=&quot;wikitable&quot;
|+ Declension of ''ille'' (that): Singular
|-
| rowspan=&quot;2&quot; | 
! colspan=&quot;3&quot; | Latin
! colspan=&quot;3&quot; | English
|-
! Masculine 
! Feminine
! Neuter
! Masculine
! Feminine
! Neuter
|-
! Nominative 
| ille  || illa || illud || he || she || it 
|-
! Genitive 
| illius  || illius || illius || his || her, hers || its 
|-
! Dative 
| illī  || illī || illī || to him || to her || to it 
|-
! Accusative 
| illum  || illam || illud || him || her || it 
|-
! Ablative 
| illō  || illā || illō || by, with, from him || her || it 
|-
|}

{| class=&quot;wikitable&quot;
|+ Declension of ''ille'' (that): Plural
|-
| rowspan=&quot;2&quot; | 
! colspan=&quot;3&quot; | Latin
! colspan=&quot;3&quot; rowspan=&quot;2&quot; | English
|-
! Masculine 
! Feminine
! Neuter
|-
! Nominative 
| illī || illae || illa || they, those
|-
! Genitive 
| illōrum || illārum || illōrum || their, theirs, of those
|-
! Dative 
| illīs || illīs || illīs || to them, to those
|-
! Accusative 
| illōs || illās || illa || them, those
|-
! '''Ablative'''
| illīs || illis || illīs || by, with, from them, those  
|-
|}

Ille is often used as a kind of pronoun. In situations with multiple phrases or sentences, however, it is syntactically different from is, ea, id (see below).

For example: &quot;Canis puero cibum dat. Is laborat in agro.&quot; means &quot;The dog gives food to the boy. The dog works in the field&quot;.

However: &quot;Canis puero cibum dat. Ille laborat in agro.&quot; means &quot;The dog gives food to the boy. The boy works in the field&quot;.

Thus, ille, unlike the other pronouns makes a previous object into the subject (and vice versa).

====Examples of the Usage of Ille:====
{| class=&quot;wikitable&quot;
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|Ille est dominus. ||bgcolor=&quot;#CCFFCC&quot;| He is the master. (ille as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Ille dominus est malus. ||bgcolor=&quot;#CCFFCC&quot;| That master is bad. (ille as adjective) 
|-
|bgcolor=&quot;#CCFFFF&quot;|Illam videt ||bgcolor=&quot;#CCFFCC&quot;| He sees her. (or 'she sees her' - illam as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Illam puellam videt ||bgcolor=&quot;#CCFFCC&quot;| He (or she) sees that girl (illam as adjective).
|}

====Declension of Is, ea, id: (personal pronouns w/ translations)====
{| class=&quot;wikitable&quot;
|+ Singular
!Case
!colspan=&quot;3&quot;|Latin
!colspan=&quot;3&quot;|English
|-
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || is || ea || id || he || she || it
|-
|Genitive ||colspan=&quot;3&quot;| ēius || his || her, hers || its
|-
|Dative ||colspan=&quot;3&quot;| eī || to him || to her || to it
|-
|Accusative || eum || eam || id || him || her || it
|-
|Ablative || eō || eā || eō || by/with him || by/with her || by/with it
|}

{| class=&quot;wikitable&quot;
|+ Plural
!Case
!colspan=&quot;3&quot;|Latin
!colspan=&quot;3&quot;|English
|-
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || ii || eae || ea ||colspan=&quot;3&quot;| they, those
|-
|Genitive || eōrum || eārum || eōrum ||colspan=&quot;3&quot;| their, theirs, of those
|-
|Dative ||colspan=&quot;3&quot;| eīs, iīs ||colspan=&quot;3&quot;| to them, to those
|-
|Accusative || eōs || eās || ea ||colspan=&quot;3&quot;| them, those
|-
|Ablative ||colspan=&quot;3&quot;| eīs, iīs ||colspan=&quot;3&quot;| by, with, from them, those
|}

Like ille, is can be used as a form of a pronoun.

====Examples of the Usage of Is====
{| class=&quot;wikitable&quot;
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|Is est dominus. ||bgcolor=&quot;#CCFFCC&quot;| He is the master. (&quot;is&quot; as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Is dominus est malus. ||bgcolor=&quot;#CCFFCC&quot;| The master is bad. (&quot;is&quot; as adjective)
|-
|bgcolor=&quot;#CCFFFF&quot;|Eam videt. ||bgcolor=&quot;#CCFFCC&quot;| He sees her. (or 'she sees her', &quot;eam&quot; as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Eam puellam videt. ||bgcolor=&quot;#CCFFCC&quot;| He (or she) sees the girl. (&quot;eam&quot; as adjective)
|}

====Declension of the Relative pronoun qui, quae, quod: (meaning who, which)====
{| class=&quot;wikitable&quot;
|+Singular
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || quī || quae || quod ||colspan=&quot;2&quot;|who || which
|-
|Genitive ||colspan=&quot;3&quot;| cūius ||colspan=&quot;2&quot;| whose || of which
|-
|Dative ||colspan=&quot;3&quot;| cuī ||colspan=&quot;2&quot;| to whom || to which
|-
|Accusative || quem || quam || quod ||colspan=&quot;2&quot;|whom || which
|-
|Ablative || quō || quā || quō ||colspan=&quot;3&quot;| by, with, from whom, which
|}

{| class=&quot;wikitable&quot;
|+ Plural
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || quī || quae || quae ||colspan=&quot;2&quot;|who || which
|-
|Genitive || quōrum || quārum || quōrum ||colspan=&quot;2&quot;| whose || of which
|-
|Dative || quibus || quibus || quibus || colspan=&quot;2&quot; | to which
|-
|Accusative || quōs || quās || quae||colspan = &quot;2&quot; | which
|-
|Ablative || quibus || quibus || quibus || colspan=&quot;2&quot;| by which, in which, etc
|}

====Uses of the Relative Pronoun====
The relative pronoun takes on the case depending on the function it serves in the relative clause.  For example, in the sentence &quot;He sees the man who has a slave,&quot; &quot;who&quot; is translated as nominative because it is the subject of the clause &quot;who has a slave.&quot;  The antecedent (noun to which the pronoun refers) is usually before the relative clause.

====Examples of the Usage of the Relative Pronoun====
# ''Virum [[wiktionary:videre#Latin|videt]] (he/she sees) '''qui''' [[wiktionary:servus#Latin|servum]] (servant) [[wiktionary:habere#Latin|habet]] (he/she has).''
#: He sees the man '''who''' has a slave
# '''''Ille''' est [[wiktionary:vir#Latin|vir]] cujus servus est [[wiktionary:malus#Latin|malus]].''
#: '''That''''s the man whose slave is bad.
# ''Quis '''[[wiktionary:is#Latin|eum]]''' videt?''
#: Who sees '''him'''?

====Declension of hic, haec, hoc (meaning &quot;this&quot;)====
{| class=&quot;wikitable&quot;
|+ Singular
!
!Masculine
!Femine
!Neuter
!
|-
|Nominative || hic || haec || hoc ||rowspan=&quot;5&quot;| this
|-
|Genitive ||colspan=&quot;3&quot;|huius
|-
|Dative ||colspan=&quot;3&quot;|huic
|-
|Accusative || hunc || hanc || hoc
|-
|Ablative || hōc || hāc || hōc
|}

{| class=&quot;wikitable&quot;
|+ Plural
!
!Masculine
!Femine
!Neuter
!
|-
|Nominative || hī || hae || haec ||rowspan=&quot;5&quot;| these
|-
|Genitive || hōrum || hārum || hōrum
|-
|Dative ||colspan=&quot;3&quot;|hīs
|-
|Accusative || hōs || hās || haec
|-
|Ablative ||colspan=&quot;3&quot;|hīs
|}
  
N.B. Hic as an adverb that means 'here'.
N.B. Hic can also be used as a pronoun.

====Example of the Usage of Hic====
{| class=&quot;wikitable&quot;
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|''''Hic'''' servus, non ille, est malus. ||bgcolor=&quot;#CCFFCC&quot;| This slave, not that one, is bad.
|}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Chapter 1 Verse = = Latin I prose =
{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''fulgeo, -ere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to shine'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''aperio, -ire'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to open'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''dormio, -ire'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to sleep'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''habeo, -ere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to have'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''semper'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''always'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''tempto, -are'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to try'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''dico, -ere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to speak, say'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''femina'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''woman'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''facio, -ere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to make'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ecce!'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''look!'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''velle:'''&lt;br&gt;volo&lt;br&gt;vis&lt;br&gt;vult&lt;br&gt;volumus&lt;br&gt;vultis&lt;br&gt;volunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to wish, want:'''&lt;br&gt;I want&lt;br&gt;you want&lt;br&gt;he/she wants&lt;br&gt;we want&lt;br&gt;you want&lt;br&gt;they want
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''turba'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''crowd'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''attonitus'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''astonished'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''tantus, -a, -um'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''so great'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''susurro, -are'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to whisper'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''patefacio, -ere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to open, disclose'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''rideo, -ere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to laugh'''
|}

The following is a nice easy short story for the Latin novice:

----

===Lucius ad forum it===

Sol fulget. Lucius oculos aperit. Videt uxorem suam, Octaviam. Octavia dormit. Ergo, Lucius ad forum it. 

Lucius multos amicos habet. Unus ex amicis Claudius est. Claudius semper in foro est. Claudius temptat dicere cum feminis, quod Claudius multas feminas amat. Multae feminae, tamen, Claudium non amant.

Lucius ad forum ambulat. Multos Romanos videt. Unus Romanorum ad cives orationem facit. Est Claudius!

&quot;Ecce! Ecce!&quot; dicit Lucius. Lucius vult dicere cum amico. Claudius, tamen, dicit ad turbam.

&quot;Amicus meus, Lucius&quot; dicit, &quot;hominem necavit.&quot;&lt;sup&gt;A&lt;/sup&gt;

Lucius anxius respondet, &quot;Quid dicis, amice?&quot;

Claudius est attonitus. Dicit,
&quot;Te non video, mi Luci...&quot;

Lucius respondet, &quot;hominem non necavi! Cur tanta dicis?&quot;
Claudius susurrat,
&quot;Volo videri&lt;sup&gt;B&lt;/sup&gt; fortissimus, amice. Feminae te amant. Me dolent&lt;sup&gt;C&lt;/sup&gt;.&quot;

Lucius omnia&lt;sup&gt;D&lt;/sup&gt; turbae&lt;sup&gt;E&lt;/sup&gt; patefacit.

Multae feminae ad Claudium misserimum rident. Mox, etiam Claudius ad se ridet.


----

*&lt;sup&gt;A&lt;/sup&gt; ''Necavit'' is the perfect form of ''necare'', meaning &quot;he killed.&quot; For more, check out the next chapter.

*&lt;sup&gt;B&lt;/sup&gt; ''Videri'' means &quot;to appear,&quot; (or more literally, &quot;to be seen&quot;) and is the passive infinitive of ''video''. There is more on that in chapters 2-4.
*&lt;sup&gt;C&lt;/sup&gt; ''Me dolet'' means &quot;makes me suffer&quot;.
*&lt;sup&gt;D&lt;/sup&gt; ''Omnia'' means &quot;everything&quot;.
*&lt;sup&gt;E&lt;/sup&gt; ''turbae'' is the dative case of &quot;turba&quot;, meaning &quot;to the crowd&quot;.

{{BookCat}}
----

== Chapter 2: Complicated Sentences ==
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Imperfect Tense = {{Latin}}

== Imperfect Active Indicative ==

The imperfect is a construct like:
&lt;br&gt;'''I was seeing.'''
&lt;br&gt; In Latin it would look like this:
&lt;br&gt;'''Videbam.'''

English has a similar construct called progressive past. Actions seem incomplete, and so the imperfect label. For example, &quot;I was running,&quot; &quot;We were sailing,&quot; &quot;They were calling.&quot; Note that 'to be' is always there. Latin, however, would sometimes use imperfect like simple past; accordingly, &quot;We were sailing&quot; could be translated as &quot;We sailed.&quot; Other translations of imperfect can be used to/kept such as &quot;We used to sail/We kept sailing.&quot; 

Regardless of language, the concept of an imperfect is important. Imperfect is called imperfect for a reason - in Latin, the verb &quot;perficere&quot; means to finish/complete, which is what perfect is from. Thus, imperfect, in the grammatical sense, means not finished - that the action could be or could not be completed. Perfect instead means it has been finished - I saw. You have already seen, and it is now completed. I was seeing implies that the action is not yet completed.

The perfect tense, which we will learn later, is a more immediate reference to the past. The name, imperfect, helps you remember its use: in situations where you can't say when an event started or ended or happened, you must use the imperfect.

In situations where you can know when an event started or ended or happened, use the perfect. 

You conjugate the imperfect tense this way:
verb + ba + personal ending

The endings for imperfect are:
{{Latin/verb|-bam|-bas|-bat|-bamus|-batis|-bant}}

Note that the only thing we add are ba + the personal endings (the same as in the present tense) to the infinitive stem. This gives us the imperfect conjugation.

Note that in third and fourth conjugations, you will have to form it differently. There is *no* rule to explain this, it just is, although there are memorization techniques that can help.

ven&lt;U&gt;i&lt;/U&gt;re is 4th conjugation and is formed like:
{{Latin/verb
|veniebam
|veniebas 
|veniebat 
|veniebamus
|veniebatis 
|veniebant}}

For third conjugation, an example used in some textbooks/study guides is: capere (to capture or seize) 
{{Latin/verb
|capiebam
|capiebas
|capiebat
|capiebamus
|capiebatis
|capiebant}}

Note that it is easiest to think of what the endings -ere and &lt;U&gt;i&lt;/U&gt;re lack. The imperfect -ba + the personal ending, which we can call the imperfect conjugation,  must be prefixed by ie.

{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''amo, amare'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to love'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''moneo, monere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to warn'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''vinco, vincere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to win, defeat'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''capio, capere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to capture, seize'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''pello, pellere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to drive'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''sedeo, sedere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to sit'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''lego, legere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to read'''
|-
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''adsum, adesse'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to be present'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''emo, emere'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to buy'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''tristis, triste'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''sad'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''redeo, redire'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to return, go back'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''cena, -ae'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''dinner'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''paratus, -a, -um'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''ready'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''mater, matris'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''mother'''
|-

| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''paro, parare'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''to prepare'''
|-
|}
A few examples:

'''amabam''' - '''I was loving''' (A-conjugation--1st)
&lt;br&gt;'''monebatis''' - '''You were warning [object/personage]''' (of something negative) (Pl.) (2nd Conjugation)
&lt;br&gt;'''vincebamus''' - '''We were defeating''' (long I-conjugation--3rd conjugation)
&lt;br&gt;'''capiebant''' - '''They were catching''' (short I-conjugation--3rd conjugation)
&lt;br&gt;'''pellebat''' - '''She/he/it was propelling''' (drive something (not a vehicle), propel something) (consonantic conjugation)

(Wiki-reading tips: See discussion. Some of the above may be unclear, however the clarifying '--' and '/' indicate verification. We may not know what the original author intended, but we know what conjugations the examples are.)

{| class=&quot;wikitable&quot;
| colspan=&quot;9&quot; | &lt;b&gt;Conjugation in the Imperfect tense&lt;/b&gt;
|-
| || 1st || 2nd || 3rd || mixed || 4th || colspan=&quot;3&quot; | Irregular
|-
| Infinitive: || amare || sedere || legere || capere || venire || ire || velle || esse
|-
| colspan=&quot;9&quot; | Singular
|-
| 1st person: || amabam || sedebam || legebam || capiebam || veniebam || ibam || volebam || eram
|-
| 2nd person: || amabas || sedebas || legebas || capiebas || veniebas || ibas || volebas || eras
|-
| 3rd person: || amabat || sedebat || legebat || capiebat || veniebat || ibat || volebat || erat
|-
| colspan=&quot;9&quot; | Plural
|-
| 1st person: || amabamus || sedebamus || legebamus || capiebamus || veniebamus || ibamus || volebamus || eramus
|-
| 2nd person: || amabatis || sedebatis || legebatis || capiebatis || veniebatis || ibatis || volebatis || eratis
|-
| 3rd person: || amabant || sedebant || legebant || capiebant || veniebant || ibant || volebant || erant
|-
|}

===Exercises===
{{Latin/Exercise|Translate from Latin to English.|
# dum sol fulgebat, puer ambulabat ad forum
# in foro multus cibus aderat et femina cibum vendebat
# puer cibum emere volebat sed satis pecuniae (''enough money'') non habebat
# puer se vertit (''turned'' (lit. himself) ''around'') et tristis domum redibat
# sed ubi domum rediit (''returned'') cena parata erat quod mater semper cenam parat
|
# while the sun shone, the boy was walking to the forum 
# in forum (market) there was much food and a woman was selling food
# the boy wanted to buy food but he didn't have enough money
# the boy turned around and sadly was returning home
# but when he returned home the dinner was prepared, as his mother always prepares the dinner 
}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Genitive and Dative Cases = {{Latin}}

==Noun Tables==
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot;
|-
| rowspan=&quot;3&quot; |
| colspan=&quot;2&quot; class=&quot;header&quot; | '''1&lt;sup&gt;st&lt;/sup&gt; declension'''
| colspan=&quot;4&quot; class=&quot;header&quot; | '''2&lt;sup&gt;nd&lt;/sup&gt; declension'''
|-
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-a'''
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-us/er'''
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-um (neuter)'''
|-
| ''SINGULAR'' || ''PLURAL''
| ''SINGULAR'' || ''PLURAL''
| ''SINGULAR'' || ''PLURAL''
|-
| nominative || puell'''-a''' || puell'''-ae'''
| serv'''-us'''/pu'''er''' || serv'''-ī'''
| bell'''-um''' || bell'''-a'''
|-
| genitive || puell'''-ae''' || puell'''-ārum'''
| serv'''-ī''' || serv'''-ōrum'''
| bell'''-ī''' || bell'''-ōrum'''
|-
| accusative || puell'''-am''' || puell'''-ās'''
| serv'''-um''' || serv'''-ōs'''
| bell'''-um''' || bell'''-a'''
|-
| dative || puell'''-ae''' || puell'''-īs'''
| serv'''-ō''' || serv'''-īs'''
| bell'''-ō''' || bell'''-īs'''
|}

==The Genitive==
The genitive case is a descriptive case. The genitive case describes the following features of the described noun:
*Possession e.g. The dog of Marcus ''or'' Marcus's dog (canis Marcī)
*Origin e.g. Marcus of Rome (Marcus Romae)
*Relation e.g. A thing of beauty (rēs pulchrae)
*Quantity e.g. A gallon of water
*Quality e.g. Day of wrath (diēs irae)

Quite simply, a word in the genitive case is translated with the preposition &quot;of&quot;. Note that Latin does not have a separate form for the possessive genitive (''Marcus's dog'' vs ''The dog of Marcus''), as English does. A word in the genitive case showing possession can be translated either way. 

===Latin Examples===
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;4&quot; | Latin || colspan=&quot;4&quot; | English
|- style=&quot;background:#ccc;&quot;
| canis || puerī malī || est || bonus || The dog
| of the bad boy || is || good
|- style=&quot;font-style:italic;&quot;
| nominative noun || genitive || verb || nominative adj. || nominative noun
| genitive || verb || nominative adj.
|}

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;4&quot; | Latin || colspan=&quot;4&quot; | English
|- style=&quot;background:#ccc;&quot;
| canis || puerōrum malōrum || est || bonus || The dog
| of the bad boys || is || good
|- style=&quot;font-style:italic;&quot;
| nominative noun || genitive (plural)
| verb || nominative adj. || nominative noun
| genitive || verb || nominative adj.
|}

===Exercise 1===
Indicate the word in the genitive:
#Flavia's dog is good.
#The man has his mother's good taste.

==Agreeing with the Adjectives==
When adjectives are used to describe nouns in the genitive case, they must have the same case, number, and gender as the noun to which it refers.

===Example===
;A road of beautiful Rome → Via Romae pulchrae.
:If we look at the bare necessities, namely nouns, in this phrase, then we get &quot;road of Rome,&quot; which is translated as &quot;via Romae.&quot; Now, let's look at the adjective: beautiful (''pulchra''). Its antecedent (the noun it modifies) is Rome. Since Rome is in the genitive case, ''pulchra'' also needs to be in the genitive case. Both are already feminine, so we don't need to change that. 
:To make ''pulchra'' in the genitive singular case, we replace the final &quot;-a&quot; with a &quot;-ae,&quot; and we get ''pulchrae''.

It's that simple.

==The Dative==
The dative case, also known as the indirect object case indicates:
*For whom, e.g., I made this car '''for him'''.
*To whom, e.g., I gave this car '''to him'''.

Latin does not distinguish between &quot;to&quot; or &quot;for&quot;, though this is sometimes the case in English:
*I made this car '''for him'''. ↔ I made '''him''' this car.
*I gave this car '''to him'''. ↔ I gave '''him''' this car.

===Example 1===
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;background:#ccc;&quot;
| He || made || the desk || for || his friend
|- style=&quot;font-style:italic;&quot;
| nominative noun || verb || accusative || dative prep. || dative
|}

'For' is the preposition indicating a dative. 'For' can be used in some other constructs. To determine whether it is dative, analyse the meaning of the sentence (see Example 3). Practice will enable you to quickly spot the case of a noun in the sentence without much effort.

===Example 2===
''He gave the book '''to John'''''; ''He gave '''to John''' the book''; or ''He gave '''John''' the book''.

This demonstrates how English can use prepositions to change word order and even 'presume' a certain preposition exists that has been left out, giving a dative construct. Also, the dative is used only for a noun

===Latin Examples===
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;3&quot; | Latin || colspan=&quot;3&quot; | English
|- style=&quot;background:#ccc;&quot;
| Donō || amīcō meō&lt;ref&gt;Note how the word &quot;meus&quot; become &quot;meo&quot; in order to agree with &quot;amico&quot;.&lt;/ref&gt; || donum.
| I gave || my friend || a gift.
|- style=&quot;font-style:italic;&quot;
| verb || dative noun/adj. pair || accusative
| verb || dative noun/adj. pair || accusative
|}

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;3&quot; | Latin || colspan=&quot;3&quot; | English
|- style=&quot;background:#ccc;&quot;
| Feret || mihi&lt;ref&gt;Note that the pronouns have a dative case as well, which can be reviewed in the chapter on pronouns.&lt;/ref&gt; || stylum.
| He brought || me || a pen.
|- style=&quot;font-style:italic;&quot;
| verb || dative pronoun || accusative
| verb || dative pronoun || accusative
|}

{{reflist}}

===Exercise 2: Translate into English===
{| class=&quot;wikitable&quot;
|-
| align=&quot;center&quot; colspan=&quot;1&quot; | &lt;font fae=&quot;Arial&quot; size=&quot;2&quot;&gt;Latin&lt;/font&gt;
! align=&quot;center&quot; colspan=&quot;1&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | dō, dāre
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to give
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | reddō, reddĕre
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to give back
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | liber, librī (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | book
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amīcus, -ī (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | friend
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | scrībō, -ĕre
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to write
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | epistula, -ae (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | letter, message
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | Imperator, Imperatoris (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | Emperor
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | placeo, -ēre (+dat.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to please, be pleasing to
|}

Note that ''placeo'' requires the dative case, as opposed to the accusative case. Verbs such as this are denoted with ''(+dat.)'' or similar abbreviations. 

{{Latin/Exercise|Questions|
#Do librum amico.
#Amicus meum librum legit et mihi librum reddit.
#Scribo epistulas Imperatori.
#Meae epistulae Imperatori placent.
|
#I give the book to a friend
#The friend read my book and returned the book to me.
#I am writing letters to the Emperor.
#My letters are pleasing to the Emperor.
}}

==Roman Numerals==
The Romans did not use the Hindu-Arabic numerals we use today. They used their own symbols and own numeric system. We still use Roman Numerals today.

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
!Roman Numeral
!Latin Number
!English Number
!Hindu-Arabic Numeral
!Spanish Number
!French Number
!Italian Number
!Portuguese Number
|-style=&quot;background:#ccc;&quot;
|I
|ūnus -a -um
|one
|1
|uno
|un
|uno
|um
|-
|II
|duo -ae
|two
|2
|dos
|deux
|due
|dois
|-style=&quot;background:#ccc;&quot;
|III
|trēs, tria
|three
|3
|tres
|trois
|tre
|três
|-
|IV
|quattuor
|four
|4
|cuatro
|quatre
|quattro
|quatro
|-style=&quot;background:#ccc;&quot;
|V
|quinque
|five
|5
|cinco
|cinq
|cinque
|cinco
|-
|VI
|sēx
|six
|6
|seis
|six
|sei
|seis
|-style=&quot;background:#ccc;&quot;
|VII
|septem
|seven
|7
|siete
|sept
|sette
|sete
|-
|VIII
|octō
|eight
|8
|ocho
|huit
|otto
|oito
|-style=&quot;background:#ccc;&quot;
|IX
|novem
|nine
|9
|nueve
|neuf
|nove
|nove
|-
|X
|decem
|ten
|10
|diez
|dix
|dieci
|dez
|-style=&quot;background:#ccc;&quot;
|XV
|quindecim
|fifteen
|15
|quince
|quinze
|quindici
|quinze
|-
|XX
|viginti
|twenty
|20
|veinte
|vingt
|venti
|vinte
|-style=&quot;background:#ccc;&quot;
|XXV
|viginti quinque
|twenty-five
|25
|veinticinco
|vingt-cinq
|venticinque
|vinte e cinco
|-
|L
|quinquaginta
|fifty
|50
|cincuenta
|cinquante
|cinquanta
|cinquenta
|-style=&quot;background:#ccc;&quot;
|C
|centum
|one hundred
|100
|cien
|cent
|cento
|cem
|-
|D
|quingentī, -ae, -a
|five hundred
|500
|quinientos
|cinq cents
|cinquecento
|quinhentos
|-style=&quot;background:#ccc;&quot;
|M
|mille
|one thousand
|1000
|mil
|mille
|mille
|mil
|}

Note the declensions of the first three numbers. ''Nullus'' is the Latin equivalent of zero, for example: ''nullam puellam in agro video'' means ''I see no girl in the field''.

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
!Nominative
!Accusative
!Genitive
!Dative
!Ablative
|-
|nullus
|nullum
|nullius
|nulli
|nullo
|-
|nulla
|nullam
|nullius
|nulli
|nulla
|-
|nullum
|nullum
|nullius
|nulli
|nullo
|-style=&quot;background:#ccc;&quot;
|unus
|unum
|unius
|uni
|uno
|-style=&quot;background:#ccc;&quot;
|una
|unam
|unius
|uni
|una
|-style=&quot;background:#ccc;&quot;
|unum
|unum
|unius
|uni
|uno
|-
|duo
|duos
|duorum
|duobus
|duobus
|-
|duae
|duas
|duarum
|duabus
|duabus
|-
|duo
|duo
|duorum
|duobus
|duobus
|-style=&quot;background:#ccc;&quot;
|tres
|tres
|trium
|tribus
|tribus
|-style=&quot;background:#ccc;&quot;
|tres
|tres
|trium
|tribus
|tribus
|-style=&quot;background:#ccc;&quot;
|tria
|tria
|trium
|tribus
|tribus
|}

===Exercise 3===
{{Latin/Exercise|Write the word form of the numbers in the following sentences in the correct case.|
# '''III''' homines me salutant
# magistro '''II''' libros reddo
# '''D''' senatoribus multa (''many things'') dico
# '''III''' horas diligenter laboro
|
# '''tres''' homines me salutant
# magistro '''duos''' libros reddo
# '''quingenis''' senatoribus multa (''many things'') dico
# '''tres''' horas diligenter laboro
}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Future Tense = {{latin}}

== Future I, Active ==

Future active is a tense which, unsurprisingly, refers to something which has not yet happened. The endings are fairly basic, and follow fairly regular rules - however, the future endings used in 1st and 2nd conjugation differ from the endings of 3rd, 3rd-io (not a typo!), and 4th.

For example - &quot;amo, amare&quot; (1st conjugation) would be
{{Latin/verb
|{{Latin/gloss|Ama bo&lt;sup&gt;*&lt;/sup&gt;|I will love}}
|{{Latin/gloss|Ama bis|You will love}}
|{{Latin/gloss|Ama bit|He/She/It will love}}
|{{Latin/gloss|Ama bimus|We will love}}
|{{Latin/gloss|Ama bitis|Y'all will love}}
|{{Latin/gloss|Ama bunt&lt;sup&gt;*&lt;/sup&gt;|They will love}}
}}
&lt;sup&gt;*&lt;/sup&gt;1st person singular and 3rd person plural use bo and bunt, not bi.
Note the B and the BIs - the distinguishing feature of future tense in Latin.

With &quot;venio, venire&quot; (4th conjugation--io), however, the endings are different. In future, this is what they look like:
{{Latin/verb
|{{Latin/gloss|Veni am|I will come}}
|{{Latin/gloss|Veni es|You will come}}
|{{Latin/gloss|Veni et|He/She/It will come}}
|{{Latin/gloss|Veni emus|We will come}}
|{{Latin/gloss|Veni etis|Y'all will come}}
|{{Latin/gloss|Veni ent|They will come}}
}}

[deleted paragraphs go here. deleted to maintain rigorous accuracy, which we will go back to striving for.)

To clarify: ven&lt;U&gt;i&lt;/U&gt;re, venio.. we know it is 4th conjugation verb and if we look at its first person singular conjugation, we see that it is an io verb, because the conjugation of the first person singular is &quot;ven'''i'''o&quot;. (an io category exists within 3rd and fourth conjugations and is a more general concept which we will briefly introduce here by using venire, venio as an example).

Let's first identify what we know.

We know it is 4th conjugation -io because it ends in &lt;U&gt;i&lt;/U&gt;re, which tells us that it is 4th conjugation, and io because its nominative singular ends in io (venio). Because it is io, we leave the i in. So, when we are asked (as all textbooks should phrase these &lt;B&gt;new&lt;/B&gt; questions):

1. What are the steps to form the future 2nd person conjugation?

We say:

1. It is better to know more than you need: check the infinitive nominative singular, we now know that it is 4th conjugation io.
2. We now know that we can form the stem: the stem is veni and can then add a personal ending--leaving in the i. We leave in the i because it is io. Because it looks weird, we never leave the i in the future perfect. 

What is the form for venire, in the future tense, in the 2nd person?

The answer is venies.

{| class=&quot;wikitable&quot;
| colspan=&quot;9&quot; | &lt;b&gt;Conjugation in the Future tense&lt;/b&gt;
|-
| || 1st || 2nd || 3rd || mixed || 4th || colspan=&quot;3&quot; | Irregular
|-
| Infinitive: || amare || sedere || legere || capere || venire || ire || velle || esse
|-
| colspan=&quot;9&quot; | Singular
|-
| 1st person: || amabo || sedebo || legam || capiam || veniam || ibo || volam || ero
|-
| 2nd person: || amabis || sedebis || leges || capies || venies || ibis || voles || eris
|-
| 3rd person: || amabit || sedebit || leget || capiet || veniet || ibit || volet || erit
|-
| colspan=&quot;9&quot; | Plural
|-
| 1st person: || amabimus || sedebimus || legemus || capiemus || veniemus || ibimus || volemus || erimus
|-
| 2nd person: || amabitis || sedebitis || legetis || capietis || venietis || ibitis || voletis || eritis
|-
| 3rd person: || amabunt || sedebunt || legent || capient || venient || ibunt || volent || erunt
|-
|}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Ablative and Vocative Case = {{Latin}}

== The Ablative Case ==

The ablative case in Latin has 9 main uses:

# With certain prepositions, eg. in, cum, sub, ab
# Instrumental ablative, expressing the equivalent of English &quot;by&quot;, &quot;with&quot; or &quot;using&quot;
# Ablative of manner, expressing &lt;b&gt;how&lt;/b&gt; an action is done, only when an adjective is used alongside it. &lt;u&gt;Example&lt;/u&gt;: &lt;i&gt;Magnā cūrā id scrīpsit: he wrote it with great care.&lt;/i&gt;
# Ablative of time &lt;b&gt;when&lt;/b&gt; or &lt;b&gt;within which&lt;/b&gt;. &lt;u&gt;note:&lt;/u&gt; not to be mistaken with the &lt;i&gt;accusative&lt;/i&gt; of time which indicates &lt;b&gt;for how long a period of time&lt;/b&gt; an action occurs.
# Locative Ablative, using the ablative by itself to mean &quot;in&quot;, locating an action in space or time
# Ablative of separation or origin, expressing the equivalent of English &quot;from&quot;
# Ablative of comparison; when the first element to be compared was in the nominative or accusative case, &lt;i&gt;quam&lt;/i&gt; was often omitted and the second element followed in the ablative case.
# Ablative with special deponents, which is technically the &lt;i&gt;instrumental ablative&lt;/i&gt; but is used idiomatically with a few deponent verbs, such as ūtor, fruor, fungor, potior, vēscor
# Ablative Absolute, which is a type of participial phrase generally consisting of a noun (or pronoun) and a modifying participle in the ablative case; usually set off by commas, the phrase describes some general circumstances under which the action of the sentence occurs.

The different uses of the ablative will be dealt progressively.  For a summary of all forms of the ablative, please consult the Appendix.

== Grammar Part 5: The Power of the Ablative Case ==

Ablative generally indicates position in time and/or space (i.e. when and where). It can also indicate the idea of ways of getting to a location, abstractly or concretely.

===Ablative of Means===
====Exercise====
How would you translate &quot;I made the toga by hand&quot;?

*'''''Hint:''' You would not (and should not) use the genitive. The case you are studying right now can be used &lt;u&gt;by itself&lt;/u&gt; for this goal.''
*'''''Hint:''' Remember that you won't need to use the pronoun &quot;I,&quot; since Latin is based not on word order, but on the endings!''
*'''''Glossary:'''''
*: &quot;to make&quot; - ''Facio'' (&quot;I make&quot;), ''facere'' (&quot;to make&quot;), ''feci'' (&quot;I made&quot;), ''factus'' (&quot;made&quot;)  
*: &quot;toga&quot; - ''Toga'', ''togae'' feminine
*: &quot;hand&quot; - ''Manus'', ''manus'' feminine (This is fourth declension)

=====Answer=====
Answer: ''Togam manu feci''. 

In this case, the word &quot;manu&quot; is in the ablative (see fourth declension list) and thus means &quot;by hand.&quot; 

====Exercise====
I have my wisdom by means of my teacher.

*''''Glossary''':
*: &quot;wisdom&quot; - ''Sapientia, sapientiae'' feminine 
*: &quot;to have&quot; - ''Habeo'' (&quot;I have&quot;), ''habere'' (&quot;to have&quot;), ''habui'' (&quot;I had&quot;), ''habitus'' (&quot;had&quot;)
*: &quot;teacher&quot; - ''Magister, magistri'' masculine (This is a second declension word, despite the 'r' at the end, like puer.)

=====Answer=====
Answer: ''Habeo sapientiam magistro.''

===Ablative of Time ===
How would you say: ''I will arrive at the 5th hour.''

'at the 5th hour' is indicating position of time. Thus, it can be put into the ablative case, giving:

&lt;i&gt;adveniam quinta hora&lt;/i&gt;

In general, therefore, in order to say &quot;In the morning&quot;, &quot;At nine O'clock,&quot; or &quot;In the tenth year,&quot; use ablative. It is generally used to refer to a specific time in which something has, does, or will occur.

Example: I will leave in the night.

Hint: Future tense can be looked up in the appendices of this Wikibook!

Hint: to leave- discedo, discedere; night- nox, noctis(This is a third declension word!)

=====Answer=====

Answer: Discedam nocte.

Note the simplicity in which Latin translates the six words into simply two. The ending based language completely negates the need for the words &quot;I,&quot; &quot;will,&quot; &quot;in,&quot; and &quot;the.&quot;

===Ablative of Place===
''Naves navigabant mari.'' The ships were sailing on the sea. 

The ablative is also useful for showing the location of things, in general where you would use the words on, in, or at. There is an exception for the slightly more archaic locative, which is used with the words ''domi'' (from ''domus, domus, f.'', home), ''ruri'' (from ''rus, ruris, n.'', country [as opposed to city]), and ''Romae'' (from ''Roma, Romae, f.'', Rome), as well as with the names of towns, cities and small islands. 

Latin has its own way of handling prepositions depending on the nouns and their cases in the sentence, including the versatile ''in'', which can take many different meanings depending upon the case of the object.

==Ablative with prepositions==

Here are a few prepositions that can take the ablative (for a fuller list, see the lesson on adverbs and prepositions in the previous chapter):

{| border=&quot;1&quot;
|-
| &lt;B&gt;Latin&lt;/B&gt; || &lt;B&gt;English&lt;/B&gt;
|-
| ''in''&lt;ref&gt;Means &quot;into&quot; or &quot;against&quot; when used with the accusative&lt;/ref&gt; || in, on
|-
|''a/ab'' || from
|-
|''de'' || down from, concerning
|-
|''e/ex'' || out of, out from
|-
|''cum'' || with
|-
|''sine'' || without
|-
|''pro'' || on behalf of, in front of
|-
|''super''&lt;ref&gt;Has static meaning when used with the ablative but connotes motion when used with the accusative&lt;/ref&gt; || upon, above, beyond
|-
|''sub''&lt;ref&gt;Usually means &quot;up to&quot; or &quot;up to the foot of&quot; when used with the accusative&lt;/ref&gt; || under, beneath
|}


&lt;references/&gt; 

As a general rule, when motion is implied, use the accusative instead.

&lt;!--
A legal metaphor: To accuse a noun is to get into a long process, and stay in the same place. (with the direct object.) If you use the ablative,you are pouncing on them and prepositioning them in a position of guilt.
--&gt;

===Example 3===

''Servus ex agris venit.''
:&quot;The slave came from the fields.&quot;

Note: ''Ager'' (''ager, agri, m.'', field) must take an ablative suffix to match the preceding preposition, in this case ''e''/''ex''. 

Incidentally, both ''ager'' and ''campus'' mean &quot;field,&quot; but ''ager'', like its English derivative &quot;agriculture&quot;, connotes a farming field, while ''campus'' (think &quot;camping&quot; or &quot;college campus&quot;) means &quot;open field.&quot; The ''Campus Martius'' was a large field in Rome used for military training.
&lt;!-- Updated Oct. 6 2004 after accuracy was confirmed. 

--Um, the original example, &quot;servus est ab agris,&quot; is not even Latin. Fixed. 7/3/2008--&gt;

==The Vocative Case==

While you will rarely need to ask Lupus where the bathroom is in Latin, you may find yourself reading either quotes or letters in which a person is being directly addressed. The case it will be in is the vocative.

For example, &quot;Hail, Augustus&quot; will appear in Latin as Ave Auguste, and not Ave Augustus.


Each declension has its own form of the vocative singular and plural. They are listed in the table below.

Furthermore, in all but the second declension, the nominative and vocative are exactly the same!
{|border=&quot;1&quot;
|-
| Number || First ||    Second*    || Third || Fourth || Fifth
|-
| Singular || a || us-&gt;e, ius-&gt;i, r-&gt;r|| -- || us || es
|-
| Plural** || ae || i || es || us || es 
|-
|}
* In the second declension singular, there are three separate possibilities for the vocative, depending on its nominative ending. Hence, if it is a us word, it will become an e and so forth.

====Examples for different declensions in the second declension==== 
*'''-us:'''
*: Lupus -&gt;Lupe (given name, wolf)
*'''-ius:''' 
*:Filius -&gt; Fili (son)
*:Horatius-&gt; Horati (given name)
*'''-r:''' 
*:Puer-&gt; Puer (boy)

:''In all cases, the plural vocative is exactly the same as the plural nominative. This extends to those words which are neuter, which always have an 'a' for the nominative and vocative.''
  
====Examples====
#Hello, Sextus.(Hello= ''Salve'')*
#: Salve, Sext'''e'''. 
#Speak, girl! (Speak= ''dico, dicere, dixi'')*
#: Dic, puell'''a'''.
#Knee, run!*(Knee= ''genu''; run= ''curro, currere, cucurri'')*
#: Gen'''u''', curre!
#Oh, heart, why do you lead me? (Oh-o; heart- cor, cordis-f.; lead-duco, ducere; 
#: O, cor! Cur ducis tu me?

*Note that the first three also require use of the imperative. The imperative is used when ordering or telling someone what to do, e.g.- &quot;Stop,&quot; or &quot;Get away from me.&quot;

The basic form of the imperative is created by dropping the &quot;re&quot; off of the infinitive form of the verb, as in: Amare, which becomes Ama; at least in the singular active form, which is all that these exercises require. More can be found about this subject in the chapter on verbs.

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The 3rd, 4th and 5th declensions = {{Latin}}

== 3rd, 4th, and 5th Declension Nouns ==
We have already seen the first two declensions:
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot;
|-
| rowspan=&quot;3&quot; |
| colspan=&quot;2&quot; class=&quot;header&quot; | '''1&lt;sup&gt;st&lt;/sup&gt; declension'''
| colspan=&quot;4&quot; class=&quot;header&quot; | '''2&lt;sup&gt;nd&lt;/sup&gt; declension'''
|-
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-a'''
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-us'''
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-um (neuter)'''
|-
| ''SINGULAR'' || ''PLURAL''
| ''SINGULAR'' || ''PLURAL''
| ''SINGULAR'' || ''PLURAL''
|-
| nominative
| puell'''-a''' || puell'''-ae'''
| serv'''-us'''/ pu'''er''' || serv'''-ī'''
| bell'''-um''' || bell'''-a'''
|-
| accusative
| puell'''-am''' || puell'''-ās'''
| serv'''-um''' || serv'''-ōs'''
| bell'''-um''' || bell'''-a'''
|-
| genitive
| puell'''-ae''' || puell'''-ārum'''
| serv'''-ī''' || serv'''-ōrum'''
| bell'''-ī''' || bell'''-ōrum'''
|-
| dative
| puell'''-ae''' || puell'''-īs'''
| serv'''-ō''' || serv'''-īs'''
| bell'''-ō''' || bell'''-īs'''
|-
| ablative
| puell'''-ā''' || puell'''-īs'''
| serv'''-ō''' || serv'''-īs'''
| bell'''-ō''' || bell'''-īs'''
|}
----
We will now complete the table of nouns with the 3rd, 4th, and 5th declensions. These declensions are more difficult to work with because their nominative and accusative plural forms are identical, as are their dative and ablative plural forms. To distinguish the cases, you must use a very simple key: context. Context will tell you the meaning.

=== 3rd Declension Nouns ===

3rd declension nouns &lt;!--(like the 2nd declension noun ''ager'') [not analogous at all -hieronymous85]--&gt; have two stems&lt;!-- debatable. I'll research and clarify if necessary --&gt;: The nominative and vocative singular stem and the stem used for all other cases. Both stems have to be memorized for each noun. Feminine and masculine forms are indistinguishable.


==== 3rd Declension Masculine or Feminine, no ''i''-stem: (each word has a set gender): ''rēx'', m. ====

{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 3rd Declension
! Singular
! Plural
|-
| nominative || ''rēx'' || ''rēg-ēs''
|-
| accusative || ''rēg-em'' || ''rēg-ēs''
|-
| genitive || ''rēg-is'' || ''rēg-um''
|-
| dative || ''rēg-ī'' || ''rēg-ibus''
|-
| ablative || ''rēg-e'' || ''rēg-ibus''
|}


==== 3rd Declension Neuter, no ''i''-stem: ''litus'' ====


{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 3rd Declension Neuter
! Singular
! Plural
|-
| &lt;I&gt;nominative*&lt;/I&gt; || ''litus'' || ''litor-a''
|-
| accusative || ''litus'' || ''litor-a''
|-
| genitive || ''litor-is'' || ''litor-um''
|-
| dative || ''litor-ī'' || ''litor-ibus''
|-
| ablative || ''litor-ī'' || ''litor-ibus''
|}

==== 3rd Declension Masculine or Feminine, 2-consonant base ''i''-stem: (each word has a set gender): ''ars, artis'', f. ====

''i''-stem nouns differ from other 3rd declension nouns in that some of the forms have endings changed to include ''i''s.

There are two main kinds of masculine/feminine ''i''-stem nouns. The first kind has its usual stem end in two consonants; the example here, for instance, has its base ''art-'' end in ''-rt-''. The last consonant of the nominative singular form always ends in either ''-s'' or ''-x''.

{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 3rd Declension
! Singular
! Plural
|-
| nominative || ''ars'' || ''art-ēs''
|-
| accusative || ''art-em'' || ''art-ēs''
|-
| genitive || ''art-is'' || ''art-ium''
|-
| dative || ''art-ī'' || ''art-ibus''
|-
| ablative || ''art-e'' || ''art-ibus''
|}

==== 3rd Declension Masculine or Feminine, parisyllabic ''i''-stem: (each word has a set gender): ''nūbēs'', f. ====

The other kind of masculine/feminine ''i''-stem noun has the property that its nominative and genitive singular forms have the same number of syllables. They are therefore called parisyllabic. All nouns of this form have their nominative singular form end in either ''-ēs'' or ''-is''.

{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 3rd Declension
! Singular
! Plural
|-
| nominative || ''nūb-ēs'' || ''nūb-ēs''
|-
| accusative || ''nūb-em''|| ''nūb-ēs''
|-
| genitive || ''nūb-is''|| ''nūb-ium''
|-
| dative || ''nūb-ī''|| ''nūb-ibus''
|-
| ablative || ''nūb-e'' || ''nūb-ibus''
|}

==== 3rd Declension Neuter ''i''-stem: ''mare'' ====

Neuter ''i''-stem nouns have their nominative singular forms end with ''-al'', ''-ar'', or ''-e''.

{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 3rd Declension Neuter
! Singular
! Plural
|-
| &lt;I&gt;nominative*&lt;/I&gt; || ''mare'' || ''mar-ia''
|-
| accusative || ''mare'' || ''mar-ia''
|-
| genitive || ''mar-is'' || ''mar-ium''
|-
| dative || ''mar-ī'' || ''mar-ibus''
|-
| ablative || ''mar-ī'' || ''mar-ibus''
|}

==== List of common 3rd declension stem change patterns ====
{| align=&quot;center&quot; border=&quot;1&quot;
|-
! Singular Nominative
! Main stem
! Main gender
! Examples
|-
| -is || -is || masc/fem || canis, navis, hostis
|-
| -s || -is || masc/fem || urbs, rex*, matrix*
|-
| -s || -tis || masc/fem || nox*, mons, pons
|-
| -o || -onis || masc/fem || legio, auditio, statio
|-
| -en || -inis || neuter || carmen, flumen, examen
|-
| -or || -oris || masc/fem || amor, timor
|-
| -us || -oris || neuter || litus, corpus
|-
| -us || -eris || neuter || genus, vulnus
|}
*regs and matrics, respectively, but the gs and cs both compound into x. The c and g stay in the other cases, hence regis and matricis as their genitives. Nox (gen. noctis) works similarly.


=== 4th Declension Nouns ===


==== 4th Declension Masculine/Feminine (each word has a set gender) ''gradus'', m. ====


{| align=&quot;center&quot; border=&quot;1&quot;
|-
! &lt;B&gt;4th Declension&lt;/B&gt;
! Singular
! Plural
|-
| nominative || ''grad-us'' || ''grad-ūs''
|-
| accusative || ''grad-um'' || ''grad-ūs''
|-
| genitive || ''grad-ūs'' || ''grad-uum''
|-
| dative || ''grad-uī'' || ''grad-ibus''
|-
| ablative || ''grad-ū'' || ''grad-ibus''
|}

==== 4th Declension Neuter: ''cornū'' ====


{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 4th Declension Neuter
! Singular
! Plural
|-
| nominative || ''corn-ū'' || ''corn-ua''
|-
| accusative || ''corn-ū'' || ''corn-ua''
|-
| genitive || ''corn-ūs'' || ''corn-uum''
|-
| dative || ''corn-ū'' || ''corn-ibus''
|-
| ablative || ''corn-ū'' || ''corn-ibus''
|}

=== 5th Declension Nouns ===


The 5th declension has no neuter nouns. The masculine and feminine forms are again indistinguishable.

==== 5th Declension Masculine/Feminine (each word has a set gender; most are feminine): ''rēs'', f. ====


{| align=&quot;center&quot; border=&quot;1&quot;
|-
! 5th Declension Feminine/Masculine
! Singular
! Plural
|-
| nominative || ''r-ēs'' || ''r-ēs''
|-
| accusative || ''r-ēm'' || ''r-ēs''
|-
| genitive || ''r-ēī'' || ''r-ērum''
|-
| dative || ''r-ēī'' || ''r-ēbus''
|-
| ablative || ''r-ē'' || ''r-ēbus''
|}

== Exercises ==

=== Exercise 1 ===

{| class=&quot;wikitable&quot;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;English&lt;/font&gt;
! bgcolor=&quot;#FFCCCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;Notes&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''villa, -ae'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''farmhouse'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''1st declension feminine'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''mittō, -ere, mīsī, missum'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''send'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''3rd conjugation'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''nomen, nominis'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''name'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''3rd declension neuter'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''maledicō, -dicere, -dīxī, -dictum'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''insult'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''3rd conjugation'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''placeō, -ere, placui, placitum + dat'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''please'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''Can be used as an impersonal verb, eg. &lt;i&gt;mihi placet&lt;/i&gt; + inf = it pleases me to...'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''quā rē'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''on account of which'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | ''' '''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''iste, ista, istud'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''that man/woman/thing'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''Declines like &lt;i&gt;ille, illa, illud&lt;/i&gt; (that)'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''interficiō, -ficere, -fēci, -fectum'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''kill'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''Mixed conjugation'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''volō, velle, voluī'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''want, be willing'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''The present forms are: &lt;i&gt;volo, vis, vult, volumus, vultis, volunt&lt;/i&gt;'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''mandō, mandere, mansī, mansum'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''chew on'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''3rd conjugation'''
|}

{{Latin/Exercise|Translate the following sentence.|
# ''Hodiē militēs ad villam meī amīcī mittō. Meō amicō, Marcō Tulliō nomine, mē in Senatū maledicere placet, quā rē istum interficere volō.''
|
# ''to be translated in English''
}}

{{Latin/Exercise|Extra credit about previous sentence.|
# Who in the late Republic might have said such a thing?
|
# Catiline.
}}

=== Exercise 2 ===
{{Latin/Exercise|Translate the following sentence.|
# ''Eheu! Mūs meum pānem mandit. Nunc nihil habeō. Me miserum!''
|
# Alas! The mouse eats my bread. Now I have nothing. Wretched me!
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Irregular Verbs &amp; Revision = {{Latin}}

== Irregular Verbs ==

Irregular verbs do not fit in any particular conjugation.  Irregular verbs conjugate but not in a predictable manner. An example of an irregular verb that you have met is 'esse'.  There are a few others which will be listed in the present indicate active tense below for you to memorise and refer to.


{| border=&quot;1&quot;
|-
| Verb || Meaning || ego || tu || is/ea || nos || vos || ei/eae || Imperative sing. || Imp. pl
|-
| ire || to go || eo || is || it || imus || itis || eunt || i || ite
|-
| esse || to be || sum || es || est || sumus || estis || sunt || es || este
|-
| fieri || to become || fio || fis || fit || fimus || fitis || fiunt || fi || fite
|-
| velle || to wish || volo || vis || vult || volumus || vultis || volunt || (none) || (none)
|-
| malle || to prefer || malo || mavis || mavult || malumus || mavultis || malunt || (none) || (none)
|-
| nolle || to be unwilling || nolo || non vis || non vult || nolumus || non vultis || nolunt || noli* || nolite
|-
| ferre* || to carry || fero || fers || fert || ferimus || fertis || ferunt || fer || ferte
|-
| colspan=&quot;10&quot; | &lt;I&gt;The imperatives noli and nolite are used to mean &quot;don't&quot;, eg. &quot;nolite ire&quot; = &quot;don't go!&quot;&lt;/I&gt;&lt;br&gt;&lt;I&gt;Sometimes ferre is considered to be an 'o' stem 3rd conjugation verb.  For practical purposes ferre is irregular.&lt;/I&gt;
|}

== Exercise 1 ==
{{Latin/Exercise|Copy out previous table and translate from Latin to English.|
# ... from Latin
|
# ... to English
}}

{{Latin/Exercise|Translate the following Latin sentences into English.|
# fero portam
# fers portam
# fert portam
# ferimus portam
# fertis portam
# ferunt portam
# sum bonus
# es bonus
# est bonus
# sumus bonī
# estis bonī
# sunt bonī
# este bonī!
# nolī currāre!
|
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
# ''to be translated into English''
}}

{{Latin/Exercise|Answer the following English questions about previous Latin sentences.|
# What do the irregular verbs have in common with regular verbs?
# Why do we use 'boni' in question 10, 11, and 12 but 'bonus' in question 7, 8 and 9?
|
# ''write answer 1''
# ''write answer 2''
}}

== Exercise 2 ==

1. Decline the following five nouns in both singular and plural number in the five common cases (nominative, accusative, genitive, dative, ablative):

{| border=&quot;1&quot;
|-
| colspan=&quot;8&quot; | &lt;B&gt;Singular&lt;/B&gt;
|-
| Nominative || nauta || ātrium || servus || dictātor
| rēx || cornū || diēs
|-
| Accusative || ||  ||
 || 
|
 ||  ||
|-
| Genitive || ||  ||
 || 
|
 ||  ||
|-
| Dative || ||  ||
 || 
|
 ||  ||
|-
| Ablative || ||  ||
 || 
|
 ||  ||
|-
| colspan=&quot;8&quot; | &lt;B&gt;Plural&lt;/B&gt;
|-
| Nominative || ||  ||
 || 
|
 ||  ||
|-
| Accusative || ||  ||
 || 
|
 ||  ||
|-
| Genitive || ||  ||
 || 
|
 ||  ||
|-
| Dative || ||  ||
 || 
|
 ||  ||
|-
| Ablative || ||  ||
 || 
|
 ||  ||
|}

2. Conjugate the verb 'servāre' in both singular and plural number and all three persons.

3. Conjugate the verb 'esse', in both singular and plural number and all three persons.

4. Translate:

Nota Bene: Often Latin uses the present to indicate a 'vivid past'. It would be suitable to translate the following passage in the past tense.

{| class=&quot;wikitable&quot;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;span style=&quot;font-family:Arial; font-size:small;&quot;&gt;Latin&lt;/span&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;span style=&quot;font-family:Arial; font-size:small;&quot;&gt;English&lt;/span&gt;
! bgcolor=&quot;#FFCCCC&quot; | &lt;span style=&quot;font-family:Arial; font-size:small;&quot;&gt;Notes&lt;/span&gt;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''heri'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''yesterday'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''&lt;i&gt;heri&lt;/i&gt; is an adverb. Don't try to use it as a noun (&quot;Yesterday was a good day&quot;)'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''taberna, -ae'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''shop'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''1st declension feminine'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''solea, -ae'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''sandle'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''1st declension feminine'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''sic'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''so, and so, thus'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | ''' '''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''solus, -a, -um'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''alone'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''The adverb form (only) is &lt;i&gt;solum&lt;/i&gt;'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''casa, -ae'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''house, hut'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''1st declension feminine'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''sto, stare, steti, statum'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''stand'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''One of the few irregular first conjugation verbs'''
|}

Heri, ad tabernam eō. In tabernā sunt trēs rēs quārum amō duas sōleās et unam mensam. Habeō trēs denariōs, sīc ego emeō mensam sōlum quod sum nōn dīvīnitās. Hodiē, mensa est in casā meā. In triclīnio stat.

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Translation Exercise = {{Latin}}
==Using a Dictionary==

To find a Latin word in the dictionary can be difficult.  Foremost, Latin verbs are listed using the 'present indicative 1st person singular active' construct of the verb.  To find the meaning of the verb 'amāre', one must find 'amō' listed in the dictionary. Thus, one must use their wits to determine what the stem and what is the ending of the verb. A bit of searching around in the dictionary may be required.  There are a few verbs which are highly irregular and must be learnt such as 'ferō', I carry.

Nouns are usually much easier to find. They are always given in the nominative singular case. If you see a noun such as 'vōcem', and do not know what it is, don't fret.  If you look for 'vōc' in the dictionary, you will not find what you are looking for. 'Em' is typically a third declension accusative ending, thus you should be aware that third declension nouns have radically changing stems. Those which have the consonant 'c' usually have the consonant 'x' replacing it in the nominative singular. Thus the nominative singular of vōcem, is vōx. Likewise, 'g' is also often used when shifting from nominative singular cases to other cases. For example, rēx becomes 'rēgem' in the accusative. There are plenty of other simple rules which one learns through experience.

Unconjugatable and indeclinable words are listed 'as is'.

==Exercise 1==

===Vocabulary===
{| class=&quot;wikitable&quot;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;span style=&quot;font-family:Arial; font-size:small;&quot;&gt;Latin&lt;/span&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;span style=&quot;font-family:Arial; font-size:small;&quot;&gt;English&lt;/span&gt;
! bgcolor=&quot;#FFCCCC&quot; | &lt;span style=&quot;font-family:Arial; font-size:small;&quot;&gt;Notes&lt;/span&gt;
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''confessio, -ōnis'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''confession'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''3rd declension feminine'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''liber, libri'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''book'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | '''2nd declension masculine'''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''malus, -a, -um'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''bad'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | ''' '''
|-
| align=&quot;center&quot; colspan=&quot;3&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''de + abl.'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''from, down from, aside; about, concerning'''
| align=&quot;center&quot; bgcolor=&quot;#FFCCCC&quot; | ''' '''

|}

===Passage===
{{Latin/Exercise|Translate the following Latin excerpt into English.|
# Confessiōnum meārum librī tredecim et dē malīs et dē bonīs meīs deum laudant iūstum et bonum atque in eum excitant hūmānum intellectum et affectum. Interim quod ad mē attinet, hoc in mē egērunt cum scriberentur et agunt cum leguntur. Quid dē illīs aliī sentiant, ipsī viderint; multīs tamen frātribus eōs multum placuisse et placēre sciō.
|
# ''to be translated into English''
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Imperfect and Future indicative active constructs = {{Latin}}

= Imperfect and Future constructs =

Warning: Beyond the imperfect, this page is not entirely clear. Do not use it beyond the basic imperfect if you are a first time Latin student. See discussion for my thoughts on this.

== Imperfect Active Indicative ==
The imperfect is a construct like:
:'''I was seeing.'''
In Latin it would look like this:
:'''Vidēbam.'''

English has a similar construct called progressive past. Actions seem incomplete, and so the imperfect label. For example, &quot;I was running,&quot; &quot;We were sailing,&quot; &quot;They were calling.&quot; Note that 'to be' is always there. Latin, however, would sometimes use imperfect like simple past; accordingly, &quot;We were sailing&quot; could be translated as &quot;We sailed.&quot; Other translations of imperfect can be used to/kept such as &quot;We used to sail/We kept sailing.&quot; 

Regardless of language, the concept of an imperfect is important. Imperfect is called imperfect for a reason - in Latin, the verb &quot;perficere&quot; means to finish/complete, which is what perfect is from. Thus, imperfect, in the grammatical sense, means not finished - that the action could be or could not be completed. Perfect instead means it has been finished - I saw. You have already seen, and it is now completed. I was seeing implies that the action is not yet completed.

The perfect tense, which we will learn later, is a more immediate reference to the past. The name, imperfect, helps you remember its use: in situations where you can't say when an event started or ended or happened, you must use the imperfect.

In situations where you can know when an event started or ended or happened, use the perfect. 

You conjugate the imperfect tense this way:
verb + -bā- + personal ending

The endings for imperfect are:

Sg.
# '''-bam'''
# '''-bās'''
# '''-bat'''
Pl.
# '''-bāmus'''
# '''-bātis'''
# '''-bant'''

Note that the only thing we add are ba + the personal endings (the same as in the present tense) to the infinitive stem. This gives us the imperfect conjugation.

Note that in third and fourth conjugations, you will have to form it differently. There is *no* rule to explain this, it just is, although there are memorization techniques that can help.

ven&lt;U&gt;i&lt;/U&gt;re is 4th conjugation and is formed like:
:veniēbam
:veniēbās
:veniēbat 
:veniēbāmus
:veniēbātis 
:veniēbant

For third conjugation -iō stem verbs, the imperfect is like so: capere (to capture or seize) 
:capiēbam
:capiēbās
:capiēbat
:capiēbāmus
:capiēbātis
:capiēbant

Note that it is easiest to think of what the endings -ere and &lt;U&gt;i&lt;/U&gt;re lack. The imperfect -bā- + the personal ending, which we can call the imperfect conjugation,  must be prefixed by -iē-.

A few examples:
:'''amābam''' - '''I was loving''' (A-conjugation--1st)
:'''monēbātis''' - '''You were warning [object/personage]''' (of something negative) (Pl.) (2nd Conjugation)
:'''vincēbāmus''' - '''We were defeating'' (3rd conjugation)
:'''capiēbant''' - '''They were catching''' (short I-conjugation--3rd conjugation)
:'''pellēbat''' - '''She/he/it was propelling''' (drive something (not a vehicle), propel something) (consonantic conjugation)

(Wiki-reading tips: See discussion. Some of the above may be unclear, however the clarifying '--' and '/' indicate verification. We may not know what the original author intended, but we know what conjugations the examples are.)

== Future I, Active ==
Future active is a tense which, unsurprisingly, refers to something which has not yet happened. The endings are fairly basic, and follow fairly regular rules - however, the future endings used in 1st and 2nd conjugation differ from the endings of 3rd, 3rd-iō, and 4th.

For example - &quot;amō, amāre&quot; (1st conjugation) would be
:Amābō - I will love
:Amābis - You will love
:Amābit - He/She/It will love
:Amaābimus - We will love
:Amābitis - Y'all will love
:Amābunt - They will love

NOTE: 1st person singular and 3rd person plural use -bō and -bunt, not -bi-.

NOTE: the B and the BIs - the distinguishing feature of future tense in Latin.

With &quot;veniō, venīre&quot; (4th conjugation), however, the endings are different. In future, this is what they look like:

:Veniam - I will come
:Veniēs - You will come
:Veniet - He/She/It will come
:Veniēmus - We will come
:Veniētis - Y'all will come
:Venient - They will come

[deleted paragraphs go here. deleted to maintain rigorous accuracy, which we will go back to striving for.)

To clarify: ven&lt;U&gt;ī&lt;/U&gt;re, veniō.. we know it is 4th conjugation verb and if we look at its first person singular conjugation, we see that it is an -iō verb, because the conjugation of the first person singular is &quot;ven'''i'''o&quot;. (an io category exists within 3rd and fourth conjugations and is a more general concept which we will briefly introduce here by using venire, venio as an example).

Let's first identify what we know.

We know it is 4th conjugation -io because it ends in &lt;U&gt;ī&lt;/U&gt;re, which tells us that it is 4th conjugation, and io because its first person singular ends in io (venio). Because it is -iō, we leave the -i- in. So, when we are asked (as all textbooks should phrase these &lt;B&gt;new&lt;/B&gt; questions):

'''What are the steps to form the future 2nd person conjugation?'''

We say:

# It is better to know more than you need: check the infinitive nominative singular, we now know that it is 4th conjugation io.
# We now know that we can form the stem: the stem is veni and can then add a personal ending--leaving in the i. We leave in the i because it is io. Because it looks weird, we never leave the i in the future perfect. 

What is the form for venīre, in the future tense, in the 2nd person?

The answer is veniēs.

==Future conjugation==

Example: '''I will love''':
:'''amā''b''ō'''

The table at the end of this page tries to summarize the future tense, with both sets of personal endings. As the warning notes, this summary may confu panda

As an aid to your understanding, this table only applies to the future tense. Do not assume the table is displaying a pattern that is somehow applicable to all of Latin.

(Wiki-reading-tip: This is why they are in the future section, and were not discussed before.)

The A- and the E- conjugation are (relatively) straight-forward. The others are more advanced, and as the warning notes, could confuse a first-time student. Commercial textbooks probably explain it better at this point, although laying their explanation in a table like the one below is well-advised. Leave items marked with a ? in until issues are resolved.

Take a look at the following table:

{|
|-
| '''A''' || '''E''' || '''long I (vincere/3rd conj.)'''
| '''short I''' || '''Consonantic'''
|-
| amā-'''b'''o || monē-'''b'''o || vinc-'''a'''m
| capi-'''a'''m || pell-'''a'''m
|-
| ama-'''b'''''i''s || mone-'''b'''''i''s
| vinc-'''e'''s || capi-'''e'''s || pell-'''e'''s
|-
| ama-'''b'''''i''t || mone-'''b'''''i''t
| vinc-'''e'''t || capi-'''e'''t || pell-'''e'''t
|-
| ama-'''b'''''i''mus || mone-'''b'''''i''mus
| vinc-'''e'''mus || capi-'''e'''mus || pell-'''e'''mus
|-
| ama-'''b'''''i''tis || mone-'''b'''''i''tis
| vinc-'''e'''tis || capi-'''e'''tis || pell-'''e'''tis
|-
| ama-'''b'''''u''nt || mone-'''b'''''u''nt
| vinc-'''e'''nt || capi-'''e'''nt || pell-'''e'''nt
|}

The vocabulary mostly consists of verbs, and can easily be looked up in a dictionary. We will give a limited translation below, and the rest, for those who are particularly adept at language learning, can be learned through immersion.

:capere (3rd conjugation--short ere): to seize, metaphorically or literally [see dictionary for full explanation]
:amare (first conjugation -are): to love

== Exercises ==
{{Latin/Exercise|Can you be your own editor?|
* monere (what conjugation?)
* does it change based on the macron over the first vowel on the ending?
* what does it mean?
|
* 2nd conjugation
* yes long ere = 2nd short =3rd[long ere vs. short ere?]
* it means to warn like in admonish (an English word that means to scold lightly.)
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Chapter 2 Verse = ==Using a Dictionary==

Foremost, Latin verbs are listed using the '''present indicative first person singular active''' construct of the verb.  For example, to find the meaning of the verb ''amāre'', you must find ''amō'' listed in the dictionary. Some verbs like ''esse'' and ''ferre'' are highly irregular and use different stems to form the perfect tenses.

Nouns are usually much easier. They are always given in the nominative singular. If you see a noun such as ''vōcem'' and do not know what it is, do not fret. If you look for ''voc-'' in the dictionary, you will not find what you are looking for. The ending ''-em'' typically belongs to the third-declension accusative; thus, be aware that third-declension nouns have radically changing stems. Those that have the consonant ''c'' or ''g'' usually have the consonant ''x'' in the nominative singular. Thus the nominative singular of ''vōcem'' is ''vōx'', and ''rēx'' becomes ''rēgem'' in the accusative singular. There are plenty of other simple rules which you will learn through experience.

Words that do not conjugate or decline (like prepositions and particles) are listed under their only form.

==Exercise 1==

===Vocabulary===

#''affectus, -ūs, m.'', goodwill
#''confessiō, -ōnis, f.'', confession
#''dē'', from, about, concerning
#''liber, librī, m.'', book
#''malus -a -um'', evil, bad
#''placeō -ēre'' + dative, to please (''placuīsse'' is a perfect infinitive)
#''filia, -ae f.'', daughter
#''puella, -ae f.'', girl

===Other Difficulties===

#''quod ad mē attinet'', as far as I'm concerned
#''cum scriberentur'', when they were written (imperfect passive subjuntive)
#''quid sentiant'', what they think (present subjunctive in indirect question)
#''ipsī viderint'', (loosely) they will see in their own way (future perfect)
#''eōs placēre sciō'', accusative-infinitive construction for indirect statement: &quot;I know they [the books] please&quot;

===Passage===
{{Latin/Exercise|Translate the following excerpt from Latin to English.|
# ''Confessiōnum meārum librī tredecim et dē malīs et dē bonīs meīs deum laudant iūstum et bonum atque in eum excitant humānum intellectum et affectum. Interim quod ad mē attinet, hoc in mē ēgērunt cum scriberentur et agunt cum leguntur. quid dē illīs aliī sentiant, ipsī viderint; multīs tamen frātribus eōs multum placuīsse et placēre sciō.''
|
# ''to be translated into English''
}}

{{BookCat}}
----

== Chapter 3: Advanced Sentences ==
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Imperatives = {{Latin}}

=Imperative=

==Positive Imperative==
===English===
In English (and in Latin), the positive imperative is a command. For example:

* Just '''Do''' it!
* '''Stop''', hammer time!
* '''Take''' me out to the ballgame!

===Latin===

In Latin, the imperative singular is found by taking the last two letters off of the infinitive. The six exceptions to this rule are dicere (dic), ducere (duc), facere (fac), velle, malle (infinitives not used) and nolle (noli). Ferre (fer) and esse (es) are often considered  irregular due to the lack of a vowel at the end but we can see that applying the rule of removing the last two letters forms the imperatives correctly.

====Examples:====

Run, boy!
:'''''Curre''', puer!''&lt;ref&gt;In many cases, the vocative will be used with the imperative, unless the imperative is used in a conversation or at a reader, as in a letter or guide.&lt;/ref&gt; (from ''curro, currere''; to run)

Go!
:'''''I!''''' (from ''eo, ire''; to go)

&lt;references /&gt;

====Questions====
'''Write out: '''

#Love me, Octavia! (to love = ''amo, amare'')
#Come to Rome! (to come = ''venio, venire''; Rome = ''Roma, Romae, f.'')

===Plural===
To form the plural imperative in Latin, take the 2nd person plural present form of the verb (eg. amatis, sedetis, regitis, venitis) and replace the is at the end with e. The only exceptions to the rule are velle, malle (imperatives not used) and nolle (nolite). Ferre (ferte) and esse (este) are often considered irregular but applying the rule (fertis -&gt; ferte, estis -&gt; este) correctly forms the imperatives.

Go home, boys!
: '''''Ite''' domum, pueri.''

Stay, all of you!
: '''''Manete''', omnes!''

====Exercises====

Write out:

#Take them, men! (to take = ''adripio, adripere'')
#Fear me, children! (to fear = ''timeo, timere''; children = ''liberi'')

==Negative Imperative==

===English===
In English, we use the word &quot;don't&quot; for prohibitions, or negative imperatives. For example:
* '''Don't do''' it!
* '''Don't say''' that!

===Latin===
Similarly, in Latin the negative imperative is formed with two words, the imperative of ''nolo, nolle'' and the infinitive.

''Nolo'' by itself means &quot;I do not want,&quot; but in its imperative it means &quot;do not...!&quot; Some teachers of Latin point out that literally you are saying &quot;Be unwilling to ...&quot; - a very polite way of giving an order!  

''Nolle'' is irregular, and its imperative forms are ''noli'' and ''nolite''.

====Examples====

Do not fear me!
:'''''Noli''' me '''timere'''!''

Don't build the aqueduct there, soldiers!
:'''''Nolite''' aquaeductum ibi '''aedificare''', milites!''

Don't wash the dog, boys!
:'''''Nolite''', pueri, canem '''lavare'''!''

====Exercises====
{{Latin/Exercise|Translate the following sentences from English to Latin.|
# Don't cry, daughter! (to cry: ''fleo, flere'')
# Don't hurt me, friends! (to hurt: ''vulnero, vulnerare'')
# Don't go into the water, boys!
# Don't hurt them, soldiers! (them: use ''eos'', masculine accusative plural of ''is, ea, id'')
|
# ''Latin translation''
# ''Latin translation''
# ''Latin translation''
# ''Latin translation''
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Active v. Passive Verbs = {{Latin}}

A verb's voice shows the relationship between the subject and the action expressed by the verb. Latin has two voices: active and passive.

In the active voice, the subject of the clause performs the verb on something else (the object), e.g., &quot;The girl sees the boy.&quot;

In the passive voice, the subject of the sentence receives the action of the verb, e.g., &quot;The boy is seen by the girl.&quot;

The personal endings in the active voice are: '''-ō'''/'''-m''', '''-s''', '''-t''', '''-mus''', '''-tis''', '''-nt'''.

The personal endings in the passive voice (present, imperfect, future) are: '''-r''', '''-ris''', '''-tur''', '''-mur''', '''-mini''', '''-ntur'''. 
{| class=&quot;wikitable sortable mw-collapsible mw-collapsed&quot;
|+Personal Active
!
!Singular
!Plural
|-
|1st
| -ō/-m
| -mus
|-
|2nd
| -s
| -tis
|-
|3rd
| -t
| -nt
|}
{| class=&quot;wikitable sortable mw-collapsible mw-collapsed&quot;
|+Personal Passive
!
!Singular
!Plural
|-
|1st
| -r
| -mur
|-
|2nd
| -ris
| -mini
|-
|3rd
| -tur
| -ntur
|}
In the perfect, pluperfect and future perfect, the passive voice is formed by the fourth principal part plus the proper forms of '''sum, esse'''. For the perfect tense, use the present forms of '''esse''', for the pluperfect use the imperfect forms of '''esse''', and for the future perfect use the future forms of '''esse'''. The fourth principal part, when used in a passive construction, acts as a first-second declension adjective and is declined accordingly.

As stated before, when the passive voice is used, the subject receives the action of the verb from another agent. This agent, when it is a person, is expressed by the preposition '''ā'''/'''ab''' plus the ablative case. This construction is called the ''ablative of personal agent''. The ''ablative of cause'' is used without a preposition when the agent is not a person.

==Examples:==

*Active: ''Puella puerum videt.'' (The girl sees the boy.)

:*Passive: ''Puer ā puellā vidētur.'' (The boy is seen by the girl.)
:''Puella'' takes ''ā'' and the ablative, as it is a personal agent.

*Active: ''Timor virum capit.'' (Fear seizes the man.)

:*Passive: ''Vir timore capitur.'' (The man is seized by fear.)
:''Timore'' is ablative of cause.

*Active: ''Hostēs urbem oppugnābant.'' (The enemies were attacking the city.)

:*Passive: ''Urbs ab hostibus oppūgnābātur.'' (The city was being attacked by the enemies.)

==Deponent verbs==

Some verbs are always passive in form, even though they have an active meaning. For example:

*filius agricolam &lt;b&gt;sequitur&lt;/b&gt; - The son follows the farmer
*sol &lt;b&gt;ortus est&lt;/b&gt; - The sun has risen
*agricolae hostes &lt;b&gt;verentur&lt;/b&gt; - The farmers fear the enemies
*gladio &lt;b&gt;usus sum&lt;/b&gt; - I used a sword

Some, called semi-deponent verbs, take on a passive form on only in the perfect. For example:

*colono &lt;b&gt;confido&lt;/b&gt; - I trust the farmer
*colono &lt;b&gt;confisus sum&lt;/b&gt; - I trusted the farmer

Note that some deponent and semi-deponent verbs take the accusative case (eg. vereor, vereri, veritus sum = I fear), some the ablative (eg. utor, uti, usus sum = I use) and some the dative (eg. confido, confidere, confisus sum = I trust). When you first encounter such a verb in Latin, be sure to remember the case of the object the verb is taking along with its spelling and meaning.

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Indicative Passive Verbs = {{Latin}}

See discussion for a tutorial on the passive voice and how to use it in Latin, including external links which explain future, imperfect, and present indicative passive verb forms.

I consider commercial textbooks to be inadequate, so I do not believe that this article can wait.

Here are the conjugations for the imperfect passive tenses.
The basic rules for going to passive are the following ones.

'''1. In the first person, add -r if the active ending is a vowel, otherwise change the final constant to an -r.''' Examples:
:paro (I prepare) &amp;rarr; paror (I am being prepared)
:aperiebam (I was opening) &amp;rarr; aperiebar (I was being opened)
:defendemus (we will defend) &amp;rarr; defendemur (we will be defended)
:tenebimus (we will hold) &amp;rarr; tenebimur (we will be held)

'''2. In the third person, add -ur.''' Examples:
:parat (he prepares) &amp;rarr; paratur (he is being prepared)
:aperiebat (he was opening) &amp;rarr; aperiebatur (he was being opened)
:defendent (they will defend) &amp;rarr; defendentur (they will be defended)
:tenebunt (they will hold) &amp;rarr; tenebuntur (they will be held)

'''3. In the second person, things get more complicated.'''
For the plural, replace &quot;tis&quot; with &quot;mini&quot;. Note the exception in &quot;ferre&quot;, where &quot;fertis&quot; becomes &quot;fer&lt;b&gt;i&lt;/b&gt;mini&quot;. In the word &quot;ferre&quot;, the &quot;rm&quot; letter combination consistently gets separated (ferimus instead of fermus, ferimur instead of fermur and ferimini instead of fermini). For the singular present, take out the active ending, add the thematic vowel (a from -are, e from -ere, i from -ire and nothing from -re, as in ferre) of the verb's infinitive ending and add -ris. Examples:
:paras (you prepare) &amp;rarr; par&lt;b&gt;aris&lt;/b&gt; (you are being prepared)
:tenes (you are holding) &amp;rarr; ten&lt;b&gt;eris&lt;/b&gt; (you are being held)
:defendis (you are defending) &amp;rarr; defend&lt;b&gt;eris&lt;/b&gt; (you are being defended)
:audis (you are listening) &amp;rarr; aud&lt;b&gt;iris&lt;/b&gt; (you are being listened to)
:defendetis (you will defend) &amp;rarr; defend&lt;b&gt;emini&lt;/b&gt; (you are being defended)
:amabis (you will love) &amp;rarr; amab&lt;b&gt;eris&lt;/b&gt; (you will be loved)

Note the -eris ending in the future passive. The future active bo, bis, bit, bimus, bitis, bunt looks like the third conjugation so the passive bor, beris, bitur, bimur, bimini, buntur looks like the third conjugation. The imperfect passive is bar, baris, batur, bamur, bamini, bantur.


{| border=&quot;1&quot;
| colspan=&quot;9&quot; | &lt;b&gt;Conjugation in the Present Passive&lt;/b&gt;
|-
| || 1st || 2nd || 3rd || mixed || 4th ||  Irregular
|-
| Infinitive: || amare || terrere || legere || capere || audire || ferre
|-
| colspan=&quot;9&quot; | Singular
|-
| 1st person: || amor ||terreor || legor || capior || audior || feror
|-
| 2nd person: || amaris || terreris || legeris || caperis || audiris || ferris
|-
| 3rd person: || amatur || terretur || legitur || capitur || auditur || fertur
|-
| colspan=&quot;9&quot; | Plural
|-
| 1st person: || amamur || terremur || legimur || capimur || audimur || ferimur
|-
| 2nd person: || amamini || terremini || legimini || capimini || audimini || ferimini
|-
| 3rd person: || amantur || terrentur || leguntur || capiuntur || audiuntur || feruntur
|-
|}


{| border=&quot;1&quot;
| colspan=&quot;9&quot; | &lt;b&gt;Conjugation in the Imperfect Passive&lt;/b&gt;
|-
| || 1st || 2nd || 3rd || mixed || 4th ||  Irregular
|-
| Infinitive: || amare || terrere || legere || capere || audire || ferre
|-
| colspan=&quot;9&quot; | Singular
|-
| 1st person: || amabar ||terrebar || legebar || capiebar || audiebar || ferebar
|-
| 2nd person: || amabaris || terrebaris || legebaris || capibaeris || audiebaris || ferebaris
|-
| 3rd person: || amabatur || terrebatur || legebatur || capiebatur || audiebatur || ferebatur
|-
| colspan=&quot;9&quot; | Plural
|-
| 1st person: || amabamur || terrebamur || legebamur || capiebamur || audiebamur || ferebamur
|-
| 2nd person: || amabamini || terrebamini || legebamini || capiebamini || audiebamini || ferebamini
|-
| 3rd person: || amabantur || terrebantur || legebantur || capiebantur || audiebantur || ferebantur
|-
|}


{| border=&quot;1&quot;
| colspan=&quot;9&quot; | &lt;b&gt;Conjugation in the Future Passive&lt;/b&gt;
|-
| || 1st || 2nd || 3rd || mixed || 4th ||  Irregular
|-
| Infinitive: || amare || terrere || legere || capere || audire || ferre
|-
| colspan=&quot;9&quot; | Singular
|-
| 1st person: || amabor ||terrebor || legar || capiar || audiar || ferar
|-
| 2nd person: || amaberis || terreberis || legeris || capieris || audieris || fereris
|-
| 3rd person: || amabitur || terrebitur || legetur || capietur || audietur || feretur
|-
| colspan=&quot;9&quot; | Plural
|-
| 1st person: || amabimur || terrebimur || legemur || capiemur || audiemur || feremur
|-
| 2nd person: || amabimini || terrebimini || legemini || capiemini || audiemini || feremini
|-
| 3rd person: || amabuntur || terrebuntur || legentur || capientur || audientur || ferentur
|-
|}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Principal Parts = {{Latin}}

== Principal Parts ==

All Latin verbs are identified by four principal parts. By using the four principal parts, one can obtain any and all forms of the verb, including participles, infinitives, gerunds and the like.

Examples of principal parts from verbs of each conjugation:

:1st: ''ambulō, ambulāre, ambulāvī, ambulātum'' (to walk)

:2nd: ''doceō, docēre, docuī, doctum'' (to teach)

:3rd: ''mittō, mittere, mīsī, mīssum'' (to send)

:4th: ''audiō, audīre, audīvī, audītum'' (to hear)

For all regular verbs, the principal parts consist of the first person singular present active indicative, the infinitive, the first person singular perfect active indicative, and the supine (or in some texts, the perfect passive participle).

*Deponent verbs have only three principal parts:

:''patior, patī, passus sum'' (to suffer)

:''ūtor, ūtī, ūsus sum'' (to use)

*Likewise, semi-deponent verbs have only three:

:''audeō, audēre, ausus sum'' (to dare)

:''gaudeō, gaudēre, gavīsus sum'' (to rejoice)

Some verbs lack fourth principal parts (e.g., ''timeō, timēre, timuī, —''; to be afraid); others, less commonly, lack a third in addition (e.g., ''fero, ferre, tuli, latum''; to bring/carry). Others, such as ''sum, esse, fuī, futūrus'', may use the future active participle (''futūrus'') as their fourth principal part; this indicates that the verb cannot be made passive.

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Perfect Indicative Tense =

# {{Latin}}
&lt;!-- Eds. -- I believe I have fixed the problems that caused this note. --Hieronymous85
&lt;BR&gt;
&lt;B&gt;Wiki-reading tip:&lt;/B&gt;
This page is short, and it has grammatical errors in the native language that are not due to regional differences. This page should be avoided.
--&gt;
==Latin Perfect Active Tense==

The perfect tense is used for action that has already been completed. English has two corresponding constructions: present perfect and simple past. The '''present perfect''' uses the present of &quot;to have&quot; plus the past participle. (&quot;I have sailed to Athens twice.&quot; &quot;These women have spoken the truth.&quot;) The '''simple past''' is a separate verb form that indicates a completed action. (&quot;I came, I saw, I conquered.&quot;) Another related form, which uses &quot;did&quot; as an auxiliary, is used for emphasis, negation or interrogation. (&quot;I did see you at the Forum, didn't I?&quot;)

In Latin, the perfect indicative is equivalent to all of these.

The perfect endings:

{| border = &quot;1&quot; cellpadding = &quot;2&quot;
|-
! Person
! Singular
! Plural
|-
| 1st || '''''-ī''''' (''egō'') || '''''-imus''''' (''nōs'')
|-
| 2nd || '''''-istī''''' (''tū'') || '''''-istis''''' (''vōs'')
|-
| 3rd || '''''-it''''' (''is/ea/id'') || '''''-ērunt''''' &lt;sup&gt;(1)&lt;/sup&gt; (''eī/eae/ea'')
|}

&lt;sup&gt;(1)&lt;/sup&gt; There is an alternative third person plural ending, ''-ēre'', used mainly in poetry. For example, ''amāvēre'' = ''amāvērunt''.

Although these endings apply to all Latin verbs, each verb's stem changes differently in the perfect tense. To find the stem, use the third principal part, which is the first person singular perfect active indicative form of that verb.

*To conjugate the perfect present, attach the personal ending to the perfect stem.

===Example===
*''amō, amāre, '''amāvī''', amātum''; to love, like
:Note that ''amāvī'' is the first person singular perfect active indicative. Drop the ''-ī'' to get the stem, which is ''amāv-'', then add personal endings. 

'''Singular:'''
:''amāv''- + -''ī'' = ''amāvī '' (I have loved.)
:''amāv''- + -''istī'' = ''amāvistī'' (You have loved.)
:''amāv''- + -''it'' = ''amāvit''   (He/She/It has loved.)

'''Plural:'''
:''amāv''- + -''imus''  = ''amāvimus''  (We have loved.)
:''amāv''- + -''istis'' = ''amāvistis'' (You have loved.)
:''amāv''- + -''ērunt'' = ''amāvērunt'' (They have loved.)

Basically, the Perfect indicative active is the perfect tense under a flash name.

==Rules for Finding the Perfect Stem==

The perfect stem can often be guessed by knowing the verb's first person singular and infinitive. Here are some rules that perfect stems often follow.
{| border=&quot;1&quot;
| colspan=&quot;9&quot; | &lt;b&gt;Conjugation in the Perfect tense&lt;/b&gt;
|-
| Conjugation || colspan=&quot;3&quot;|Perfect First Person Singular || Notes
|-
| 1st (-are) || -avi || -i || -edi || -avi is used for the overwhelming majority of verbs. Exceptions include iuvare and lavare (iuvi, lavi) and dare (dedi).
|-
| 2nd (-eo, -ere): || -ui || -i || -si || -ui is the most common but much less so than -avi in the first conjugation. Some verbs, like videre and sedere, become vidi and sedi. . For the -si rule, the letter d at the end of the stem, if present, is dropped and cs and gs compound into x (eg. rideo -&gt; ridsi -&gt; risi).
|-
| 3rd (-o, -ere): || -i || -si || -idi || Many verbs, like defendere, keep the same perfect stem, so the first person perfect singular becomes defendi. This can create tense ambiguity in the third person singular and first person plural (defendit, defendimus). The -si rule follows the same conventions as the 2nd conjugation(eg. ludere -&gt; ludsi -&gt; lusi, regere -&gt; regsi -&gt; rexi). The -idi rule is used with compounds of dare, which are all third conjugation (eg. reddere -&gt; reddidi, credere -&gt; credidi)
|-
| mixed (-io, -ere): || -i || -ivi || -si || For the -i rule, the last vowel in the stem is often changed to e (eg. capere -&gt; cepi, facere -&gt; feci). For the ivi rule, the stem is unchanged (eg. cupere -&gt; cupivi). For the -si rule, just like in the 3rd conjugation, cs and gs compound into x and the changing vowel rule also applies (eg. conspicere -&gt; conspexi).
|-
| 4th (-io, ire) || -ivi || -ui || || Fairly straightforward. eg. audire -&gt; audivi, aperire -&gt; aperui
|-
| ire (irreg.) || -ii || || || All ire compounds (eg. transire, redire, inire) follow this rule.
|-
| esse (irreg.) || fui || || || The perfect of esse is fui, some verbs in the esse family change the perfect slightly (eg. abesse -&gt; afui, posse -&gt; potui)
|-
|}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Perfect Indicative Passive Verbs =

# {{Latin}}
The perfect passive is an easy tense to form in Latin, and it is also one of the most useful. The verb &quot;to love&quot; in the perfect passive would translate into English as &quot;I was loved&quot;.


== Forming the Perfect Passive in Latin ==
In order to form the perfect passive you must be familiar with the principal parts of the verb with which you are working, e.g., ''amo, amāre, amāvī, amātum''. The fourth principal part is the '''perfect passive participle'''.
*In its neuter nominative form, the perfect passive participle is identical to the nominative supine (a fourth-declension noun whose morphology and usage are very restricted). Be careful not to confuse the two.

To use the perfect passive, first determine the gender and number of the subject of the sentence. For example, in the sentence &quot;The queen was killed by the soldier,&quot; ''queen'' is the subject. In Latin, ''queen'' will be feminine nominative singular (''regīna'').

Now make the participle agree with the subject in gender and number (and case), just as you would with any adjective. As a review, the singular endings for the participle, a first/second declension adjective, are:

   Masculine: '''''-us''''' — (''amātus'')
   Feminine: ''''' -a''''' — (''amāta'')
   Neuter: '''''-um''''' — (''amātum'')

The endings for plural nouns are:

   Masculine: '''''-ī''''' — (''amātī'')
   Feminine:  '''''-ae''''' — (''amātae'')
   Neuter: '''''-a''''' — (''amāta'')

These participles by themselves can be translated with &quot;having been&quot;, eg. &lt;i&gt;amatus&lt;/i&gt; = having been loved. Add a present form of ''sum'', and you have the perfect passive, eg. &lt;i&gt;amatus sum&lt;/i&gt; = I am having been loved = I have been loved.

== Conjugation of Verbs in the Perfect Passive ==

=== First Conjugation (''amō'', to love) ===
{| border=&quot;1&quot; cellspacing=&quot;0&quot; cellpadding=&quot;5&quot; align=&quot;center&quot;
! Person
! Singular
! Plural
|- 
| 1st
| amātus(/-a) sum
| amātī(/-ae) sumus
|-
| 2nd
| amātus(/-a) es
| amātī(/-ae) estis
|-
| 3rd
| amātus(/-a/-um) est
| amātī(/-ae/-a) sunt
|}

=== Second Conjugation (''moneō'', to warn) ===
{| border=&quot;1&quot; cellspacing=&quot;0&quot; cellpadding=&quot;5&quot; align=&quot;center&quot;
! Person
! Singular
! Plural
|- 
| 1st
| monitus sum
| monitī sumus
|-
| 2nd
| monitus es
| monitī estis
|-
| 3rd
| monitus est
| monitī sunt
|}


=== Third Conjugation (''regō'', to rule) ===
{| border=&quot;1&quot; cellspacing=&quot;0&quot; cellpadding=&quot;5&quot; align=&quot;center&quot;
! Person
! Singular
! Plural
|- 
| 1st
| rectus sum
| recti sumus
|-
| 2nd
| rectus es
| rectī estis
|-
| 3rd
| rectus est
| rectī sunt
|}


=== Fourth Conjugation (''audiō,'' to hear) ===
{| border=&quot;1&quot; cellspacing=&quot;0&quot; cellpadding=&quot;5&quot; align=&quot;center&quot;
! Person
! Singular
! Plural 
|- 
| 1st
| audītus sum
| audītī sumus
|-
| 2nd
| audītus es
| audītī estis
|-
| 3rd
| audītus est
| audītī sunt
|}

=== Notes ===

#Remember that the subject '''must''' agree with the passive participle.
#Passive verbs do not take an object. Instead they have an agent or instrument, indicated by the ablative case.

== Examples ==
''Regina ā milite '''interfecta est'''.''.
:&quot;The queen was killed by the soldier.&quot;
''Rex ad proelium '''est''' ā servīs '''portātus'''.''
:&quot;The king was carried to the battle by his slaves.&quot;
''Numquam enim ā Pomponiā nostrā certior '''sum factus''' esse cuī dare litterās possem.'' (Cicero, ''Ad Atticum'' 1.5)
:&quot;For I was never made aware by our Pomponia that there was someone to whom I could give a letter.&quot;

==Exercises==

Convert the following sentences with relative clauses into sentences with the same meaning but using past participles.

eg. &lt;i&gt;Aemilianus vidit urbem quam deleverat&lt;/i&gt; -&gt; &lt;i&gt;Aemilianus vidit urbem a se deletam&lt;/i&gt;

#colonus exit casam quam vendidit
#colonus videt nuntium (&lt;i&gt;messenger&lt;/i&gt;) quam Romam misit
#nuntius colono dedit epistolam quam coloni pater scripserat
#colonus gratias egit (&lt;i&gt;gave thanks&lt;/i&gt;) nuntio quem saepe viderat

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Future and Past Perfect Indicative Tenses = {{Latin}}

==Future perfect==
The future perfect tense is used for an action that will have been completed in the future by the time something else has happened. 

English example: &quot;I '''will have seen''' the movie by the time it comes out.&quot;

To form the future perfect, take the perfect stem and add the future perfect endings:

&lt;table border=&quot;1&quot; cellpadding=&quot;5&quot;&gt;
&lt;tr&gt;&lt;td&gt;''-er&amp;#333;''&lt;/td&gt;&lt;td&gt;''-erimus''&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;''-eris''&lt;/td&gt;&lt;td&gt;''-eritis''&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;''-erit''&lt;/td&gt;&lt;td&gt;''-erint''&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;

Note the similarities to the future tense of ''sum'', except for the third person plural ending ''-erint''&lt;ref&gt;''-int'' as an ending is rare; ''-erint'' and ''sint'' are two of the most common&lt;/ref&gt; in place of ''-erunt'', which serves as the perfect ending instead.

Hence: '''amāver&amp;#333;''', I will have loved; '''vīderitis''', you (pl.) will have seen

&lt;references/&gt;

==Pluperfect==
The pluperfect tense is used to describe something in the past that happened before another event in the past.

English example: &quot;I '''had graduated''' by the time I applied for a job.&quot;

To form the pluperfect, take the perfect stem and add the pluperfect endings:

&lt;table border=&quot;1&quot; cellpadding=&quot;5&quot;&gt;
&lt;tr&gt;&lt;td&gt;''-eram''&lt;/td&gt;&lt;td&gt;''-erāmus''&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;''-erās''&lt;/td&gt;&lt;td&gt;''-erātis''&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;''-erat''&lt;/td&gt;&lt;td&gt;''-erant''&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;

Hence: '''amāveram''', I had loved; '''vīderātis''', you (pl.) had seen

==Examples==
''De Acutiliano autem negotio quod mihi '''mandaras''' ('''mandaveras'''), ut primum a tuo digressu Romam veni, '''confeceram'''.'' (Cicero, ''Ad Atticum'' 1.5)

:&quot;But as to the business of Acutilius that you had entrusted with me, I had already taken care of it when I came to Rome first thing after your departure.&quot; Note the relationship of the pluperfect verbs ''mandaras'' (''-aras'' is a common contraction for ''-averas'') and ''confeceram'' to the perfect verb ''veni''.

''Ego certe meum officium '''praestitero'''.'' (Caesar, ''De Bello Gallico'' IV)

:&quot;I certainly will have prevailed in my duty.&quot;

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Ablative Absolute and Accusative Infinitive Constructions = {{Latin}}
==Ablative Absolute==

The ablative absolute construction is used in a sentence to provide a background for the main action in the sentence. An ablative absolute is formed with a noun and an adjective or participle in the ablative case.

&lt;i&gt;&lt;b&gt;convivis ingressis&lt;/b&gt; ille cenam parat&lt;/i&gt;

&lt;b&gt;With the guests having entered&lt;/b&gt;, he prepares dinner.

&lt;i&gt;&lt;b&gt;domino convivanti&lt;/b&gt; servi diligenter laborabant&lt;/i&gt;

&lt;b&gt;With the master feasting&lt;/b&gt;, the slaves were working diligently.

&lt;i&gt;&lt;b&gt;omnibus ieiunis&lt;/b&gt; multos panes parare debuit&lt;/i&gt;

&lt;b&gt;With everyone (being) hungry&lt;/b&gt;, he had to prepare lots of bread.

==Accusative Infinitive==

The accusative infinitive construction is used to indirectly report speech or thoughts. An accusative infinitive construction is formed by taking the indirect clause and putting the subject in the accusative and the verb in the infinitive.

&lt;i&gt;ille credit &lt;b&gt;pueros stultos esse&lt;/b&gt;&lt;/i&gt;

He believes the boys to be fools = He believes &lt;b&gt;that the boys are fools&lt;/b&gt;.

&lt;i&gt;magister parentibus dicit &lt;b&gt;pueros stultos esse&lt;/b&gt;&lt;/i&gt;

The teacher says to the parents &lt;b&gt;that the boys are fools&lt;/b&gt;.

&lt;i&gt;colonus uxori dicit &lt;b&gt;se confectum esse&lt;/b&gt;&lt;/i&gt;

The farmer says to his wife &lt;b&gt;that he is exhausted&lt;/b&gt;.

In this sentence, note how the reflexive &lt;i&gt;se&lt;/i&gt; refers to the main subject of the sentence.

&lt;i&gt;colonus uxori &lt;b&gt;dixit&lt;/b&gt; se confectum esse&lt;/i&gt;

The farmer said to his wife that he &lt;b&gt;was&lt;/b&gt; tired.

Note how esse, despite being a present infinitive, is translated into the past tense. This is because the infinitive uses the action of the main verb, in this case &lt;i&gt;dixit&lt;/i&gt; as a reference point instead of the present.

But what about sentences such as &quot;the farmer &lt;b&gt;says&lt;/b&gt; to his wife that he &lt;b&gt;worked&lt;/b&gt; diligently&quot;? For those, you need to use the &lt;b&gt;past infinitive&lt;/b&gt;.

===Overview of infinitives in all tenses===
{| border=&quot;1&quot; cellspacing=&quot;0&quot; cellpadding=&quot;5&quot;
!Tense
!Active
!Passive
!Active
!Passive
!Active
!Passive
!Active
!Passive
|-
|Present
|amare
|amari
|monere
|moneri
|regere
|regi
|audire
|audiri
|-
|Past
|amavisse
|amatus, -a, -um esse
|monuisse
|monitus, -a, -um esse
|rexisse
|rectus, -a, -um esse
|audivisse
|auditus, -a, -um esse
|-
|Future
|amaturus, -a, -um esse
|amatum iri
|moniturus, -a, -um esse
|monitum iri
|recturus, -a, -um esse
|rectum iri
|auditurus, -a, -um esse
|auditum iri
|}

The sentence &quot;The farmer says to his wife that he worked diligently&quot; would thus translate as:

&lt;i&gt;colonus uxori dicit se diligenter laboravisse&lt;/i&gt;

The following examples show how different infinitives with the main verb in the past and present would appear in English:

*colonus uxori dixit se diligenter laboravisse = The farmer said to his wife that he &lt;b&gt;had worked&lt;/b&gt; diligently.
*colonus uxori dixit se diligenter laborare = The farmer said to his wife that he &lt;b&gt;was working&lt;/b&gt; diligently.
*colonus uxori dixit se diligenter laboraturum esse = The farmer said to his wife that he &lt;b&gt;would work&lt;/b&gt; (or &lt;i&gt;was going to work&lt;/i&gt;) diligently.
*colonus uxori dicit se diligenter laboraturum esse = The farmer said to his wife that he &lt;b&gt;will work&lt;/b&gt; (or &lt;i&gt;is going to work&lt;/i&gt;) diligently.
*nuntius mihi dixit urbem deletam esse = The messenger told me that the city &lt;b&gt;had been destroyed&lt;/b&gt;
*nuntius mihi dixit urbem deleri = The messenger told me that the city &lt;b&gt;was being destroyed&lt;/b&gt;
*nuntius mihi dixit urbem deletum iri = The messenger told me that the city &lt;b&gt;would be destroyed&lt;/b&gt; (or &lt;i&gt;was going to be destroyed&lt;/i&gt;)
*nuntius mihi dicit urbem deletum iri = The messenger told me that the city &lt;b&gt;will be destroyed&lt;/b&gt; (or &lt;i&gt;is going to be destroyed&lt;/i&gt;)

===Translation Exercises===
{{Latin/Exercise|Translate the following sentences from Latin to English.|
#parentis absentibus pueri ludunt
#multis hominibus audientibus consul orationem (&lt;i&gt;speech&lt;/i&gt;) habet
#consule loquente multi homines audiunt
#agro vendito colonus Romam ingressus est
#Antonius civibus dixit Brutum victum iri
#Bruti fautores (&lt;i&gt;supporters&lt;/i&gt;) crediderunt eum victurum esse
#illi gaudebant Brutum multas legiones habere
#sed paucis post mensibus nuntius venit et dixit Brutum victum esse
|
# ''English translation''
# ''English translation''
# ''English translation''
# ''English translation''
# ''English translation''
# ''English translation''
# ''English translation''
# ''English translation''
}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Chapter 3 Verse = {{latin}}

The following poem is written in Hendecasyllabic. It is an introductory, dedication poem written by the poet [[Wikipedia:Catullus|Gaius Valerius Catullus]].

It is commonly referred to as &quot;Catullus 1&quot; or by its first line.
:Cui dono lepidum novum libellum
:arida modo pumice expolitum?
:Corneli, tibi: namque tu solebas
:meas esse aliquid putare nugas.
:Iam tum, cum ausus es unus Italorum
:omne aevum tribus explicare cartis...
:Doctis, Iuppiter, et laboriosis!
:Quare habe tibi quidquid hoc libelli—
:qualecumque, quod, o patrona virgo,
:plus uno maneat perenne saeclo!

{{BookCat}}
----

== Chapter 4: The Subjunctive Mood and Complex Sentences ==
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Subjunctive Mood = {{Latin}}

==Subjunctives==
The Subjunctive is one of the three different moods a Latin verb can take. The two other moods are the Indicative and the Imperative. The subjunctive is perhaps the most common and also most difficult to grasp, and there are a great number of different subjunctive uses.

The subjunctive mainly expresses doubt or potential and what could have been. Whereas the indicative declares &quot;this happened&quot; or &quot;that happened,&quot; the imperative is called 'jussive,' which is from 'iubere' - to command, bid.

;Examples
*&quot;Let me go&quot; and &quot;May I go?&quot; are statements of potential; the speaker is not entirely certain his/her command will be followed.
*&quot;Were I a king, I would have a golden throne.&quot; -this expresses what could be true, but is not. Speaker is not a king, and so will not get the throne.
*&quot;May the force be with you!&quot; expresses the hope/potential that the force (Star Wars) will be with you. The essential word here is 'may' - &quot;''May'' the force be with you.&quot;

&quot;''If'' this ''were'' to happen,&quot; or &quot;May this happen!&quot; or &quot;I ask you to make this happen&quot; are all possible uses of the subjunctive.

There are four subjunctives: present, imperfect, perfect, and pluperfect. There are no subjunctives in the future tense, which already incorporates an element of doubt.

===The Present Subjunctive===
The present subjunctive is similar to the present indicative, except marked by a change of the theme vowel.

''present stem'' + ''theme vowel change'' + ''ending''

====Form====
In the present subjunctive, the theme vowel for every conjugation changes; in effect, the first conjugation masquerades as the second conjugation and all the other conjugations take on the appearance of the first.

{|
|1st Conjugation || ''a'' || becomes || ''e''
|-
|2nd Conjugation || ''e'' || becomes || ''ea''
|-
|3rd Conjugation || ''e'' || becomes || ''a''
|-
|3rd -io and 4th || ''i'' || becomes || ''ia''
|}

Some ways to remember this are in the following collapsed table.

{| class=&quot;collapsible collapsed&quot;
!Show
|-
|

Sh'''e''' w'''ea'''rs '''a''' g'''ia'''nt d'''ia'''mond

W'''e''' b'''ea'''t '''a''' l'''ia'''r.

W'''e''' b'''ea'''t '''a'''ll l'''ia'''rs.

W'''e''' '''ea'''t '''a''' fr'''ia'''r

W'''e''' '''ea'''t '''a''' F'''ia'''t

N'''e'''ver F'''ea'''r '''a''' L'''ia'''r

L'''e'''t's '''ea'''t '''a''' d'''ia'''per.

L'''e'''t's '''ea'''t c'''a'''v'''ia'''r.

Sh'''e''' w'''ea'''rs '''a''' d'''ia'''mond.

W'''e''' '''ea'''t c'''a'''v'''ia'''r

W'''e''' f'''ea'''r '''a''' l'''ia'''r

Sh'''e''' w'''ea'''rs '''a''' t'''ia'''ra

W'''e''' b'''ea'''t '''a''' g'''ia'''nt.

Sh'''e''' r'''ea'''ds '''a''' d'''ia'''ry.

Sh'''e''' w'''ea'''rs '''a''' d'''ia'''mond t'''ia'''ra.

L'''e'''t's b'''ea'''t th'''a'''t g'''ia'''nt.

F'''e'''w F'''ea'''r F'''a'''t Fr'''ia'''rs.

H'''e'''r br'''ea'''sts '''a'''re g'''ia'''nt.

Cl'''e'''m St'''ea'''ms Cl'''a'''ms in S'''ia'''m
|}

===Example Conjugation===

''porto, port'''a'''re, portavi, portatus'' (1st conjugation - to carry)

====Present Indicative====
This is the present active indicative form of ''portāre'', which has already been covered.
{{Latin/verb|portō|portās|portat|portāmus|portātis|portant}}

Remember the join vowels.

====Present Subjunctive====
The present active subjunctive of ''portare'' would be conjugated as follows: 

{{Latin/verb|portem|portēs|portet|portēmus|portētis|portent}}

Notice:
*The ''-ā-'' vowel stem has changed to an ''-ē-''.
*The personal endings ''-m, -s, -t, -mus, -tis, -nt'' are used, as is done for regular indicative verbs.

====Present Subjunctive of Esse====
The present active subjunctive of ''sum, esse'', the verb &quot;to be&quot;, is conjugated as follows: 

{{Latin/verb|sim|sīs|sit|sīmus|sītis|sint}}

Unlike the conjugation of the present active indicative form, the present subjunctive is regular. The same personal endings are affixed to ''si-''.

=====Present Subjunctive of Posse=====
{{Latin/verb|possim|possīs|possit|possīmus|possītis|possint}}
Translates as &quot;May I/you/he/we/you/they be able&quot;

===Imperfect Subjunctive===
The imperfect subjunctive is formed by adding the personal endings ''-m, -s, -t, -mus, -tis, -nt'' or the passive endings ''-r, -ris, -tur, -mur, -mini, -ntur'' to the present infinitive active (often the second principal part). In other words, for

''vocō, vocāre, vocāvī, vocātum''

The imperfect subjunctives are formed thus:
{{Latin/verb|vocārem|vocārēs|vocāret|vocārēmus|vocārētis|vocārent}}


For deponent verbs, whose second principal part is the passive infinitive (e.g., cōnārī, verērī, patī, expedīrī) a pseudo present infinitive is used (e.g, cōnāre, verēre, patere, expedīre; although these forms do not exist as stand-alone infinitives, they actually ARE the singular imperatives for these deponent verbs)

The imperfect subjunctive of the verb to be (sum, esse) is conjugated regularly, as are ALL irregular verbs, e.g.: possem, vellem, nollem, ferrem, irem)
{{Latin/verb|essem|essēs|esset|essēmus|essētis|essent}}

==Uses of the Subjunctive==
Verbs in the subjunctive mood may assume special meaning in specific constructions.

===Volitive or Optative Clauses===
Subjunctives in independent clauses are often translated as volitive/optative (that is, as a wish). Volitives/optatives show an intention for an action to occur; e.g. &quot;amet&quot; may be translated in volitive/optative context as &quot;may he love&quot;

====Hortatory====
A suggestion or command in first person (most often plural); e.g. &quot;cedamus&quot; as an hortatory subjunctive is &quot;let us depart&quot;

====Jussive====
A suggestion or  command in third person; e.g. &quot;cedat&quot; as a jussive subjunctive is &quot;let her depart&quot;; &quot;deprehendatur&quot;= &quot;Let him be seized&quot;

====Potential====
The potential or possibility of something happening, in any person:  (Fortasse) te amem. &quot;Perhaps I may love you.&quot;

'''All  of these Subjunctive types can be used in an independent (main) clause.''' 
Note that all can be translated with &quot;let&quot; or &quot;may&quot;; the differences lie in how English will represent the subjunctive verb:

*Volitive (Wish): May we be friends forever!
*Hortatory (Suggestion): Let us be friends!
*Jussive (Command): Let them be friends!
*Potential (Possibility):  They may be friends; we may be friends; you may be friends.

===Purpose Clauses===
A purpose clause is a dependent clause used, as the name shows, to show purpose. Often initiated by an indicative verb, the clause contains a subjunctive verb in either the present or imperfect tense. Present and imperfect verbs in purpose clauses should be translated with the auxiliary verbs &quot;may&quot; and &quot;might,&quot; respectively. For example, &quot;Marcus urbem condidit ut regeret&quot; should be translated as &quot;Marcus built the city so that he would rule.&quot; These appear frequently in Latin.

===Relative Clauses===
A relative clause is an independent clause introduced by a relative pronoun.  When the verb of a relative clause is in the subjunctive mood the clause may express result, purpose, or characteristic. 

*Result: The field is so large that he could not plow it in one day.
*Purpose: He sent envoys who would pacify the city.
*Characteristic: Who is so ill-prepared who would fight without a shield?

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Uses of the Subjunctive = {{Latin}}
&lt;!-- I am by no means an expert on this topic, having only secondary school Latin, so this is most definitely not a definitive article --&gt;.The subjunctive mood has several uses in Latin, the most notable of which are: &lt;ul type =&quot;square&quot;&gt;
                     &lt;li&gt;First Person Exhortations&lt;/li&gt;
                     &lt;li&gt;Purpose Clauses&lt;/li&gt;
                     &lt;li&gt;Result Clauses&lt;/li&gt;
                     &lt;li&gt;Indirect Commands&lt;/li&gt;
  &lt;/ul&gt;
== First Person Exhortations (Hortatory Subjunctive) ==
=== Definition, Common Usage and Expression in Latin ===
An exhortation is a statement which expresses a wish. In English, the most common exhortation is &quot;let's go&quot;. Other possibilities are &quot;would go&quot;, &quot;should go&quot; and &quot;may go&quot;. In Latin, these statements are equally as often used and are expressed in the present subjunctive active tense.

=== Examples ===
*{{Latin/gloss|Festinemus ad forum|Let's hurry to the forum}}
*{{Latin/gloss|Roma discedamus|Let's leave Rome}}
*{{Latin/gloss|Roma non discedam, nam mea familia ibi vivit.|I should not leave Rome, for my family lives there. (Also, &quot;I will not leave&quot; -- the form is ambiguous.)}}
*{{Latin/gloss|Cenemus!|Let us dine!}}
*{{Latin/gloss|Cenarem tecum si laborem perficerem&lt;ref&gt;Note that in ''si''... (if...) clauses, the future perfect is often used where the present is in English. &quot;I shall dine with you if I finish my work&quot; would be &quot;I shall dine with you if I shall have finished my work&quot;: ''Tecum cenam si laborem perfecero''.&lt;/ref&gt;|I would dine with you if I should finish my work.}}

== Purpose Clauses ==
=== Definition, Common Usage and Expression in Latin ===

A purpose clause is a clause which expresses that someone did something in order that something else might happen. In English they usually contain the words '''in order to''' or '''so that'''. In Latin this concept is expressed by the words '''ut''' and '''ne''' followed by a verb in the subjunctive mood. ''Ut'' means &quot;so that&quot; or &quot;in order to&quot; and ''ne'' means &quot;lest.&quot; In purpose clauses, only forms of the imperfect (following the secondary sequence of tenses) and present (for the primary sequence) are used.

=== Examples ===
*{{Latin/gloss|Quintus donum Scintillae dedit '''ut se amaret'''|Quintus gave Scintilla a gift so that she would love him. (The imperfect subjunctive is used after a past main clause verb, i.e. imperfect, perfect or pluperfect, while the present subjunctive is used after a main clause verb in the present, future, future perfect, perfect with 'have', or imperative. The reflexive '''se''' is used instead of '''eum''' as it refers back to the subject of the main clause — otherwise it means that Quintus gave Scintilla a gift so that she would love someone else, not Quintus.)}}
*{{Latin/gloss|Fabius equos domum duxit '''ne tempestate timerentur'''|Fabius brought the horses home lest they be frightened by the storm.}}
*{{Latin/gloss|Marcus Graeciā fugit '''ut matrem suam Romae inveniret'''|Marcus fled Greece to find his mother in Rome.}}

== Result Clauses ==
=== Definition, Common Usage and Expression in Latin ===
Result clauses state that something occurred as a result of something else happening. For a positive result, use ''ut''. For a negative result, use ''ut... non''.

Result clauses are normally recognisable by a signpost word in the main clause:

tam = so (with adjective or adverb) 
tantus, -a, -um = so big, 
tot (indecl) = so many
talis, -e = such, of such a sort
adeo = so much, to such an extent (with verb)
ita = so, in such a way (with verb) 
totiens = so often, so many times (with verb)

=== Examples ===
*{{Latin/gloss|Sextus tam iratus erat ut fratrem interficere vellet|Sextus was so angry that he wished to kill his brother.}}
*{{Latin/gloss|Horatia tam laeta erat ut lacrimaret|Horatia was so happy that she cried.}}
*{{Latin/gloss|Caesar tam potus erat ut Galliam oppugnare non posset|Caesar was so drunk that he couldn't attack Gaul.}}
*{{Latin/gloss|Milo tam defessus erat ut in via dormiret|Milo was so tired that he slept on the road.}}

== Indirect Commands == 
=== Definition, Common Usage and Expression in Latin ===
An indirect command is a statement like the following: &quot;He ordered her to do x&quot;. The English equivalent words are &quot;'''to'''&quot; or &quot;'''that they should'''&quot; It can also take the form of &quot;I am ordering you to do x&quot;, as opposed to the imperative &quot;DO X!&quot;. Several verbs in Latin take the subjunctive mood with indirect commands: &lt;ol type=&quot;1&quot;&gt;
&lt;li&gt;rogo, rogare, rogavi, rogatum - to ask&lt;/li&gt;
&lt;li&gt;persuadeo, persuadere, persuasi, persuasum - to persuade&lt;/li&gt;
&lt;li&gt;impero, imperare, -imperavi, imperatum - to order&lt;/li&gt;
&lt;li&gt;peto, petere petivi, petitum - to seek, ask for&lt;/li&gt;
&lt;/ol&gt;
These verbs use an ut/ne + the subjunctive construction.

=== Examples ===
*{{Latin/gloss|Imperator militibus imperavit ut castra caperent|The general ordered the soldiers to capture the camp.}}
*{{Latin/gloss|Eum rogo ut navem emat|I am asking him to buy the ship.}}
*{{Latin/gloss|Mater liberis imperavit ne in horto currerent|The mother asked her children not to run in the garden.}}

==Indirect questions==
===Definition, Common Usage and Expression in Latin===
The subjunctive is used in indirect questions. For example, the question 'What are you doing?' is direct, while &quot;He asked what I was doing&quot; is indirect. In Latin, the verb in the clause containing the indirect question must be in the subjunctive.

===Examples===
*''Imperator milites rogat si castra ceperent''&lt;br/&gt;The general asks the soldiers if they captured the camp.
*''Eum rogo quid faciat''&lt;br/&gt;I am asking him what he is doing.
*''Magister pueros rogat utrum laborent an ludant''&lt;br/&gt;The teacher asks the boys whether they are working or playing.

==Notā bene!==
&lt;references/&gt;

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Subjunctive Imperfect = {{Latin}}

The conjugation of the subjunctive imperfect active follows a simple rule.  The verb in its infinitive form, that is, the second principle part, (am&amp;#257;re, to love, for example) simply has the active personal endings (-m/ō, -s, -t, -mus, -tis, -nt) added:

ego      am&amp;#257;rem

tu       am&amp;#257;r&amp;#275;s

is       am&amp;#257;ret

nos      am&amp;#257;r&amp;#275;mus

vos      am&amp;#257;r&amp;#275;tis

ei       am&amp;#257;rent


the passive voice is formed by the addition of passive personal endings (-r, -ris (-re), -tur, -mur, -minī, -ntur) onto the infinitive stem


ego      am&amp;#257;rer

tu       am&amp;#257;r&amp;#275;ris (-re)

is       am&amp;#257;r&amp;#275;tur

nos      am&amp;#257;r&amp;#275;mur

vos      am&amp;#257;r&amp;#275;mini

ei       am&amp;#257;rentur

==Application==
The imperfect subjunctive is only used for complex syntactic constructions; cum clauses and indirect questions and the like.  Rarely, if ever, does it stand alone.
===Because/Cum===
One application is in its use with 'cum' in the sense of 'because' as a clause. e.g. 
;Diutius cum sustinere nostrorum impetus non possent, Helvetii se in montem receperunt.:When(Because) the Helvetis could not sustain/resist our attacks for long, they retreated to the mountains. 

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= The Subjunctive Passive Verbs = {{Latin}}

==Passive Subjunctive System==
Having examined Lessons 15 and 23, forming the passive subjunctive should be quite simple.
===Present===
Modify the verb stem appropriately with a vowel change (as learned in Lesson 15), then add the present passive endings (Lesson 23).

{| style=&quot;width:500px&quot; border=0 cellspacing=0 cellpadding=2 
| parer || manear || regar || capiar || audiar
|-
| pareris || manearis || regaris || capiaris || audiares
|-
| paretur || maneatur || regatur || capiatur || audiatur
|-
| paremur || maneamur || regamur || capiamur || audiamur
|-
| paremini || maneamini || regamini || capiamini || audiamini
|-
| parentur || maneantur || regantur || capiantur || audiantur
|}

===Imperfect===
The passive endings added to the present active infinitive.

{| style=&quot;width:500px&quot; border=0 cellspacing=0 cellpadding=2 
| pararer || manerer || regerer || caperer || audirer
|-
| parareris || manereris || regereris || capereris || audireris
|-
| pararetur || maneretur || regeretur || caperetur || audiretur
|-
| pararemur || maneremur || regeremur || caperemur || audiremur
|-
| pararemini || maneremini || regeremini || caperemini || audiremini
|-
| pararentur || manerentur || regerentur || caperentur || audirentur
|}

{{BookCat}}

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= The Subjunctive Perfects = {{Latin}}

The conjugation of the perfect subjunctive active consists of: the perfect stem + &quot;eri&quot; + the standard active endings (-m, -s, -t, -mus, -tis, -nt). An example conjugation of the first conjugation verb paro, par&amp;#257;re is as follows:&lt;br&gt;
par&amp;#257;verim&lt;br&gt;
par&amp;#257;ver&amp;#299;s&lt;br&gt;
par&amp;#257;verit&lt;br&gt;
par&amp;#257;ver&amp;#299;mus&lt;br&gt;
par&amp;#257;ver&amp;#299;tis&lt;br&gt;
par&amp;#257;verint&lt;br&gt;

The conjugation of the pluperfect subjunctive active consists of: the perfect stem + &quot;isse&quot; + the standard active endings. An example conjugation of the first conjugation verb paro, par&amp;#257;re is as follows:&lt;br&gt;
par&amp;#257;vissem&lt;br&gt;
par&amp;#257;viss&amp;#275;s&lt;br&gt;
par&amp;#257;visset&lt;br&gt;
par&amp;#257;viss&amp;#275;mus&lt;br&gt;
par&amp;#257;viss&amp;#275;tis&lt;br&gt;
par&amp;#257;vissent&lt;br&gt;

{{BookCat}}

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= The Subjunctive Perfect Passive Verbs = {{Latin}}
=Subjunctive Passive Verbs=

==Subjunctive Passive Perfect==
Subjunctive passive verbs form from the 4th principle part as shown in the example below.

The verb's third principle part, e.g. in the word impedire(to obstruct): impedio, impedire, '''impedivi''',  impeditus; gains the passive ending for the appropriate person. 

This is an example of the Subjunctive Passive in the perfect tense.
muto, mutare, mutavi, mutatum -- to change

To make the verb into a perfect passive, take the fourth principle part, make it agree with the subject in gender, number, and case, and then add in the appropriate form of esse. In the perfect, we use the present form of esse, and specifically the subjunctive present(sim, sis, sit, simus, sitis, sint.)

For example, Do you know ''what has been done to him?'' would be made into: scis quid eum factum sit?

             ''Singular''

            mutatus sim      '''I have been changed.'''
            mutatus sis      '''You have been changed.'''
            mutatus sit      '''He has been changed.'''

              ''Plural*''

            mutati simus     '''We have been changed.'''
            mutati sitis     '''You have been changed.'''
            mutati sint      '''They have been changed.'''

*Note well that in the plural, the word &quot;mutatus&quot; becomes &quot;mutati,&quot; thus taking on the plural nominative. Remember that the perfect passive verbs require the fourth participle to agree in gender and number!

===Exercises===

'''In this section, it is only truly necessary to translate the italicized portion. The rest exists in order to make the subjunctive necessary.'''

the children were so bad that they ''have been scolded.'' (Children- Liberi; To scold- vitupero, vituperare, vituperavi)

He asked how ''I was tricked.''(trick-ludo, ludere, lusi, lusus)

My parents drove to town so that now ''I have been born in a hospital.''(born- cresco, crescere, crevi, cretus; Hospital- valetudinarium, valetudinarii-n.)

==Subjunctive Passive Pluperfect==

The subjunctive passive pluperfect is very similar to the perfect, with the major difference being the way esse is conjugated. In specific, the word esse is simply given the active endings(m,s,t,mus,tis, nt)

mutavi + '''isse''' --&gt; 
;''Singular''

;*mutatus essem    '''I had been changed. '''
;*mutatus esses    '''You had been changed.'''
;*mutatus esset    '''He had been changed.'''

;''Plural*''

;*mutati essemus   '''We had been changed.'''
;*mutati essetis   '''You had been changed.'''
;*mutati essent    '''They had been changed.'''

===Exercises===

In these exercises, only the italicized parts require translation. The rest exist to make the subjunctive necessary. Remember, the subjunctive is not used in any but complex sentences or other rare circumstances.

Ovid wrote so much in the Metamorphoses that ''his hand had been changed into stone.''

{{BookCat}}

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= The Gerund and Participles = {{Latin}}

= Participles =

'''Participles''' are verbs which function grammatically like adjectives.  English, aided by auxiliary participles, is able have participle phrases in many tenses. Latin has participles that do not have auxiliary supplementary participles. This limits the usage of the participle in Latin, according to some wiki-scholars of Classical Studies. 

{| border=&quot;1&quot;
|-
| colspan=&quot;3&quot; | &lt;B&gt;&lt;I&gt;Example 1&lt;/I&gt;&lt;/B&gt;
|-
| &lt;B&gt;English&lt;/B&gt; || (the) walking || man
|-
| &lt;B&gt;Latin&lt;/B&gt; || ambulans || vir
|-
|
 || &lt;B&gt;Present Participle&lt;/B&gt; || &lt;B&gt;Substantive&lt;/B&gt;
|}

== Present Active Participles ==

Present participles are formed by adding -ns to the stem of the verb.

{| border=&quot;1&quot;
|-
| colspan=&quot;2&quot; | &lt;B&gt;Forming the Present Imperfect Participle&lt;/B&gt;
|-
| 1st Conjugation
| &lt;B&gt;Infinitive:&lt;/B&gt; amare&lt;BR&gt;&lt;B&gt;Stem:&lt;/B&gt; ama&lt;BR&gt;&lt;B&gt;Present Imperfect Participle:&lt;/B&gt; amans
|-
| 2nd Conjugation
| &lt;B&gt;Infitive:&lt;/B&gt; monere&lt;BR&gt;&lt;B&gt;Stem:&lt;/B&gt; mone&lt;BR&gt;&lt;B&gt;Present Imperfect Participle:&lt;/B&gt; monens
|-
| 3rd Conjugation
| &lt;B&gt;Infinitive:&lt;/B&gt; regere&lt;BR&gt;&lt;B&gt;Stem:&lt;/B&gt; rege&lt;BR&gt;&lt;B&gt;Present Imperfect Participle:&lt;/B&gt; regens
|-
| 4th Conjugation
| &lt;B&gt;Infinitive:&lt;/B&gt; audire&lt;BR&gt;&lt;B&gt;Stem:&lt;/B&gt;audi&lt;BR&gt;&lt;B&gt;Present Imperfect Participle:&lt;/B&gt;audiens
|}

Present Participles are declined like 3rd declension adjectives.  In cases besides the nominative, the -s becomes -t.

Examples:

1. ferens, ferentis
2. capiens, capientis
3. ens, entis

=== Exercises ===

Form the Present Participle and translate of the following Latin verbs:

* meto, messui, messum, ere
* metuo, metum, ui, ere
* milito, avi, atum, are
* postulo, avi, atum, are
* sulco, avi, sulcum, are
* iacio, ieci, iactum, ere

=== Uses ===


The examples will show participles of the verb ''amo, amare, amavi, amatum'' (to love). 

* '''present active''': base + 'ns.' This forms a two-termination 3rd declension adjective. In the case of ''amare'', the participle is ''amans, amantis'' (loving).
* '''perfect passive''': fourth principle part, with appropriate first or second declension endings: ''amatus, -a, -um''.
* '''future active''': fourth principle part, minus 'm', add 'rus, -a, -um' This forms a 1st-2nd declension adjective: ''amaturus, -a, -um'' (about to love).

In deponent verbs, the perfect passive participle is formed in the same way as in regular verbs.  However, since the nature of the deponent verb is passive in form and active in meaning, the participle is translated actively.

Remember that participles are adjectives, and therefore must be declined to agree with the noun which they modify in case, number and gender.

== Gerund ==

The gerund is a verbal noun which is used to refer to the '''action''' of a verb. For example: ars '''scribendi''' = the art of '''writing'''. The gerund is declined as a second declension neuter noun. It is formed by taking the present stem and adding -ndum.

{| border=&quot;1&quot;
|-
| '''Verb'''
| amo, amare
| video, videre
| rego, regere
| capio, capere
| audio, audire
|-
| '''Gerund'''
| amandum
| videndum
| regendum
| capiendum
| audiendum
|}
&lt;br/&gt;
==== Meanings of the gerund ====

* Genitive: ars legendi - The art of reading / to read
* Accusative: ad puniendum - to punish, for punishing
* Ablative: saepe canendo - through frequently singing; in legendo: while reading
* Genitive with ''causa'': puniendi causa - in order to punish

==Gerundive==

The gerundive is a 1st/2nd declension adjective formed the same way as the gerund, and its function overlaps somewhat with the gerund, but otherwise differs. The literal translation of the gerundive is with &quot;to be&quot;, eg. defendendus, -a, -um = &quot;to be defended&quot;.

* Accusative: ad ludos fruendos - to the games to be enjoyed - to enjoy the games (Note that if this were a gerund construction, it would be ad lud'''is''' fruend'''um''' since ''fruor, -i'' takes the ablative case. In the gerundive construction, both noun and gerundive are governed by the preposition ''ad'')
* Gerundive of obligation, which is constructed with the verb 'est' or 'sunt', according to the subject's number: Carthago delenda est - Carthage is to be destroyed - Carthage must be destroyed. Note that if there is an object (eg. Carthage is to be destroyed '''by us'''), it goes into the dative case (eg. Carthago delenda '''nobis''' est).

=Exercises=

1. Convert the following subjunctive purpose clauses into gerund or gerundive clauses with the same meaning. For example: militabat ut patriam defenderet &amp;rarr; militabat ad patriam defendendum ''or'' militabat patriam defendendi causa ''or'' militabat ad patriam defendendam. Try to use each construction twice.
* casam exit ut patrem adiuvet
* mater in casam rediit ut cenam pararet
* hostes vincebant ergo scutum abieci (''I threw away my shield'') ut celerius fugerem
* in silvas currimus ut nos celemus
* hostes in silvas ineunt ut nos invenirent
* Brutus Iulium Caesarem occidit ut Romam liberaret

2. Translate into Latin. For example: I must see the temple -&gt; templum mihi videndum est
* We must build a large city.
* Julius Caesar must lead an army into Greece.
* Scipio (''Scipio, -ionis'') must defeat Hannibal.

{{BookCat}}

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= Conditional Clauses = ==Conditional Clauses==

Conditional clauses in English and Latin have the general form:

&lt;b&gt;if&lt;/b&gt; (condition clause) (result clause)

Or:

(result clause) &lt;b&gt;if&lt;/b&gt; (condition clause)

For example:

#If I see anyone, I'll tell you.
#If he was sleeping, you should not have knocked.
#I cannot hear you if I'm sleeping.
#I would have been sad if I had not won.

There are 3 types of conditional clauses in Latin:

#Simple Fact (Present or Past)
#Contrary to Fact (Present or Past)
#Future (More or Less Vivid)

===Simple Fact Conditionals===

Simple fact conditionals in Latin have the general form:

si (condition clause in the present indicative) (result clause in the present indicative)

Or:

si (condition clause in the imperfect/perfect indicative) (result clause in the imperfect/perfect indicative)

=====For example:=====

&lt;i&gt;si diligenter laboras, bonus puer es&lt;/i&gt;

If you are working diligently, you are a good boy.

&lt;i&gt;si dominum adiuvabas, bonus servus eras&lt;/i&gt;

If you were helping your master, you were a good slave.

===Contrary to Fact Conditionals===

Contrary to fact conditionals are used if the condition clause is known to be false. For example:

If you weren't playing during class, you would be a good boy (but you were playing, so you aren't a good boy).

Contrary to fact conditionals have the general form:

si (condition clause in the imperfect subjunctive) (result clause in the imperfect subjunctive)

Or:

si (condition clause in the pluperfect subjunctive) (result clause in the pluperfect subjunctive)

=====For example:=====

&lt;i&gt;si matrem adiuvaret, cena parata esset&lt;/i&gt;

If he were helping his mother, the dinner would be ready.

&lt;i&gt;si patrem adiuvisset, pater matrem adiuvare potuisset&lt;/i&gt;

If he had helped his father, his father would have been able to help his mother.

Note how English uses &lt;b&gt;would&lt;/b&gt; and &lt;b&gt;would have&lt;/b&gt; for result clauses, while Latin uses the same tense as in the condition clauses.

===Future Conditionals===

Future conditionals are, of course, used to express conditions in the future. For example:

If you help me, I will be done faster.

Future conditionals take the following general form:

si (condition clause in the future or future perfect) (result clause in the future)

Or:

si (condition clause in the present subjunctive) (result clause in the present subjunctive)

=====For example:=====

&lt;i&gt;si fortiter pugnaveritis, urbs non delebitur&lt;/i&gt;

If you fight bravely, the city will not be destroyed.

Note how English uses the present tense for the condition clause, while Latin uses the future or future perfect.

&lt;i&gt;si diligenter laboretis, vobis meridie domum dimittam&lt;/i&gt;

If you were to work diligently, I would dismiss you at noon.

This type of clause, known as the future less vivid (as opposed to the future more vivid which uses the future and future perfect), is used to express more improbable conditions in the future.

{{BookCat}}

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= Revision = {{Latin}}

&lt;b&gt;Passive/Subjunctive Tenses&lt;/b&gt;&lt;br /&gt;
Passive is used to describe something like an indirect action affects you - an example is &quot;I was being held&quot;. In Latin, it is conjugated through six parts - the present set (present, imperfect, future), and the perfect set (perfect, pluperfect, future perfect). Below is a chart you can use for endings and such.

The present tense through future tenses use the present stem. I'm using the word amo, amare, amavi, amatus - to love, so the present stem is &quot;am&quot;.

{| border=&quot;1&quot; cellpadding=&quot;2&quot; cellspacing=&quot;0&quot;
|
! colspan=&quot;2&quot; | Present
|-
! 1st person
| amo'''r'''
| amā'''mur'''
|-
! 2nd person
| amā'''ris'''
| amā'''minī'''
|-
! 3rd person
| amā'''tur'''
| ama'''ntur'''
|-
| colspan=&quot;3&quot; | &amp;nbsp;
|-
| 
! colspan=&quot;2&quot; | Imperfect
|-
! 1st person
| amā'''bar'''
| amā'''bāmur'''
|-
! 2nd person
| amā'''bāris'''
| amā'''bāminī'''
|-
! 3rd person
| amā'''bātur'''
| amā'''bantur'''
|-
| colspan=&quot;3&quot; | &amp;nbsp;
|-
| 
! colspan=&quot;2&quot; | Future
|-
! 1st person
| amā'''bor'''
| amā'''bimur'''
|-
! 2nd person
| amā'''beris'''
| amā'''biminī'''
|-
! 3rd person
| amā'''bitur'''
| amā'''buntur'''
|-
| colspan=&quot;3&quot; | &amp;nbsp;
|-
| 
! colspan=&quot;2&quot; | Perfect
|-
! 1st person
| amāt'''us''', '''a''', '''um sum'''
| amāt'''ī''', '''ae''', '''a sumus'''
|-
! 2nd person
| amāt'''us es'''
| amāt'''ī estis'''
|-
! 3rd person
| amāt'''us est'''
| amāt'''ī sunt'''
|-
| colspan=&quot;3&quot; | &amp;nbsp;
|-
|
! colspan=&quot;2&quot; | Pluperfect
|-
! 1st person
| amāt'''us''', '''a''', '''um eram'''
| amāt'''ī''', '''ae''', '''a erāmus'''
|-
! 2nd person
| amāt'''us erās'''
| amāt'''ī erātis'''
|-
! 3rd person
| amāt'''us erat'''
| amāt'''ī erant'''
|-
| colspan=&quot;3&quot; | &amp;nbsp;
|-
|
! colspan=&quot;2&quot; | Future Perfect
|-
! 1st person
| amāt'''us''', '''a''', '''um erō'''
| amāt'''ī''', '''ae''', '''a erimus'''
|-
! 2nd person
| amāt'''us eris'''
| amāt'''ī eritis'''
|-
! 3rd person
| amāt'''us erit'''
| amāt'''ī erunt'''
|}


Hope this is all correct and helps!&lt;br /&gt;

{{BookCat}}

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= Idioms = {{Latin}}
*ad unum-to a man
*aequo animo-contentedly, resignedly, patiently
*aere alieno premi-to be heavily in debt
*agere gratias-to thank
*alius aliam in partem-one in one direction, another in another
*amico aliquo uti-to be on terms of intimacy with some one
*animo tenus commoveri-to be moved to the heart
*ad astra-to the stars
{{stub}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Translation = {{Latin}}

Lesson 20, as a bit of a reward is a little translation exercise from the Gospel of Saint Luke.

&lt;B&gt;Exercise 1&lt;/B&gt;

&lt;B&gt;Vocabulary&lt;/B&gt;

&lt;I&gt;coming soon, at the moment consult your dictionary&lt;/I&gt;

Respondens Simon dixit: &quot;Aestimo quia is, cui plus donavit&quot;. At ille dixit ei: &quot;Recte iudicasti&quot;. Et conversus ad mulierem, dixit Simoni: &quot;Vides hanc mulierem? Intravi in domum tuam: aquam pedibus meis non dedisti; haec autem lacrimis rigavit pedes meos et capillis suis tersit. Osculum mihi non dedisti haec autem, ex quo intravi non cessavit osculari pedes meos. Oleo caput meum non unxisti; haec autem unguento unxit pedes meos. Propter quod dico tibi: Remissa sunt peccata eius multa, quoniam dilexit multrum: cui autem minus dimittitur, minus diligit.&quot; Dixit autem ad illam: &quot;Remissa sunt peccata tua&quot;. Et coeperunt, qui simul accumbebant, dicere intra se: &quot;quis est hic, qui etiam peccata dimittit?&quot;. Dixit autem ad mulierem: Fides tua te salvam fecit; vade in pace!&quot;.

Et factum est deinceps, et ipse iter faciebat per civitatem et castellum praedicans et evangelizans regnum Dei, et Duodecim cum illo, et mulieres aliquae, quae erant curatae ab spiritibus malignis et infirmitatibus, Maria, quae vocatur Magdalene, de qua daemonia septem exierant, et Ioanna uxor Chuza procuratoris Herodis, et Sussanna et aliae multae, quae ministrabant eis de facultatibus suis.

{{BookCat}}

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= Chapter 4 Verse = Haec est fabula De Faciebus Iani. Ianus, ut dicebatur, erat unus deorum, cui facies duae erant. Altera earum enim in futura et altera in praeterita prospiciebat.

Apollo ei olim sic dixit: &quot;Nonne tibi facies est, qua tempus praesens spectes?&quot; Et paulo post Ianus ita respondit:

&quot;Mundus - orbis terrarum cyclus est similiter ac tempus est cyclicum. Et initium omnium et finem video. Omnia prospicio aeternusque sum, neque opus est porro videre, quae palam iaceant.&quot;

Diu cogitavit Apollo de verbis Iani hominesque acutissimā mente in omni orbe terrarum conquaesivit eo consilio, ut ipse tam sapiens ut Ianus fieret. Postea cum quibusdam illustrissimis viris collocutus est, quo sapientior esset. Eo facto tamen unus eorum, cui Minervus nomen, Apollinem monuit, ne summam quaereret sapientiam, quam novisse nullum alium quam Ianum oportebat. Revenit autem Apollo ad Ianum eumque, ut veritatem cognosceret, ea summa rogavit.

&quot;Intellegisne omnino quid roges?&quot; inquit Ianus, &quot;Si dis par fueris, omnibus iuribus privari possis.&quot;

Itaque Apollo cognovit sapientissimum omnium fuisse, a quo monitus est.


Translation below:


This is the story of the faces of Janus. Janus, as it used to be said, was one of the gods who had two faces. It was that one spied into the future while the other into the past.

Apollo once had said to him, &quot;Have you not a face with which to see the present?&quot; After a few moments, thus spoke Ianus:

&quot;The world is a circle. Time is a circle. I see both the beginning and end of all living things. I am foreseeing and eternal; therefore, it is not necessary for me to see that which is lying out of sight.&quot;

Apollo thought about these words for a very long time, and thus, that he might become wise like Janus, he sought the keenest minds of the land. He then was speaking with some great men that he might become wiser. However, one, whose name was Minervus, warned him not to seek the ultimate/highest truth because it may only be known by Janus. But he returned again to ask Janus that he might obtain the truth.

&quot;Do you even know for what you're asking? If you enter onto the same level (of the Gods), all your rights might be snatched from you,&quot; said Janus.

And so Apollo knows now that the same man who had warned him was the wisest of all.

{{BookCat}}

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= Verse from the Gospels = &lt; [[Latin]]

== A Verse From the Gospel of St. Luke ==

Respondens Simon dixit: &quot;Aestimo quia is, cui plus donavit&quot;. At ille dixit ei: &quot;Recte iudicasti&quot;. Et conversus ad mulierem, dixit Simoni: &quot;Vides hanc mulierem? Intravi in domum tuam: aquam pedibus meis non dedisti; haec autem lacrimis rigavit pedes meos et capillis suis tersit. Osculum mihi non dedisti haec autem, ex quo intravi non cessavit osculari pedes meos. Oleo caput meum non unxisti; haec autem unguento unxit pedes meos. Propter quod dico tibi: Remissa sunt peccata eius multa, quoniam dilexit multum: cui autem minus dimittitur, minus diligit.&quot; Dixit autem ad illam: &quot;Remissa sunt peccata tua&quot;. Et coeperunt, qui simul accumbebant, dicere intra se: &quot;quis est hic, qui etiam peccata dimittit?&quot;. Dixit autem ad mulierem: Fides tua te salvam fecit; vade in pace!&quot;.

{{BookCat}}
----

== Chapter 5: Review ==
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Revision = {{Latin}}
----
=What is Latin?=
&lt;small&gt;
''Parts of this introduction were taken from [[Wikipedia:en:Latin|The Latin Language]] on the [[en:Main Page|Wikipedia]].''
&lt;/small&gt;

Latin was the language originally spoken in the region around the city of Rome called Latium. It gained great importance as the formal language of the Roman Empire. 

All [[Wikipedia:en:Romance languages|Romance languages]] &amp;mdash; including Italian, French, Spanish, Portuguese, Romanian, and others &amp;mdash; descend from a Latin parent, and many words in English and other languages today are based on Latin roots. Moreover, Latin was a ''lingua franca'', the learned language for scientific and political affairs in Europe, for more than one and a half thousand years, being eventually replaced by French in the 18th century and English by the middle of the 20th. Latin remains the formal language of the Roman Catholic Church to this day and is the official language of the Vatican. 

Romance languages are not derived from Classical Latin, a literary language for writing and oration, but rather from Vulgar Latin, the language spoken by the common people, or '' vulgus, '' of Rome. Classical Latin and Vulgar Latin (Romance) differ (for example) in that Romance had distinctive stress whereas Classical had distinctive length of vowels. In Italian and Sardo logudorese, there is distinctive length of consonants and stress, in Spanish only distinctive stress, and in French even stress is no longer distinctive. Stress refers to the emphasis of pronunciation on syllabic units. Most English nouns not derived from other parts of speech have an emphasis on the first syllable. Foreign loan words in English sometimes retain their original stress, which may be on the second or third syllable, though assimilation into English will usually result in a vowel shift towards emphasis on the first syllable.

Another major distinction between Classical and Romance is that modern Romance languages, excluding Romanian, have lost their case endings (suffixes at the end of the word used in place of prepositions) in most words (some pronouns being exceptions). Romanian is still equipped with several cases though some, notably the ablative, are no longer represented.

Here are some current English words which are Latin derivativesː

* Video is the Latin verb &quot;I see&quot; which in English is a noun referring to a recording and playback device.
* Audio is the Latin verb &quot;I hear&quot; which in English is a noun referring to a sound wave.
* Victoria is the Latin noun &quot;victory&quot; which in English is a proper noun and a woman's name.
* Carmen is the Latin noun &quot;song&quot; which in English is a proper noun and a woman's name.

=Introduction to the Latin Language=

== Simple and Compound Words ==

In Latin, words are either:
* ''' simple ''' (words that consist of only one part). For example:

{| class=&quot;wikitable&quot; style=&quot;width: 300px&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''eō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I go'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ferō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I carry'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''dō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I give'''
|}
* ''' compound ''' (words that consist of more than one part, for example, a root word combined with a prefix). For example:

{| class=&quot;wikitable&quot; style=&quot;width: 300px&quot;
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''abeō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I go away'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''trānsferō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I carry across'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''reddō'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''I give back'''
|}

==Word Parts==

Inflected words (i.e., words having ending- or spelling-changes according to their grammatical functions in the sentence) have a '''stem''' and a '''root.''' 

&lt;B&gt;The Stem&lt;/B&gt;

The stem is the part of the word to which various suffixes are added. The final suffix determines either the role of the word in the sentence (for example, when a Roman slave wished to address his ''dominus'' (master), he used the vocative form ''domine'' -- equivalent to &quot;O master&quot; in English) or the person/subject involved in the action (for example, &quot;I dominate&quot; may be expressed as &quot;domin-or&quot;, and &quot;they dominate&quot; as &quot;domin-antur&quot;). In these cases, ''domin-'' is the stem and ''-us'', ''-e'', ''-or'' and ''-antur'' are suffixes. The addition of such suffixes is called ''inflection''. This is discussed further in the [[#Summary|Summary]].

&lt;B&gt;The Root&lt;/B&gt;

The root is the part of the word that carries the essential meaning. For example the stem of ''agitō'' (I drive onward) is ''agit-'', whose root is ''ag'' (do, drive), which is in common to words of similar meaning: ''agō'' (I do, drive), ''agmen'' (that which is driven, such as a flock), etc. Notice the essential difference between a root and a stem. To the root &quot;ag&quot; has been added a suffix &quot;(i)tō-&quot; which denotes frequency of action (so &quot;agit-&quot; means to do or drive more than once, hence &quot;agit-ō&quot;, I agitate, I keep (something) moving, I urge, I impel).

In contrast, English uses word order more than inflection to determine the function of a word within a sentence. English also uses words like pronouns (I, she, etc.) and prepositions (to, at, etc.) where Latin generally prefers inflexions. Thus &quot;dom-ī&quot; (noun -- &quot;at home&quot;), &quot;ag-unt&quot; (verb -- &quot;they do/drive&quot;).

&lt;B&gt;Primitives&lt;/B&gt;

Primitives occur when both the stem and the root are the same. For example, in the word ''agere'' (to do, drive) both the stem and the root are the same: &quot;ag-&quot;.

&lt;B&gt;Derivatives&lt;/B&gt;

Derivatives occur when the root or stem is modified. For example, the stem ''flamm-'' from the noun ''flamma'' has the root &quot;flag&quot; (&quot;blaze&quot;), &quot;nōscō&quot; (I know) from the verb &quot;nōscere&quot; has the root &quot;gnō-&quot; (&quot;know&quot;).

&lt;B&gt;Suffixes&lt;/B&gt;

Latin attaches suffixes (&quot;endings&quot;) to stems to turn them into words (most stems and roots cannot be used in sentences without an ending). This inflection is essential to forming Latin sentences. The various suffixes and their translations will be learned in the later lessons.

=Types of Words used in Latin=

==Nouns==

A noun (Latin: ''nōmen'') is &quot;something perceived or conceived by the mind.&quot;

There are two kinds of nouns: Substantives and Pronouns. 

1. &lt;B&gt;Substantive&lt;/B&gt; (''nōmen substantīvum'') is a name simply denoting something perceived or conceived: ''psittacus'' - the parrot, ''nix'' - the snow, ''virtus'' - virtue.

2. &lt;B&gt;Pronoun&lt;/B&gt; (''prōnōmen'') is a word used in place of a ''substantivum'', usually when the ''substantivum'' is already known: ''ea'' - she, ''ille'' - that man

Nouns have changing endings on the stem (known as declension) and three incidents: number, gender and case. Number concerns whether the thing referred to is singular or plural (and the ending shows this); gender classifies a substantive as masculine, feminine or neuter (this determines how the endings of adjectives and pronouns behave) and case (where the ending must show how the noun fits in to the sentence). Adjectives and Pronouns must agree in all incidents when they refer to a substantive.

==Verbs==

Verbs (''verba'') express an action or a state of being, e.g., ''agō'' (I do), ''dīxit'' (he said), ''venīs'' (you come). Conjugation is the term for adding inflections to verb stems to indicate person (first, second or third), number (singular or plural), tense (present, future, imperfect, perfect, pluperfect or future perfect), voice (active or passive), and mood (indicative, subjunctive or imperative).

A verb can be either ''finite'' or ''infinite'':

1. &lt;B&gt;Finite&lt;/B&gt; verbs (''verba finīta'') are inflected and have a subject, e.g., I run, you run, he runs, they drive, the computer is turned on.

2. The &lt;B&gt;infinite&lt;/B&gt; verbs (''verba infinīta'') are not inflected and have no subject, e.g. to run, to drive, to turn on, to have drawn. ''Participles'', which are inflected as substantives rather than as verbs, may also be considered infinite, e.g., the ''running'' boy.

==Modifiers==

1. &lt;B&gt;Adjectives&lt;/B&gt; (''adiectīva'') are used to describe nouns. They indicate a quality perceived or conceived as inherent in, or attributed to, something denoted. E.g., ''vir &lt;U&gt;magnus&lt;/U&gt;'' (the &lt;U&gt;great&lt;/U&gt; man), ''puella &lt;U&gt;pulchra&lt;/U&gt;'' (the &lt;U&gt;fair&lt;/U&gt; girl)

2. &lt;B&gt;Adverbs&lt;/B&gt; (''adverbia'') are similar to adjectives, except that they are used to qualify verbs, adjectives or other adverbs, rather than nouns. In practice, they restrict the meaning of the verb or adjective by specifying how or how much. E.g., ''currō &lt;U&gt;celeriter&lt;/U&gt;'' (I run &lt;U&gt;quickly&lt;/U&gt;), ''pugnat &lt;U&gt;fortiter&lt;/U&gt;'' (he fights &lt;U&gt;bravely&lt;/U&gt;), ''&lt;U&gt;vērē&lt;/U&gt; iūcundus est'' (he's &lt;U&gt;really&lt;/U&gt; nice), ''&lt;U&gt;incrēdibile&lt;/U&gt; callida est'' (she's &lt;U&gt;incredibly&lt;/U&gt; clever).

==Other==

Particles are uninflected words that provide extra meaning.

1. &lt;B&gt;Prepositions&lt;/B&gt; (''praepositiōnēs'') are little words which tell you how one word is behaving in relation to another word (&quot;the &lt;U&gt;duck&lt;/U&gt; was &lt;B&gt;near&lt;/B&gt; the &lt;B&gt;pond&lt;/B&gt;&quot;, &quot;&lt;U&gt;she&lt;/U&gt; went &lt;B&gt;towards&lt;/B&gt; the &lt;B&gt;wood&lt;/B&gt;&quot;). In Latin, the noun that follows a preposition takes a particular ending (called a &quot;case&quot;), depending on the nature of the relationship, or on the nature of the preposition itself. E.g., ''ad'' (by), ''in'' (in), ''sub'' (under). What all this means is that a preposition is a sort of adverb, telling you how something is done. For example, &quot;you go&quot; is a simple statement, but &quot;you go in&quot; suggests that you don't just &quot;go&quot;, you go so as to enter something, and so you need a noun for the &quot;something&quot;. In English, we might say &quot;you go &lt;B&gt;into&lt;/B&gt; the house&quot;. In Latin, this would be: &quot;&lt;B&gt;in&lt;/B&gt; domum inīs&quot;. Notice the form &quot;in domum&quot;, which means &quot;into&quot; the house -- you're going into it, you're not yet exactly inside it (the ending -um of &quot;domum&quot; is called &quot;accusative&quot;). When you are inside the house, what you do is &quot;in&quot; the house, which is &quot;in domō&quot; (the ending -ō of &quot;domō&quot; is called &quot;ablative&quot;).

2. &lt;B&gt;Conjunctions&lt;/B&gt; (''coniunctiōnēs'') join together clauses and sentences. E.g., ''et'' (and), ''atque'' (as well as), ''sed'' (but).

3. &lt;B&gt;Interjections&lt;/B&gt; (''interiectiōnēs'') are exclamations used to express feeling or to gain attention. E.g., ''ō!'' (oh!), ''ēheu!'' (alas!), ''ecce!'' (behold!).

==Articles==
Latin has no definite article or indefinite article, respectively &quot;the&quot; and &quot;a/an&quot;. When translating Latin into English the appropriate article must be added.

=Summary=


{| BORDER
|-
| COLSPAN=&quot;2&quot; | &lt;center&gt;&lt;big&gt;&lt;big&gt;'''Parts of Speech'''&lt;/big&gt;&lt;/big&gt;&lt;/center&gt;
|-
| '''Inflected''' || '''Uninflected'''
|-
| ''Substantives:'' things perceived or conceived
| ''Adverbs:'' describe adjectives, verbs, and other adverbs
|-
| ''Adjectives:'' indicate a quality perceived or conceived as inherent of something in the substantive
| ''Prepositions:'' help nouns define their relations to other nouns
|-
| ''Pronouns:'' nouns used in place of substantives and adjectives
| ''Conjunctions:'' Join clauses and sentences
|-
| ''Verbs:'' mark the beginning of an independent [[wikipedia:clause|clause]]. The verb in Latin is inflected so that we know the subject (&quot;I learn&quot;), and its tense (to what general or specific time the clause relates to). We call the inflection of a verb '''conjugation'''
| ''Interjection:'' exclamation
|}

=Exercises=
{{Latin/Exercise|Questions|
1. What is the shared root in the following English words?&lt;br/&gt;
* actor, reaction, radioactive
* transfer, fertile, interference
2. In the following English words, what is the stem and what is the ending? &lt;br/&gt;
* knights
* riding
* horses
* jumped
3. What parts of speech are each of the English words in (2), as well as the following:
* with
* and
* because
* hooray
* silently
* never
4. Answer the following questions about the Latin language:
* In what area of Italy was Latin originally spoken?
* Name the two varieties of Latin that existed in antiquity.
* What major organization still uses Latin today?
|
1. What is the shared root in the following English words?&lt;br/&gt;
* act
* fer
2. In the following English words, what is the stem and what is the ending?&lt;br/&gt;
* knight-, -s
* ride-, -ing
* horse-, -s
* jump-, -ed
3. What parts of speech are each of the English words in (2), as well as the following:
* ''in 2:'' noun, verb, noun, verb
* preposition
* conjunction
* conjunction
* interjection
* adverb
* adverb
4. Answer the following questions about the Latin language:
* Latium
* Classical latin and Vulgar latin
* Roman Catholic Church
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Revision = {{Latin}}
----
==Spelling and Pronunciation==
The Latin alphabet, on which the English alphabet is based, has mostly the same letters as the English alphabet, except that it has no &amp;lt;k&amp;gt; or &amp;lt;w&amp;gt;, and that in its original form, it lacked &amp;lt;j&amp;gt;, which only some modern texts use, and &amp;lt;u&amp;gt;. Many European languages use the Latin alphabet as the basis for their own alphabet.

Latin pronunciation has varied somewhat over the course of its long history, and there are some differences between Old Latin, spoken in the Roman Republic, Classical Latin, spoken in the Roman Empire, Medieval Latin, spoken in the Middle Ages, and Ecclesiastical Latin, spoken in the Catholic Church. This text focuses on the pronunciation of Classical Latin.

{|
|a || /a/, approximately as in English &quot;p'''a'''lm&quot;
|-
|ā || /aː/, approximately as in English &quot;f'''a'''ther&quot;
|-
|ae || /ai̯~ae̯/, as in English &quot;real'''i'''ze&quot;, &quot;b'''uy'''&quot;
|-
|au || /au̯/, as in English &quot;br'''ow'''n&quot;, &quot;h'''ow'''&quot;
|-
|b || /b/, as in English &quot;'''b'''it&quot;
|-
|c || always /k/, as in English &quot;s'''c'''an&quot;; never /s/, as in English &quot;sui'''c'''ide&quot;
|-
|ch || always /kʰ/, as in English &quot;'''k'''ey&quot;; never /t͡ʃ/, as in English “'''ch'''ur'''ch'''”
|-
|d || always /d/, as in &quot;'''d'''im&quot;; never /ɾ/, as in &quot;me'''d'''al&quot;
|-
|e || usually /ɛ/, as in English &quot;b'''e'''st”; /æ/, as in English &quot;f'''a'''ct&quot;, before &amp;lt;r&amp;gt;; /e/, approximately as in English &quot;letter '''A'''&quot;, &quot;h'''ay'''&quot;, before another vowel
|-
|ē || /eː/, approximately as in English &quot;letter '''A'''&quot;, &quot;h'''ay'''&quot;
|-
|f || always /f/, as in English &quot;'''f'''an&quot;; never /v/, as in English &quot;o'''f'''&quot;
|-
|g || always /g/, as in English &quot;'''g'''ood&quot;; never /ʒ/, as in English &quot;delu'''g'''e&quot;, or /d͡ʒ/, as in English &quot;'''g'''el&quot;
|-
|gn || /ŋn/, as in English &quot;han'''gn'''ail&quot;, &quot;sin'''g n'''ow&quot;; at the beginning of words it may also be pronounced as just /n/, as in English &quot;'''n'''o&quot; or &quot;'''gn'''at&quot;
|-
|gu || /gʊ/, as in English &quot;'''goo'''d&quot;, before consonants; /gᶣ/, no English equivalent, before &amp;lt;e/ē/i/ī&amp;gt;; /gʷ/, as in English &quot;lan'''gu'''age&quot;, before all other vowels
|-
|h || /h/, as in English &quot;'''h'''am&quot;
|-
|i || usually /ɪ/, as in English &quot;k'''i'''t&quot;; /j/, as in English &quot;'''y'''es&quot;, between the start of a word and a vowel; /jː/, as in English &quot;to'''y y'''acht&quot;, between two vowels; /i/, as in English &quot;tid'''y'''&quot;, between a consonant and a vowel 
|-
|ī || /iː/, as in English &quot;letter '''E'''&quot;, &quot;fl'''ee'''t&quot;
|-
|j || used by some in place of Latin &amp;lt;i&amp;gt; when it represents /j/; this Wikibook does not follow this convention
|-
|k || not in the Latin alphabet
|-
|l || /l/, as in English &quot;'''l'''eaf&quot; (called ''l exīlis'', &quot;Thin L&quot;); possibly sometimes /ɫ/, as in English &quot;fu'''ll'''&quot; (called ''l plēnus/pinguis'', &quot;Thick L&quot;); scholars do not agree on whether ''l plēnus'' still existed beyond Old Latin, and if so, where it occurred
|-
|ll || always /lː/, as in English &quot;'''l'''eaf&quot;, but pronounced longer; never /ɫ/, as in “fu'''ll'''”
|-
|m || /m/, as in English &quot;'''m'''ap&quot;, unless following a vowel and either before &amp;lt;f&amp;gt; or &amp;lt;s&amp;gt;, or at the end of a word, in which case it's silent and the previous vowel is pronounced as its long form (the one with the macron over it), and is nasalized
|-
|n || /n/, as in English &quot;'''n'''o&quot;, unless it's preceding &amp;lt;c&amp;gt;, &amp;lt;g&amp;gt;, or &amp;lt;q&amp;gt;, in which case it's /ŋ/, as in English &quot;ha'''ng'''&quot;, or following a vowel and preceding &amp;lt;f&amp;gt; or &amp;lt;s&amp;gt;, or at the end of a word, in which case it's silent and the previous vowel is pronounced as its long form (the one with the macron over it), and is nasalized
|-
|o || /ɔ/, approximately as in English &quot;c'''o'''st&quot; or &quot;cl'''o'''th&quot;
|-
|ō || /oː/, approximately as in English &quot;letter '''O'''&quot;, &quot;g'''oa'''l&quot;
|-
|oe || /oi̯~oe̯/, approximately as in English &quot;p'''oi'''nt&quot;, &quot;b'''oy'''&quot;
|-
|p || /p/, as in English &quot;s'''p'''in&quot;
|-
|ph || always /pʰ/, as in English &quot;'''p'''in&quot;; never /f/, as in English &quot;'''ph'''one&quot;
|-
|q || /k/, only occurs alongside &amp;lt;u&amp;gt;
|-
|qu || /kᶣ/, no English equivalent, before &amp;lt;e/ē/i/ī&amp;gt;; /kʷ/, as in English &quot;lan'''gu'''age”, before all other vowels
|-
|r || /r/, like Spanish &amp;lt;rr&amp;gt;
|-
|s || always /s/, as in English &quot;'''s'''ee&quot;; never /z/, as in English &quot;ea'''s'''e&quot;
|-
|t || always /t/, as in English &quot;s'''t'''eam&quot;; never /ɾ/, as in English &quot;bu'''tt'''er&quot;, or /ʔ/, as in English &quot;si'''t'''&quot;
|-
|th || always /tʰ/, as in English &quot;'''t'''eam&quot;; never /θ/, as in English &quot;'''th'''ree&quot; or /ð/, as in English &quot;'''th'''is&quot;
|-
|u || always /ʊ/, as in English &quot;w'''o'''lf&quot;; never /ʌ/, as in English &quot;s'''u'''n&quot;
|-
|ū || always /uː/, as in English &quot;f'''oo'''d&quot; or &quot;f'''oo'''l&quot;; never /ju/, as in English &quot;m'''u'''te&quot;, or /ʊ/, as in English &quot;f'''oo'''t&quot;
|-
|v || always /w/, as in English &quot;'''w'''e&quot;; never /v/, as in English &quot;fi'''v'''e&quot;
|-
|w || not in the Latin alphabet
|-
|x || always /k͡s/, as in English &quot;wi'''cks'''&quot;; never /g͡z/, as in English &quot;e'''x'''aggerate&quot;, or /z/, as in English &quot;'''x'''ylophone&quot;
|-
|y || /ʏ/, as in German &quot;M'''ü'''nster&quot;, no direct English equivalent, but similar to British English &quot;p'''u'''t&quot;; generally only present in words borrowed from Greek
|-
|ȳ || /yː/, as in German &quot;'''ü'''ber&quot;, no direct English equivalent, but similar to British English &quot;f'''oo'''d&quot;; generally only present in words borrowed from Greek
|-
|z || /zː/, approximately as in English &quot;hi'''s'''&quot;; generally only present in words borrowed from Greek
|}

Note that Latin, as written by the Romans, did not have &amp;lt;j&amp;gt;, &amp;lt;k&amp;gt;, &amp;lt;u&amp;gt;, &amp;lt;w&amp;gt;, or macrons over vowels (the lines indicating that vowels are long), although they did sometimes mark long vowels with apices (e.g. &amp;lt;ó&amp;gt; for /oː/); macrons are used today as pronunciation guides and do not necessarily need to be written. /w/, /ʊ/, and /uː/ were all represented with &amp;lt;v&amp;gt;. Modern texts often use &amp;lt;v&amp;gt; for /w/, &amp;lt;u&amp;gt; for /ʊ/, and &amp;lt;ū&amp;gt; for /uː/. In some modern texts (this Wikibook not included), &amp;lt;j&amp;gt; is used for /j/.

==Declension Tables==
The following tables will be both referenced and explained in all of the following sections, and hence are placed here.

{| class=&quot;wikitable&quot; align=&quot;center&quot;
|+Singular Nouns
!Declension (Gender)
!1st (F) !! 2nd (M/N) !!3rd (M/F/N) !! 4th (M/N) !! 5th (F)
|-
|'''Nominative'''&lt;br/&gt;Subject || puell'''a''' || serv'''us''' || rēx || grad'''us''' || r'''ēs'''
|-
|'''Genitive'''&lt;br/&gt;Possessive || puell'''ae''' || serv'''ī''' || rēg'''is''' || grad'''ūs''' || r'''ēī'''
|-
|'''Dative'''&lt;br/&gt;Indirect Object || puell'''ae''' || serv'''ō''' || rēg'''ī''' || grad'''uī''' || r'''ēī'''
|-
|'''Accusative'''&lt;br/&gt;Object || puell'''am''' || serv'''um''' || rēg'''em''' || grad'''um''' || r'''ēm'''
|-
|'''Ablative'''&lt;br/&gt;Modifies or Limits Verb|| puell'''ā''' || serv'''ō''' || rēg'''e''' || grad'''ū''' || r'''ē'''
|-
|'''Vocative'''&lt;br /&gt;Direct Address || puell'''a''' || serv'''e''' || rēx || grad'''us''' || r'''ēs'''
|}

Note that nouns in the 3rd declension nominative can have any ending, hence why none is given in bold.

{| class=&quot;wikitable&quot; align=&quot;center&quot;
|+Plural Nouns
!Declension (Gender) !! 1st (F) !! 2nd (M/N) !! 3rd (M/F/N) !! 4th (M/N) !! 5th (F)
|-
|'''Nominative''' || puell'''ae''' || serv'''ī''' || rēg'''ēs''' || corn'''ūs''' || r'''ēs'''
|-
|'''Genitive''' || puell'''ārum''' || serv'''ōrum''' || rēg'''um''' || corn'''uum''' || r'''ērum'''
|-
|'''Dative''' || puell'''īs''' || serv'''īs''' || rēg'''ibus''' || corn'''ibus''' || r'''ēbus'''
|-
|'''Accusative''' || puell'''ās''' || serv'''ōs''' || rēg'''ēs''' || corn'''ūs''' || r'''ēs'''
|-
|'''Ablative''' || puell'''īs''' || serv'''īs''' || rēg'''ibus''' || corn'''ibus''' || r'''ēbus'''
|-
|'''Vocative''' || puell'''ae''' || serv'''ī''' || rēg'''ēs''' || corn'''ūs''' || r'''ēs'''
|}

==Grammar Part 1: Nouns and Their Role in Sentences==
[[w:Noun|Noun]]s in Latin are [[w:Inflected language|inflected]], which means that endings (also known as [[w:suffix|suffix]]es or ''suffices'') are appended to the end of the [[w:stem|stem]] to denote these things:
#Number (whether the noun is singular or plural)
#[[w:Declension|Case]] of the noun (role of the noun in the sentence)
#[[w:Grammatical gender|Gender]] (the gender of the word - one of masculine, feminine, or neuter)

Most nouns in English can be modified to indicate number (cat versus cats), and many pronouns can be modified to indicate case (who versus whose) or gender (he versus she, his versus hers). Case is especially important in Latin as meaning cannot be determined by word order as it can be in English, but purely by word endings, or &quot;inflection&quot;. Indeed, the words in a Latin sentence can appear in almost any order with little change in meaning. Two sentences with the word orders &quot;Sam ate the orange&quot; and &quot;The orange ate Sam&quot; could potentially mean the same thing in Latin, though the spellings of &quot;orange&quot; and &quot;Sam&quot; would have to change slightly to denote which was the subject (the one eating) and which was the object (the one being eaten).

It is important to note here that although the genders of many words make sense (for example, &quot;puella&quot;, meaning a girl, is feminine) many are simply assigned and hold no real meaning. Luckily, as you will find, the gender can often be determined by the spelling of the word (words ending in &quot;us&quot; are almost always masculine, and words ending in &quot;a&quot; are almost always feminine). For many words, however, you will simply have to memorize their gender.

[[w:Adjective|Adjective]]s themselves must match the number, case, and gender of the noun (be it a substantive or a pronoun) they modify. If a noun is nominative singular feminine (see [[#case|case table]] below), then the adjective describing it must also be nominative singular feminine. If the noun is accusative plural masculine, then the adjective must be accusative plural masculine. This will be expanded on in the [[#Adjectives|Adjectives]] section below. The advantage of this system is that adjectives do not need to be adjacent to their respective nouns, as one would be able to tell which noun they modify by which noun they appear to agree with.

===Declension===
'''All substantives''' are part of one of 5 categories, called '''declensions'''.  A substantive is a stem, modified by adding a declension suffix.  Each declension has a set of standard suffixes that indicate case and number. Usually gender is indicated by the suffix, although there are many exceptions. Therefore, you must memorize the gender of every substantive you learn.

By familiarizing yourself with the [[#Declension Tables|above tables]], you could deduce that originally the suffix indicating number, case, and gender was the same for every noun. However, as the language developed, nouns with a common stem formed declensions and sounds changed. Similar processes happen continually over time, even today.

The above tables allow you to familiarize yourself with the existence of each declension, though by no means are you expected to memorize it now. Nonetheless, you will have to memorize it as you are formally introduced to individual cases and declensions in future lessons. Because of its introductory purpose, it is considerably simplified and incomplete, and therefore should not be used as a reference in the future.

Adjectives are also classed into declensions which must match the declension of the noun they describe:
#'''1st/2nd declension adjectives'''...
##...Use 1st declension suffixes from the substantive declension table when describing feminine nouns.
##...Use 2nd declension masculine suffixes from the above table when describing masculine nouns.
##...Use 2nd declension neuter suffixes (''not'' found in the above table) when describing neuter nouns.
#'''3rd declension adjectives''' behave as 'i' stem substantives unless specified.  An 'i' stem substantive is one where the stem word ends in the letter 'i.'   Masculine and Feminine suffixes (which are the same) will be used if describing masculine and feminine nouns, and Neuter suffixes will be used when describing neuter nouns.

Pronouns are not part of any declension, as they are all irregular, and simply have to be memorized.

===Case===
Cases (Latin: ''casus'') determine the role of the noun in the sentence in relation to other parts of the sentence.

There are six cases, Nominative, Genitive, Dative, Accusative, Ablative, and Vocative.  Vocative case (Lesson 3), can be considered a sort of miniature case, generally not being accepted as a true one. Additionally, some nouns have a vocative case, which will be covered later. As nominative and accusative are the most basic, these will be taught first (the rest will be covered in later lessons).

{| border=&quot;1&quot; align=&quot;center&quot;
|-
! colspan=&quot;4&quot; |'''The Use of the Cases'''&lt;br/&gt;(all words in bold are in the case specified in the first column)
|-
! Case
! Role in sentence
! bgcolor=&quot;#CCFFFF&quot; | Example (Latin)
! bgcolor=&quot;#CCFFCC&quot; | Example (English)
|-
| Nominative || Subject (performs the verb)
| bgcolor=&quot;#CCFFFF&quot; | '''vir''' lupum vult.
| bgcolor=&quot;#CCFFCC&quot; | '''The man''' wants a wolf.
|-
| Genitive || Description and possession
| bgcolor=&quot;#CCFFFF&quot; | lupus '''virī''' est.
| bgcolor=&quot;#CCFFCC&quot; | It is the '''man's''' wolf/It is the wolf ''of'' the '''man'''.
|-
| Dative || Indirect object (receives the direct object)
| bgcolor=&quot;#CCFFFF&quot; | '''lupō''' dedit vir.
| bgcolor=&quot;#CCFFCC&quot; | The man gave to '''the wolf'''.
|-
| Accusative || Direct object (receives the action of the verb)
| bgcolor=&quot;#CCFFFF&quot; | vir '''lupum''' videt.
| bgcolor=&quot;#CCFFCC&quot; | The man sees '''the wolf'''.
|-
| Ablative || Various (modify or limit nouns by ideas of where, when, how, etc.)
| bgcolor=&quot;#CCFFFF&quot; | ā quō datum? '''ā virō'''.
| bgcolor=&quot;#CCFFCC&quot; | By whom given? '''By a man'''.
|-
| Vocative || Direct address (speaking to somebody directly)
| bgcolor=&quot;#CCFFFF&quot; | salvē, '''Brute'''!
| bgcolor=&quot;#CCFFCC&quot; | Hello, '''Brutus'''!
|}

===Gender===
'''All substantives''', including inanimate objects, have a particular gender (Latin: ''genus'', pl. ''genera''), which is either masculine, feminine, or neuter.

For example, Vir, &quot;a man,&quot; is masculine. Marītus, &quot;a husband,&quot; is also masculine. Puella, &quot;a girl,&quot; is feminine. Māter, &quot;a mother,&quot; is feminine. Even inanimate objects are assigned gender, including all the moons, stars, trees, tools, and so forth. Logic will give you little help in determining what the genders of inanimate objects are, and with many nouns memorization is required. Luckily, for many nouns, the spelling of the word indicates the gender.

Certain rules may be utilized to determine the gender of an inanimate substantive. Declension is a good indication of gender, especially for 1st and 2nd declension substantives. 1st declension substantives (substantives with an -a suffix) are usually feminine and second declension nouns (substantives with an -us suffix) are usually masculine or neuter. There are a few exceptions, and they will have to be learned. 3rd declension nouns can be either masculine, feminine or neuter (thus the gender will often have to be memorized). 4th declension nouns are usually masculine, sometimes neuter while 5th declension nouns are usually feminine.

Nouns undeclined, words which are not substantives but used as such, sentences used as substantives and the products of trees are generally neuter.

1st/2nd declension adjectives alternate the set of endings depending on the gender of the noun it describes (see the next section below). If the adjective describes a feminine noun, the adjective must use 1st declension endings, if the adjective describes a masculine noun, the adjective must use 2nd declension masculine endings, if the adjective describes a neuter noun, the adjective must use 2nd declension neuter endings.

3rd declension adjectives use the same set of endings for masculine and feminine nouns. However, a slightly different set of endings are used when describing neuter nouns.

==Adjectives==
As stated above, adjectives must match the gender, number, and case of the noun (be the noun a substantive, or a pronoun) they modify.  Similar to the &quot;Sam ate the orange&quot; example above, if the adjective uses the wrong declension it could change the meaning of the sentence.  For example, &quot;The girl loves big trees,&quot; versus &quot;the big girl loves trees&quot; have different meanings.  There are many occasions where logic cannot be used to determine the gender of inanimate objects, as genders are generally arbitrary when the noun has no literal gender. Furthermore, the declension of the noun, often determined by the spelling, can in turn be used to determine the gender, especially for the 1st and 2nd. However, this is never the case for the third declension, as the declension itself is not primarily assigned to any gender and the spelling of the nominative (&quot;default&quot;) stem is random, leaving you with no hints.

A noun and its adjective must also be in the same case. Otherwise, it is impossible to tell which nouns pair up to their respective adjectives in a sentence, as the words in a Latin sentence can appear in any order. See the examples below.

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
|+align=&quot;bottom&quot;|Notice how &quot;magna&quot; changes to &quot;magnae&quot; to agree with the pluralized &quot;puellae&quot;.
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puella (nominative sing., fem.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Girl
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puella magna
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big girl
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puellae (nominative '''pl.''', fem.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Girls
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|puellae magnae
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big girls
|}

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
|+align=&quot;bottom&quot;|Notice how &quot;magna&quot; becomes &quot;magnus&quot; to agree with the masculine word &quot;servus&quot;. Also notice that &quot;magnus&quot; changes to &quot;magnum&quot; to agree with the noun it's describing in case, though do not concern yourself with the difference between cases for the time being.
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servus (nominative sing, mas.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Slave
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servus magnus
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big slave
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servum ('''accusative''' sing, mas.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Slave
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|servum magnum
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big slave
|}

{| align=&quot;center&quot; border=&quot;1&quot; width=&quot;50%&quot;
|+align=&quot;bottom&quot;|Notice that &quot;magna&quot; is feminine because &quot;arbor&quot; is feminine, despite that it does not end in &quot;a&quot; like &quot;puella&quot;. The word &quot;arbor&quot; is one of the situations where you will simply have to memorize the gender.
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|arbor (nominative sing, fem.)
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|Tree
|-
|align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot;|arbor magna
|align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot;|The big tree
|}

==Recapitulation==
*Declensions are used to categorize nouns in groups. There are 5 declensions total.
*Each of the five declensions has a distinct set of endings which are appended to nouns of that declension.
*The endings indicate the case and number when appended to the stem of a noun.
*A substantive may use only the endings of the declension of which it is a part.
*Each substantive has a predefined gender which almost never changes and is separate from the suffix.
*Adjectives are a part of the 1st/2nd declension and 3rd declension.
*Adjectives use the gender of the noun that they modify.

'''Therefore:'''
*An adjective of the 1st/2nd declension uses 1st declension endings when describing a feminine noun, a 2nd declension masculine ending when describing a masculine noun, and 2nd declension neuter when describing a neuter noun.
*An adjective of the 3rd declension uses the same set of endings when describing masculine and feminine nouns and another set of endings when describing neuter nouns. (Actually, there are 3-termination, 2-termination, and 1-termination 3rd declension adjectives. If the adjective is 3-termination, e.g., acer (f. sing.), acris (m. sing.), acer (n. sing.), acres (f. pl.), acres (m. pl.), or acria (n. pl.), then use the appropriate ending; if the adjective is 2-termination, then one termination will be masculine/feminine and the other neuter; if the adjective is 1-termination, the common form is used.)

Before you proceed to the next lesson, complete the exercises below so you will be able to apply this knowledge to Latin.

==Exercises==
{{Latin/Exercise|Questions|
#What are the three genders?
#What is the number (singular/plural) of the following English words:
##cow
##dogs
##genders
##adjective
##children
##slice
##mice
##geese
#Describe the relationship between an adjective and the noun which it modifies.
#How many declensions are there?
#Determine the declension of each Latin word:
#*puella (''girl'')
#*ianua (''door'')
#*amīcus (''friend'')
#*ludus (''game'')
#*casa (''house'')
#*rēx (''king'')
#What gender are 1st declension substantives mostly?
#What genders are 2nd declension substantives mostly?
#What grammatical features of a word that can be determined by looking at its ending?
|
#Masculine, Feminine, and Neuter
#What is the number (singular/plural) of the following English words:
##S
##P
##P
##S
##P
##S
##P
##P
#The adjective takes on the number, case and gender (but not always the declension) of the noun it describes
#Five
#Determine the declension of each Latin word:
##1st
##1st
##2nd
##2nd
##1st
##3rd
#Feminine
#Masculine and Neuter
#It varies slightly from word-to-word; Declension/Case, Number, and sometimes Gender.
}}

{{BookCat}}&lt;noinclude&gt;
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Translation = {{SUBST::Latin/Latin/Lesson 1-Nominative}}&lt;/noinclude&gt;
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Exercises = {{Latin}}

== Grammar: The Accusative ==
{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''vendit'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she sells'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''videt'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she sees'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''amat'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she loves'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''cist-a -ae''' (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''box'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ferox, ferocis''' (m/f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''wild'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''ager''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''field'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''bell-um''' (n.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''war'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''serv-us''' (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''slave'''
|}

As you learned in the last lesson, the verb 'esse' (to be) usually takes the nominative case, because then the word after it is a complement.  Most other verbs take the 'accusative' case. 

In a sentence, the accusative is the &quot;what&quot; - in English grammar, this is known as the direct object.

&lt;b&gt;For example:&lt;/b&gt;
The girl sells the box.

What did the girl sell? The box. Thus, box is the direct object, and when we translate it into Latin:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | '''Example'''
|-
| ''English:'' || The girl|| sells|| the box.
|-
| ''Latin:'' || Puella|| vendit|| cistam.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| ACCUSATIVE
|}

Cistam, then, is in the accusative, because it is the direct object.

Again, when an adjective describes a noun in the accusative case, the adjective must agree in number, case, and gender.

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;5&quot; | '''Example'''
|-
| ''English:'' || The girl|| sells|| the big || box.
|-
| ''Latin:'' || Puella|| vendit|| magnam || cistam.
|-
| ''Explanation:'' || NOMINATIVE || VERB || ADJECTIVE ACCUSATIVE|| NOUN ACCUSATIVE
|}

Because Latin uses cases to mark the subject and the object of a sentence, word order does not matter. Consider:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| puer puellam videt || The boy sees the girl
|-
| puerum puella videt || The girl sees the boy
|-
| puellam puer videt || The boy sees the girl
|-
| puella puerum videt || The girl sees the boy
|}

=== Examples of Adjectives Agreeing with the Nominative and Accusative Case ===

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''good'' boy loves the ''wild'' dog.
|-
| ''Latin:'' || puer || '''bonus''' || amat || canem (acc) || '''ferocem''' (acc).
|-
| ''English:'' || [The] boy || '''good''' || [he] loves || [the] dog || '''wild'''. 
|}

''Bonus'', a first and second declension adjective, is masculine, nominative, and singular to agree with ''puer'', the word it is describing.

''Ferocem'', a third declension adjective, is masculine, accusative, and singular to agree with ''canem''. ''Canem'' is accusative because it is the object of ''amat''.

Here is an example of plural adjectives:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''good'' boys love the ''wild'' dogs.
|-
| ''Latin:'' || Pueri (plur) || '''boni''' (plur)|| amant (plur) || canes (plur, acc) || '''feroces''' (plur, acc).
|-
| ''English:'' || [The] boys || '''good''' || [they] love || [the] dogs || '''wild'''. 
|}

The words  ''bonus'' and ''ferocem'' become ''boni'' and ''feroces'' to agree with the plurals ''pueri'' and ''canes''.

However, if a girl ([[wiktionary:en:puella#Latin|puella]]) happened to love that boy:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''good'' girl loves the ''good'' boy.
|-
| ''Latin:'' || Puella || '''bona'''|| amat || puerum (acc) || '''bonum''' (acc).
|-
| ''English:'' || [The] girl|| '''good''' || [she] loves || [the] boy|| '''good'''. 
|}

''Bonus'' must become ''bona'' in order to modify ''puella'', which is feminine.

Finally, if the girl isn't good, but rather wild:

{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;6&quot; | '''Explanation'''- The ''wild'' girl loves the ''good'' boy.
|-
| ''Latin:'' || Puella || '''ferox'''|| amat || puerum (acc) || '''bonum''' (acc).
|-
| ''English:'' || [The] girl|| '''wild''' || [she] loves || [the] boy|| '''good'''. 
|}

Even though ''puella'' is first declension, ''ferox'' remains third declension. In the same way, a good lion would be ''bonus leo''.

=== Exercise 1 ===
{{Latin/Exercise|Give the accusative singular.|
# lud-us
# magn-us
# triclīni-um
# bell-um
# puell-a
# serv-us
# ager
|
# lud'''um'''
# magn'''um'''
# triclīni'''um'''
# bell'''um'''
# puell'''am'''
# serv'''um'''
# agr'''um'''
}}

{{Latin/Exercise|Give the accusative plural.|
# lud-us
# magn-us
# triclīni-um
# bell-um
# puell-a
# serv-us
# ager
|
# lud'''os'''
# magn'''os'''
# triclīni'''a'''
# bell'''a'''
# puell'''as'''
# serv'''os'''
# agr'''os'''
}}

{{Latin/Exercise|Give the nominative singular.|
# bon-ī
# bell-a
# triclīni-a
# puell-am
# agr-ōs
# serv-ōs
# puell-ae
|
# bon'''us'''
# bell'''um'''
# triclīni'''um'''
# puell'''a'''
# ager
# serv'''us'''
# puell'''a'''
}}

=== Exercise 2 ===

Determine whether the adjective agrees with the substantive in all three categories: case, gender, number.

{| border=&quot;1&quot;
|-
! Questions:
! Does it Agree?
|-
| 1. magn-us agr-ōs || True/False
|-
| 2. magn-a puella || True/False
|-
| 3. poet-a* bon-us || True/False
|-
| 4. magn-um serv-um || True/False
|-
| 5. poet-ae* magn-ae || True/False
|-
| 6. bell-a magn-a || True/False
|}

:''* Nota bene: ''Poeta'' (meaning poet) is a masculine noun, even though it ends in '''-a'''.''

{{Latin/Exercise|Answer|
See table above. Determine whether the adjective (magnus, bonus..) agrees with the substantives (ager, puella, poeta) in both case (nominative, accusative...), gender (masculine, female and neuter) and number (singular and plural).
|
# '''False.''' ''Magnus'' doesn't agree with ''agrōs''; in number and case.
#:''Magnus'': Masculine, singular, nominative.
#:''Agrōs'': Masculine, plural, accusative.
# '''True.''' ''Magna'' agrees with ''puella''.
#:''Magna'': Feminine, singular, nominative.
#:''Puella'': Feminine, singular, nominative.
# '''True.''' ''Bonus'' agrees with ''poeta''.
#:''Bonus'': Masculine, singular, nominative.
#:''Poeta'': Masculine, singular, nominative.
# '''True.''' ''Magnum'' agrees with ''servum''.
#:''Magnum'': Neuter, singular, nominative.
#:''Servum'': Neuter, singular, nominative.
# '''False.''' ''Magnae'' doesn't agree with ''poetae''; in gender.
#:''Magnae'': Feminine, plural, nominative.
#:''Poetae'': Masculine, plural, nominative.
# '''True.''' ''Bella'' agrees with ''magna''.
#:''Bella'': Neuter, plural, nominative.
#:''Magna'': Neuter, plural, nominative.
}}

== Grammar: The Use of the Accusative ==

{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''curri-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she runs'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''porta-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she carries'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''specta-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she watches'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''da-t'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she gives'''
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | &lt;B&gt;fuisse&lt;/B&gt;&lt;BR&gt;fuī&lt;BR&gt;fuistī&lt;BR&gt;(puer) fuit&lt;BR&gt;fuimus&lt;BR&gt;fuistis&lt;BR&gt;fuērunt
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | &lt;B&gt;to have been&lt;/B&gt;&lt;BR&gt;I have been&lt;BR&gt;you have been&lt;BR&gt;(the boy) has been&lt;BR&gt;we have been&lt;BR&gt;you (pl.) have been&lt;BR&gt;they have been
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| colspan=&quot;2&quot; | Nota Bene: 'fuisse' and all the forms of it, the past tense of 'esse', behaves exactly like the present tense.
|}


The newly introduced verbs, ama-t, curri-t, and porta-t take the accusative as the 'object'.  Unless specified, any verb you look up in the dictionary will take the accusative, not the nominative. This means that they are '''transitive verbs''', verbs that happen to someone or something, e.g.:

 I heal '''you'''. (''acc.'')
 You make '''my day'''. (''acc.'')
 She hit '''your arm'''. (''acc.'')

In the examples above, the '''bold''' words are the subject of the sentence clause. Because something happens &quot;to&quot; them, they can't be in nominative.

=== Grammatical Explanation Using English Sentences ===


{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | '''Grammatical Explanation 1'''
|-
| ''English:'' || The boy || hits || the car.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| ACCUSATIVE
|}


{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;4&quot; | '''Grammatical Explanation 2'''
|-
| ''English:'' || The girl || hugs || the boy.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| ACCUSATIVE
|}


{| cellpadding=&quot;2&quot; border=&quot;1&quot;
|-
| colspan=&quot;5&quot; | '''Grammatical Explanation 3'''
|-
| ''English:'' || He who || flees, || deserves || the guillotine.
|-
| ''Explanation:'' || NOMINATIVE || VERB
| VERB || ACCUSATIVE
|}

=== Exercise 3: Find the Nominative and Accusative ===
{{Latin/Exercise|Find the Nominative and Accusative (if present) in each sentence.|
# The boy is good.
# The girl kisses the boy.
# The boy gives the book.
# The child watches the TV.
# Whom it concerns.
# To the kitchen I run
# I eat the pizza.
|
# The boy {nom} is good {nom}.
#: ''Puer {nom} est bonus {nom}''.
# The girl {nom} kisses the boy {acc}.
#: ''Puella {nom} puerum {acc} basiat.''
# The boy {nom} gives the book {acc}.
#: ''Puer {nom} librum {acc} dat.''
# The child {nom} watches the TV {acc}.
#: ''Infans {nom} televisorium {acc} videt.''
# Whom {acc} it {nom} concerns.
#: ''???''
# To the kitchen {acc} I {nom} run.
#: ''Ad culinam {acc} [ego {nom}] curro.''
# I {nom} eat the pizza {acc}.
#:''Pittam {acc} [ego {nom}] edo.''
}}

{{Latin/Exercise|In the following sentences, identify the accusative and nominative. Then translate.|
# Puer est bonus.
# Puella puerum amat.
# Puer cistam portat.
# Fīlius virum spectat.
# Ad culīnam currit.
|
# Puer {nom} est bonus {nom}.
#: The boy {nom} is good {nom}.
# Puella {nom} puerum {acc} amat.
#: The girl {nom} loves the boy {acc}.
# Puer {nom} cistam {acc} portat.
#: The boy {nom} carries the box {acc}.
# Fīlius {nom} virum {acc} spectat.
#: The son {nom} watches the man (father?) {acc}.
# Ad culīnam {acc} currit.
#: To the kitchen {acc} [he {nom}] runs. (He runs to the kitchen)
}}

{{BookCat}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Exercises = {{Latin}}

==Noun Tables==
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot;
|-
| rowspan=&quot;3&quot; |
| colspan=&quot;2&quot; class=&quot;header&quot; | '''1&lt;sup&gt;st&lt;/sup&gt; declension'''
| colspan=&quot;4&quot; class=&quot;header&quot; | '''2&lt;sup&gt;nd&lt;/sup&gt; declension'''
|-
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-a'''
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-us/er'''
| colspan=&quot;2&quot; class=&quot;header&quot; | '''-um (neuter)'''
|-
| ''SINGULAR'' || ''PLURAL''
| ''SINGULAR'' || ''PLURAL''
| ''SINGULAR'' || ''PLURAL''
|-
| nominative || puell'''-a''' || puell'''-ae'''
| serv'''-us'''/pu'''er''' || serv'''-ī'''
| bell'''-um''' || bell'''-a'''
|-
| genitive || puell'''-ae''' || puell'''-ārum'''
| serv'''-ī''' || serv'''-ōrum'''
| bell'''-ī''' || bell'''-ōrum'''
|-
| accusative || puell'''-am''' || puell'''-ās'''
| serv'''-um''' || serv'''-ōs'''
| bell'''-um''' || bell'''-a'''
|-
| dative || puell'''-ae''' || puell'''-īs'''
| serv'''-ō''' || serv'''-īs'''
| bell'''-ō''' || bell'''-īs'''
|}

==The Genitive==
The genitive case is a descriptive case. The genitive case describes the following features of the described noun:
*Possession e.g. The dog of Marcus ''or'' Marcus's dog (canis Marcī)
*Origin e.g. Marcus of Rome (Marcus Romae)
*Relation e.g. A thing of beauty (rēs pulchrae)
*Quantity e.g. A gallon of water
*Quality e.g. Day of wrath (diēs irae)

Quite simply, a word in the genitive case is translated with the preposition &quot;of&quot;. Note that Latin does not have a separate form for the possessive genitive (''Marcus's dog'' vs ''The dog of Marcus''), as English does. A word in the genitive case showing possession can be translated either way. 

===Latin Examples===
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;4&quot; | Latin || colspan=&quot;4&quot; | English
|- style=&quot;background:#ccc;&quot;
| canis || puerī malī || est || bonus || The dog
| of the bad boy || is || good
|- style=&quot;font-style:italic;&quot;
| nominative noun || genitive || verb || nominative adj. || nominative noun
| genitive || verb || nominative adj.
|}

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;4&quot; | Latin || colspan=&quot;4&quot; | English
|- style=&quot;background:#ccc;&quot;
| canis || puerōrum malōrum || est || bonus || The dog
| of the bad boys || is || good
|- style=&quot;font-style:italic;&quot;
| nominative noun || genitive (plural)
| verb || nominative adj. || nominative noun
| genitive || verb || nominative adj.
|}

===Exercise 1===
Indicate the word in the genitive:
#Flavia's dog is good.
#The man has his mother's good taste.

==Agreeing with the Adjectives==
When adjectives are used to describe nouns in the genitive case, they must have the same case, number, and gender as the noun to which it refers.

===Example===
;A road of beautiful Rome → Via Romae pulchrae.
:If we look at the bare necessities, namely nouns, in this phrase, then we get &quot;road of Rome,&quot; which is translated as &quot;via Romae.&quot; Now, let's look at the adjective: beautiful (''pulchra''). Its antecedent (the noun it modifies) is Rome. Since Rome is in the genitive case, ''pulchra'' also needs to be in the genitive case. Both are already feminine, so we don't need to change that. 
:To make ''pulchra'' in the genitive singular case, we replace the final &quot;-a&quot; with a &quot;-ae,&quot; and we get ''pulchrae''.

It's that simple.

==The Dative==
The dative case, also known as the indirect object case indicates:
*For whom, e.g., I made this car '''for him'''.
*To whom, e.g., I gave this car '''to him'''.

Latin does not distinguish between &quot;to&quot; or &quot;for&quot;, though this is sometimes the case in English:
*I made this car '''for him'''. ↔ I made '''him''' this car.
*I gave this car '''to him'''. ↔ I gave '''him''' this car.

===Example 1===
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;background:#ccc;&quot;
| He || made || the desk || for || his friend
|- style=&quot;font-style:italic;&quot;
| nominative noun || verb || accusative || dative prep. || dative
|}

'For' is the preposition indicating a dative. 'For' can be used in some other constructs. To determine whether it is dative, analyse the meaning of the sentence (see Example 3). Practice will enable you to quickly spot the case of a noun in the sentence without much effort.

===Example 2===
''He gave the book '''to John'''''; ''He gave '''to John''' the book''; or ''He gave '''John''' the book''.

This demonstrates how English can use prepositions to change word order and even 'presume' a certain preposition exists that has been left out, giving a dative construct. Also, the dative is used only for a noun

===Latin Examples===
{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;3&quot; | Latin || colspan=&quot;3&quot; | English
|- style=&quot;background:#ccc;&quot;
| Donō || amīcō meō&lt;ref&gt;Note how the word &quot;meus&quot; become &quot;meo&quot; in order to agree with &quot;amico&quot;.&lt;/ref&gt; || donum.
| I gave || my friend || a gift.
|- style=&quot;font-style:italic;&quot;
| verb || dative noun/adj. pair || accusative
| verb || dative noun/adj. pair || accusative
|}

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
|- style=&quot;font-weight:bold;&quot;
| colspan=&quot;3&quot; | Latin || colspan=&quot;3&quot; | English
|- style=&quot;background:#ccc;&quot;
| Feret || mihi&lt;ref&gt;Note that the pronouns have a dative case as well, which can be reviewed in the chapter on pronouns.&lt;/ref&gt; || stylum.
| He brought || me || a pen.
|- style=&quot;font-style:italic;&quot;
| verb || dative pronoun || accusative
| verb || dative pronoun || accusative
|}

{{reflist}}

===Exercise 2: Translate into English===
{| class=&quot;wikitable&quot;
|-
| align=&quot;center&quot; colspan=&quot;1&quot; | &lt;font fae=&quot;Arial&quot; size=&quot;2&quot;&gt;Latin&lt;/font&gt;
! align=&quot;center&quot; colspan=&quot;1&quot; | &lt;font face=&quot;Arial&quot; size=&quot;2&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | dō, dāre
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to give
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | reddō, reddĕre
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to give back
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | liber, librī (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | book
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | amīcus, -ī (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | friend
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | scrībō, -ĕre
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to write
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | epistula, -ae (f.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | letter, message
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | Imperator, Imperatoris (m.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | Emperor
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | placeo, -ēre (+dat.)
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | to please, be pleasing to
|}

Note that ''placeo'' requires the dative case, as opposed to the accusative case. Verbs such as this are denoted with ''(+dat.)'' or similar abbreviations. 

{{Latin/Exercise|Questions|
#Do librum amico.
#Amicus meum librum legit et mihi librum reddit.
#Scribo epistulas Imperatori.
#Meae epistulae Imperatori placent.
|
#I give the book to a friend
#The friend read my book and returned the book to me.
#I am writing letters to the Emperor.
#My letters are pleasing to the Emperor.
}}

==Roman Numerals==
The Romans did not use the Hindu-Arabic numerals we use today. They used their own symbols and own numeric system. We still use Roman Numerals today.

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
!Roman Numeral
!Latin Number
!English Number
!Hindu-Arabic Numeral
!Spanish Number
!French Number
!Italian Number
!Portuguese Number
|-style=&quot;background:#ccc;&quot;
|I
|ūnus -a -um
|one
|1
|uno
|un
|uno
|um
|-
|II
|duo -ae
|two
|2
|dos
|deux
|due
|dois
|-style=&quot;background:#ccc;&quot;
|III
|trēs, tria
|three
|3
|tres
|trois
|tre
|três
|-
|IV
|quattuor
|four
|4
|cuatro
|quatre
|quattro
|quatro
|-style=&quot;background:#ccc;&quot;
|V
|quinque
|five
|5
|cinco
|cinq
|cinque
|cinco
|-
|VI
|sēx
|six
|6
|seis
|six
|sei
|seis
|-style=&quot;background:#ccc;&quot;
|VII
|septem
|seven
|7
|siete
|sept
|sette
|sete
|-
|VIII
|octō
|eight
|8
|ocho
|huit
|otto
|oito
|-style=&quot;background:#ccc;&quot;
|IX
|novem
|nine
|9
|nueve
|neuf
|nove
|nove
|-
|X
|decem
|ten
|10
|diez
|dix
|dieci
|dez
|-style=&quot;background:#ccc;&quot;
|XV
|quindecim
|fifteen
|15
|quince
|quinze
|quindici
|quinze
|-
|XX
|viginti
|twenty
|20
|veinte
|vingt
|venti
|vinte
|-style=&quot;background:#ccc;&quot;
|XXV
|viginti quinque
|twenty-five
|25
|veinticinco
|vingt-cinq
|venticinque
|vinte e cinco
|-
|L
|quinquaginta
|fifty
|50
|cincuenta
|cinquante
|cinquanta
|cinquenta
|-style=&quot;background:#ccc;&quot;
|C
|centum
|one hundred
|100
|cien
|cent
|cento
|cem
|-
|D
|quingentī, -ae, -a
|five hundred
|500
|quinientos
|cinq cents
|cinquecento
|quinhentos
|-style=&quot;background:#ccc;&quot;
|M
|mille
|one thousand
|1000
|mil
|mille
|mille
|mil
|}

Note the declensions of the first three numbers. ''Nullus'' is the Latin equivalent of zero, for example: ''nullam puellam in agro video'' means ''I see no girl in the field''.

{| border=&quot;1&quot; cellpadding=&quot;5&quot; cellspacing=&quot;1&quot; style=&quot;text-align: center;&quot;
!Nominative
!Accusative
!Genitive
!Dative
!Ablative
|-
|nullus
|nullum
|nullius
|nulli
|nullo
|-
|nulla
|nullam
|nullius
|nulli
|nulla
|-
|nullum
|nullum
|nullius
|nulli
|nullo
|-style=&quot;background:#ccc;&quot;
|unus
|unum
|unius
|uni
|uno
|-style=&quot;background:#ccc;&quot;
|una
|unam
|unius
|uni
|una
|-style=&quot;background:#ccc;&quot;
|unum
|unum
|unius
|uni
|uno
|-
|duo
|duos
|duorum
|duobus
|duobus
|-
|duae
|duas
|duarum
|duabus
|duabus
|-
|duo
|duo
|duorum
|duobus
|duobus
|-style=&quot;background:#ccc;&quot;
|tres
|tres
|trium
|tribus
|tribus
|-style=&quot;background:#ccc;&quot;
|tres
|tres
|trium
|tribus
|tribus
|-style=&quot;background:#ccc;&quot;
|tria
|tria
|trium
|tribus
|tribus
|}

===Exercise 3===
{{Latin/Exercise|Write the word form of the numbers in the following sentences in the correct case.|
# '''III''' homines me salutant
# magistro '''II''' libros reddo
# '''D''' senatoribus multa (''many things'') dico
# '''III''' horas diligenter laboro
|
# '''tres''' homines me salutant
# magistro '''duos''' libros reddo
# '''quingenis''' senatoribus multa (''many things'') dico
# '''tres''' horas diligenter laboro
}}

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Translation = {{Latin}}

== The Ablative Case ==

The ablative case in Latin has 9 main uses:

# With certain prepositions, eg. in, cum, sub, ab
# Instrumental ablative, expressing the equivalent of English &quot;by&quot;, &quot;with&quot; or &quot;using&quot;
# Ablative of manner, expressing &lt;b&gt;how&lt;/b&gt; an action is done, only when an adjective is used alongside it. &lt;u&gt;Example&lt;/u&gt;: &lt;i&gt;Magnā cūrā id scrīpsit: he wrote it with great care.&lt;/i&gt;
# Ablative of time &lt;b&gt;when&lt;/b&gt; or &lt;b&gt;within which&lt;/b&gt;. &lt;u&gt;note:&lt;/u&gt; not to be mistaken with the &lt;i&gt;accusative&lt;/i&gt; of time which indicates &lt;b&gt;for how long a period of time&lt;/b&gt; an action occurs.
# Locative Ablative, using the ablative by itself to mean &quot;in&quot;, locating an action in space or time
# Ablative of separation or origin, expressing the equivalent of English &quot;from&quot;
# Ablative of comparison; when the first element to be compared was in the nominative or accusative case, &lt;i&gt;quam&lt;/i&gt; was often omitted and the second element followed in the ablative case.
# Ablative with special deponents, which is technically the &lt;i&gt;instrumental ablative&lt;/i&gt; but is used idiomatically with a few deponent verbs, such as ūtor, fruor, fungor, potior, vēscor
# Ablative Absolute, which is a type of participial phrase generally consisting of a noun (or pronoun) and a modifying participle in the ablative case; usually set off by commas, the phrase describes some general circumstances under which the action of the sentence occurs.

The different uses of the ablative will be dealt progressively.  For a summary of all forms of the ablative, please consult the Appendix.

== Grammar Part 5: The Power of the Ablative Case ==

Ablative generally indicates position in time and/or space (i.e. when and where). It can also indicate the idea of ways of getting to a location, abstractly or concretely.

===Ablative of Means===
====Exercise====
How would you translate &quot;I made the toga by hand&quot;?

*'''''Hint:''' You would not (and should not) use the genitive. The case you are studying right now can be used &lt;u&gt;by itself&lt;/u&gt; for this goal.''
*'''''Hint:''' Remember that you won't need to use the pronoun &quot;I,&quot; since Latin is based not on word order, but on the endings!''
*'''''Glossary:'''''
*: &quot;to make&quot; - ''Facio'' (&quot;I make&quot;), ''facere'' (&quot;to make&quot;), ''feci'' (&quot;I made&quot;), ''factus'' (&quot;made&quot;)  
*: &quot;toga&quot; - ''Toga'', ''togae'' feminine
*: &quot;hand&quot; - ''Manus'', ''manus'' feminine (This is fourth declension)

=====Answer=====
Answer: ''Togam manu feci''. 

In this case, the word &quot;manu&quot; is in the ablative (see fourth declension list) and thus means &quot;by hand.&quot; 

====Exercise====
I have my wisdom by means of my teacher.

*''''Glossary''':
*: &quot;wisdom&quot; - ''Sapientia, sapientiae'' feminine 
*: &quot;to have&quot; - ''Habeo'' (&quot;I have&quot;), ''habere'' (&quot;to have&quot;), ''habui'' (&quot;I had&quot;), ''habitus'' (&quot;had&quot;)
*: &quot;teacher&quot; - ''Magister, magistri'' masculine (This is a second declension word, despite the 'r' at the end, like puer.)

=====Answer=====
Answer: ''Habeo sapientiam magistro.''

===Ablative of Time ===
How would you say: ''I will arrive at the 5th hour.''

'at the 5th hour' is indicating position of time. Thus, it can be put into the ablative case, giving:

&lt;i&gt;adveniam quinta hora&lt;/i&gt;

In general, therefore, in order to say &quot;In the morning&quot;, &quot;At nine O'clock,&quot; or &quot;In the tenth year,&quot; use ablative. It is generally used to refer to a specific time in which something has, does, or will occur.

Example: I will leave in the night.

Hint: Future tense can be looked up in the appendices of this Wikibook!

Hint: to leave- discedo, discedere; night- nox, noctis(This is a third declension word!)

=====Answer=====

Answer: Discedam nocte.

Note the simplicity in which Latin translates the six words into simply two. The ending based language completely negates the need for the words &quot;I,&quot; &quot;will,&quot; &quot;in,&quot; and &quot;the.&quot;

===Ablative of Place===
''Naves navigabant mari.'' The ships were sailing on the sea. 

The ablative is also useful for showing the location of things, in general where you would use the words on, in, or at. There is an exception for the slightly more archaic locative, which is used with the words ''domi'' (from ''domus, domus, f.'', home), ''ruri'' (from ''rus, ruris, n.'', country [as opposed to city]), and ''Romae'' (from ''Roma, Romae, f.'', Rome), as well as with the names of towns, cities and small islands. 

Latin has its own way of handling prepositions depending on the nouns and their cases in the sentence, including the versatile ''in'', which can take many different meanings depending upon the case of the object.

==Ablative with prepositions==

Here are a few prepositions that can take the ablative (for a fuller list, see the lesson on adverbs and prepositions in the previous chapter):

{| border=&quot;1&quot;
|-
| &lt;B&gt;Latin&lt;/B&gt; || &lt;B&gt;English&lt;/B&gt;
|-
| ''in''&lt;ref&gt;Means &quot;into&quot; or &quot;against&quot; when used with the accusative&lt;/ref&gt; || in, on
|-
|''a/ab'' || from
|-
|''de'' || down from, concerning
|-
|''e/ex'' || out of, out from
|-
|''cum'' || with
|-
|''sine'' || without
|-
|''pro'' || on behalf of, in front of
|-
|''super''&lt;ref&gt;Has static meaning when used with the ablative but connotes motion when used with the accusative&lt;/ref&gt; || upon, above, beyond
|-
|''sub''&lt;ref&gt;Usually means &quot;up to&quot; or &quot;up to the foot of&quot; when used with the accusative&lt;/ref&gt; || under, beneath
|}


&lt;references/&gt; 

As a general rule, when motion is implied, use the accusative instead.

&lt;!--
A legal metaphor: To accuse a noun is to get into a long process, and stay in the same place. (with the direct object.) If you use the ablative,you are pouncing on them and prepositioning them in a position of guilt.
--&gt;

===Example 3===

''Servus ex agris venit.''
:&quot;The slave came from the fields.&quot;

Note: ''Ager'' (''ager, agri, m.'', field) must take an ablative suffix to match the preceding preposition, in this case ''e''/''ex''. 

Incidentally, both ''ager'' and ''campus'' mean &quot;field,&quot; but ''ager'', like its English derivative &quot;agriculture&quot;, connotes a farming field, while ''campus'' (think &quot;camping&quot; or &quot;college campus&quot;) means &quot;open field.&quot; The ''Campus Martius'' was a large field in Rome used for military training.
&lt;!-- Updated Oct. 6 2004 after accuracy was confirmed. 

--Um, the original example, &quot;servus est ab agris,&quot; is not even Latin. Fixed. 7/3/2008--&gt;

==The Vocative Case==

While you will rarely need to ask Lupus where the bathroom is in Latin, you may find yourself reading either quotes or letters in which a person is being directly addressed. The case it will be in is the vocative.

For example, &quot;Hail, Augustus&quot; will appear in Latin as Ave Auguste, and not Ave Augustus.


Each declension has its own form of the vocative singular and plural. They are listed in the table below.

Furthermore, in all but the second declension, the nominative and vocative are exactly the same!
{|border=&quot;1&quot;
|-
| Number || First ||    Second*    || Third || Fourth || Fifth
|-
| Singular || a || us-&gt;e, ius-&gt;i, r-&gt;r|| -- || us || es
|-
| Plural** || ae || i || es || us || es 
|-
|}
* In the second declension singular, there are three separate possibilities for the vocative, depending on its nominative ending. Hence, if it is a us word, it will become an e and so forth.

====Examples for different declensions in the second declension==== 
*'''-us:'''
*: Lupus -&gt;Lupe (given name, wolf)
*'''-ius:''' 
*:Filius -&gt; Fili (son)
*:Horatius-&gt; Horati (given name)
*'''-r:''' 
*:Puer-&gt; Puer (boy)

:''In all cases, the plural vocative is exactly the same as the plural nominative. This extends to those words which are neuter, which always have an 'a' for the nominative and vocative.''
  
====Examples====
#Hello, Sextus.(Hello= ''Salve'')*
#: Salve, Sext'''e'''. 
#Speak, girl! (Speak= ''dico, dicere, dixi'')*
#: Dic, puell'''a'''.
#Knee, run!*(Knee= ''genu''; run= ''curro, currere, cucurri'')*
#: Gen'''u''', curre!
#Oh, heart, why do you lead me? (Oh-o; heart- cor, cordis-f.; lead-duco, ducere; 
#: O, cor! Cur ducis tu me?

*Note that the first three also require use of the imperative. The imperative is used when ordering or telling someone what to do, e.g.- &quot;Stop,&quot; or &quot;Get away from me.&quot;

The basic form of the imperative is created by dropping the &quot;re&quot; off of the infinitive form of the verb, as in: Amare, which becomes Ama; at least in the singular active form, which is all that these exercises require. More can be found about this subject in the chapter on verbs.

&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Revision = {{Latin}}

==Personal Pronouns in English ==
{| class=&quot;wikitable&quot; width=&quot;50%&quot;
|-
! colspan=&quot;2&quot; | &lt;b&gt;Lesson Vocabulary&lt;/b&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
! bgcolor=&quot;#CCFFFF&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;Latin&lt;/font&gt;
! bgcolor=&quot;#CCFFCC&quot; | &lt;font face=&quot;Arial&quot; size=&quot;4&quot;&gt;English&lt;/font&gt;
|-
| align=&quot;center&quot; colspan=&quot;2&quot; |
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''cibus'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''food'''
|-
| align=&quot;center&quot; bgcolor=&quot;#CCFFFF&quot; | '''laborat'''
| align=&quot;center&quot; bgcolor=&quot;#CCFFCC&quot; | '''he/she works'''
|}

Pronouns are nouns which are used instead of another noun ('pro', in place of 'noun', noun.)

There are three categories of pronouns which are divided up into persons: 1st, 2nd, and 3rd. In addition, pronouns can be singular or plural. They are declined like all other nouns.

{| class=&quot;wikitable&quot;
!Person
!Singular
!Plural
|-
|1st
|I
|we
|-
|2nd
|you, thou
|you (all)
|-
|3rd
|he/she/it
|they
|}

==Personal Pronouns in Latin==
===1st/2nd Person Pronouns===
====Table of Personal Pronouns in all of their cases: I, thou, we, ye====
Note: ''{{wt|thou}}'' is the archaic singular of the archaic plural ''{{wt|ye}}'' - useful for distinguishing ''you'' (singular) from ''you'' (plural)

{| class=&quot;wikitable&quot;
|-
|
! colspan=&quot;4&quot; | Singular
! colspan=&quot;4&quot; | Plural
|-
! Case
| colspan=&quot;2&quot; | 1st Person
| colspan=&quot;2&quot; | 2nd Person
| colspan=&quot;2&quot; | 1st Person || colspan=&quot;2&quot; | 2nd Person 
|-
! Nominative
| ego || I || tū || you
| nōs || we || vōs || you
|-
! Genitive 
| meī || of me || tuī || of you
| nostrī(nostrum) || of us || vestrī (vestrum)
| of you
|-
! Dative 
| mihi || to me || tibi || to/for you
| nōbīs || to us || vōbīs || to/for you
|-
! Accusative 
| mē || me || tē || you
| nōs || us || vōs || you
|-
! Ablative 
| mē || from me || tē || from you
| nōbīs || from us || vōbīs || from you
|}  

Nota Bene: the genitive is used in certain phrases like:
#memor nostrī, mindful of us
#paucī vestrum, a few of you.

For the possessive uses (my sister, your bicycle) sometimes uses the possessive adjectives:

{| class=&quot;wikitable&quot; 
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|meus, mea, meum ||bgcolor=&quot;#CCFFCC&quot;| my
|-
|bgcolor=&quot;#CCFFFF&quot;|tuus, tua, tuum ||bgcolor=&quot;#CCFFCC&quot;| thy
|-
|bgcolor=&quot;#CCFFFF&quot;|suus, sua, suum ||bgcolor=&quot;#CCFFCC&quot;| his/hers, its, their
|-
|bgcolor=&quot;#CCFFFF&quot;|noster, nostra, nostrum ||bgcolor=&quot;#CCFFCC&quot;| our
|-
|bgcolor=&quot;#CCFFFF&quot;|vester, vestra, vestrum  ||bgcolor=&quot;#CCFFCC&quot;| your
|-
|bgcolor=&quot;#CCFFFF&quot;|Pater noster ||bgcolor=&quot;#CCFFCC&quot;| Our father
|}

===3rd Person Pronouns===
Technically, 3rd person pronouns do not exist in Latin as they do in English. However, they do have equivalents.

Adjectives modify nouns and take the gender of the noun which they modify. However, adjectives do not necessarily need a substantive present in the sentence to modify. The substantive can be presumed. In this way, '3rd person' pronouns are formed. 

====Example 1====
Take the masculine form of the adjective 'ille'. Literally it means 'That (masculine) thing.' However one could take it for simply meaning 'he', depending on the context. Similarly, the pronoun 'iste' means 'that (masc.) thing'. Iste and ille are declined in exactly the same way, but there are a slight difference of meaning between them: 'ille' is often used with proper names for marking dignity or worth and 'iste' conveys a contemptuous sense.

Examples:

- Annibal, ille inclytus filius Amilcaris (Hannibal, that renowned Hamilcar's son).

- Iste servus improbus ante te (this bad slave in front of you).


If no substantive is provided assume words like these: 'man', 'woman', 'thing', 'idea', 'concept', 'reason' etc. Let context be your guide.

===Common Adjectives Used as 3rd Person Pronouns In Latin===
====Declension of Ille (that)====

{| class=&quot;wikitable&quot;
|+ Declension of ''ille'' (that): Singular
|-
| rowspan=&quot;2&quot; | 
! colspan=&quot;3&quot; | Latin
! colspan=&quot;3&quot; | English
|-
! Masculine 
! Feminine
! Neuter
! Masculine
! Feminine
! Neuter
|-
! Nominative 
| ille  || illa || illud || he || she || it 
|-
! Genitive 
| illius  || illius || illius || his || her, hers || its 
|-
! Dative 
| illī  || illī || illī || to him || to her || to it 
|-
! Accusative 
| illum  || illam || illud || him || her || it 
|-
! Ablative 
| illō  || illā || illō || by, with, from him || her || it 
|-
|}

{| class=&quot;wikitable&quot;
|+ Declension of ''ille'' (that): Plural
|-
| rowspan=&quot;2&quot; | 
! colspan=&quot;3&quot; | Latin
! colspan=&quot;3&quot; rowspan=&quot;2&quot; | English
|-
! Masculine 
! Feminine
! Neuter
|-
! Nominative 
| illī || illae || illa || they, those
|-
! Genitive 
| illōrum || illārum || illōrum || their, theirs, of those
|-
! Dative 
| illīs || illīs || illīs || to them, to those
|-
! Accusative 
| illōs || illās || illa || them, those
|-
! '''Ablative'''
| illīs || illis || illīs || by, with, from them, those  
|-
|}

Ille is often used as a kind of pronoun. In situations with multiple phrases or sentences, however, it is syntactically different from is, ea, id (see below).

For example: &quot;Canis puero cibum dat. Is laborat in agro.&quot; means &quot;The dog gives food to the boy. The dog works in the field&quot;.

However: &quot;Canis puero cibum dat. Ille laborat in agro.&quot; means &quot;The dog gives food to the boy. The boy works in the field&quot;.

Thus, ille, unlike the other pronouns makes a previous object into the subject (and vice versa).

====Examples of the Usage of Ille:====
{| class=&quot;wikitable&quot;
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|Ille est dominus. ||bgcolor=&quot;#CCFFCC&quot;| He is the master. (ille as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Ille dominus est malus. ||bgcolor=&quot;#CCFFCC&quot;| That master is bad. (ille as adjective) 
|-
|bgcolor=&quot;#CCFFFF&quot;|Illam videt ||bgcolor=&quot;#CCFFCC&quot;| He sees her. (or 'she sees her' - illam as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Illam puellam videt ||bgcolor=&quot;#CCFFCC&quot;| He (or she) sees that girl (illam as adjective).
|}

====Declension of Is, ea, id: (personal pronouns w/ translations)====
{| class=&quot;wikitable&quot;
|+ Singular
!Case
!colspan=&quot;3&quot;|Latin
!colspan=&quot;3&quot;|English
|-
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || is || ea || id || he || she || it
|-
|Genitive ||colspan=&quot;3&quot;| ēius || his || her, hers || its
|-
|Dative ||colspan=&quot;3&quot;| eī || to him || to her || to it
|-
|Accusative || eum || eam || id || him || her || it
|-
|Ablative || eō || eā || eō || by/with him || by/with her || by/with it
|}

{| class=&quot;wikitable&quot;
|+ Plural
!Case
!colspan=&quot;3&quot;|Latin
!colspan=&quot;3&quot;|English
|-
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || ii || eae || ea ||colspan=&quot;3&quot;| they, those
|-
|Genitive || eōrum || eārum || eōrum ||colspan=&quot;3&quot;| their, theirs, of those
|-
|Dative ||colspan=&quot;3&quot;| eīs, iīs ||colspan=&quot;3&quot;| to them, to those
|-
|Accusative || eōs || eās || ea ||colspan=&quot;3&quot;| them, those
|-
|Ablative ||colspan=&quot;3&quot;| eīs, iīs ||colspan=&quot;3&quot;| by, with, from them, those
|}

Like ille, is can be used as a form of a pronoun.

====Examples of the Usage of Is====
{| class=&quot;wikitable&quot;
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|Is est dominus. ||bgcolor=&quot;#CCFFCC&quot;| He is the master. (&quot;is&quot; as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Is dominus est malus. ||bgcolor=&quot;#CCFFCC&quot;| The master is bad. (&quot;is&quot; as adjective)
|-
|bgcolor=&quot;#CCFFFF&quot;|Eam videt. ||bgcolor=&quot;#CCFFCC&quot;| He sees her. (or 'she sees her', &quot;eam&quot; as pronoun)
|-
|bgcolor=&quot;#CCFFFF&quot;|Eam puellam videt. ||bgcolor=&quot;#CCFFCC&quot;| He (or she) sees the girl. (&quot;eam&quot; as adjective)
|}

====Declension of the Relative pronoun qui, quae, quod: (meaning who, which)====
{| class=&quot;wikitable&quot;
|+Singular
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || quī || quae || quod ||colspan=&quot;2&quot;|who || which
|-
|Genitive ||colspan=&quot;3&quot;| cūius ||colspan=&quot;2&quot;| whose || of which
|-
|Dative ||colspan=&quot;3&quot;| cuī ||colspan=&quot;2&quot;| to whom || to which
|-
|Accusative || quem || quam || quod ||colspan=&quot;2&quot;|whom || which
|-
|Ablative || quō || quā || quō ||colspan=&quot;3&quot;| by, with, from whom, which
|}

{| class=&quot;wikitable&quot;
|+ Plural
!
!M
!F
!N
!M
!F
!N
|-
|Nominative || quī || quae || quae ||colspan=&quot;2&quot;|who || which
|-
|Genitive || quōrum || quārum || quōrum ||colspan=&quot;2&quot;| whose || of which
|-
|Dative || quibus || quibus || quibus || colspan=&quot;2&quot; | to which
|-
|Accusative || quōs || quās || quae||colspan = &quot;2&quot; | which
|-
|Ablative || quibus || quibus || quibus || colspan=&quot;2&quot;| by which, in which, etc
|}

====Uses of the Relative Pronoun====
The relative pronoun takes on the case depending on the function it serves in the relative clause.  For example, in the sentence &quot;He sees the man who has a slave,&quot; &quot;who&quot; is translated as nominative because it is the subject of the clause &quot;who has a slave.&quot;  The antecedent (noun to which the pronoun refers) is usually before the relative clause.

====Examples of the Usage of the Relative Pronoun====
# ''Virum [[wiktionary:videre#Latin|videt]] (he/she sees) '''qui''' [[wiktionary:servus#Latin|servum]] (servant) [[wiktionary:habere#Latin|habet]] (he/she has).''
#: He sees the man '''who''' has a slave
# '''''Ille''' est [[wiktionary:vir#Latin|vir]] cujus servus est [[wiktionary:malus#Latin|malus]].''
#: '''That''''s the man whose slave is bad.
# ''Quis '''[[wiktionary:is#Latin|eum]]''' videt?''
#: Who sees '''him'''?

====Declension of hic, haec, hoc (meaning &quot;this&quot;)====
{| class=&quot;wikitable&quot;
|+ Singular
!
!Masculine
!Femine
!Neuter
!
|-
|Nominative || hic || haec || hoc ||rowspan=&quot;5&quot;| this
|-
|Genitive ||colspan=&quot;3&quot;|huius
|-
|Dative ||colspan=&quot;3&quot;|huic
|-
|Accusative || hunc || hanc || hoc
|-
|Ablative || hōc || hāc || hōc
|}

{| class=&quot;wikitable&quot;
|+ Plural
!
!Masculine
!Femine
!Neuter
!
|-
|Nominative || hī || hae || haec ||rowspan=&quot;5&quot;| these
|-
|Genitive || hōrum || hārum || hōrum
|-
|Dative ||colspan=&quot;3&quot;|hīs
|-
|Accusative || hōs || hās || haec
|-
|Ablative ||colspan=&quot;3&quot;|hīs
|}
  
N.B. Hic as an adverb that means 'here'.
N.B. Hic can also be used as a pronoun.

====Example of the Usage of Hic====
{| class=&quot;wikitable&quot;
!bgcolor=&quot;#CCFFFF&quot;|Latin
!bgcolor=&quot;#CCFFCC&quot;|English
|-
|bgcolor=&quot;#CCFFFF&quot;|''''Hic'''' servus, non ille, est malus. ||bgcolor=&quot;#CCFFCC&quot;| This slave, not that one, is bad.
|}&lt;noinclude&gt;
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Chapter 6 Verse =

# {{Latin}}

Verses are very important. They are exactly like they are in English.

{{BookCat}}

&lt;/noinclude&gt;
&lt;br style=&quot;clear: all; page-break-after: always;&quot;&gt;
= Poem about Latin = {{Latin}}

'''&lt;u&gt;A Poem by Catullus&lt;/u&gt;'''

I. ad Cornelium 
&lt;poem&gt;
cui dono lepidum nouum libellum 
arida modo pumice expolitum. 
Corneli tibi namque tu solebas 
meas esse aliquid putare nugas 
iam tum cum ausus es unus Italorum 
omne aeuum tribus explicare cartis 
doctis Iuppiter et laboriosis. 
quare habe tibi quidquid hoc libelli 
qualecumque quidem est. patroni et ergo 
plus uno maneat perenne saeclo. 
&lt;/poem&gt; 
1. to Cornelius
&lt;poem&gt;
To whom do I send this fresh little book
of wit, lately polished dry with pumice stone?
To you, Cornelius: since you were accustomed
to consider my trifles worth something
even then, when you alone of Italians
dared to explain all the ages, in three learned
works, by Jupiter, and with the greatest labour.
Then take this little book for your own: whatever 
it is, and is worth: virgin Muse, patroness, 
let it last, for more lives than one.
&lt;/poem&gt; 

'''&lt;u&gt;Notes&lt;/u&gt;'''

Title: ad Cornelium

Ad is a Preposition meaning &quot;to&quot; and therefore never changes case. The name Cornelius is a second declension masculine noun. Names are declined the same as any other noun. You need only decline the singular since there is only one Cornelius.&lt;br /&gt;

Nom. Cornelius&lt;br /&gt;
Voc. Corneli&lt;br /&gt;
Acc. Cornelium&lt;br /&gt;
Gen. Cornelii&lt;br /&gt;
Dat. Cornelio&lt;br /&gt;
Abl. Cornelio&lt;br /&gt;

The translation is &quot;To Cornelius&quot;. The Preposition &quot;ad&quot; is only used with the Accusative Case. The Accusative Case is the same as the English Object Case. 

Second declension male names ending ‘ius’ have the double ‘ii’ form in the genitive. 

Line One: Cui dono lepidum nouum libellum?

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  <page>
    <title>A-level Chemistry/WJEC/Module 3/Acid-Base Equilibria</title>
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      <text bytes="4011" sha1="0rqqszdh43x07018yyfec7wpcdfza9g" xml:space="preserve">== Calculating the pH of a weak acid solution ==
The pH of a weak acid solution can be calculated approximately using the following formula:

&lt;math&gt;\mbox{pH} = -\log_{10}{ \left ( \sqrt{K_a \left [ \mbox{acid} \right ]} \right ) }&lt;/math&gt;

=== Derivation ===
For any equilibrium

&lt;math&gt; a\mbox{A} + b\mbox{B} \rightleftharpoons c\mbox{C} + d\mbox{D} \,\!&lt;/math&gt;

the equilibrium constant, ''K'', is defined as

&lt;math&gt; K =  \frac{ [\mbox{C}]^c [\mbox{D}]^d }{ [\mbox{A}]^a [\mbox{B}]^b } &lt;/math&gt;

Therefore, for the dissociation equilibrium of any acid

&lt;math&gt; \mbox{HA} \mbox{(aq)} \rightleftharpoons \mbox{H}^+ \mbox{(aq)} + \mbox{A}^- \mbox{(aq)} \,\!&lt;/math&gt;

the acid dissociation constant, ''K''&lt;sub&gt;a&lt;/sub&gt;, is defined as

&lt;math&gt; K_a =  \frac{ [\mbox{H}^+ \mbox{(aq)}] [\mbox{A}^- \mbox{(aq)}] }{ [\mbox{HA} \mbox{(aq)}] } &lt;/math&gt;

Two assumptions are required:

'''1''' The concentrations of H&lt;sup&gt;+&lt;/sup&gt;(aq) and A&lt;sup&gt;−&lt;/sup&gt;(aq) are equal, or in symbols:

:&lt;math&gt; \left [ \mbox{H}^+ \mbox{(aq)} \right ] =  \left [ \mbox{A}^- \mbox{(aq)} \right ] &lt;/math&gt;

:The reason this is an approximation is that a very slightly higher concentration of H&lt;sup&gt;+&lt;/sup&gt;(aq) exists in reality, due to the autodissociation of water, H&lt;sub&gt;2&lt;/sub&gt;O(l) {{unicode|⇌}}  H&lt;sup&gt;+&lt;/sup&gt;(aq) + A&lt;sup&gt;−&lt;/sup&gt;(aq).  We neglect this effect since water produces a far lower concentration of H&lt;sup&gt;+&lt;/sup&gt;(aq) than most weak acids. If you were studying an exceptionally weak acid (you won't at A-level), this assumption might begin to cause big problems.

'''2''' The amount of HA at equilibrium is the same as the amount originally added to the solution.

:&lt;math&gt; \left [ \mbox{HA} \mbox{(aq)} \right ] =  \left [ \mbox{acid} \right ] &lt;/math&gt;

:This cannot be quite true, otherwise HA wouldn't be an ''acid''.  It is, however, a close numerical approximation to experimental observations of the concentration of HA in most cases.

The effect of assumption '''1''' is that

&lt;math&gt; K_a =  \frac{ [\mbox{H}^+ \mbox{(aq)}] [\mbox{A}^- \mbox{(aq)}] }{ [\mbox{HA} \mbox{(aq)}] } &lt;/math&gt;

becomes

&lt;math&gt; K_a =  \frac{ [\mbox{H}^+ \mbox{(aq)}]^2 }{ [\mbox{HA} \mbox{(aq)}] } &lt;/math&gt;

The effect of assumption '''2''' is that

&lt;math&gt; K_a =  \frac{ [\mbox{H}^+ \mbox{(aq)}]^2 }{ [\mbox{HA} \mbox{(aq)}] } &lt;/math&gt;

becomes

&lt;math&gt; K_a =  \frac{ [\mbox{H}^+ \mbox{(aq)}]^2 }{ [\mbox{acid}] } &lt;/math&gt;

which can be rearranged to give

&lt;math&gt;[\mbox{H}^+ \mbox{(aq)}]^2 = K_a \left [ \mbox{acid} \right ]&lt;/math&gt;

and therefore

&lt;math&gt;[\mbox{H}^+ \mbox{(aq)}] = \sqrt{K_a \left [ \mbox{acid} \right ]}&lt;/math&gt;

By definition,

&lt;math&gt;\mbox{pH} = -\log_{10}{ \left ( \left [ \mbox{H}^+ \mbox{(aq)} \right ] \right ) }&lt;/math&gt;

so

&lt;math&gt;\mbox{pH} = -\log_{10}{ \left ( \sqrt{K_a \left [ \mbox{acid} \right ]} \right ) }&lt;/math&gt;

We can also add,

&lt;math&gt;{pK_a} = -\log_{10}{({K_a})}&lt;/math&gt;

so

&lt;math&gt;\mbox{pH} = 0.5({pK_a}-\log_{10}{[\mbox{acid}]})&lt;/math&gt;

== Indicators ==

Indicators are weak acids or bases which have strong colours and/or the conjugate acid/base has a different, strong, colour.

Examples:

* Methyl red is red in acidic solution (the HA molecule) but above pH 5.1 it forms the yellow A&lt;sup&gt;–&lt;/sup&gt; ion.

* Methyl orange is red in acidic solution (the HA molecule) but above pH 3.5 it forms the yellow A&lt;sup&gt;–&lt;/sup&gt; ion.

* Phenolphthalein is colourless in acidic/neutral solution (the H&lt;sub&gt;2&lt;/sub&gt;A molecule) but above pH 9.5 it forms the pink A&lt;sup&gt;2–&lt;/sup&gt; ion.

In an exam, you will be given details about any indicators so there is no need to learn the details.

The p''K''&lt;sub&gt;a&lt;/sub&gt; value of the indicator is sometimes referred to as p''K''&lt;sub&gt;in&lt;/sub&gt;. You need to choose an indicator that rapidly changes colour at the endpoint of a titration i.e. the p''K''&lt;sub&gt;in&lt;/sub&gt; is at the steepest part of the pH/titre curve.

[[Image:PH-Titrationskurve.svg|thumb|The most rapid pH change in the graph above is around pH 7, so we need to choose an indicator with a similar p''K''&lt;sub&gt;in&lt;/sub&gt; value.]]

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    <title>Chess/Tempo</title>
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      <text bytes="4688" sha1="r4ndczeywagi3lult3pgymlfmdnxq8c" xml:space="preserve">== Tempo ==

Each turn is a precious commodity, which we call a '''tempo''' (Italian for 'time'). A tempo is an opportunity to move something. 

Chess is a turn-based game, so you might think that Black always gets one tempo for every tempo White gets. 

Not quite.

If you can make an improving move, like a developing move, in a way that makes your opponent react by doing something they'd rather ''not'' do, like move a piece twice in the opening, you have ''gained a tempo on them''.

== Gaining and losing of tempo ==

{{Chess/board|float=right|moves=1. e4 e5 2. Bc4 Bc5 3. Qh5|caption=Position after 1. e4 e5 2. Bc4 Bc5 3. Qh5. White threatens Qxf7#. }}

White and Black sit down at a chess board and start playing. After '''1. e4 e5 2. Bc4''', White's bishop attacks the weak f7-pawn. It's now got one attacker and one defender.

Black continues '''2...Bc4''' and White plays '''3. Qh5'''. The queen attacks both f7 and e5. That's two attackers on f7, and still only one defender (see diagram).

If Black defends the f7 pawn with 3...Nh6?, then White can take the e5 pawn with check, 4. Qxe5+. If Black plays 3...Nc6?? to defend the e-pawn instead... White would play 4. Qxf7#. The # stands for checkmate. Oops! So instead Black plays a move that defends both f7 and e5: '''3...Qe7'''. 

{{clear}}
{{Chess/board|float=right|moves=1. e4 e5 2. Bc4 Bc5 3. Qh5 Qe7 4. Nc3 Nf6|caption=Position after 1. e4 e5 2. Bc4 Bc5 3. Qh5 Qe7 4. Nc3 Nf6. White's queen is under attack and must move.}}

White's attack thwarted, let's say they now play '''4. Nc3'''. But, what does White's queen think she's doing on h5? Everything she can attack is defended. She can't make any more progress. If she was a hockey player, she would be offside.

But more importantly, Black is going to play '''4...Nf6''' next and gain a tempo on the queen. (diagram)

Chess is a turn-based game, and '''you can only move one piece each turn''' (except when castling). So, if your queen is doing something this turn, bad luck, the rest of your pieces have to stay put. In business-speak, there's an ''opportunity cost'' to moving the queen. 

White reverses the queen back to '''5. Qf3'''. Now it's Black's turn again, and they have a chance to make another useful move, like '''5...Nc6'''. Black now has more pieces developed than White.

{|
!White moved:
!Black moved:
|-
|1. Their bishop.
|1. Their bishop.
|-
|2. Their queen.
|2. Their queen.
|-
|3. Their knight.
|3. Their knight.
|-
|4. ''Their queen again.''
|4. Their other knight!
|}

Through tempo magic, it's almost like Black got to make two moves in a row.

It's hard to overstate how powerful that is. This is how Larry Evans, a grandmaster and prolific chess author, described it:

{{quote|The first question a good player asks when he looks at a position is: “Whose move is it?” Time is so vital that if a player with only mediocre ability were allowed to move twice in a row, at his option, just once in every game, he could become World Champion!|[[w:Larry Evans|Larry Evans]]&lt;ref&gt;{{Cite book |last=Evans |first=Larry |chapter=Basic Chess Strategy |title=How to Open a Chess Game |year=1974 |publisher=RHM Press |location=New York}}&lt;/ref&gt;}}

== Tempo in the opening ==

==== Gain of tempi ====
{{Chess diagram|=
|tright
|
|=
8 |rd|nd|bd|qd|kd|bd|nd|rd|=
7 |pd|pd|  |pd|  |pd|pd|pd|=
6 |  |  |pd|  |  |  |  |  |=
5 |  |  |  |  |pd|  |  |  |=
4 |  |  |  |  |pl|  |  |  |=
3 |  |  |  |pl|  |nl|  |  |=
2 |pl|pl|pl|  |  |pl|pl|pl|=
1 |rl|nl|bl|ql|kl|bl|  |rl|=
   a  b  c  d  e  f  g  h
|Knight attacking a pawn}}

You gain '''tempi''' when you '''attack a piece''' with a '''developing move''' and the opponent can not defend the piece with a developing move, so she or he loses '''tempi'''.

==== Loss of tempi ====
{{Chess diagram|=
|tright
|
|=
8 |rd|nd|bd|qd|kd|bd|  |rd|=
7 |pd|pd|pd|pd|  |pd|pd|pd|=
6 |  |  |  |  |  |nd|  |  |=
5 |  |  |  |  |pd|  |  |  |=
4 |  |  |  |  |pl|  |ql|  |=
3 |  |  |  |  |  |  |  |  |=
2 |pl|pl|pl|pl|  |pl|pl|pl|=
1 |rl|nl|bl|  |kl|bl|nl|rl|=
   a  b  c  d  e  f  g  h
|Knight attacking the queen}}

You lose '''tempi''' when your opponent attacks your piece with a '''developing movement''' and you cannot defend that piece with a developing movement, so you have to '''spend one tempo''' by '''retreating your piece''' or '''defending it ''(with a non developing move)'''''.

{{BookCat}}
&lt;references /&gt;
Generally, you want to gain tempo in the opening. Many beginners hear &quot;knights first in the opening&quot;, which shouldn't always be true. Whenever you lose tempo, your opponent can start going on the offensive. So (generally) you want to keep tempo in the opening, maybe even in subtle ways (like the italian).</text>
      <sha1>r4ndczeywagi3lult3pgymlfmdnxq8c</sha1>
    </revision>
  </page>
  <page>
    <title>Talk:A-level Computing/AQA/Paper 1/Skeleton program/2026</title>
    <ns>1</ns>
    <id>480577</id>
    <revision>
      <id>4638064</id>
      <parentid>4631818</parentid>
      <timestamp>2026-05-30T13:55:34Z</timestamp>
      <contributor>
        <username>DedicateGrinder</username>
        <id>3598025</id>
      </contributor>
      <comment>/* VB.net solutions to section D tasks */ new section</comment>
      <origin>4638064</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2913" sha1="3jszpuhcg93ez2i3xtqxbis545rk4l5" xml:space="preserve">== Compter science questions ==

Hi. any ideas for good questions that you don't want to code for. [[User:King Olie|King Olie]] ([[User talk:King Olie|discuss]] • [[Special:Contributions/King Olie|contribs]]) 15:39, 11 December 2025 (UTC)

== I need help ==

Please [[Special:Contributions/&amp;#126;2026-65910-7|&amp;#126;2026-65910-7]] ([[User talk:&amp;#126;2026-65910-7|talk]]) 12:47, 30 January 2026 (UTC)

== Semi-protected edit request on 22 April 2026 ==

{{edit semi-protected|A-level Computing/AQA/Paper 1/Skeleton program/2026|answered=no}}

# At the bottom of the simulation class

    def AdvanceStage(self, NumberOfStages):
        for Count in range(1, NumberOfStages + 1):
            PheromonesToDelete = []
            for P in self._Pheromones:
                P.AdvanceStage(self._Nests, self._Ants, self._Pheromones)
                if P.GetStrength() == 0:
                    PheromonesToDelete.append(P)
            for P in PheromonesToDelete:
                self._Pheromones.remove(P)
            for A in self._Ants:
                A.AdvanceStage(self._Nests, self._Ants, self._Pheromones)
                CurrentCell = self._Grid[self.__GetIndex(A.GetRow(), A.GetColumn())]
                if A.GetFoodCarried() &gt; 0 and A.IsAtOwnNest():
                    self.AddFoodToNest(A.GetFoodCarried(), A.GetRow(), A.GetColumn())
                    A.UpdateFoodCarried(-A.GetFoodCarried())
                elif CurrentCell.GetAmountOfFood() &gt; 0 and A.GetFoodCarried() == 0 and A.GetFoodCapacity() &gt; 0:
                    FoodObtained = CurrentCell.GetAmountOfFood() + 1
                    while FoodObtained &gt; CurrentCell.GetAmountOfFood() or (A.GetFoodCarried() + FoodObtained) &gt; A.GetFoodCapacity():
                        FoodObtained = random.randint(1, A.GetFoodCapacity())
                    CurrentCell.UpdateFoodInCell(-FoodObtained)
                    A.UpdateFoodCarried(FoodObtained)
                else:
                    if A.GetFoodCarried() &gt; 0:
                        self.UpdateAntsPheromoneInCell(A)
                    A.ChooseCellToMoveTo(self.__GetIndicesOfNeighbours(A.GetRow(), A.GetColumn()), self.__GetIndexOfNeighbourWithStrongestPheromone(A.GetRow(), A.GetColumn()))
            for N in self._Nests:
                self._Nests, self._Ants, self._Pheromones = N.AdvanceStage(self._Nests, self._Ants, self._Pheromones)
        # CHANGES START
        if len(self._Ants) &lt;=0:
            print(&quot;Oh no! All the ants are dead :(&quot;)
            quit()
        # CHANGES END [[User:Whoisaarib|Whoisaarib]] ([[User talk:Whoisaarib|discuss]] • [[Special:Contributions/Whoisaarib|contribs]]) 12:16, 22 April 2026 (UTC)

== VB.net solutions to section D tasks ==

Can we add solutions for the tasks with VB.net [[User:DedicateGrinder|DedicateGrinder]] ([[User talk:DedicateGrinder|discuss]] • [[Special:Contributions/DedicateGrinder|contribs]]) 13:55, 30 May 2026 (UTC)</text>
      <sha1>3jszpuhcg93ez2i3xtqxbis545rk4l5</sha1>
    </revision>
  </page>
  <page>
    <title>General Literary Chinese from Scratch</title>
    <ns>0</ns>
    <id>481710</id>
    <revision>
      <id>4638181</id>
      <parentid>4638035</parentid>
      <timestamp>2026-05-31T09:56:01Z</timestamp>
      <contributor>
        <username>Shira the Mogul</username>
        <id>3560559</id>
      </contributor>
      <comment>/* Unit 0: The Han script */ Revisions in preparation for improving pedagogy by aligning with 六書 principles and applying inductive methods</comment>
      <origin>4638181</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="39074" sha1="6gelmfwe26by3kj2u3dnoyne6q4r81p" xml:space="preserve">__notoc__

Welcome to the Wikibook for Literary Chinese (Known as 漢文 &quot;Han Language&quot; in East Asia or 文言 &quot;Literary Language&quot; in China), aimed at individuals hoping to gain a general knowledge of it before progressing into genres they wish to be acquainted with. 

This is not the [[Classical Chinese]] textbook, which is aimed at Chinese Zhou-Qin era texts. This  text aims to shed light on post-Zhou-Qin texts across East Asia, which mimic those texts. It does so through a &quot;buffet&quot; approach, showering you, the reader, with an ocean of texts of myriad genre. 

==Table of Contents==

=== Front matter ===

* [[/Introduction/]]
* [[/Appendices/]]

=== Useful resources ===
These are quick grab-bags that can be useful for vocabulary-building. 
* [[/Antonym List/]] &lt;!--- 文/武，大/小，厚/薄，橫/縱...---&gt;
* [[/Collocation Groups/]] &lt;!--- e.g. 四象，三靈…… ---&gt;
* [https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/嚴譯及部定詞等 Yan Fu's Qing-era translations for modern terms] &lt;!--- Wikiversity has this (https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/嚴譯及部定詞等) and the below, I will effectively be translating a lot of it! ---&gt;
* [https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/上古語考輯 Communicative Terms]
&lt;!--- this will be translated eventually, but right now it's bad to just leave this here. ---&gt;

=== Useful primers ===
Across history, many primers have been made for teaching Literary Chinese to children. These are a few that are recommended for use alongside this work, ideally in flashcards. 
* [https://www.fdgwz.org.cn/Web/Show/11308 倉頡篇] - Cangjie's Chapters, the earliest one. It is extant, but incomplete. It contains several rare characters, and so if used, I would personally recommend doing so later, or out of interest. 
* 三字經 - The Three Character Classic, an excellent piece for Confucian education. Pair with 弟子规 for best results. 
** 三字經（太平天國版）- For Christians, there is a version made by Hong Xiuquan from the Taiping Rebellion. Despite the context, it is a legitimately useful primer and can be used to self-teach for the Delegate's Edition of the Christian Bible. 
* 千字文 - The Thousand Character Classic, a remarkable piece of constrained writing that only uses each character once. Amazing for building vocabulary whilst seeing historical allusions and the like. 
* 五字鑑 - The Five-Character Mirror, essentially the 24 Histories of China compressed into a primer. Uses 5-character couplets, the longest in this list. 
* 龍文鞭影 - The Shadow of Longwen's Whip, a historical allusion trainer. Best paired with a context piece.

===Unit 0: The Han script===
This unit is intended for those with no familiarity of the Han script. It will prepare you for the units ahead, teaching largely pictographic characters. 

By the end of this unit, students will:
* Recognise around 50 characters.
* Understand how characters are composed and how this gives them meaning.
* Have a basic idea of how to handwrite and/or type characters using the Cangjie Input Method.
* Know some bare basics of Literary Chinese grammar (e.g. Basic word order, where adjectives go, lack of &quot;is&quot;, 有...)

Lessons:
# [[/An Introduction to the Han Script/]]
# [[/People, Big and Small/]]
# [[/What are Chinese characters, anyway?/]] &lt;!--- deploy several single-radical texts---&gt;
# [[/How do we write Chinese?/]]
# [[/Tilling the Fields with 有/]]
# [[/The Sun and the Moon/]]
# [[/Weapons and Metals/]]
# [[/How Characters are Made/]] &lt;!--- teach 難 and 重. ---&gt;
# [[/Cangjie Created Characters/]] &lt;!--- Get people to use Cangjie ---&gt;
# [[/The Kangxi Radical System/]] &lt;!--- Introduce some monoradical texts to train recognition. ---&gt; 
# [[/How do we read Chinese?/]] &lt;!--- Deploy one of my monosyllabic poems and inductively teach phono-semantic compounds. ---&gt; 
# [[/Word Training with Kiyohara no Sanemoto/]]
&lt;!---
字訓詩·清原真友·平安時代
禾失曾知秩，中心豈忘忠。里魚穿浪鯉，江鳥度秋鴻。

火盡仍為燼，山高自作嵩。色絲辭不絕，凡虫泣寒風。
---&gt;

===Unit 1: Basic Skills===
This unit is intended for those with minimal familiarity with the Han script and no familiarity with Literary Chinese. There is a focus on simple structures, skills for dissecting common textual structures, and short-form poetry in this unit. 

Before starting this unit, students should:
* Recognise around ~30 characters. 
* Can use Cangjie input. 
* Have given Unit 0 a cursory glance. 
&lt;br&gt;
By the end of this unit, students will:
* Recognise around ~100 characters. 
* Comprehend numbers, the Heavenly Stems, and the Earthly Branches, and be able to use them to quantify time and date.
* Intuit the basic topic -&gt; comment idea behind Literary Chinese. &quot;This, it is...&quot; 
* Understand basic function words such as 也, 而, 有, and 謂.

Lessons:
# [[/The All-Purpose 也/]]
# [[/An Introduction to Chinese Numbers/]] &lt;!--- It is hard to find authentic materials for this ---&gt;
# [[/One, Two, Left, and Right with Gongsun Long/]]
&lt;!---
曰：「二有一乎？」

曰：「二無一。」

曰：「二有右乎？」

曰：「二無右。」

曰：「二有左乎？」

曰：「二無左。」

曰：「右可謂二乎？」

曰：「不可。」

曰：「左可謂二乎？」

曰：「不可。」

曰：「左與右可謂二乎？」

曰：「可。」
---&gt;
# [[/The Heavenly Stems/]] &lt;!--- Introduce ordinals, which will be used to demonstrate sentence patterns later. ---&gt;
# [[/Tell the Time with Earthly Branches/]] &lt;!--- Introduce verbs and timekeeping ---&gt;
# [[/Lunar Dates with the Spring and Autumn Annals/]]
&lt;!--- Vocabulary: 歲，年，朔，月，日，來，前，初，正，春秋夏冬，曆，上，下. Consider including traditional names for months in a list. ---&gt;
# [[/Skimming for Major Events in Historical Annals/]] 
&lt;!--- Don't simply use Confucius's Chunqiu: We can use texts inspired by it. 

E.g. 三國史記 - 十五年京城旱。秋七月，蝗。very few new characters, lots one can use. Instantly able to use. 
https://zh.wikisource.org/wiki/%E4%B8%89%E5%9C%8B%E5%8F%B2%E8%A8%98/%E5%8D%B701

Skimming annals is very possible and a very useful skill. Don't skip out on it. Teach students to skim read!!! 
---&gt;
# [[/Dinner with the Daimyo/]]
&lt;!-- 
侍宴·大友皇子
皇明光日月，帝徳載天地。
三才併秦昌，万国表臣義。
--&gt; 
# [[/In Discourse with Jibong/]]
&lt;!--
芝峰類說 
倭國謂田爲畠。謂水田爲田。火田爲畑。猶我國以水田爲畓也。故官名有畠山殿。地名有畑島云。
--&gt;
# [[/Shinto FAQ with Honda Chikaatsu/]] 
&lt;!--- https://wikisource.org/wiki/%E7%9C%9E%E9%81%93%E5%95%8F%E5%B0%8D 眞道問對 本田親徳 really good way of operationalising 乎 and much of the early grammar. 

問 天帝無始無終乎。
對 天帝無始無終也。
旣以無始無終之力
與無始無終之體
造無始無終之萬物。
其功亦無始無終也。

問 天地大原在道乎。
對 天地大原實在道。
鬼神依道而立。
人民依道而活。
萬物依道而息。

This is great! ---&gt;

&lt;!---
Some cool stuff I saw someone studying from
https://zh.wikisource.org/wiki/%E8%87%B3%E5%B0%8F%E4%B8%98%E8%A5%BF%E5%B0%8F%E7%9F%B3%E6%BD%AD%E8%A8%98#
https://zh.wikisource.org/wiki/%E6%A0%B8%E8%88%9F%E8%A8%98

Could be used for period focus
---&gt;

===Unit 2: An Overview of Sinitic Poetry===
This unit will teach you how Sinitic Poetry operates; - that is, the way individuals in the Sinosphere compose poetry in Literary Chinese. Despite this language's fall out of favour in the past century, this tradition is still remarkably alive and well, and their short length makes them more accessible than elaborate prose. In this unit, you will begin from the ''Classic of Poetry'' before travelling through poems from the Tang dynasty, Singapore, Japan, Vietnam, the Ryukyu Kingdom, and Korea. When introducing poetry, I will furthermore use the language from the nation it is from to show how it is recited by its people. 

After discussing the Classic of Poetry, we will also be a small detour into a discussion on Ping-Ze 平仄, the Tang dynasty system of alternating tones, so to produce rhyme on tonal and phonological levels. This had a major impact on Literary Chinese poetry as a whole!

By the end of this Unit, students will:
* Recognise around 120 more characters.
* Be able to explain how Sinitic Poetry rhymes and the themes it contains.
* Be able to use function words such as 在, 無, 不, 聿, and 于/於 in poetic contexts.
* Recognise the switch between 吾/我 in the subject-object positions and demonstrate it in usage.
* (Chinese speakers) Be able to differentiate 于 and 於, and understand the &quot;interest(ed) in&quot; meaning of 好 in most circumstances.
&lt;!---
Summary of the above part about 于 and 於 for other editors:
于 and 於 were distinct words for an extremely long time and were still such to Literary Chinese writers. Their &quot;merging&quot; through Simplified-Traditional Chinese distinctions is a very modern thing. I will summarise their usages here, using Pulleyblank's Outline of Classical Chinese Grammar (2000);
* 于 - This can mean &quot;to go&quot; or &quot;to/at&quot;. 黃鳥于飛 &quot;The yellow birds go flying&quot;. Must be post-verbal. It can also appear in 至于.
* 於 - This is an all-purpose locative preposition - from &quot;on/at/in&quot; to &quot;from&quot; or even &quot;than&quot; (甲於乙). The implication of motion is not there at all. Must be pre-verbal. It can also appear in 之於 or be an archaic noun for a crow 於 (烏).
---&gt;

Lessons:
# [[/Across the Rivers with Emperor Puliuru Guang/]]
&lt;!---
春江花月夜·楊廣
夜露含花氣，春潭漾月暉。
漢水逢遊女，湘川值二妃。

This is really simple and can elucidate Ping-Ze easily.
---&gt;
# [[/To Study the Odes/]] 
&lt;!-- 蟋蟀·姬旦 國風·唐風
蟋蟀在堂，歲聿其莫。今我不樂，日月其除。無已大康，職思其居。好樂無荒，良士瞿瞿。
蟋蟀在堂，歲聿其逝。今我不樂，日月其邁。無已大康，職思其外。好樂無荒，良士蹶蹶。
蟋蟀在堂，役車其休。今我不樂，日月其慆。無已大康，職思其憂。好樂無荒，良士休休。
--&gt;
&lt;!-- 黃鳥 小雅·鴻鴈之什
黃鳥黃鳥，無集于穀，無啄我粟。
此邦之人，不我肯穀。言旋言歸，復我邦族。

黃鳥黃鳥，無集于桑，無啄我粱。
此邦之人，不可與明。言旋言歸，復我諸兄。

黃鳥黃鳥，無集于栩，無啄我黍。
此邦之人，不可與處。言旋言歸，復我諸父。
--&gt;
# [[/A Detour into Orthodox Ping-Ze/]] 
&lt;!--- 平 and 仄 are useful characters themselves. Show 仄 in the binomes 反仄，歉仄，逼仄 as it's often difficult to immediately use ---&gt;
# [[/The Restraint of Du Fu/]] 
# [[/The Longing of Li Bai/]] 
# [[/The Environment with Bukha Timur/]]
&lt;!---
西湖竹枝詞·布哈特穆爾
湖上春歸人未歸，桃紅柳緑黄鶯飛。
桃花落時多結子，楊花落處秪沾衣。

宫词·布哈特穆爾
玉樓珠箔晚天涼，秋色依稀滿建章。
金井梧桐霜葉盡，自隨流水出宮牆。

Mongol writer from the Uyghur Kingdom of Gaochang
Spammed Ctrl+F in https://zh.wikisource.org/wiki/%E5%BE%A1%E9%81%B8%E5%9B%9B%E6%9C%9D%E8%A9%A9_(%E5%9B%9B%E5%BA%AB%E5%85%A8%E6%9B%B8%E6%9C%AC)
---&gt;
# [[/Pillow Talk with Guan Yunshi/]]
&lt;!---
紅繡鞋·貫雲石
挨著靠著雲窗同坐，偎著抱著月枕雙歌，聽著數著愁著怕著早四更過。四更過情未足，情未足夜如梭。天哪，更閏一更兒妨甚么！

Uyghur author!
---&gt;
# [[/Buddhist Philosophy with Ngô Chân Lưu and Taisei Shōan/]]
&lt;!-- 元火·吳真流
木中元有火，元火復還生。
若為木無火，鉆燧何有萌。--&gt;
&lt;!-- 杜鵑·大成聖安
夢覚孤床静
杜鵑帯雨飛
一声来近枕
何者不沾衣
--&gt;
# [[/Odes with Mō Taiei and Zheng Chengxun/]]
&lt;!-- 詠松·毛泰永
植體宜千仞，垂陰動百尋。
李膺真烈烈，和嶠自森森。
桃李何堪較，雪霜安得侵。
萬年身不老，種子又成林。
AKA Inoha Seiki 伊野波 盛紀 --&gt;
&lt;!-- 詠班蘭·鄭成勛
南國多芳草，班蘭最有名。
深根將綠茁，長葉亦叢生。
取味迎賓合，入厨任水烹。
可憐經一用，擲棄不留情。

鄭成勛《樵隱詩集》 https://nus.edu.sg/nuslibraries/dsprojects/sg-jiutishi/poem/827 --&gt;

# [[/A Golden Cup and the Fall of a Dynasty with Yan Fu/]] 
&lt;!---
鞏金甌·嚴復
鞏金甌，承天幬，民物欣鳧藻，喜同袍。
清時幸遭，真熙皞，帝國蒼穹保。
天高高，海滔滔。
This has music to it, which I think can add a lot. It is also necessary to introduce Yan Fu early given he did translation. ---&gt;
# [[/On a Journey with Sa Dula/]]
&lt;!---
無題·薩都剌
為客三年海上洲，故鄉何處瘴雲稠。
數千里外蠻人域，十八灘頭過客舟。
時有山禽呼姓字，或從海鳥作朋儔。
故人珂珮周旋處，紫殿風清十二樓。
https://zh.wikisource.org/wiki/%E7%84%A1%E9%A1%8C_(%E8%96%A9%E9%83%BD%E5%89%8C)

A naturalised Mongol scholar who made a beautiful poem. This'll be a capstone.
---&gt;
&lt;!---
朝中措·襄陽古道灞陵橋
襄陽古道灞陵橋，詩興與秋高。
千古風流人物，一時多少雄豪。

霜清玉塞，雲飛隴首，風落江皋。
夢到鳳凰台上，山圍故國周遭。

北郊晚步
陂水荷凋晚，茅檐燕去涼。
遠林明落景，平麓淡秋光。
群牧歸村巷，孤禽立野航。
自諳閑散樂，園圃意尤長。

Jurchen poet and grandson of Emperor Shizong of Jin. He's a Zen Buddhist, so we'll go back to him later.
---&gt;

===Unit 3: Confucianism and the World===
This is a Confucian-themed unit with a smattering of other items. You will see the odd geography of the past, early linguistic philosophy, and terrifying breakaway states!

By the end of this unit, students should be able to:
* Recognise around 200+ characters.
* Read basic annals and histories with some dictionary assistance, and comprehend 3-character structures reliably.
* Have encountered basic grammatical points such as 之、乎、者、也、而、則、乃、所、以、於、于、與、且、蓋、and 夫. 
** 於 and 于 should be distinguishable.
* Survive a text of at least 250 characters and read for gist.

Lessons:
# [[/A Brief Overview of Confucianism/]] 
# [[/The Mountains with Yelü Tuyu/]]
&lt;!---
立木海上刻詩 耶律圖欲 / 耶律倍 / 李贊華

小山壓大山，大山全無力。
羞見故鄉人，從此投外國。
---&gt;
# [[/The Spring and Autumn Annals and Qi/]] &lt;!-- Gongyang Gao's commentary --&gt;
# [[/Is a White Horse a Horse?/]]&lt;!-- Teach negation with 非 in 公孙龍子 and compare with 不 --&gt;
# [[/The Three Character Classic/]]
# [[/Expressing Filial Conduct with Confucius and Hara Saihin/]]
&lt;!--
次韻杏坪先生
父執有君孤不孤
相依遍接搢紳徒
区区自抱地方寸
杏杏重遊天一隅
羇雁飛鳴迷汝國
家人思夢入江都
如教志業青年遂
世上寧無逐臭夫
--&gt;
# [[/Confucianism and the Environment with Sai On/]]&lt;!-- 木假山記 --&gt;
# [[/In Debate with Mencius/]]

===Unit 4: Women's Writing===
In this unit, women's writing from various areas of China will be explored. This is chiefly targeted at poetry and the themes within; from the feminine voice of the Classic of Poetry to the remonstrance towards the Khitan Emperor Tianzuo of Jin by his Consort Dasese. The role of women in courtly society is to be elucidated here!
# [[/An Unmarried Life with Heo Nansŏrhŏn/]]
&lt;!---
貧女吟 
豈是乏容色。工鍼復工織。
少小長寒門。良媒不相識。

夜久織未休。戛戛鳴寒機。
機中一匹練。終作阿誰衣。

手把金翦刀。夜寒十指直。
爲人作嫁衣。年年還獨宿。
---&gt;
# [[/Responding to Lord Trần with Hồ Xuân Hương/]]
&lt;!---
Responding to 陳光靜 Trần Quang Tĩnh

《和陳侯》
愧無才調使人驚，十載風塵貫耳鈴。
已是臨枰知敵手，莫須敲月苦殫精。
為輪為彈隨遭遇，誰鳳誰鶯任賦生。
造物於人何苟惜，明珠休向暗中呈。

莫須 is an important structure to teach here.
---&gt;
# [[/Gaze into the Autumn Night with Taisei Shōan/]]
&lt;!---
秋夜偶成·大成聖安
長天浮爽気，月色興無窮
群犬吠山径，百蟲啼野風
悲秋秋夜永，感古古今同
自是孤窓下，凄然万慮空
---&gt;
# [[/Visiting a Temple with Yu Xuanji/]]
&lt;!---
遊崇真觀南樓覩新及第題名處
雲峰滿目放春晴，歷歷銀鈎指下生。
自恨羅衣掩詩句，擧頭空羨榜中名。
---&gt;
# [[/Remonstrance with Dasese/]]
&lt;!---
https://zh.wikisource.org/wiki/%E8%AB%B7%E8%AB%AB%E6%AD%8C
諷諫歌·大瑟瑟
勿嗟塞上兮暗紅塵。
勿傷多難兮畏夷人。
不如塞奸邪之路兮選取賢臣。
直須臥薪嚐膽兮激壯士之捐身。
可以朝清漠北兮夕枕燕雲。

Dasese (or 萧瑟瑟) was a Khitan consort to Emperor Tianzuo of Liao. She remonstrated him as the Jurchens were beginning to encroach upon the Khitan, and was forced to commit suicide for her remonstrance. Tianzuo would soon pay for his malfeasance. 
---&gt;
# [[/The Love Songs of the Odes/]]
&lt;!---
褰裳
子惠思我，褰裳涉溱。子不我思，豈無他人？狂童之狂也且！
子惠思我，褰裳涉洧。子不我思，豈無他士？狂童之狂也且！

柏舟
彼柏舟，在彼中河，髧彼兩髦，實維我儀，之死矢靡它，母也天只，不諒人只。
汎彼柏舟，在彼河側，髧彼兩髦，實維我特，之死矢靡慝，母也天只，不諒人只。

行露
厭浥行露，豈不夙夜，謂行多露。
誰謂雀無角？何以穿我屋？誰謂女無家？何以速我獄？雖速我獄，室家不足。
誰謂鼠無牙？何以穿我墉？誰謂女無家？何以速我訟？雖速我訟，亦不女從。
---&gt;
# [[/Rules for Women with Ban Zhao/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%A5%B3%E8%AA%A1 ---&gt;
# [[/The Tragedy of Cai Wenji/]]
&lt;!---
悲憤詩
〔兩漢〕蔡文姬
漢季失權柄，董卓亂天常。
志欲圖篡弒，先害諸賢良。
逼迫遷舊邦，擁主以自強。
海內興義師，欲共討不祥。
卓眾來東下，金甲耀日光。
平土人脆弱，來兵皆胡羌。
獵野圍城邑，所向悉破亡。
斬截無孑遺，屍骸相撐拒。
馬邊懸男頭，馬後載婦女。
長驅西入關，迥路險且阻。
還顧邈冥冥，肝脾為爛腐。
所略有萬計，不得令屯聚。
或有骨肉俱，欲言不敢語。
失意幾微間，輒言斃降虜。
要當以亭刃，我曹不活汝。
豈復惜性命，不堪其詈罵。
或便加棰杖，毒痛參並下。
旦則號泣行，夜則悲吟坐。
欲死不能得，欲生無一可。
彼蒼者何辜，乃遭此厄禍。
邊荒與華異，人俗少義理。
處所多霜雪，胡風春夏起。
翩翩吹我衣，肅肅入我耳。
感時念父母，哀嘆無窮已。
有客從外來，聞之常歡喜。
迎問其消息，輒復非鄉里。
邂逅徼時願，骨肉來迎己。
己得自解免，當復棄兒子。
天屬綴人心，念別無會期。
存亡永乖隔，不忍與之辭。
兒前抱我頸，問母欲何之。
人言母當去，豈復有還時。
阿母常仁惻，今何更不慈。
我尚未成人，奈何不顧思。
見此崩五內，恍惚生狂痴。
號泣手撫摩，當發復回疑。
兼有同時輩，相送告離別。
慕我獨得歸，哀叫聲摧裂。
馬為立踟躕，車為不轉轍。
觀者皆噓唏，行路亦嗚咽。
去去割情戀，遄征日遐邁。
悠悠三千里，何時復交會。
念我出腹子，匈臆為摧敗。
既至家人盡，又復無中外。
城廓為山林，庭宇生荊艾。
白骨不知誰，縱橫莫覆蓋。
出門無人聲，豺狼號且吠。
煢煢對孤景，怛吒糜肝肺。
登高遠眺望，魂神忽飛逝。
奄若壽命盡，旁人相寬大。
為復強視息，雖生何聊賴。
託命於新人，竭心自勖勵。
流離成鄙賤，常恐復捐廢。
人生幾何時，懷憂終年歲。
---&gt;

===Unit 5: Myths and Legends of East Asia===
&lt;!--- Shanhaijing, Zibuyu... Etc. Zhiguai literature. This aims to provide a counterpoint to what Confucius wouldn't discuss - thus Zibuyu. Going straight into Daoism isn't ideal. ---&gt;
# [[/Exploring the World of Mountains and Seas/]]&lt;!-- Structure: 出焉 --&gt;
# [[/Oh, the Qilin!/]] &lt;!--- Even here, the odes can be studied! ---&gt;
# [[/Ultimate Justice with Xiezhi/]] 
# [[/The Virtue of the Fenghuang/]] 
# [[/The Entrapment of Hua Po/]] 
# [[/Nüwa Created the World/]] 

===Unit 6: Nation Focus - Japan===
# [[/The Inariyama Sword/]] 
&lt;!--- short and sweet! ---&gt;
# [[/Entering Japan with Takeda Shingen/]]
&lt;!---
便面蘆間有漁·武田信玄
山色水光烟接天，漁翁江上棹蘆辺
丹青若写得勝景，万里風波一釣船

便面半月照梅花·武田信玄
蘆葦清風垂頂絲，窺魚白鷺水生涯
江南記得曾遊夕，似見梨花院落時

島森哲男. (2015). 武田信玄漢詩校釈. 宮城教育大学紀要, 49, 333–352. https://mue.repo.nii.ac.jp/records/440

似 is a really useful thing to teach early on. 
---&gt; 
# [[/The Oldest Inscription in Japan/]] 
&lt;!--- 宇治橋断碑 ---&gt; 
# [[/Remembering Conflict with Nakajima Noburu/]] 
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/6faa4d3e57a24e542db0375894f0ead5503218bb ---&gt;
# [[/Shinto Teachings with Honda Chikaatsu/]] 
&lt;!--- https://wikisource.org/wiki/%E9%81%93%E4%B9%8B%E5%A4%A7%E5%8E%9F 本田親徳 道之大原 ---&gt;  
# [[/The Diary of Fujiwara no Teika/]] 
&lt;!--- 明月記 ---&gt;
# [[/Reading the History of Japan with Prince Toneri/]]
&lt;!--- 日本書記, etc. ---&gt; 
&lt;!--- # [[/Occupying Taiwan/]] ---&gt;
&lt;!--- I have some colonial literature on me that can be used here. ---&gt;

===Unit 7: Nation Focus - Korea===
&lt;!--- 三國史記 for sure! ---&gt;
&lt;!--- 放蟬賦 by Yi Kyubo ---&gt;
&lt;!--- https://zh.wikisource.org/wiki/%E9%A0%A4%E9%BD%8B%E9%81%BA%E7%A8%BF 頤齋遺稿 黃胤錫 Joseon scholar! ---&gt;
# [[/An Elegy to the Empress with Choe Ja/]]
&lt;!---
Choe Ja
元德大后輓詞·崔滋（최자）
乾極曾客配,坤儀正體元。
枕前朝聖主,帳底見曾孫。
陰慘俄沉月,屋悲便沒軒。
三韓千古淚,七十九年恩。
---&gt;
# [[/Language Reform with Sejong the Great/]]
&lt;!--- 訓民正音 https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/1ef2b42cc50055affaa5ef39c61b87ed31c34a60 multiple poems and descriptive terms, possibly the best capstone ---&gt;

===Unit 8: Christian Literature===
# [[/A Different Three Character Classic with Hong Xiuquan/]]
# [[/Friar Juan Cobo's Veritable Record/]] 
&lt;!--- 
One of few texts from the Philippines that I have ever found!
https://bnedigital.bne.es/bd/en/viewer?id=0160187c-9d9b-4f34-84d6-bc03fd310c69 
---&gt;
# [[/The Delegate's Edition/]]
# [[/Nestorian Steles during the Tang/]] 
&lt;!--- 大秦景教宣元至本經經幢 and 景教碑 ---&gt;
# [[/Hong Xiuquan's Bible/]]
&lt;!--- https://bible.fhl.net/ob/nob.html?book=407 ---&gt;
&lt;!--- I don't want to focus too much on Hong Xiuquan here, so look for more material, especially from missionaries. ---&gt;

===Unit 9: An Introduction to Daoism===
&lt;!--- And now back to your regularly scheduled Zhuangzi/Laozi/Liezi. But with more interesting stuff. Trust! ---&gt;
# [[/Laozi Explains the Dao/]]
&lt;!--- 道可道，非常道。名可名，非常名。無名天地之始；有名萬物之母。故常無欲，以觀其妙；常有欲，以觀其徼。此兩者，同出而異名，同謂之玄。玄之又玄，衆妙之門。I can expect learners to recognise the stuff here. ---&gt;
# [[/Qingtan with Xie Daoyun/]]
&lt;!--- 謝道韞; mentioned in the sanzijing. could be good!

《泰山吟·謝道韞》
峩峩東嶽高，秀極衝青天。
巖中間虛宇，寂寞幽以玄。
非工復非匠，雲構發自然。
器象爾何物，遂令我屢遷。
逝將宅斯宇，可以盡天年。

《拟嵇中散咏松诗·謝道韞》
遙望山上松，隆冬不能凋。
願想遊不憩，瞻彼萬仞條。
騰躍未能升，頓足俟王喬。
時哉不我與，大運所飄遙。

---&gt;
# [[/The Doubting Neighbour/]] 
# [[/Kuafu Chases the Sun/]] 
# [[/The Frog in a Well/]] 
# [[/Wu wei with King Hui of Liang/]]
# [[/The Old Man that Moves the Mountains/]]
# [[/Master Zhuang Dreams of Butterflies/]]
&lt;!--- Currently very stereotypical, but there's stuff to work with at least. Need to include those weird Daoist characters among other things. ---&gt;

===Unit 10: Nation Focus - Ryukyu Kingdom===
# [[/Historical Annals with Sai On/]] &lt;!--- Kyuko is an easy cop ---&gt;
# [[/The Enthronement of Shō Tei/]] 
&lt;!---
康熙二十二年封王尚貞敕
皇帝敕諭琉球國中山王世子尚貞：惟爾遠處海隅，虔修職貢；屬在塚嗣，序應承祧。以朝命未膺，罔敢專擅；恪遵典制，奉表請封。朕念爾世守臣節，忠誠可嘉！特遣正使翰林院檢討汪楫、副使內閣中書舍人加一級林麟焻，齎敕封爾為琉球國中山王，並賜爾及妃文幣等物。爾祗承寵眷，懋紹先猷；輯和臣民，慎固封守：用安宗社於苞桑，永作天家之屏翰。欽哉，毋替朕命！故諭。

Teach imperial edicts. 
Consider seeing if there's a letter of acceptance from Shō Tei. 

Recorded in 琉球國志略 
https://ctext.org/wiki.pl?if=en&amp;chapter=966326
---&gt;
# [[/The Twilight of Ryukyu with Shō Ten/]] 
&lt;!---
神田酒樓街燈 尚典
酒樓今秋設芳筵，
一望街燈燦燦連。
烟氣引來通柱上，
光爭星月照神田。
---&gt;
# [[/A Trip to Ryukyu with Luo Sen/]] &lt;!--- Pre-Capstone ---&gt;
&lt;!---
遐邇貫珍 1854-11 - 日本日記 羅森 
https://archive.org/details/HEKC185411/page/n5/mode/1up
A solid description of Ryukyu cultural customs in Volume 11. Absolutely incredible. 
日三日火船直向東北而駛出了臺灣之外幾日不見天涯是時北風大作波浪沖天火船亦甚飄蕩而不能立見有沙鷗隨風而逐浪心直駛七日漸見小山而到琉球琉球一國長闊一百七十五里其國城在地球圖緯線赤道之北二十六度十四分經線中華北京偏東十一度二十四分自明以來世封王爵叨列藩籬其處土產不過蔬菜番薯菜油黑糖等類人民束髻大補是穿草履男女粧飾頭上祇插一簪二簪為別故少年之男女瞥目則無異及其壯也皆留鬚髯故街上長鬚之人甚多甲寅正月初一予上岸遊玩見街上兒童甚多分以銅錢各極歡喜人民亦甚謙恭民居間亦貼新春聯于門外但不見有別等繁華之事那霸有寺寺內有園是名家世宦之墳所以石刊刻姓名年號于碑上每日道人打掃供奉生花樹葉于墓前另有人家祖墳與中國之明塚無異峰巒之上樹木多植民房則以蠻石圍墻內以茅草結屋而居佳物椅棹俱無惟以草蓆屈膝而坐對火盆而吹煙民間亦有識中國言語字墨者
不張舖店惟有墟塲男不貿易婦女為之以貨易貨而外方之金銀弗尚焉然而百姓亦甚畏官長飲食亦甚粗粕甘守樸儉不務奢華亦鮮欺詐板門紙窓夜間亦不防竊曾見途中撿物亦能以返原人公門之內冷冷落落並無案牘之煩淳樸之風畧有同于上古之世我等外國之欲買什物須言于官官為代辦正月初六提督被理衛廉士等一班將官布列威嚴與予乘轎至王宮總理大臣尚宏勳為主席布政大夫馬良才為知客享宴甚豐食物多與中國無異宴後各官皆饋有紙扇烟包布帛等項是物雖粗此亦世子之恭敬外國故亞國亦以禮物而返贈之世子王宮離岸三里在于山頂是名守禮將至其宮一路亦有樹木石牌坊宮室亦甚寬大幽雅垣局可觀其處多栽鳳尾草森樹等類以障陰山邊田土樹藝五穀近海沙田水漲之後人收其沙以煎鹽此時明月當圓予覽山川亦足見一方之風景 
---&gt;
&lt;!--- 中山世鑑 and so on. Lots of poetry too. ---&gt;

===Unit 11: Nation Focus - Singapore===
&lt;!--- National Library of Singapore has a poetry series that's super good! ---&gt;

===Unit 12: Literary Chinese in Medicine===
&lt;!--- do not endorse the medical practices discussed in these...make sure to link back to the heavenly stems here as they are associated with specific body parts. ---&gt;
# [[/Deviant Qi with Zhang Congzheng/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%84%92%E9%96%80%E4%BA%8B%E8%A6%AA ---&gt;
# [[/Anatomy with Sugita Genpaku/]]
&lt;!--- 解体新書 ---&gt;

===Unit 13: People Focus - Zhuang peoples===
&lt;!--- https://mooc1.chaoxing.com/mooc-ans/ztnodedetailcontroller/visitnodedetail?courseId=84745403&amp;knowledgeId=84745463&amp;_from_=&amp;_fromV2_=&amp;rtag= 《峤西诗钞》 is also a really good shout. ---&gt;
&lt;!--- Basically, there are Zhuang and Tangut peoples who wrote in Literary Chinese, and their inclusion here is to show that even those who made their own scripts would use this tongue. 张鸿翮 imported the character 朴 to describe a bug, for example. ---&gt;
# [[/Zhuang poetry with Zhang Honghe/]]
&lt;!--- https://wenyi.gmw.cn/2024-06/25/content_37398911.htm

一是忠实记录了汉诗创作与古壮字交融的文化现象。清代壮族诗人张鸿翮（hé）《大塘谣》（《峤西诗钞》卷二）云：

去了休。去到大塘红蓼洲。红蓼生花，不结子。绿朴生花，毬见毬。

诗中所说“绿朴”，是壮族对柚子的惯称。“柚子”，壮语发音为“bug”。根据《古壮字字典》，其对应的古壮字为“朴（㭪）”。诗人将古壮字运用到汉文诗歌创作中，刻下了明清壮汉文化交相辉映的注脚。

This sort of thing is why Zhuang and Tangut inclusion is important, as they show how flexible Literary Chinese can be. ---&gt;

&lt;!---
Possible Jurchen/Khitan focus? 
耶律楚材 - Served 窝阔台, 玄風慶會錄 is short and respectable enough to work with.
---&gt;

===Unit 14: People Focus - Tangut peoples===
&lt;!--- 羅福萇 and 羅振玉 wrote studies on Western Xia / Tangut script. Look for poets and stuff. ---&gt; 

===Unit 15: Literary Chinese in the Military===
&lt;!--- Real Sun Zi hours! 7 Military Classics are an obvious shout, but look for more stuff too. ---&gt;
# [[/Going to war with Boyan/]]
&lt;!---
Boyan's Poem from the 元史
　　伯顏，蒙古巴林部人。至元十一年拜中書左丞相，總兵伐宋。官至開府儀同三司，薨贈太師，封淮安王，諡忠武。

　　《玉堂嘉話》：初，宋未下時，江南謠云：「江南若破，白雁來過。」當時莫喻其意。及宋亡，蓋知指丞相巴延也。

　　過梅嶺岡留題

馬首經從庾嶺回 【 庾嶺回　七修類稿（乾隆刊本）卷四十六作「嶺島歸」。】 ，王師到處悉平夷。擔頭不帶江南物，只插梅花一兩枝。

　　《七修類藳》：伯顏下江南，過金陵梅嶺岡詩云云。所以著名，亦有是善。
---&gt;
# [[/An Edict from the Xianbei/]]
&lt;!---
教義詔 楊廣
武有七德，先之以安民。政有六本，興之以教義。高麗高元，虧失藩禮，將欲問罪遼左，恢宣勝略。雖懷伐國，仍事省方。今往涿郡，巡撫民俗。其河北諸郡及山西、山東年九十已上者，版授太守；八十者，授縣令。
---&gt;
# [[/The Suppression of the Kingdom of Dongning/]]
&lt;!---
台灣鄭氏始末
https://ctext.org/wiki.pl?if=en&amp;chapter=139938

Largely a record of wars in Dongning rather than anything about the trade etc, so it fits here. 
---&gt;
# [[/The Shunzhi Emperor vs Li Zicheng/]]
&lt;!---
順治帝
告示
逆酋李自成已於通城斃命，各地鄉勇務隨我軍剿殺逆賊殘餘,凡有斬獲逆酋及擒獲逆酋交我軍者，一經驗證，按軍功論級給賞，必以示我朝皇恩浩蕩。
大清順治二年五月二十四日

恩詔
今月何日，為國曆改歲之履端,即為永昌書元之紀念？緬惟我朝民眾，三元肇慶，四始發祥。陳椒酒以飛觴，躋堂介壽；換桃符以獻歲，辟戶書新。翹望德容，河勝額手。今山河如舊，歲序更新;今天下同春，咸頒麗澤。願我朝君臣與萬民同樂，共沐化日光天，方不虛度韶華。
永昌二年新正初一

There's probably better choices here. Review. 
---&gt;

===Unit 16: Nation Focus - Vietnam===
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/cfe6700e01f6fd59616a375d31aa8cd096677be1 this first ---&gt; 
# [[/Ancestor Veneration with the Descendants of Zhu Xi/]] 
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/tree/main/corpus%2F%E8%B6%8A%E5%8D%97%E6%BC%A2%E6%96%87%2Fclean  somewhere in here ---&gt;
# [[/Spreading Revolutionary Consciousness with Phan Bội Châu and Liang Qichao/]] 
&lt;!--- 越南亡國史 Possibly the most important text in Vietnamese history, not even gonna lie. https://zh.wikisource.org/wiki/%E8%B6%8A%E5%8D%97%E4%BA%A1%E5%9C%8B%E5%8F%B2 ---&gt;
# [[/Academia in Literary Chinese between East and West/]] 
&lt;!--- 南風雜誌 is a massive shout here. Absolutely amazing series. ---&gt;

===Unit 17: Historical Annals and Encyclopediae===
&lt;!--- 永樂大典 will teach how to infer from gaps in texts! 《編類》 is an incredibly interesting essay from here that can bring up the odes and Confucius's「思無邪」quote. It can prepare students for the wrath of Qing academia later. ---&gt; 
# [[/The History of Liao, Jin, and Song with Toqto'a/]] &lt;!--- 脱脱 ---&gt;
# [[/Two Years in the Forbidden City with Yu Deling/]] &lt;!--- 清宮禁二年記 https://zh.wikisource.org/wiki/%E6%B8%85%E5%AE%AE%E7%A6%81%E4%BA%8C%E5%B9%B4%E8%A8%98 ---&gt;
# [[/Selected Records of the History of the Da Shun/]]
&lt;!--- Fair Use of a 2010 book written in Literary Chinese about the Da Shun dynasty. Limit to 500 characters, if that. Use to encourage recognition of Simplified variants and modern Wenyanwen. ---&gt;
# [[/Documenting the World with Terajima/]]
&lt;!--- 和漢三才図会 寺島良安, built off 三才圖會 ---&gt;

===Unit 18: Buddhist Literature===
&lt;!--- You would be forgiven for wondering why this is so late, but if you look at many classical Buddhist texts you'll quickly see a ton of loanwords that make it significantly more difficult to read than the average text. Thus, it goes here for now. ---&gt;
&lt;!--- Place focus on practical stuff first. Stuff you can and WILL see in Buddhist temples. Stuff Buddhists can take away immediately. Skills-based approach feels strongest here. ---&gt;
# [[/Dipping your feet in with Wenyan Shu/]]
&lt;!---
華亭
世尊遺法本忘言，教外別傳意已圓。
只履攜將蔥嶺去，不妨來上月明船。
---&gt; 
# [[/The Seven Tathagatas/]] 
&lt;!---
南無寶勝如來
南無多寶如來
南無妙色身如來
南無廣博身如來
南無離怖畏如來
南無甘露王如來
南無阿彌陀佛

Use to introduce some core vocabulary in repetitive manner. 

Useful phrases from my trip to Jing'an Temple
南無本師釋迦牟尼佛 - Pay homage to the root teacher
南無大悲觀世音菩薩 - Pay homage to the goddess of mercy 
廣種福田 - widely plant a meritorious field 
---&gt;
# [[/Two Buddhist Temples in Shanghai/]] 
&lt;!---
留雲禪寺
雲留雲翔領畧幾許禪機此地有雲散天開真如界。
塔內塔外普示無邊圓覺是故曰塔影雙照解脫門。

歲次壬午冬月吉旦。
覺醒敬撰。
楊胡生沐手恭書。
善信印利明敬獻。 
---&gt;
&lt;!--- 福慧宝鼎 慧明大和尚 - introduce the Buddhist timekeeping system with 佛歷 around this point. 
赤烏古剎
建寺一千七百六十周年紀念

古剎三國建
滬瀆有重玄
石佛音淨現
聖跡顯重元
唐時稱永泰
宋敕名靜安
聖祖留佛闡
仲師移伽藍
元收八景偈
明鑄鐘聲梵
清樹化羅漢
選賢十方讚
佛日普光明
福慧共修善
鼎運昌隆際
轉正法輪緣

歲次丁亥住持慧明監製
---&gt;
# [[/Foreseeing Monkhood with Yi Xing/]]
&lt;!--- 看命一掌金 ---&gt;
# [[/A Trip to Western Xia with Zhi Guang and Hui Zhen/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%AF%86%E5%91%AA%E5%9C%93%E5%9B%A0%E5%BE%80%E7%94%9F%E9%9B%86 ---&gt;
&lt;!--- https://zh.wikisource.org/wiki/%E5%AF%86%E5%92%92%E5%9C%93%E5%9B%A0%E5%BE%80%E7%94%9F%E9%9B%86 ---&gt;
# [[/Jizang's Three Discourses/]]
&lt;!--- https://zh.wikisource.org/wiki/%E4%B8%89%E8%AB%96%E7%8E%84%E7%BE%A9 ---&gt;
&lt;!---
I saw these texts being quoted and thus should consider them in some capacity.
《般若波羅蜜多心經》
《金剛般若波羅蜜經》
《一切智光明仙人慈心因緣不食肉經》
《妙法蓮華經》
《大般涅槃經》
《大方等大集經》
《大毘盧舍那成佛神變加持經蓮華胎藏悲生曼荼羅廣大成就儀軌供養方便會》/ 胎藏曼荼羅 
《佛說救拔焰口餓鬼陀羅尼經》
《雜阿含經》

Look at Japan's 五山文学
---&gt;

===Unit 19: People Focus - Manchu peoples===
# [[/Qing dynasty Poetry with Nara Singde/]] 
&lt;!--- 飲水詞 納蘭性德 https://zh.wikisource.org/wiki/Author:%E7%B4%8D%E8%98%AD%E6%80%A7%E5%BE%B7 ---&gt;
# [[/Amassing Words with the Kangxi Emperor/]] 
&lt;!--- Kangxi Dictionary Abstract - https://zh.wikisource.org/wiki/%E5%BA%B7%E7%86%99%E5%AD%97%E5%85%B8 ---&gt;
# [[/Amassing Literature with the Qianlong Emperor/]] 
&lt;!--- Siku Quanshu abstract https://zh.wikisource.org/wiki/%E5%9B%9B%E5%BA%AB%E5%85%A8%E6%9B%B8%E7%B8%BD%E7%9B%AE%E6%8F%90%E8%A6%81 ---&gt;
&lt;!---
Yongzheng Emperor's Poetry 
https://zh.wikisource.org/wiki/Author:%E9%9B%8D%E6%AD%A3%E5%B8%9D
《和碩怡賢親王祭文》

Also include 滿洲國 stuff to show the fall of the Qing and attempts to preserve it through becoming a Japanese puppet state. It is important to show how Literary Chinese can be misused as well. 滿洲國建國宣言 is a good shout, as is 法制 to prepare students who may be interested in Taiwan legal stuff later down the road. 
https://zh.wikisource.org/wiki/Category:%E6%BB%BF%E6%B4%B2%E5%9C%8B
---&gt;
# [[/Paintings and Beauty with Puru Aisin-Gioro/]]
&lt;!--- Saw these in Shanghai Museum with some writing, seemed really cool. Teaches another skill. ---&gt;

===Unit 20: Qing-RoC Literature===
&lt;!--- many writers here, will be difficult to sift through. Include 四库全書 abstracts and stuff here. ---&gt;
# [[/Jewish Refugees in Shanghai/]] 
&lt;!--- Show passports, certificates, etc, from the Jewish Refugee Museum, anonymised. ---&gt;
# [[/A Literary Chinese Abstract/]] 
&lt;!--- Abstracts from siku quanshu, probably want others ---&gt;
# [[/Lament with Lu Ruoteng/]] 
&lt;!---
《疑猜》盧若騰，東寧國
盟誓變為交質子，春秋戰國風如此；末世上下相疑猜, 更質妻子防逃徙。
此法只可羈庸奴，若遇梟雄術窮矣；妻可再娶子再育, 安能長坐針氈裏。
我贈一法君記存；推心置腹人知恩；眾人畜之眾人報, 幾個國士在君門。
盧若騰撰，陳漢光編輯，《島噫詩》，臺灣文獻叢刊第二四五種（臺北:臺灣銀行經濟研究室，1968年）21頁。
---&gt;
# [[/Common Linguistics Knowledge in the RoC/]]
&lt;!--- 音韻常識 ---&gt;

==References used for this page==
* Yang, B. (2016). 文言语法 [Literary Chinese Grammar] (1st ed). 中华书局 [Zhonghua Book Company]. ISBN: 978-7-101-11619-9
* Priestley, K. E., &amp; Shou-jung, C. (1962). China’s Men of Letters, Yesterday and Today. Dragonfly Books.
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Welcome to the Wikibook for Literary Chinese (Known as 漢文 &quot;Han Language&quot; in East Asia or 文言 &quot;Literary Language&quot; in China), aimed at individuals hoping to gain a general knowledge of it before progressing into genres they wish to be acquainted with. 

This is not the [[Classical Chinese]] textbook, which is aimed at Chinese Zhou-Qin era texts. This  text aims to shed light on post-Zhou-Qin texts across East Asia, which mimic those texts. It does so through a &quot;buffet&quot; approach, showering you, the reader, with an ocean of texts of myriad genre. 

==Table of Contents==

=== Front matter ===

* [[/Introduction/]]
* [[/Appendices/]]

=== Useful resources ===
These are quick grab-bags that can be useful for vocabulary-building. 
* [[/Antonym List/]] &lt;!--- 文/武，大/小，厚/薄，橫/縱...---&gt;
* [[/Collocation Groups/]] &lt;!--- e.g. 四象，三靈…… ---&gt;
* [https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/嚴譯及部定詞等 Yan Fu's Qing-era translations for modern terms] &lt;!--- Wikiversity has this (https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/嚴譯及部定詞等) and the below, I will effectively be translating a lot of it! ---&gt;
* [https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/上古語考輯 Communicative Terms]
&lt;!--- this will be translated eventually, but right now it's bad to just leave this here. ---&gt;

=== Useful primers ===
Across history, many primers have been made for teaching Literary Chinese to children. These are a few that are recommended for use alongside this work, ideally in flashcards. 
* [https://www.fdgwz.org.cn/Web/Show/11308 倉頡篇] - Cangjie's Chapters, the earliest one. It is extant, but incomplete. It contains several rare characters, and so if used, I would personally recommend doing so later, or out of interest. 
* 三字經 - The Three Character Classic, an excellent piece for Confucian education. Pair with 弟子规 for best results. 
** 三字經（太平天國版）- For Christians, there is a version made by Hong Xiuquan from the Taiping Rebellion. Despite the context, it is a legitimately useful primer and can be used to self-teach for the Delegate's Edition of the Christian Bible. 
* 千字文 - The Thousand Character Classic, a remarkable piece of constrained writing that only uses each character once. Amazing for building vocabulary whilst seeing historical allusions and the like. 
* 五字鑑 - The Five-Character Mirror, essentially the 24 Histories of China compressed into a primer. Uses 5-character couplets, the longest in this list. 
* 龍文鞭影 - The Shadow of Longwen's Whip, a historical allusion trainer. Best paired with a context piece.

===Unit 0: The Han script===
This unit is intended for those with no familiarity of the Han script. It will prepare you for the units ahead, teaching largely pictographic characters. 

By the end of this unit, students will:
* Recognise around 50 characters.
* Understand how characters are composed and how this gives them meaning.
* Have a basic idea of how to handwrite and/or type characters using the Cangjie Input Method.
* Know some bare basics of Literary Chinese grammar (e.g. Basic word order, where adjectives go, lack of &quot;is&quot;, 有...)

Lessons:
# [[/An Introduction to the Han Script/]]
# [[/People, Big and Small/]]
# [[/What are Chinese characters, anyway?/]] &lt;!--- deploy several single-radical texts---&gt;
# [[/How do we write Chinese?/]]
# [[/Tilling the Fields with 有/]]
# [[/The Sun and the Moon/]]
# [[/Weapons and Metals/]]
# [[/How Characters are Made/]] &lt;!--- teach 難 and 重. ---&gt;
# [[/Cangjie Created Characters/]] &lt;!--- Get people to use Cangjie ---&gt;
# [[/The Kangxi Radical System/]] &lt;!--- Introduce some monoradical texts to train recognition. ---&gt; 
# [[/How do we read Chinese?/]] &lt;!--- Deploy one of my monosyllabic poems and inductively teach phono-semantic compounds. ---&gt; 
# [[/Word Training with Kiyohara no Sanemoto/]]
&lt;!---
字訓詩·清原真友·平安時代
禾失曾知秩，中心豈忘忠。里魚穿浪鯉，江鳥度秋鴻。

火盡仍為燼，山高自作嵩。色絲辭不絕，凡虫泣寒風。
---&gt;

===Unit 1: Basic Skills===
This unit is intended for those with minimal familiarity with the Han script and no familiarity with Literary Chinese. There is a focus on simple structures, skills for dissecting common textual structures, and short-form poetry in this unit. 

Before starting this unit, students should:
* Recognise around ~30 characters. 
* Can use Cangjie input. 
* Have given Unit 0 a cursory glance. 
&lt;br&gt;
By the end of this unit, students will:
* Recognise around ~100 characters. 
* Comprehend numbers, the Heavenly Stems, and the Earthly Branches, and be able to use them to quantify time and date.
* Intuit the basic topic -&gt; comment idea behind Literary Chinese. &quot;This, it is...&quot; 
* Understand basic function words such as 也, 而, 有, and 謂.

Lessons:
# [[/The All-Purpose 也/]]
# [[/An Introduction to Chinese Numbers/]] &lt;!--- It is hard to find authentic materials for this ---&gt;
# [[/One, Two, Left, and Right with Gongsun Long/]]
&lt;!---
曰：「二有一乎？」

曰：「二無一。」

曰：「二有右乎？」

曰：「二無右。」

曰：「二有左乎？」

曰：「二無左。」

曰：「右可謂二乎？」

曰：「不可。」

曰：「左可謂二乎？」

曰：「不可。」

曰：「左與右可謂二乎？」

曰：「可。」
---&gt;
# [[/The Heavenly Stems/]] &lt;!--- Introduce ordinals, which will be used to demonstrate sentence patterns later. ---&gt;
# [[/Tell the Time with Earthly Branches/]] &lt;!--- Introduce verbs and timekeeping ---&gt;
# [[/Lunar Dates with the Spring and Autumn Annals/]]
&lt;!--- Vocabulary: 歲，年，朔，月，日，來，前，初，正，春秋夏冬，曆，上，下. Consider including traditional names for months in a list. ---&gt;
# [[/Skimming for Major Events in Historical Annals/]] 
&lt;!--- Don't simply use Confucius's Chunqiu: We can use texts inspired by it. 

E.g. 三國史記 - 十五年京城旱。秋七月，蝗。very few new characters, lots one can use. Instantly able to use. 
https://zh.wikisource.org/wiki/%E4%B8%89%E5%9C%8B%E5%8F%B2%E8%A8%98/%E5%8D%B701

Skimming annals is very possible and a very useful skill. Don't skip out on it. Teach students to skim read!!! 
---&gt;
# [[/Dinner with the Daimyo/]]
&lt;!-- 
侍宴·大友皇子
皇明光日月，帝徳載天地。
三才併秦昌，万国表臣義。
--&gt; 
# [[/In Discourse with Jibong/]]
&lt;!--
芝峰類說 
倭國謂田爲畠。謂水田爲田。火田爲畑。猶我國以水田爲畓也。故官名有畠山殿。地名有畑島云。
--&gt;
# [[/Shinto FAQ with Honda Chikaatsu/]] 
&lt;!--- https://wikisource.org/wiki/%E7%9C%9E%E9%81%93%E5%95%8F%E5%B0%8D 眞道問對 本田親徳 really good way of operationalising 乎 and much of the early grammar. 

問 天帝無始無終乎。
對 天帝無始無終也。
旣以無始無終之力
與無始無終之體
造無始無終之萬物。
其功亦無始無終也。

問 天地大原在道乎。
對 天地大原實在道。
鬼神依道而立。
人民依道而活。
萬物依道而息。

This is great! ---&gt;

&lt;!---
Some cool stuff I saw someone studying from
https://zh.wikisource.org/wiki/%E8%87%B3%E5%B0%8F%E4%B8%98%E8%A5%BF%E5%B0%8F%E7%9F%B3%E6%BD%AD%E8%A8%98#
https://zh.wikisource.org/wiki/%E6%A0%B8%E8%88%9F%E8%A8%98

Could be used for period focus
---&gt;

===Unit 2: An Overview of Sinitic Poetry===
This unit will teach you how Sinitic Poetry operates; - that is, the way individuals in the Sinosphere compose poetry in Literary Chinese. Despite this language's fall out of favour in the past century, this tradition is still remarkably alive and well, and their short length makes them more accessible than elaborate prose. In this unit, you will begin from the ''Classic of Poetry'' before travelling through poems from the Tang dynasty, Singapore, Japan, Vietnam, the Ryukyu Kingdom, and Korea. When introducing poetry, I will furthermore use the language from the nation it is from to show how it is recited by its people. 

After discussing the Classic of Poetry, we will also be a small detour into a discussion on Ping-Ze 平仄, the Tang dynasty system of alternating tones, so to produce rhyme on tonal and phonological levels. This had a major impact on Literary Chinese poetry as a whole!

By the end of this Unit, students will:
* Recognise around 120 more characters.
* Be able to explain how Sinitic Poetry rhymes and the themes it contains.
* Be able to use function words such as 在, 無, 不, 聿, and 于/於 in poetic contexts.
* Recognise the switch between 吾/我 in the subject-object positions and demonstrate it in usage.
* (Chinese speakers) Be able to differentiate 于 and 於, and understand the &quot;interest(ed) in&quot; meaning of 好 in most circumstances.
&lt;!---
Summary of the above part about 于 and 於 for other editors:
于 and 於 were distinct words for an extremely long time and were still such to Literary Chinese writers. Their &quot;merging&quot; through Simplified-Traditional Chinese distinctions is a very modern thing. I will summarise their usages here, using Pulleyblank's Outline of Classical Chinese Grammar (2000);
* 于 - This can mean &quot;to go&quot; or &quot;to/at&quot;. 黃鳥于飛 &quot;The yellow birds go flying&quot;. Must be post-verbal. It can also appear in 至于.
* 於 - This is an all-purpose locative preposition - from &quot;on/at/in&quot; to &quot;from&quot; or even &quot;than&quot; (甲於乙). The implication of motion is not there at all. Must be pre-verbal. It can also appear in 之於 or be an archaic noun for a crow 於 (烏).
---&gt;

Lessons:
# [[/Across the Rivers with Emperor Puliuru Guang/]]
&lt;!---
春江花月夜·楊廣
夜露含花氣，春潭漾月暉。
漢水逢遊女，湘川值二妃。

This is really simple and can elucidate Ping-Ze easily.
---&gt;
# [[/To Study the Odes/]] 
&lt;!-- 蟋蟀·姬旦 國風·唐風
蟋蟀在堂，歲聿其莫。今我不樂，日月其除。無已大康，職思其居。好樂無荒，良士瞿瞿。
蟋蟀在堂，歲聿其逝。今我不樂，日月其邁。無已大康，職思其外。好樂無荒，良士蹶蹶。
蟋蟀在堂，役車其休。今我不樂，日月其慆。無已大康，職思其憂。好樂無荒，良士休休。
--&gt;
&lt;!-- 黃鳥 小雅·鴻鴈之什
黃鳥黃鳥，無集于穀，無啄我粟。
此邦之人，不我肯穀。言旋言歸，復我邦族。

黃鳥黃鳥，無集于桑，無啄我粱。
此邦之人，不可與明。言旋言歸，復我諸兄。

黃鳥黃鳥，無集于栩，無啄我黍。
此邦之人，不可與處。言旋言歸，復我諸父。
--&gt;
# [[/A Detour into Orthodox Ping-Ze/]] 
&lt;!--- 平 and 仄 are useful characters themselves. Show 仄 in the binomes 反仄，歉仄，逼仄 as it's often difficult to immediately use ---&gt;
# [[/The Restraint of Du Fu/]] 
# [[/The Longing of Li Bai/]] 
# [[/The Environment with Bukha Timur/]]
&lt;!---
西湖竹枝詞·布哈特穆爾
湖上春歸人未歸，桃紅柳緑黄鶯飛。
桃花落時多結子，楊花落處秪沾衣。

宫词·布哈特穆爾
玉樓珠箔晚天涼，秋色依稀滿建章。
金井梧桐霜葉盡，自隨流水出宮牆。

Mongol writer from the Uyghur Kingdom of Gaochang
Spammed Ctrl+F in https://zh.wikisource.org/wiki/%E5%BE%A1%E9%81%B8%E5%9B%9B%E6%9C%9D%E8%A9%A9_(%E5%9B%9B%E5%BA%AB%E5%85%A8%E6%9B%B8%E6%9C%AC)
---&gt;
# [[/Pillow Talk with Guan Yunshi/]]
&lt;!---
紅繡鞋·貫雲石
挨著靠著雲窗同坐，偎著抱著月枕雙歌，聽著數著愁著怕著早四更過。四更過情未足，情未足夜如梭。天哪，更閏一更兒妨甚么！

Uyghur author!
---&gt;
# [[/Buddhist Philosophy with Ngô Chân Lưu and Taisei Shōan/]]
&lt;!-- 元火·吳真流
木中元有火，元火復還生。
若為木無火，鉆燧何有萌。--&gt;
&lt;!-- 杜鵑·大成聖安
夢覚孤床静
杜鵑帯雨飛
一声来近枕
何者不沾衣
--&gt;
# [[/Odes with Mō Taiei and Zheng Chengxun/]]
&lt;!-- 詠松·毛泰永
植體宜千仞，垂陰動百尋。
李膺真烈烈，和嶠自森森。
桃李何堪較，雪霜安得侵。
萬年身不老，種子又成林。
AKA Inoha Seiki 伊野波 盛紀 --&gt;
&lt;!-- 詠班蘭·鄭成勛
南國多芳草，班蘭最有名。
深根將綠茁，長葉亦叢生。
取味迎賓合，入厨任水烹。
可憐經一用，擲棄不留情。

鄭成勛《樵隱詩集》 https://nus.edu.sg/nuslibraries/dsprojects/sg-jiutishi/poem/827 --&gt;

# [[/A Golden Cup and the Fall of a Dynasty with Yan Fu/]] 
&lt;!---
鞏金甌·嚴復
鞏金甌，承天幬，民物欣鳧藻，喜同袍。
清時幸遭，真熙皞，帝國蒼穹保。
天高高，海滔滔。
This has music to it, which I think can add a lot. It is also necessary to introduce Yan Fu early given he did translation. ---&gt;
# [[/On a Journey with Sa Dula/]]
&lt;!---
無題·薩都剌
為客三年海上洲，故鄉何處瘴雲稠。
數千里外蠻人域，十八灘頭過客舟。
時有山禽呼姓字，或從海鳥作朋儔。
故人珂珮周旋處，紫殿風清十二樓。
https://zh.wikisource.org/wiki/%E7%84%A1%E9%A1%8C_(%E8%96%A9%E9%83%BD%E5%89%8C)

A naturalised Mongol scholar who made a beautiful poem. This'll be a capstone.
---&gt;
&lt;!---
朝中措·襄陽古道灞陵橋
襄陽古道灞陵橋，詩興與秋高。
千古風流人物，一時多少雄豪。

霜清玉塞，雲飛隴首，風落江皋。
夢到鳳凰台上，山圍故國周遭。

北郊晚步
陂水荷凋晚，茅檐燕去涼。
遠林明落景，平麓淡秋光。
群牧歸村巷，孤禽立野航。
自諳閑散樂，園圃意尤長。

Jurchen poet and grandson of Emperor Shizong of Jin. He's a Zen Buddhist, so we'll go back to him later.
---&gt;

===Unit 3: Confucianism and the World===
This is a Confucian-themed unit with a smattering of other items. You will see the odd geography of the past, early linguistic philosophy, and terrifying breakaway states!

By the end of this unit, students should be able to:
* Recognise around 200+ characters.
* Read basic annals and histories with some dictionary assistance, and comprehend 3-character structures reliably.
* Have encountered basic grammatical points such as 之、乎、者、也、而、則、乃、所、以、於、于、與、且、蓋、and 夫. 
** 於 and 于 should be distinguishable.
* Survive a text of at least 250 characters and read for gist.

Lessons:
# [[/A Brief Overview of Confucianism/]] 
# [[/The Mountains with Yelü Tuyu/]]
&lt;!---
立木海上刻詩 耶律圖欲 / 耶律倍 / 李贊華

小山壓大山，大山全無力。
羞見故鄉人，從此投外國。
---&gt;
# [[/Teaching the Annals in Qi/]] &lt;!-- Gongyang Gao's commentary --&gt;
# [[/Is a White Horse a Horse?/]]&lt;!-- Teach negation with 非 in 公孙龍子 and compare with 不 --&gt;
# [[/The Three Character Classic/]]
# [[/Expressing Filial Conduct with Confucius and Hara Saihin/]]
&lt;!--
次韻杏坪先生
父執有君孤不孤
相依遍接搢紳徒
区区自抱地方寸
杏杏重遊天一隅
羇雁飛鳴迷汝國
家人思夢入江都
如教志業青年遂
世上寧無逐臭夫
--&gt;
# [[/Confucianism and the Environment with Sai On/]]&lt;!-- 木假山記 --&gt;
# [[/In Debate with Mencius/]]

===Unit 4: Women's Writing===
In this unit, women's writing from various areas of China will be explored. This is chiefly targeted at poetry and the themes within; from the feminine voice of the Classic of Poetry to the remonstrance towards the Khitan Emperor Tianzuo of Jin by his Consort Dasese. The role of women in courtly society is to be elucidated here!
# [[/An Unmarried Life with Heo Nansŏrhŏn/]]
&lt;!---
貧女吟 
豈是乏容色。工鍼復工織。
少小長寒門。良媒不相識。

夜久織未休。戛戛鳴寒機。
機中一匹練。終作阿誰衣。

手把金翦刀。夜寒十指直。
爲人作嫁衣。年年還獨宿。
---&gt;
# [[/Responding to Lord Trần with Hồ Xuân Hương/]]
&lt;!---
Responding to 陳光靜 Trần Quang Tĩnh

《和陳侯》
愧無才調使人驚，十載風塵貫耳鈴。
已是臨枰知敵手，莫須敲月苦殫精。
為輪為彈隨遭遇，誰鳳誰鶯任賦生。
造物於人何苟惜，明珠休向暗中呈。

莫須 is an important structure to teach here.
---&gt;
# [[/Gaze into the Autumn Night with Taisei Shōan/]]
&lt;!---
秋夜偶成·大成聖安
長天浮爽気，月色興無窮
群犬吠山径，百蟲啼野風
悲秋秋夜永，感古古今同
自是孤窓下，凄然万慮空
---&gt;
# [[/Visiting a Temple with Yu Xuanji/]]
&lt;!---
遊崇真觀南樓覩新及第題名處
雲峰滿目放春晴，歷歷銀鈎指下生。
自恨羅衣掩詩句，擧頭空羨榜中名。
---&gt;
# [[/Remonstrance with Dasese/]]
&lt;!---
https://zh.wikisource.org/wiki/%E8%AB%B7%E8%AB%AB%E6%AD%8C
諷諫歌·大瑟瑟
勿嗟塞上兮暗紅塵。
勿傷多難兮畏夷人。
不如塞奸邪之路兮選取賢臣。
直須臥薪嚐膽兮激壯士之捐身。
可以朝清漠北兮夕枕燕雲。

Dasese (or 萧瑟瑟) was a Khitan consort to Emperor Tianzuo of Liao. She remonstrated him as the Jurchens were beginning to encroach upon the Khitan, and was forced to commit suicide for her remonstrance. Tianzuo would soon pay for his malfeasance. 
---&gt;
# [[/The Love Songs of the Odes/]]
&lt;!---
褰裳
子惠思我，褰裳涉溱。子不我思，豈無他人？狂童之狂也且！
子惠思我，褰裳涉洧。子不我思，豈無他士？狂童之狂也且！

柏舟
彼柏舟，在彼中河，髧彼兩髦，實維我儀，之死矢靡它，母也天只，不諒人只。
汎彼柏舟，在彼河側，髧彼兩髦，實維我特，之死矢靡慝，母也天只，不諒人只。

行露
厭浥行露，豈不夙夜，謂行多露。
誰謂雀無角？何以穿我屋？誰謂女無家？何以速我獄？雖速我獄，室家不足。
誰謂鼠無牙？何以穿我墉？誰謂女無家？何以速我訟？雖速我訟，亦不女從。
---&gt;
# [[/Rules for Women with Ban Zhao/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%A5%B3%E8%AA%A1 ---&gt;
# [[/The Tragedy of Cai Wenji/]]
&lt;!---
悲憤詩
〔兩漢〕蔡文姬
漢季失權柄，董卓亂天常。
志欲圖篡弒，先害諸賢良。
逼迫遷舊邦，擁主以自強。
海內興義師，欲共討不祥。
卓眾來東下，金甲耀日光。
平土人脆弱，來兵皆胡羌。
獵野圍城邑，所向悉破亡。
斬截無孑遺，屍骸相撐拒。
馬邊懸男頭，馬後載婦女。
長驅西入關，迥路險且阻。
還顧邈冥冥，肝脾為爛腐。
所略有萬計，不得令屯聚。
或有骨肉俱，欲言不敢語。
失意幾微間，輒言斃降虜。
要當以亭刃，我曹不活汝。
豈復惜性命，不堪其詈罵。
或便加棰杖，毒痛參並下。
旦則號泣行，夜則悲吟坐。
欲死不能得，欲生無一可。
彼蒼者何辜，乃遭此厄禍。
邊荒與華異，人俗少義理。
處所多霜雪，胡風春夏起。
翩翩吹我衣，肅肅入我耳。
感時念父母，哀嘆無窮已。
有客從外來，聞之常歡喜。
迎問其消息，輒復非鄉里。
邂逅徼時願，骨肉來迎己。
己得自解免，當復棄兒子。
天屬綴人心，念別無會期。
存亡永乖隔，不忍與之辭。
兒前抱我頸，問母欲何之。
人言母當去，豈復有還時。
阿母常仁惻，今何更不慈。
我尚未成人，奈何不顧思。
見此崩五內，恍惚生狂痴。
號泣手撫摩，當發復回疑。
兼有同時輩，相送告離別。
慕我獨得歸，哀叫聲摧裂。
馬為立踟躕，車為不轉轍。
觀者皆噓唏，行路亦嗚咽。
去去割情戀，遄征日遐邁。
悠悠三千里，何時復交會。
念我出腹子，匈臆為摧敗。
既至家人盡，又復無中外。
城廓為山林，庭宇生荊艾。
白骨不知誰，縱橫莫覆蓋。
出門無人聲，豺狼號且吠。
煢煢對孤景，怛吒糜肝肺。
登高遠眺望，魂神忽飛逝。
奄若壽命盡，旁人相寬大。
為復強視息，雖生何聊賴。
託命於新人，竭心自勖勵。
流離成鄙賤，常恐復捐廢。
人生幾何時，懷憂終年歲。
---&gt;

===Unit 5: Myths and Legends of East Asia===
&lt;!--- Shanhaijing, Zibuyu... Etc. Zhiguai literature. This aims to provide a counterpoint to what Confucius wouldn't discuss - thus Zibuyu. Going straight into Daoism isn't ideal. ---&gt;
# [[/Exploring the World of Mountains and Seas/]]&lt;!-- Structure: 出焉 --&gt;
# [[/Oh, the Qilin!/]] &lt;!--- Even here, the odes can be studied! ---&gt;
# [[/Ultimate Justice with Xiezhi/]] 
# [[/The Virtue of the Fenghuang/]] 
# [[/The Entrapment of Hua Po/]] 
# [[/Nüwa Created the World/]] 

===Unit 6: Nation Focus - Japan===
# [[/The Inariyama Sword/]] 
&lt;!--- short and sweet! ---&gt;
# [[/Entering Japan with Takeda Shingen/]]
&lt;!---
便面蘆間有漁·武田信玄
山色水光烟接天，漁翁江上棹蘆辺
丹青若写得勝景，万里風波一釣船

便面半月照梅花·武田信玄
蘆葦清風垂頂絲，窺魚白鷺水生涯
江南記得曾遊夕，似見梨花院落時

島森哲男. (2015). 武田信玄漢詩校釈. 宮城教育大学紀要, 49, 333–352. https://mue.repo.nii.ac.jp/records/440

似 is a really useful thing to teach early on. 
---&gt; 
# [[/The Oldest Inscription in Japan/]] 
&lt;!--- 宇治橋断碑 ---&gt; 
# [[/Remembering Conflict with Nakajima Noburu/]] 
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/6faa4d3e57a24e542db0375894f0ead5503218bb ---&gt;
# [[/Shinto Teachings with Honda Chikaatsu/]] 
&lt;!--- https://wikisource.org/wiki/%E9%81%93%E4%B9%8B%E5%A4%A7%E5%8E%9F 本田親徳 道之大原 ---&gt;  
# [[/The Diary of Fujiwara no Teika/]] 
&lt;!--- 明月記 ---&gt;
# [[/Reading the History of Japan with Prince Toneri/]]
&lt;!--- 日本書記, etc. ---&gt; 
&lt;!--- # [[/Occupying Taiwan/]] ---&gt;
&lt;!--- I have some colonial literature on me that can be used here. ---&gt;

===Unit 7: Nation Focus - Korea===
&lt;!--- 三國史記 for sure! ---&gt;
&lt;!--- 放蟬賦 by Yi Kyubo ---&gt;
&lt;!--- https://zh.wikisource.org/wiki/%E9%A0%A4%E9%BD%8B%E9%81%BA%E7%A8%BF 頤齋遺稿 黃胤錫 Joseon scholar! ---&gt;
# [[/An Elegy to the Empress with Choe Ja/]]
&lt;!---
Choe Ja
元德大后輓詞·崔滋（최자）
乾極曾客配,坤儀正體元。
枕前朝聖主,帳底見曾孫。
陰慘俄沉月,屋悲便沒軒。
三韓千古淚,七十九年恩。
---&gt;
# [[/Language Reform with Sejong the Great/]]
&lt;!--- 訓民正音 https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/1ef2b42cc50055affaa5ef39c61b87ed31c34a60 multiple poems and descriptive terms, possibly the best capstone ---&gt;

===Unit 8: Christian Literature===
# [[/A Different Three Character Classic with Hong Xiuquan/]]
# [[/Friar Juan Cobo's Veritable Record/]] 
&lt;!--- 
One of few texts from the Philippines that I have ever found!
https://bnedigital.bne.es/bd/en/viewer?id=0160187c-9d9b-4f34-84d6-bc03fd310c69 
---&gt;
# [[/The Delegate's Edition/]]
# [[/Nestorian Steles during the Tang/]] 
&lt;!--- 大秦景教宣元至本經經幢 and 景教碑 ---&gt;
# [[/Hong Xiuquan's Bible/]]
&lt;!--- https://bible.fhl.net/ob/nob.html?book=407 ---&gt;
&lt;!--- I don't want to focus too much on Hong Xiuquan here, so look for more material, especially from missionaries. ---&gt;

===Unit 9: An Introduction to Daoism===
&lt;!--- And now back to your regularly scheduled Zhuangzi/Laozi/Liezi. But with more interesting stuff. Trust! ---&gt;
# [[/Laozi Explains the Dao/]]
&lt;!--- 道可道，非常道。名可名，非常名。無名天地之始；有名萬物之母。故常無欲，以觀其妙；常有欲，以觀其徼。此兩者，同出而異名，同謂之玄。玄之又玄，衆妙之門。I can expect learners to recognise the stuff here. ---&gt;
# [[/Qingtan with Xie Daoyun/]]
&lt;!--- 謝道韞; mentioned in the sanzijing. could be good!

《泰山吟·謝道韞》
峩峩東嶽高，秀極衝青天。
巖中間虛宇，寂寞幽以玄。
非工復非匠，雲構發自然。
器象爾何物，遂令我屢遷。
逝將宅斯宇，可以盡天年。

《拟嵇中散咏松诗·謝道韞》
遙望山上松，隆冬不能凋。
願想遊不憩，瞻彼萬仞條。
騰躍未能升，頓足俟王喬。
時哉不我與，大運所飄遙。

---&gt;
# [[/The Doubting Neighbour/]] 
# [[/Kuafu Chases the Sun/]] 
# [[/The Frog in a Well/]] 
# [[/Wu wei with King Hui of Liang/]]
# [[/The Old Man that Moves the Mountains/]]
# [[/Master Zhuang Dreams of Butterflies/]]
&lt;!--- Currently very stereotypical, but there's stuff to work with at least. Need to include those weird Daoist characters among other things. ---&gt;

===Unit 10: Nation Focus - Ryukyu Kingdom===
# [[/Historical Annals with Sai On/]] &lt;!--- Kyuko is an easy cop ---&gt;
# [[/The Enthronement of Shō Tei/]] 
&lt;!---
康熙二十二年封王尚貞敕
皇帝敕諭琉球國中山王世子尚貞：惟爾遠處海隅，虔修職貢；屬在塚嗣，序應承祧。以朝命未膺，罔敢專擅；恪遵典制，奉表請封。朕念爾世守臣節，忠誠可嘉！特遣正使翰林院檢討汪楫、副使內閣中書舍人加一級林麟焻，齎敕封爾為琉球國中山王，並賜爾及妃文幣等物。爾祗承寵眷，懋紹先猷；輯和臣民，慎固封守：用安宗社於苞桑，永作天家之屏翰。欽哉，毋替朕命！故諭。

Teach imperial edicts. 
Consider seeing if there's a letter of acceptance from Shō Tei. 

Recorded in 琉球國志略 
https://ctext.org/wiki.pl?if=en&amp;chapter=966326
---&gt;
# [[/The Twilight of Ryukyu with Shō Ten/]] 
&lt;!---
神田酒樓街燈 尚典
酒樓今秋設芳筵，
一望街燈燦燦連。
烟氣引來通柱上，
光爭星月照神田。
---&gt;
# [[/A Trip to Ryukyu with Luo Sen/]] &lt;!--- Pre-Capstone ---&gt;
&lt;!---
遐邇貫珍 1854-11 - 日本日記 羅森 
https://archive.org/details/HEKC185411/page/n5/mode/1up
A solid description of Ryukyu cultural customs in Volume 11. Absolutely incredible. 
日三日火船直向東北而駛出了臺灣之外幾日不見天涯是時北風大作波浪沖天火船亦甚飄蕩而不能立見有沙鷗隨風而逐浪心直駛七日漸見小山而到琉球琉球一國長闊一百七十五里其國城在地球圖緯線赤道之北二十六度十四分經線中華北京偏東十一度二十四分自明以來世封王爵叨列藩籬其處土產不過蔬菜番薯菜油黑糖等類人民束髻大補是穿草履男女粧飾頭上祇插一簪二簪為別故少年之男女瞥目則無異及其壯也皆留鬚髯故街上長鬚之人甚多甲寅正月初一予上岸遊玩見街上兒童甚多分以銅錢各極歡喜人民亦甚謙恭民居間亦貼新春聯于門外但不見有別等繁華之事那霸有寺寺內有園是名家世宦之墳所以石刊刻姓名年號于碑上每日道人打掃供奉生花樹葉于墓前另有人家祖墳與中國之明塚無異峰巒之上樹木多植民房則以蠻石圍墻內以茅草結屋而居佳物椅棹俱無惟以草蓆屈膝而坐對火盆而吹煙民間亦有識中國言語字墨者
不張舖店惟有墟塲男不貿易婦女為之以貨易貨而外方之金銀弗尚焉然而百姓亦甚畏官長飲食亦甚粗粕甘守樸儉不務奢華亦鮮欺詐板門紙窓夜間亦不防竊曾見途中撿物亦能以返原人公門之內冷冷落落並無案牘之煩淳樸之風畧有同于上古之世我等外國之欲買什物須言于官官為代辦正月初六提督被理衛廉士等一班將官布列威嚴與予乘轎至王宮總理大臣尚宏勳為主席布政大夫馬良才為知客享宴甚豐食物多與中國無異宴後各官皆饋有紙扇烟包布帛等項是物雖粗此亦世子之恭敬外國故亞國亦以禮物而返贈之世子王宮離岸三里在于山頂是名守禮將至其宮一路亦有樹木石牌坊宮室亦甚寬大幽雅垣局可觀其處多栽鳳尾草森樹等類以障陰山邊田土樹藝五穀近海沙田水漲之後人收其沙以煎鹽此時明月當圓予覽山川亦足見一方之風景 
---&gt;
&lt;!--- 中山世鑑 and so on. Lots of poetry too. ---&gt;

===Unit 11: Nation Focus - Singapore===
&lt;!--- National Library of Singapore has a poetry series that's super good! ---&gt;

===Unit 12: Literary Chinese in Medicine===
&lt;!--- do not endorse the medical practices discussed in these...make sure to link back to the heavenly stems here as they are associated with specific body parts. ---&gt;
# [[/Deviant Qi with Zhang Congzheng/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%84%92%E9%96%80%E4%BA%8B%E8%A6%AA ---&gt;
# [[/Anatomy with Sugita Genpaku/]]
&lt;!--- 解体新書 ---&gt;

===Unit 13: People Focus - Zhuang peoples===
&lt;!--- https://mooc1.chaoxing.com/mooc-ans/ztnodedetailcontroller/visitnodedetail?courseId=84745403&amp;knowledgeId=84745463&amp;_from_=&amp;_fromV2_=&amp;rtag= 《峤西诗钞》 is also a really good shout. ---&gt;
&lt;!--- Basically, there are Zhuang and Tangut peoples who wrote in Literary Chinese, and their inclusion here is to show that even those who made their own scripts would use this tongue. 张鸿翮 imported the character 朴 to describe a bug, for example. ---&gt;
# [[/Zhuang poetry with Zhang Honghe/]]
&lt;!--- https://wenyi.gmw.cn/2024-06/25/content_37398911.htm

一是忠实记录了汉诗创作与古壮字交融的文化现象。清代壮族诗人张鸿翮（hé）《大塘谣》（《峤西诗钞》卷二）云：

去了休。去到大塘红蓼洲。红蓼生花，不结子。绿朴生花，毬见毬。

诗中所说“绿朴”，是壮族对柚子的惯称。“柚子”，壮语发音为“bug”。根据《古壮字字典》，其对应的古壮字为“朴（㭪）”。诗人将古壮字运用到汉文诗歌创作中，刻下了明清壮汉文化交相辉映的注脚。

This sort of thing is why Zhuang and Tangut inclusion is important, as they show how flexible Literary Chinese can be. ---&gt;

&lt;!---
Possible Jurchen/Khitan focus? 
耶律楚材 - Served 窝阔台, 玄風慶會錄 is short and respectable enough to work with.
---&gt;

===Unit 14: People Focus - Tangut peoples===
&lt;!--- 羅福萇 and 羅振玉 wrote studies on Western Xia / Tangut script. Look for poets and stuff. ---&gt; 

===Unit 15: Literary Chinese in the Military===
&lt;!--- Real Sun Zi hours! 7 Military Classics are an obvious shout, but look for more stuff too. ---&gt;
# [[/Going to war with Boyan/]]
&lt;!---
Boyan's Poem from the 元史
　　伯顏，蒙古巴林部人。至元十一年拜中書左丞相，總兵伐宋。官至開府儀同三司，薨贈太師，封淮安王，諡忠武。

　　《玉堂嘉話》：初，宋未下時，江南謠云：「江南若破，白雁來過。」當時莫喻其意。及宋亡，蓋知指丞相巴延也。

　　過梅嶺岡留題

馬首經從庾嶺回 【 庾嶺回　七修類稿（乾隆刊本）卷四十六作「嶺島歸」。】 ，王師到處悉平夷。擔頭不帶江南物，只插梅花一兩枝。

　　《七修類藳》：伯顏下江南，過金陵梅嶺岡詩云云。所以著名，亦有是善。
---&gt;
# [[/An Edict from the Xianbei/]]
&lt;!---
教義詔 楊廣
武有七德，先之以安民。政有六本，興之以教義。高麗高元，虧失藩禮，將欲問罪遼左，恢宣勝略。雖懷伐國，仍事省方。今往涿郡，巡撫民俗。其河北諸郡及山西、山東年九十已上者，版授太守；八十者，授縣令。
---&gt;
# [[/The Suppression of the Kingdom of Dongning/]]
&lt;!---
台灣鄭氏始末
https://ctext.org/wiki.pl?if=en&amp;chapter=139938

Largely a record of wars in Dongning rather than anything about the trade etc, so it fits here. 
---&gt;
# [[/The Shunzhi Emperor vs Li Zicheng/]]
&lt;!---
順治帝
告示
逆酋李自成已於通城斃命，各地鄉勇務隨我軍剿殺逆賊殘餘,凡有斬獲逆酋及擒獲逆酋交我軍者，一經驗證，按軍功論級給賞，必以示我朝皇恩浩蕩。
大清順治二年五月二十四日

恩詔
今月何日，為國曆改歲之履端,即為永昌書元之紀念？緬惟我朝民眾，三元肇慶，四始發祥。陳椒酒以飛觴，躋堂介壽；換桃符以獻歲，辟戶書新。翹望德容，河勝額手。今山河如舊，歲序更新;今天下同春，咸頒麗澤。願我朝君臣與萬民同樂，共沐化日光天，方不虛度韶華。
永昌二年新正初一

There's probably better choices here. Review. 
---&gt;

===Unit 16: Nation Focus - Vietnam===
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/cfe6700e01f6fd59616a375d31aa8cd096677be1 this first ---&gt; 
# [[/Ancestor Veneration with the Descendants of Zhu Xi/]] 
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/tree/main/corpus%2F%E8%B6%8A%E5%8D%97%E6%BC%A2%E6%96%87%2Fclean  somewhere in here ---&gt;
# [[/Spreading Revolutionary Consciousness with Phan Bội Châu and Liang Qichao/]] 
&lt;!--- 越南亡國史 Possibly the most important text in Vietnamese history, not even gonna lie. https://zh.wikisource.org/wiki/%E8%B6%8A%E5%8D%97%E4%BA%A1%E5%9C%8B%E5%8F%B2 ---&gt;
# [[/Academia in Literary Chinese between East and West/]] 
&lt;!--- 南風雜誌 is a massive shout here. Absolutely amazing series. ---&gt;

===Unit 17: Historical Annals and Encyclopediae===
&lt;!--- 永樂大典 will teach how to infer from gaps in texts! 《編類》 is an incredibly interesting essay from here that can bring up the odes and Confucius's「思無邪」quote. It can prepare students for the wrath of Qing academia later. ---&gt; 
# [[/The History of Liao, Jin, and Song with Toqto'a/]] &lt;!--- 脱脱 ---&gt;
# [[/Two Years in the Forbidden City with Yu Deling/]] &lt;!--- 清宮禁二年記 https://zh.wikisource.org/wiki/%E6%B8%85%E5%AE%AE%E7%A6%81%E4%BA%8C%E5%B9%B4%E8%A8%98 ---&gt;
# [[/Selected Records of the History of the Da Shun/]]
&lt;!--- Fair Use of a 2010 book written in Literary Chinese about the Da Shun dynasty. Limit to 500 characters, if that. Use to encourage recognition of Simplified variants and modern Wenyanwen. ---&gt;
# [[/Documenting the World with Terajima/]]
&lt;!--- 和漢三才図会 寺島良安, built off 三才圖會 ---&gt;

===Unit 18: Buddhist Literature===
&lt;!--- You would be forgiven for wondering why this is so late, but if you look at many classical Buddhist texts you'll quickly see a ton of loanwords that make it significantly more difficult to read than the average text. Thus, it goes here for now. ---&gt;
&lt;!--- Place focus on practical stuff first. Stuff you can and WILL see in Buddhist temples. Stuff Buddhists can take away immediately. Skills-based approach feels strongest here. ---&gt;
# [[/Dipping your feet in with Wenyan Shu/]]
&lt;!---
華亭
世尊遺法本忘言，教外別傳意已圓。
只履攜將蔥嶺去，不妨來上月明船。
---&gt; 
# [[/The Seven Tathagatas/]] 
&lt;!---
南無寶勝如來
南無多寶如來
南無妙色身如來
南無廣博身如來
南無離怖畏如來
南無甘露王如來
南無阿彌陀佛

Use to introduce some core vocabulary in repetitive manner. 

Useful phrases from my trip to Jing'an Temple
南無本師釋迦牟尼佛 - Pay homage to the root teacher
南無大悲觀世音菩薩 - Pay homage to the goddess of mercy 
廣種福田 - widely plant a meritorious field 
---&gt;
# [[/Two Buddhist Temples in Shanghai/]] 
&lt;!---
留雲禪寺
雲留雲翔領畧幾許禪機此地有雲散天開真如界。
塔內塔外普示無邊圓覺是故曰塔影雙照解脫門。

歲次壬午冬月吉旦。
覺醒敬撰。
楊胡生沐手恭書。
善信印利明敬獻。 
---&gt;
&lt;!--- 福慧宝鼎 慧明大和尚 - introduce the Buddhist timekeeping system with 佛歷 around this point. 
赤烏古剎
建寺一千七百六十周年紀念

古剎三國建
滬瀆有重玄
石佛音淨現
聖跡顯重元
唐時稱永泰
宋敕名靜安
聖祖留佛闡
仲師移伽藍
元收八景偈
明鑄鐘聲梵
清樹化羅漢
選賢十方讚
佛日普光明
福慧共修善
鼎運昌隆際
轉正法輪緣

歲次丁亥住持慧明監製
---&gt;
# [[/Foreseeing Monkhood with Yi Xing/]]
&lt;!--- 看命一掌金 ---&gt;
# [[/A Trip to Western Xia with Zhi Guang and Hui Zhen/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%AF%86%E5%91%AA%E5%9C%93%E5%9B%A0%E5%BE%80%E7%94%9F%E9%9B%86 ---&gt;
&lt;!--- https://zh.wikisource.org/wiki/%E5%AF%86%E5%92%92%E5%9C%93%E5%9B%A0%E5%BE%80%E7%94%9F%E9%9B%86 ---&gt;
# [[/Jizang's Three Discourses/]]
&lt;!--- https://zh.wikisource.org/wiki/%E4%B8%89%E8%AB%96%E7%8E%84%E7%BE%A9 ---&gt;
&lt;!---
I saw these texts being quoted and thus should consider them in some capacity.
《般若波羅蜜多心經》
《金剛般若波羅蜜經》
《一切智光明仙人慈心因緣不食肉經》
《妙法蓮華經》
《大般涅槃經》
《大方等大集經》
《大毘盧舍那成佛神變加持經蓮華胎藏悲生曼荼羅廣大成就儀軌供養方便會》/ 胎藏曼荼羅 
《佛說救拔焰口餓鬼陀羅尼經》
《雜阿含經》

Look at Japan's 五山文学
---&gt;

===Unit 19: People Focus - Manchu peoples===
# [[/Qing dynasty Poetry with Nara Singde/]] 
&lt;!--- 飲水詞 納蘭性德 https://zh.wikisource.org/wiki/Author:%E7%B4%8D%E8%98%AD%E6%80%A7%E5%BE%B7 ---&gt;
# [[/Amassing Words with the Kangxi Emperor/]] 
&lt;!--- Kangxi Dictionary Abstract - https://zh.wikisource.org/wiki/%E5%BA%B7%E7%86%99%E5%AD%97%E5%85%B8 ---&gt;
# [[/Amassing Literature with the Qianlong Emperor/]] 
&lt;!--- Siku Quanshu abstract https://zh.wikisource.org/wiki/%E5%9B%9B%E5%BA%AB%E5%85%A8%E6%9B%B8%E7%B8%BD%E7%9B%AE%E6%8F%90%E8%A6%81 ---&gt;
&lt;!---
Yongzheng Emperor's Poetry 
https://zh.wikisource.org/wiki/Author:%E9%9B%8D%E6%AD%A3%E5%B8%9D
《和碩怡賢親王祭文》

Also include 滿洲國 stuff to show the fall of the Qing and attempts to preserve it through becoming a Japanese puppet state. It is important to show how Literary Chinese can be misused as well. 滿洲國建國宣言 is a good shout, as is 法制 to prepare students who may be interested in Taiwan legal stuff later down the road. 
https://zh.wikisource.org/wiki/Category:%E6%BB%BF%E6%B4%B2%E5%9C%8B
---&gt;
# [[/Paintings and Beauty with Puru Aisin-Gioro/]]
&lt;!--- Saw these in Shanghai Museum with some writing, seemed really cool. Teaches another skill. ---&gt;

===Unit 20: Qing-RoC Literature===
&lt;!--- many writers here, will be difficult to sift through. Include 四库全書 abstracts and stuff here. ---&gt;
# [[/Jewish Refugees in Shanghai/]] 
&lt;!--- Show passports, certificates, etc, from the Jewish Refugee Museum, anonymised. ---&gt;
# [[/A Literary Chinese Abstract/]] 
&lt;!--- Abstracts from siku quanshu, probably want others ---&gt;
# [[/Lament with Lu Ruoteng/]] 
&lt;!---
《疑猜》盧若騰，東寧國
盟誓變為交質子，春秋戰國風如此；末世上下相疑猜, 更質妻子防逃徙。
此法只可羈庸奴，若遇梟雄術窮矣；妻可再娶子再育, 安能長坐針氈裏。
我贈一法君記存；推心置腹人知恩；眾人畜之眾人報, 幾個國士在君門。
盧若騰撰，陳漢光編輯，《島噫詩》，臺灣文獻叢刊第二四五種（臺北:臺灣銀行經濟研究室，1968年）21頁。
---&gt;
# [[/Common Linguistics Knowledge in the RoC/]]
&lt;!--- 音韻常識 ---&gt;

==References used for this page==
* Yang, B. (2016). 文言语法 [Literary Chinese Grammar] (1st ed). 中华书局 [Zhonghua Book Company]. ISBN: 978-7-101-11619-9
* Priestley, K. E., &amp; Shou-jung, C. (1962). China’s Men of Letters, Yesterday and Today. Dragonfly Books.
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Welcome to the Wikibook for Literary Chinese (Known as 漢文 &quot;Han Language&quot; in East Asia or 文言 &quot;Literary Language&quot; in China), aimed at individuals hoping to gain a general knowledge of it before progressing into genres they wish to be acquainted with. 

This is not the [[Classical Chinese]] textbook, which is aimed at Chinese Zhou-Qin era texts. This  text aims to shed light on post-Zhou-Qin texts across East Asia, which mimic those texts. It does so through a &quot;buffet&quot; approach, showering you, the reader, with an ocean of texts of myriad genre. 

==Table of Contents==

=== Front matter ===

* [[/Introduction/]]
* [[/Appendices/]]

=== Useful resources ===
These are quick grab-bags that can be useful for vocabulary-building. 
* [[/Antonym List/]] &lt;!--- 文/武，大/小，厚/薄，橫/縱...---&gt;
* [[/Collocation Groups/]] &lt;!--- e.g. 四象，三靈…… ---&gt;
* [https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/嚴譯及部定詞等 Yan Fu's Qing-era translations for modern terms] &lt;!--- Wikiversity has this (https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/嚴譯及部定詞等) and the below, I will effectively be translating a lot of it! ---&gt;
* [https://zh.wikiversity.org/wiki/Subject:華製新漢語及中文固有語/上古語考輯 Communicative Terms]
&lt;!--- this will be translated eventually, but right now it's bad to just leave this here. ---&gt;

=== Useful primers ===
Across history, many primers have been made for teaching Literary Chinese to children. These are a few that are recommended for use alongside this work, ideally in flashcards. 
* [https://www.fdgwz.org.cn/Web/Show/11308 倉頡篇] - Cangjie's Chapters, the earliest one. It is extant, but incomplete. It contains several rare characters, and so if used, I would personally recommend doing so later, or out of interest. 
* 三字經 - The Three Character Classic, an excellent piece for Confucian education. Pair with 弟子规 for best results. 
** 三字經（太平天國版）- For Christians, there is a version made by Hong Xiuquan from the Taiping Rebellion. Despite the context, it is a legitimately useful primer and can be used to self-teach for the Delegate's Edition of the Christian Bible. 
* 千字文 - The Thousand Character Classic, a remarkable piece of constrained writing that only uses each character once. Amazing for building vocabulary whilst seeing historical allusions and the like. 
* 五字鑑 - The Five-Character Mirror, essentially the 24 Histories of China compressed into a primer. Uses 5-character couplets, the longest in this list. 
* 龍文鞭影 - The Shadow of Longwen's Whip, a historical allusion trainer. Best paired with a context piece.

===Unit 0: The Han script===
This unit is intended for those with no familiarity of the Han script. It will prepare you for the units ahead, teaching largely pictographic characters. 

By the end of this unit, students will:
* Recognise around 50 characters.
* Understand how characters are composed and how this gives them meaning.
* Have a basic idea of how to handwrite and/or type characters using the Cangjie Input Method.
* Know some bare basics of Literary Chinese grammar (e.g. Basic word order, where adjectives go, lack of &quot;is&quot;, 有...)

Lessons:
# [[/An Introduction to the Han Script/]]
# [[/People, Big and Small/]]
# [[/What are Chinese characters, anyway?/]] &lt;!--- deploy several single-radical texts---&gt;
# [[/How do we write Chinese?/]]
# [[/Tilling the Fields with 有/]]
# [[/The Sun and the Moon/]]
# [[/Weapons and Metals/]]
# [[/How Characters are Made/]] &lt;!--- teach 難 and 重. ---&gt;
# [[/Cangjie Created Characters/]] &lt;!--- Get people to use Cangjie ---&gt;
# [[/The Kangxi Radical System/]] &lt;!--- Introduce some monoradical texts to train recognition. ---&gt; 
# [[/How do we read Chinese?/]] &lt;!--- Deploy one of my monosyllabic poems and inductively teach phono-semantic compounds. ---&gt; 
# [[/Word Training with Kiyohara no Sanemoto/]]
&lt;!---
字訓詩·清原真友·平安時代
禾失曾知秩，中心豈忘忠。里魚穿浪鯉，江鳥度秋鴻。

火盡仍為燼，山高自作嵩。色絲辭不絕，凡虫泣寒風。
---&gt;

===Unit 1: Basic Skills===
This unit is intended for those with minimal familiarity with the Han script and no familiarity with Literary Chinese. There is a focus on simple structures, skills for dissecting common textual structures, and short-form poetry in this unit. 

Before starting this unit, students should:
* Recognise around ~30 characters. 
* Can use Cangjie input. 
* Have given Unit 0 a cursory glance. 
&lt;br&gt;
By the end of this unit, students will:
* Recognise around ~100 characters. 
* Comprehend numbers, the Heavenly Stems, and the Earthly Branches, and be able to use them to quantify time and date.
* Intuit the basic topic -&gt; comment idea behind Literary Chinese. &quot;This, it is...&quot; 
* Understand basic function words such as 也, 而, 有, and 謂.

Lessons:
# [[/The All-Purpose 也/]]
# [[/An Introduction to Chinese Numbers/]] &lt;!--- It is hard to find authentic materials for this ---&gt;
# [[/One, Two, Left, and Right with Gongsun Long/]]
&lt;!---
曰：「二有一乎？」

曰：「二無一。」

曰：「二有右乎？」

曰：「二無右。」

曰：「二有左乎？」

曰：「二無左。」

曰：「右可謂二乎？」

曰：「不可。」

曰：「左可謂二乎？」

曰：「不可。」

曰：「左與右可謂二乎？」

曰：「可。」
---&gt;
# [[/The Heavenly Stems/]] &lt;!--- Introduce ordinals, which will be used to demonstrate sentence patterns later. ---&gt;
# [[/Tell the Time with Earthly Branches/]] &lt;!--- Introduce verbs and timekeeping ---&gt;
# [[/Lunar Dates with the Spring and Autumn Annals/]]
&lt;!--- Vocabulary: 歲，年，朔，月，日，來，前，初，正，春秋夏冬，曆，上，下. Consider including traditional names for months in a list. ---&gt;
# [[/Skimming for Major Events in Historical Annals/]] 
&lt;!--- Don't simply use Confucius's Chunqiu: We can use texts inspired by it. 

E.g. 三國史記 - 十五年京城旱。秋七月，蝗。very few new characters, lots one can use. Instantly able to use. 
https://zh.wikisource.org/wiki/%E4%B8%89%E5%9C%8B%E5%8F%B2%E8%A8%98/%E5%8D%B701

Skimming annals is very possible and a very useful skill. Don't skip out on it. Teach students to skim read!!! 
---&gt;
# [[/Dinner with the Daimyo/]]
&lt;!-- 
侍宴·大友皇子
皇明光日月，帝徳載天地。
三才併秦昌，万国表臣義。
--&gt; 
# [[/In Discourse with Jibong/]]
&lt;!--
芝峰類說 
倭國謂田爲畠。謂水田爲田。火田爲畑。猶我國以水田爲畓也。故官名有畠山殿。地名有畑島云。
--&gt;
# [[/Shinto FAQ with Honda Chikaatsu/]] 
&lt;!--- https://wikisource.org/wiki/%E7%9C%9E%E9%81%93%E5%95%8F%E5%B0%8D 眞道問對 本田親徳 really good way of operationalising 乎 and much of the early grammar. 

問 天帝無始無終乎。
對 天帝無始無終也。
旣以無始無終之力
與無始無終之體
造無始無終之萬物。
其功亦無始無終也。

問 天地大原在道乎。
對 天地大原實在道。
鬼神依道而立。
人民依道而活。
萬物依道而息。

This is great! ---&gt;

&lt;!---
Some cool stuff I saw someone studying from
https://zh.wikisource.org/wiki/%E8%87%B3%E5%B0%8F%E4%B8%98%E8%A5%BF%E5%B0%8F%E7%9F%B3%E6%BD%AD%E8%A8%98#
https://zh.wikisource.org/wiki/%E6%A0%B8%E8%88%9F%E8%A8%98

Could be used for period focus
---&gt;

===Unit 2: An Overview of Sinitic Poetry===
This unit will teach you how Sinitic Poetry operates; - that is, the way individuals in the Sinosphere compose poetry in Literary Chinese. Despite this language's fall out of favour in the past century, this tradition is still remarkably alive and well, and their short length makes them more accessible than elaborate prose. In this unit, you will begin from the ''Classic of Poetry'' before travelling through poems from the Tang dynasty, Singapore, Japan, Vietnam, the Ryukyu Kingdom, and Korea. When introducing poetry, I will furthermore use the language from the nation it is from to show how it is recited by its people. 

After discussing the Classic of Poetry, we will also be a small detour into a discussion on Ping-Ze 平仄, the Tang dynasty system of alternating tones, so to produce rhyme on tonal and phonological levels. This had a major impact on Literary Chinese poetry as a whole!

By the end of this Unit, students will:
* Recognise around 120 more characters.
* Be able to explain how Sinitic Poetry rhymes and the themes it contains.
* Be able to use function words such as 在, 無, 不, 聿, and 于/於 in poetic contexts.
* Recognise the switch between 吾/我 in the subject-object positions and demonstrate it in usage.
* (Chinese speakers) Be able to differentiate 于 and 於, and understand the &quot;interest(ed) in&quot; meaning of 好 in most circumstances.
&lt;!---
Summary of the above part about 于 and 於 for other editors:
于 and 於 were distinct words for an extremely long time and were still such to Literary Chinese writers. Their &quot;merging&quot; through Simplified-Traditional Chinese distinctions is a very modern thing. I will summarise their usages here, using Pulleyblank's Outline of Classical Chinese Grammar (2000);
* 于 - This can mean &quot;to go&quot; or &quot;to/at&quot;. 黃鳥于飛 &quot;The yellow birds go flying&quot;. Must be post-verbal. It can also appear in 至于.
* 於 - This is an all-purpose locative preposition - from &quot;on/at/in&quot; to &quot;from&quot; or even &quot;than&quot; (甲於乙). The implication of motion is not there at all. Must be pre-verbal. It can also appear in 之於 or be an archaic noun for a crow 於 (烏).
---&gt;

Lessons:
# [[/Across the Rivers with Emperor Puliuru Guang/]]
&lt;!---
春江花月夜·楊廣
夜露含花氣，春潭漾月暉。
漢水逢遊女，湘川值二妃。

This is really simple and can elucidate Ping-Ze easily.
---&gt;
# [[/To Study the Odes/]] 
&lt;!-- 蟋蟀·姬旦 國風·唐風
蟋蟀在堂，歲聿其莫。今我不樂，日月其除。無已大康，職思其居。好樂無荒，良士瞿瞿。
蟋蟀在堂，歲聿其逝。今我不樂，日月其邁。無已大康，職思其外。好樂無荒，良士蹶蹶。
蟋蟀在堂，役車其休。今我不樂，日月其慆。無已大康，職思其憂。好樂無荒，良士休休。
--&gt;
&lt;!-- 黃鳥 小雅·鴻鴈之什
黃鳥黃鳥，無集于穀，無啄我粟。
此邦之人，不我肯穀。言旋言歸，復我邦族。

黃鳥黃鳥，無集于桑，無啄我粱。
此邦之人，不可與明。言旋言歸，復我諸兄。

黃鳥黃鳥，無集于栩，無啄我黍。
此邦之人，不可與處。言旋言歸，復我諸父。
--&gt;
# [[/A Detour into Orthodox Ping-Ze/]] 
&lt;!--- 平 and 仄 are useful characters themselves. Show 仄 in the binomes 反仄，歉仄，逼仄 as it's often difficult to immediately use ---&gt;
# [[/The Restraint of Du Fu/]] 
# [[/The Longing of Li Bai/]] 
# [[/The Environment with Bukha Timur/]]
&lt;!---
西湖竹枝詞·布哈特穆爾
湖上春歸人未歸，桃紅柳緑黄鶯飛。
桃花落時多結子，楊花落處秪沾衣。

宫词·布哈特穆爾
玉樓珠箔晚天涼，秋色依稀滿建章。
金井梧桐霜葉盡，自隨流水出宮牆。

Mongol writer from the Uyghur Kingdom of Gaochang
Spammed Ctrl+F in https://zh.wikisource.org/wiki/%E5%BE%A1%E9%81%B8%E5%9B%9B%E6%9C%9D%E8%A9%A9_(%E5%9B%9B%E5%BA%AB%E5%85%A8%E6%9B%B8%E6%9C%AC)
---&gt;
# [[/Pillow Talk with Guan Yunshi/]]
&lt;!---
紅繡鞋·貫雲石
挨著靠著雲窗同坐，偎著抱著月枕雙歌，聽著數著愁著怕著早四更過。四更過情未足，情未足夜如梭。天哪，更閏一更兒妨甚么！

Uyghur author!
---&gt;
# [[/Buddhist Philosophy with Ngô Chân Lưu and Taisei Shōan/]]
&lt;!-- 元火·吳真流
木中元有火，元火復還生。
若為木無火，鉆燧何有萌。--&gt;
&lt;!-- 杜鵑·大成聖安
夢覚孤床静
杜鵑帯雨飛
一声来近枕
何者不沾衣
--&gt;
# [[/Odes with Mō Taiei and Zheng Chengxun/]]
&lt;!-- 詠松·毛泰永
植體宜千仞，垂陰動百尋。
李膺真烈烈，和嶠自森森。
桃李何堪較，雪霜安得侵。
萬年身不老，種子又成林。
AKA Inoha Seiki 伊野波 盛紀 --&gt;
&lt;!-- 詠班蘭·鄭成勛
南國多芳草，班蘭最有名。
深根將綠茁，長葉亦叢生。
取味迎賓合，入厨任水烹。
可憐經一用，擲棄不留情。

鄭成勛《樵隱詩集》 https://nus.edu.sg/nuslibraries/dsprojects/sg-jiutishi/poem/827 --&gt;

# [[/A Golden Cup and the Fall of a Dynasty with Yan Fu/]] 
&lt;!---
鞏金甌·嚴復
鞏金甌，承天幬，民物欣鳧藻，喜同袍。
清時幸遭，真熙皞，帝國蒼穹保。
天高高，海滔滔。
This has music to it, which I think can add a lot. It is also necessary to introduce Yan Fu early given he did translation. ---&gt;
# [[/On a Journey with Sa Dula/]]
&lt;!---
無題·薩都剌
為客三年海上洲，故鄉何處瘴雲稠。
數千里外蠻人域，十八灘頭過客舟。
時有山禽呼姓字，或從海鳥作朋儔。
故人珂珮周旋處，紫殿風清十二樓。
https://zh.wikisource.org/wiki/%E7%84%A1%E9%A1%8C_(%E8%96%A9%E9%83%BD%E5%89%8C)

A naturalised Mongol scholar who made a beautiful poem. This'll be a capstone.
---&gt;
&lt;!---
朝中措·襄陽古道灞陵橋
襄陽古道灞陵橋，詩興與秋高。
千古風流人物，一時多少雄豪。

霜清玉塞，雲飛隴首，風落江皋。
夢到鳳凰台上，山圍故國周遭。

北郊晚步
陂水荷凋晚，茅檐燕去涼。
遠林明落景，平麓淡秋光。
群牧歸村巷，孤禽立野航。
自諳閑散樂，園圃意尤長。

Jurchen poet and grandson of Emperor Shizong of Jin. He's a Zen Buddhist, so we'll go back to him later.
---&gt;

===Unit 3: Confucianism and the World===
This is a Confucian-themed unit with a smattering of other items. You will see the odd geography of the past, early linguistic philosophy, and terrifying breakaway states!

By the end of this unit, students should be able to:
* Recognise around 200+ characters.
* Read basic annals and histories with some dictionary assistance, and comprehend 3-character structures reliably.
* Have encountered basic grammatical points such as 之、乎、者、也、而、則、乃、所、以、於、于、與、且、蓋、and 夫. 
** 於 and 于 should be distinguishable.
* Survive a text of at least 250 characters and read for gist.

Lessons:
# [[/A Brief Overview of Confucianism/]] 
# [[/The Mountains with Yelü Tuyu/]]
&lt;!---
立木海上刻詩 耶律圖欲 / 耶律倍 / 李贊華

小山壓大山，大山全無力。
羞見故鄉人，從此投外國。
---&gt;
# [[/Teaching the Annals in Qi/]] &lt;!-- Gongyang Gao's commentary --&gt;
# [[/Is a White Horse a Horse?/]]&lt;!-- Teach negation with 非 in 公孙龍子 and compare with 不 --&gt;
# [[/The Three Character Classic/]]
# [[/Expressing Filial Conduct with Confucius and Hara Saihin/]]
&lt;!--
次韻杏坪先生
父執有君孤不孤
相依遍接搢紳徒
区区自抱地方寸
杏杏重遊天一隅
羇雁飛鳴迷汝國
家人思夢入江都
如教志業青年遂
世上寧無逐臭夫
--&gt;
# [[/Confucianism and the Environment with Sai On/]]&lt;!-- 木假山記 --&gt;
# [[/In Debate with Mencius/]]

===Unit 4: Women's Writing===
In this unit, women's writing from various areas of China will be explored. This is chiefly targeted at poetry and the themes within; from the feminine voice of the Classic of Poetry to the remonstrance towards the Khitan Emperor Tianzuo of Jin by his Consort Dasese. The role of women in courtly society is to be elucidated here!
# [[/An Unmarried Life with Heo Nansŏrhŏn/]]
&lt;!---
貧女吟 
豈是乏容色。工鍼復工織。
少小長寒門。良媒不相識。

夜久織未休。戛戛鳴寒機。
機中一匹練。終作阿誰衣。

手把金翦刀。夜寒十指直。
爲人作嫁衣。年年還獨宿。
---&gt;
# [[/Responding to Lord Trần with Hồ Xuân Hương/]]
&lt;!---
Responding to 陳光靜 Trần Quang Tĩnh

《和陳侯》
愧無才調使人驚，十載風塵貫耳鈴。
已是臨枰知敵手，莫須敲月苦殫精。
為輪為彈隨遭遇，誰鳳誰鶯任賦生。
造物於人何苟惜，明珠休向暗中呈。

莫須 is an important structure to teach here.
---&gt;
# [[/Gaze into the Autumn Night with Taisei Shōan/]]
&lt;!---
秋夜偶成·大成聖安
長天浮爽気，月色興無窮
群犬吠山径，百蟲啼野風
悲秋秋夜永，感古古今同
自是孤窓下，凄然万慮空
---&gt;
# [[/Visiting a Temple with Yu Xuanji/]]
&lt;!---
遊崇真觀南樓覩新及第題名處
雲峰滿目放春晴，歷歷銀鈎指下生。
自恨羅衣掩詩句，擧頭空羨榜中名。
---&gt;
# [[/Remonstrance with Dasese/]]
&lt;!---
https://zh.wikisource.org/wiki/%E8%AB%B7%E8%AB%AB%E6%AD%8C
諷諫歌·大瑟瑟
勿嗟塞上兮暗紅塵。
勿傷多難兮畏夷人。
不如塞奸邪之路兮選取賢臣。
直須臥薪嚐膽兮激壯士之捐身。
可以朝清漠北兮夕枕燕雲。

Dasese (or 萧瑟瑟) was a Khitan consort to Emperor Tianzuo of Liao. She remonstrated him as the Jurchens were beginning to encroach upon the Khitan, and was forced to commit suicide for her remonstrance. Tianzuo would soon pay for his malfeasance. 
---&gt;
# [[/The Love Songs of the Odes/]]
&lt;!---
褰裳
子惠思我，褰裳涉溱。子不我思，豈無他人？狂童之狂也且！
子惠思我，褰裳涉洧。子不我思，豈無他士？狂童之狂也且！

柏舟
彼柏舟，在彼中河，髧彼兩髦，實維我儀，之死矢靡它，母也天只，不諒人只。
汎彼柏舟，在彼河側，髧彼兩髦，實維我特，之死矢靡慝，母也天只，不諒人只。

行露
厭浥行露，豈不夙夜，謂行多露。
誰謂雀無角？何以穿我屋？誰謂女無家？何以速我獄？雖速我獄，室家不足。
誰謂鼠無牙？何以穿我墉？誰謂女無家？何以速我訟？雖速我訟，亦不女從。
---&gt;
# [[/Rules for Women with Ban Zhao/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%A5%B3%E8%AA%A1 ---&gt;
# [[/The Tragedy of Cai Wenji/]]
&lt;!---
悲憤詩
〔兩漢〕蔡文姬
漢季失權柄，董卓亂天常。
志欲圖篡弒，先害諸賢良。
逼迫遷舊邦，擁主以自強。
海內興義師，欲共討不祥。
卓眾來東下，金甲耀日光。
平土人脆弱，來兵皆胡羌。
獵野圍城邑，所向悉破亡。
斬截無孑遺，屍骸相撐拒。
馬邊懸男頭，馬後載婦女。
長驅西入關，迥路險且阻。
還顧邈冥冥，肝脾為爛腐。
所略有萬計，不得令屯聚。
或有骨肉俱，欲言不敢語。
失意幾微間，輒言斃降虜。
要當以亭刃，我曹不活汝。
豈復惜性命，不堪其詈罵。
或便加棰杖，毒痛參並下。
旦則號泣行，夜則悲吟坐。
欲死不能得，欲生無一可。
彼蒼者何辜，乃遭此厄禍。
邊荒與華異，人俗少義理。
處所多霜雪，胡風春夏起。
翩翩吹我衣，肅肅入我耳。
感時念父母，哀嘆無窮已。
有客從外來，聞之常歡喜。
迎問其消息，輒復非鄉里。
邂逅徼時願，骨肉來迎己。
己得自解免，當復棄兒子。
天屬綴人心，念別無會期。
存亡永乖隔，不忍與之辭。
兒前抱我頸，問母欲何之。
人言母當去，豈復有還時。
阿母常仁惻，今何更不慈。
我尚未成人，奈何不顧思。
見此崩五內，恍惚生狂痴。
號泣手撫摩，當發復回疑。
兼有同時輩，相送告離別。
慕我獨得歸，哀叫聲摧裂。
馬為立踟躕，車為不轉轍。
觀者皆噓唏，行路亦嗚咽。
去去割情戀，遄征日遐邁。
悠悠三千里，何時復交會。
念我出腹子，匈臆為摧敗。
既至家人盡，又復無中外。
城廓為山林，庭宇生荊艾。
白骨不知誰，縱橫莫覆蓋。
出門無人聲，豺狼號且吠。
煢煢對孤景，怛吒糜肝肺。
登高遠眺望，魂神忽飛逝。
奄若壽命盡，旁人相寬大。
為復強視息，雖生何聊賴。
託命於新人，竭心自勖勵。
流離成鄙賤，常恐復捐廢。
人生幾何時，懷憂終年歲。
---&gt;

===Unit 5: Myths and Legends of East Asia===
&lt;!--- Shanhaijing, Zibuyu... Etc. Zhiguai literature. This aims to provide a counterpoint to what Confucius wouldn't discuss - thus Zibuyu. Going straight into Daoism isn't ideal. ---&gt;
# [[/Exploring the World of Mountains and Seas/]]&lt;!-- Structure: 出焉 --&gt;
# [[/Oh, the Qilin!/]] &lt;!--- Even here, the odes can be studied! ---&gt;
# [[/Ultimate Justice with Xiezhi/]] 
# [[/The Virtue of the Fenghuang/]] 
# [[/The Entrapment of Hua Po/]] 
# [[/Nüwa Created the World/]] 

===Unit 6: Nation Focus - Japan===
# [[/The Inariyama Sword/]] 
&lt;!--- short and sweet! ---&gt;
# [[/Entering Japan with Takeda Shingen/]]
&lt;!---
便面蘆間有漁·武田信玄
山色水光烟接天，漁翁江上棹蘆辺
丹青若写得勝景，万里風波一釣船

便面半月照梅花·武田信玄
蘆葦清風垂頂絲，窺魚白鷺水生涯
江南記得曾遊夕，似見梨花院落時

島森哲男. (2015). 武田信玄漢詩校釈. 宮城教育大学紀要, 49, 333–352. https://mue.repo.nii.ac.jp/records/440

似 is a really useful thing to teach early on. 
---&gt; 
# [[/The Oldest Inscription in Japan/]] 
&lt;!--- 宇治橋断碑 ---&gt; 
# [[/Remembering Conflict with Nakajima Noburu/]] 
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/6faa4d3e57a24e542db0375894f0ead5503218bb ---&gt;
# [[/Shinto Teachings with Honda Chikaatsu/]] 
&lt;!--- https://wikisource.org/wiki/%E9%81%93%E4%B9%8B%E5%A4%A7%E5%8E%9F 本田親徳 道之大原 ---&gt;  
# [[/The Diary of Fujiwara no Teika/]] 
&lt;!--- 明月記 ---&gt;
# [[/Reading the History of Japan with Prince Toneri/]]
&lt;!--- 日本書記, etc. ---&gt; 
&lt;!--- # [[/Occupying Taiwan/]] ---&gt;
&lt;!--- I have some colonial literature on me that can be used here. ---&gt;

===Unit 7: Nation Focus - Korea===
&lt;!--- 三國史記 for sure! ---&gt;
&lt;!--- 放蟬賦 by Yi Kyubo ---&gt;
&lt;!--- https://zh.wikisource.org/wiki/%E9%A0%A4%E9%BD%8B%E9%81%BA%E7%A8%BF 頤齋遺稿 黃胤錫 Joseon scholar! ---&gt;
# [[/An Elegy to the Empress with Choe Ja/]]
&lt;!---
Choe Ja
元德大后輓詞·崔滋（최자）
乾極曾客配,坤儀正體元。
枕前朝聖主,帳底見曾孫。
陰慘俄沉月,屋悲便沒軒。
三韓千古淚,七十九年恩。
---&gt;
# [[/Language Reform with Sejong the Great/]]
&lt;!--- 訓民正音 https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/1ef2b42cc50055affaa5ef39c61b87ed31c34a60 multiple poems and descriptive terms, possibly the best capstone ---&gt;

===Unit 8: Christian Literature===
# [[/A Different Three Character Classic with Hong Xiuquan/]]
# [[/Friar Juan Cobo's Veritable Record/]] 
&lt;!--- 
One of few texts from the Philippines that I have ever found!
https://bnedigital.bne.es/bd/en/viewer?id=0160187c-9d9b-4f34-84d6-bc03fd310c69 
---&gt;
# [[/The Delegate's Edition/]]
# [[/Nestorian Steles during the Tang/]] 
&lt;!--- 大秦景教宣元至本經經幢 and 景教碑 ---&gt;
# [[/Hong Xiuquan's Bible/]]
&lt;!--- https://bible.fhl.net/ob/nob.html?book=407 ---&gt;
&lt;!--- I don't want to focus too much on Hong Xiuquan here, so look for more material, especially from missionaries. ---&gt;

===Unit 9: An Introduction to Daoism===
&lt;!--- And now back to your regularly scheduled Zhuangzi/Laozi/Liezi. But with more interesting stuff. Trust! ---&gt;
# [[/Laozi Explains the Dao/]]
&lt;!--- 道可道，非常道。名可名，非常名。無名天地之始；有名萬物之母。故常無欲，以觀其妙；常有欲，以觀其徼。此兩者，同出而異名，同謂之玄。玄之又玄，衆妙之門。I can expect learners to recognise the stuff here. ---&gt;
# [[/Qingtan with Xie Daoyun/]]
&lt;!--- 謝道韞; mentioned in the sanzijing. could be good!

《泰山吟·謝道韞》
峩峩東嶽高，秀極衝青天。
巖中間虛宇，寂寞幽以玄。
非工復非匠，雲構發自然。
器象爾何物，遂令我屢遷。
逝將宅斯宇，可以盡天年。

《拟嵇中散咏松诗·謝道韞》
遙望山上松，隆冬不能凋。
願想遊不憩，瞻彼萬仞條。
騰躍未能升，頓足俟王喬。
時哉不我與，大運所飄遙。

---&gt;
# [[/The Doubting Neighbour/]] 
# [[/Kuafu Chases the Sun/]] 
# [[/The Frog in a Well/]] 
# [[/Wu wei with King Hui of Liang/]]
# [[/The Old Man that Moves the Mountains/]]
# [[/Master Zhuang Dreams of Butterflies/]]
&lt;!--- Currently very stereotypical, but there's stuff to work with at least. Need to include those weird Daoist characters among other things. ---&gt;

===Unit 10: Nation Focus - Ryukyu Kingdom===
# [[/Historical Annals with Sai On/]] &lt;!--- Kyuko is an easy cop ---&gt;
# [[/The Enthronement of Shō Tei/]] 
&lt;!---
康熙二十二年封王尚貞敕
皇帝敕諭琉球國中山王世子尚貞：惟爾遠處海隅，虔修職貢；屬在塚嗣，序應承祧。以朝命未膺，罔敢專擅；恪遵典制，奉表請封。朕念爾世守臣節，忠誠可嘉！特遣正使翰林院檢討汪楫、副使內閣中書舍人加一級林麟焻，齎敕封爾為琉球國中山王，並賜爾及妃文幣等物。爾祗承寵眷，懋紹先猷；輯和臣民，慎固封守：用安宗社於苞桑，永作天家之屏翰。欽哉，毋替朕命！故諭。

Teach imperial edicts. 
Consider seeing if there's a letter of acceptance from Shō Tei. 

Recorded in 琉球國志略 
https://ctext.org/wiki.pl?if=en&amp;chapter=966326
---&gt;
# [[/The Twilight of Ryukyu with Shō Ten/]] 
&lt;!---
神田酒樓街燈 尚典
酒樓今秋設芳筵，
一望街燈燦燦連。
烟氣引來通柱上，
光爭星月照神田。
---&gt;
# [[/A Trip to Ryukyu with Luo Sen/]] &lt;!--- Pre-Capstone ---&gt;
&lt;!---
遐邇貫珍 1854-11 - 日本日記 羅森 
https://archive.org/details/HEKC185411/page/n5/mode/1up
A solid description of Ryukyu cultural customs in Volume 11. Absolutely incredible. 
日三日火船直向東北而駛出了臺灣之外幾日不見天涯是時北風大作波浪沖天火船亦甚飄蕩而不能立見有沙鷗隨風而逐浪心直駛七日漸見小山而到琉球琉球一國長闊一百七十五里其國城在地球圖緯線赤道之北二十六度十四分經線中華北京偏東十一度二十四分自明以來世封王爵叨列藩籬其處土產不過蔬菜番薯菜油黑糖等類人民束髻大補是穿草履男女粧飾頭上祇插一簪二簪為別故少年之男女瞥目則無異及其壯也皆留鬚髯故街上長鬚之人甚多甲寅正月初一予上岸遊玩見街上兒童甚多分以銅錢各極歡喜人民亦甚謙恭民居間亦貼新春聯于門外但不見有別等繁華之事那霸有寺寺內有園是名家世宦之墳所以石刊刻姓名年號于碑上每日道人打掃供奉生花樹葉于墓前另有人家祖墳與中國之明塚無異峰巒之上樹木多植民房則以蠻石圍墻內以茅草結屋而居佳物椅棹俱無惟以草蓆屈膝而坐對火盆而吹煙民間亦有識中國言語字墨者
不張舖店惟有墟塲男不貿易婦女為之以貨易貨而外方之金銀弗尚焉然而百姓亦甚畏官長飲食亦甚粗粕甘守樸儉不務奢華亦鮮欺詐板門紙窓夜間亦不防竊曾見途中撿物亦能以返原人公門之內冷冷落落並無案牘之煩淳樸之風畧有同于上古之世我等外國之欲買什物須言于官官為代辦正月初六提督被理衛廉士等一班將官布列威嚴與予乘轎至王宮總理大臣尚宏勳為主席布政大夫馬良才為知客享宴甚豐食物多與中國無異宴後各官皆饋有紙扇烟包布帛等項是物雖粗此亦世子之恭敬外國故亞國亦以禮物而返贈之世子王宮離岸三里在于山頂是名守禮將至其宮一路亦有樹木石牌坊宮室亦甚寬大幽雅垣局可觀其處多栽鳳尾草森樹等類以障陰山邊田土樹藝五穀近海沙田水漲之後人收其沙以煎鹽此時明月當圓予覽山川亦足見一方之風景 
---&gt;
&lt;!--- 中山世鑑 and so on. Lots of poetry too. ---&gt;

===Unit 11: Nation Focus - Singapore===
&lt;!--- National Library of Singapore has a poetry series that's super good! ---&gt;

===Unit 12: Literary Chinese in Medicine===
&lt;!--- do not endorse the medical practices discussed in these...make sure to link back to the heavenly stems here as they are associated with specific body parts. ---&gt;
# [[/Deviant Qi with Zhang Congzheng/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%84%92%E9%96%80%E4%BA%8B%E8%A6%AA ---&gt;
# [[/Anatomy with Sugita Genpaku/]]
&lt;!--- 解体新書 ---&gt;

===Unit 13: People Focus - Zhuang peoples===
&lt;!--- https://mooc1.chaoxing.com/mooc-ans/ztnodedetailcontroller/visitnodedetail?courseId=84745403&amp;knowledgeId=84745463&amp;_from_=&amp;_fromV2_=&amp;rtag= 《峤西诗钞》 is also a really good shout. ---&gt;
&lt;!--- Basically, there are Zhuang and Tangut peoples who wrote in Literary Chinese, and their inclusion here is to show that even those who made their own scripts would use this tongue. 张鸿翮 imported the character 朴 to describe a bug, for example. ---&gt;
# [[/Zhuang poetry with Zhang Honghe/]]
&lt;!--- https://wenyi.gmw.cn/2024-06/25/content_37398911.htm

一是忠实记录了汉诗创作与古壮字交融的文化现象。清代壮族诗人张鸿翮（hé）《大塘谣》（《峤西诗钞》卷二）云：

去了休。去到大塘红蓼洲。红蓼生花，不结子。绿朴生花，毬见毬。

诗中所说“绿朴”，是壮族对柚子的惯称。“柚子”，壮语发音为“bug”。根据《古壮字字典》，其对应的古壮字为“朴（㭪）”。诗人将古壮字运用到汉文诗歌创作中，刻下了明清壮汉文化交相辉映的注脚。

This sort of thing is why Zhuang and Tangut inclusion is important, as they show how flexible Literary Chinese can be. ---&gt;

&lt;!---
Possible Jurchen/Khitan focus? 
耶律楚材 - Served 窝阔台, 玄風慶會錄 is short and respectable enough to work with.
---&gt;

===Unit 14: People Focus - Tangut peoples===
&lt;!--- 羅福萇 and 羅振玉 wrote studies on Western Xia / Tangut script. Look for poets and stuff. ---&gt; 

===Unit 15: Literary Chinese in the Military===
&lt;!--- Real Sun Zi hours! 7 Military Classics are an obvious shout, but look for more stuff too. ---&gt;
# [[/Going to war with Boyan/]]
&lt;!---
Boyan's Poem from the 元史
　　伯顏，蒙古巴林部人。至元十一年拜中書左丞相，總兵伐宋。官至開府儀同三司，薨贈太師，封淮安王，諡忠武。

　　《玉堂嘉話》：初，宋未下時，江南謠云：「江南若破，白雁來過。」當時莫喻其意。及宋亡，蓋知指丞相巴延也。

　　過梅嶺岡留題

馬首經從庾嶺回 【 庾嶺回　七修類稿（乾隆刊本）卷四十六作「嶺島歸」。】 ，王師到處悉平夷。擔頭不帶江南物，只插梅花一兩枝。

　　《七修類藳》：伯顏下江南，過金陵梅嶺岡詩云云。所以著名，亦有是善。
---&gt;
# [[/An Edict from the Xianbei/]]
&lt;!---
教義詔 楊廣
武有七德，先之以安民。政有六本，興之以教義。高麗高元，虧失藩禮，將欲問罪遼左，恢宣勝略。雖懷伐國，仍事省方。今往涿郡，巡撫民俗。其河北諸郡及山西、山東年九十已上者，版授太守；八十者，授縣令。
---&gt;
# [[/The Suppression of the Kingdom of Dongning/]]
&lt;!---
台灣鄭氏始末
https://ctext.org/wiki.pl?if=en&amp;chapter=139938

Largely a record of wars in Dongning rather than anything about the trade etc, so it fits here. 
---&gt;
# [[/The Shunzhi Emperor vs Li Zicheng/]]
&lt;!---
順治帝
告示
逆酋李自成已於通城斃命，各地鄉勇務隨我軍剿殺逆賊殘餘,凡有斬獲逆酋及擒獲逆酋交我軍者，一經驗證，按軍功論級給賞，必以示我朝皇恩浩蕩。
大清順治二年五月二十四日

恩詔
今月何日，為國曆改歲之履端,即為永昌書元之紀念？緬惟我朝民眾，三元肇慶，四始發祥。陳椒酒以飛觴，躋堂介壽；換桃符以獻歲，辟戶書新。翹望德容，河勝額手。今山河如舊，歲序更新;今天下同春，咸頒麗澤。願我朝君臣與萬民同樂，共沐化日光天，方不虛度韶華。
永昌二年新正初一

There's probably better choices here. Review. 
---&gt;
# [[/The Art of War/]]

===Unit 16: Nation Focus - Vietnam===
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/commit/cfe6700e01f6fd59616a375d31aa8cd096677be1 this first ---&gt; 
# [[/Ancestor Veneration with the Descendants of Zhu Xi/]] 
&lt;!--- https://github.com/ShiraTheMogul/fanyahanwen-corpus/tree/main/corpus%2F%E8%B6%8A%E5%8D%97%E6%BC%A2%E6%96%87%2Fclean  somewhere in here ---&gt;
# [[/Spreading Revolutionary Consciousness with Phan Bội Châu and Liang Qichao/]] 
&lt;!--- 越南亡國史 Possibly the most important text in Vietnamese history, not even gonna lie. https://zh.wikisource.org/wiki/%E8%B6%8A%E5%8D%97%E4%BA%A1%E5%9C%8B%E5%8F%B2 ---&gt;
# [[/Academia in Literary Chinese between East and West/]] 
&lt;!--- 南風雜誌 is a massive shout here. Absolutely amazing series. ---&gt;

===Unit 17: Historical Annals and Encyclopediae===
&lt;!--- 永樂大典 will teach how to infer from gaps in texts! 《編類》 is an incredibly interesting essay from here that can bring up the odes and Confucius's「思無邪」quote. It can prepare students for the wrath of Qing academia later. ---&gt; 
# [[/The History of Liao, Jin, and Song with Toqto'a/]] &lt;!--- 脱脱 ---&gt;
# [[/Two Years in the Forbidden City with Yu Deling/]] &lt;!--- 清宮禁二年記 https://zh.wikisource.org/wiki/%E6%B8%85%E5%AE%AE%E7%A6%81%E4%BA%8C%E5%B9%B4%E8%A8%98 ---&gt;
# [[/Selected Records of the History of the Da Shun/]]
&lt;!--- Fair Use of a 2010 book written in Literary Chinese about the Da Shun dynasty. Limit to 500 characters, if that. Use to encourage recognition of Simplified variants and modern Wenyanwen. ---&gt;
# [[/Documenting the World with Terajima/]]
&lt;!--- 和漢三才図会 寺島良安, built off 三才圖會 ---&gt;

===Unit 18: Buddhist Literature===
&lt;!--- You would be forgiven for wondering why this is so late, but if you look at many classical Buddhist texts you'll quickly see a ton of loanwords that make it significantly more difficult to read than the average text. Thus, it goes here for now. ---&gt;
&lt;!--- Place focus on practical stuff first. Stuff you can and WILL see in Buddhist temples. Stuff Buddhists can take away immediately. Skills-based approach feels strongest here. ---&gt;
# [[/Dipping your feet in with Wenyan Shu/]]
&lt;!---
華亭
世尊遺法本忘言，教外別傳意已圓。
只履攜將蔥嶺去，不妨來上月明船。
---&gt; 
# [[/The Seven Tathagatas/]] 
&lt;!---
南無寶勝如來
南無多寶如來
南無妙色身如來
南無廣博身如來
南無離怖畏如來
南無甘露王如來
南無阿彌陀佛

Use to introduce some core vocabulary in repetitive manner. 

Useful phrases from my trip to Jing'an Temple
南無本師釋迦牟尼佛 - Pay homage to the root teacher
南無大悲觀世音菩薩 - Pay homage to the goddess of mercy 
廣種福田 - widely plant a meritorious field 
---&gt;
# [[/Two Buddhist Temples in Shanghai/]] 
&lt;!---
留雲禪寺
雲留雲翔領畧幾許禪機此地有雲散天開真如界。
塔內塔外普示無邊圓覺是故曰塔影雙照解脫門。

歲次壬午冬月吉旦。
覺醒敬撰。
楊胡生沐手恭書。
善信印利明敬獻。 
---&gt;
&lt;!--- 福慧宝鼎 慧明大和尚 - introduce the Buddhist timekeeping system with 佛歷 around this point. 
赤烏古剎
建寺一千七百六十周年紀念

古剎三國建
滬瀆有重玄
石佛音淨現
聖跡顯重元
唐時稱永泰
宋敕名靜安
聖祖留佛闡
仲師移伽藍
元收八景偈
明鑄鐘聲梵
清樹化羅漢
選賢十方讚
佛日普光明
福慧共修善
鼎運昌隆際
轉正法輪緣

歲次丁亥住持慧明監製
---&gt;
# [[/Foreseeing Monkhood with Yi Xing/]]
&lt;!--- 看命一掌金 ---&gt;
# [[/A Trip to Western Xia with Zhi Guang and Hui Zhen/]]
&lt;!--- https://zh.wikisource.org/wiki/%E5%AF%86%E5%91%AA%E5%9C%93%E5%9B%A0%E5%BE%80%E7%94%9F%E9%9B%86 ---&gt;
&lt;!--- https://zh.wikisource.org/wiki/%E5%AF%86%E5%92%92%E5%9C%93%E5%9B%A0%E5%BE%80%E7%94%9F%E9%9B%86 ---&gt;
# [[/Jizang's Three Discourses/]]
&lt;!--- https://zh.wikisource.org/wiki/%E4%B8%89%E8%AB%96%E7%8E%84%E7%BE%A9 ---&gt;
&lt;!---
I saw these texts being quoted and thus should consider them in some capacity.
《般若波羅蜜多心經》
《金剛般若波羅蜜經》
《一切智光明仙人慈心因緣不食肉經》
《妙法蓮華經》
《大般涅槃經》
《大方等大集經》
《大毘盧舍那成佛神變加持經蓮華胎藏悲生曼荼羅廣大成就儀軌供養方便會》/ 胎藏曼荼羅 
《佛說救拔焰口餓鬼陀羅尼經》
《雜阿含經》

Look at Japan's 五山文学
---&gt;

===Unit 19: People Focus - Manchu peoples===
# [[/Qing dynasty Poetry with Nara Singde/]] 
&lt;!--- 飲水詞 納蘭性德 https://zh.wikisource.org/wiki/Author:%E7%B4%8D%E8%98%AD%E6%80%A7%E5%BE%B7 ---&gt;
# [[/Amassing Words with the Kangxi Emperor/]] 
&lt;!--- Kangxi Dictionary Abstract - https://zh.wikisource.org/wiki/%E5%BA%B7%E7%86%99%E5%AD%97%E5%85%B8 ---&gt;
# [[/Amassing Literature with the Qianlong Emperor/]] 
&lt;!--- Siku Quanshu abstract https://zh.wikisource.org/wiki/%E5%9B%9B%E5%BA%AB%E5%85%A8%E6%9B%B8%E7%B8%BD%E7%9B%AE%E6%8F%90%E8%A6%81 ---&gt;
&lt;!---
Yongzheng Emperor's Poetry 
https://zh.wikisource.org/wiki/Author:%E9%9B%8D%E6%AD%A3%E5%B8%9D
《和碩怡賢親王祭文》

Also include 滿洲國 stuff to show the fall of the Qing and attempts to preserve it through becoming a Japanese puppet state. It is important to show how Literary Chinese can be misused as well. 滿洲國建國宣言 is a good shout, as is 法制 to prepare students who may be interested in Taiwan legal stuff later down the road. 
https://zh.wikisource.org/wiki/Category:%E6%BB%BF%E6%B4%B2%E5%9C%8B
---&gt;
# [[/Paintings and Beauty with Puru Aisin-Gioro/]]
&lt;!--- Saw these in Shanghai Museum with some writing, seemed really cool. Teaches another skill. ---&gt;

===Unit 20: Qing-RoC Literature===
&lt;!--- many writers here, will be difficult to sift through. Include 四库全書 abstracts and stuff here. ---&gt;
# [[/Jewish Refugees in Shanghai/]] 
&lt;!--- Show passports, certificates, etc, from the Jewish Refugee Museum, anonymised. ---&gt;
# [[/A Literary Chinese Abstract/]] 
&lt;!--- Abstracts from siku quanshu, probably want others ---&gt;
# [[/Lament with Lu Ruoteng/]] 
&lt;!---
《疑猜》盧若騰，東寧國
盟誓變為交質子，春秋戰國風如此；末世上下相疑猜, 更質妻子防逃徙。
此法只可羈庸奴，若遇梟雄術窮矣；妻可再娶子再育, 安能長坐針氈裏。
我贈一法君記存；推心置腹人知恩；眾人畜之眾人報, 幾個國士在君門。
盧若騰撰，陳漢光編輯，《島噫詩》，臺灣文獻叢刊第二四五種（臺北:臺灣銀行經濟研究室，1968年）21頁。
---&gt;
# [[/Common Linguistics Knowledge in the RoC/]]
&lt;!--- 音韻常識 ---&gt;

==References used for this page==
* Yang, B. (2016). 文言语法 [Literary Chinese Grammar] (1st ed). 中华书局 [Zhonghua Book Company]. ISBN: 978-7-101-11619-9
* Priestley, K. E., &amp; Shou-jung, C. (1962). China’s Men of Letters, Yesterday and Today. Dragonfly Books.
{{BookCat}}</text>
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    <title>User:Royalesignature/Efo Riro (Yoruba Vegetable Soup)</title>
    <ns>2</ns>
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    <revision>
      <id>4638173</id>
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      <timestamp>2026-05-31T06:34:14Z</timestamp>
      <contributor>
        <username>Royalesignature</username>
        <id>3455025</id>
      </contributor>
      <comment>/* Ingredients */ wiki link some words</comment>
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      <text bytes="1199" sha1="q1xtazi9vghoril5ug6yo6usjqy9vsp" xml:space="preserve">{{Recipe summary
| Category = Stew recipes
| Image = [[File:Pounded yam with vegetable soup.jpg|300px]]
| Difficulty = 3
}}{{Incomplete recipe|reason=missing appropriate linking, missing quantities,}}
{{Recipe}}

'''Efo riro''' is a rich vegetable soup popular among the Yoruba people, made with leafy greens and assorted meats.

==Ingredients==
*Fresh [[Cookbook:Spinach|spinach]] or efo shoko
*Palm oil
*[[Cookbook:Pepper|Pepper]] mix ([[Cookbook:Tomatoes with Cheese Stuffing|tomatoes]], tatashe, ata rodo)
*[[Cookbook:Onion|Onions]]
*Locust beans (iru)
*Assorted meat
*Stock fish
*Crayfish
*Salt and seasoning

==Procedure==
#Blend pepper mix and set aside.
#Heat palm oil, add iru and onions.
#Add blended pepper and fry well.
#Add meats and stock fish.
#Stir in vegetables and cook briefly.
#Serve with pounded yam or eba.

[[Category:Yoruba recipes]]
[[Category:Recipes for stew]]
[[Category:Recipes using fish]]
[[Category:Recipes using red bell pepper]]
[[Category:Recipes using green bell pepper]]
[[Category:Recipes using dehydrated broth]]
[[Category:Recipes using onion]]
[[Category:Recipes using salt]]
[[Category:Recipes using vegetable oil]]
[[Category:Recipes using habanero chile]]</text>
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      <parentid>4638173</parentid>
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      <contributor>
        <username>Royalesignature</username>
        <id>3455025</id>
      </contributor>
      <comment>/* Ingredients */ wiki link some words</comment>
      <origin>4638174</origin>
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      <text bytes="1265" sha1="sblpwpy1r3o6laycfo4dnvtizlosi2c" xml:space="preserve">{{Recipe summary
| Category = Stew recipes
| Image = [[File:Pounded yam with vegetable soup.jpg|300px]]
| Difficulty = 3
}}{{Incomplete recipe|reason=missing appropriate linking, missing quantities,}}
{{Recipe}}

'''Efo riro''' is a rich vegetable soup popular among the Yoruba people, made with leafy greens and assorted meats.

==Ingredients==
*Fresh [[Cookbook:Spinach|spinach]] or efo shoko
*Palm oil
*[[Cookbook:Pepper|Pepper]] mix ([[Cookbook:Tomatoes with Cheese Stuffing|tomatoes]], tatashe, ata rodo)
*[[Cookbook:Onion|Onions]]
*Locust beans (iru)
*Assorted meat
*Stock fish
*Crayfish
*[[Cookbook:Salt|Salt]] and seasoning

==Procedure==
#Blend pepper mix and set aside.
#Heat palm oil, add iru and onions.
#Add blended pepper and fry well.
#Add meats and stock fish.
#Stir in [[Cookbook:Vegetable|vegetables]] and cook briefly.
#Serve with [[Cookbook:Pounded Yam|pounded yam]] or eba.

[[Category:Yoruba recipes]]
[[Category:Recipes for stew]]
[[Category:Recipes using fish]]
[[Category:Recipes using red bell pepper]]
[[Category:Recipes using green bell pepper]]
[[Category:Recipes using dehydrated broth]]
[[Category:Recipes using onion]]
[[Category:Recipes using salt]]
[[Category:Recipes using vegetable oil]]
[[Category:Recipes using habanero chile]]</text>
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  <page>
    <title>User talk:Kwfd</title>
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    <revision>
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      <timestamp>2026-05-30T14:09:21Z</timestamp>
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        <username>User97104</username>
        <id>3562800</id>
      </contributor>
      <comment>stop extra headings!</comment>
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{{Welcome-belated|article=Chess}}

&lt;span style=&quot;color:#FF0000&quot;&gt;[[User:User97104|User]]&lt;/span&gt;&lt;span style=&quot;color:#00FF00&quot;&gt;[[User talk:User97104|97104]] &lt;/span&gt;&lt;span style=&quot;color:#0000FF&quot;&gt;[[Special:Contributions/User97104|(fixes)]]&lt;/span&gt; 16:11, 5 May 2026 (UTC)</text>
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  <page>
    <title>Wikibooks:Reading room/Administrative Assistance/Archives/2026/May</title>
    <ns>4</ns>
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      <contributor>
        <username>ArchiverBot</username>
        <id>1227662</id>
      </contributor>
      <minor />
      <comment>Bot: Archiving 2 threads from [[Wikibooks:Reading room/Administrative Assistance]]</comment>
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      <text bytes="8463" sha1="kxgrqlfrfdtz6rq1l8bcgmqck1rzeqc" xml:space="preserve">{{talk archive}}

== Kevinsteinfeldt reported by MathXplore ==

* {{userlinks|Kevinsteinfeldt}}

Cross-wiki issues: Vandalism-only account &lt;!-- USERREPORTED:/Kevinsteinfeldt/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 05:15, 28 April 2026 (UTC)
: Globally locked by Count Count. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:57, 3 May 2026 (UTC)

== Your username will be adjusted to &quot;Mutesstud&quot; due to technical restrictions reported by MathXplore ==

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: Globally locked by M7. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:58, 3 May 2026 (UTC)

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: Page was already deleted, but the account is otherwise {{stale}}. Please re-report if they continue spamming. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:59, 3 May 2026 (UTC)

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: Page was already deleted, but the account is otherwise {{stale}}. Please re-report if they continue spamming. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:00, 3 May 2026 (UTC)

== ~2026-26947-55 reported by MathXplore ==

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: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:00, 3 May 2026 (UTC)
== Glinemovers reported by MathXplore ==

* {{userlinks|Glinemovers}}

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:{{done}} —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 12:37, 6 May 2026 (UTC)

== Deftsoft51 reported by MathXplore ==

* {{userlinks|Deftsoft51}}

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:{{done}} —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 12:37, 6 May 2026 (UTC)
== Pizzazilla1 reported by MathXplore ==

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Spam &lt;!-- USERREPORTED:/Pizzazilla1/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 12:20, 8 May 2026 (UTC)

:Done. //[[User:SHB2000|SHB2000]] ([[User talk:SHB2000|discuss]] • [[Special:Contributions/SHB2000|contribs]]) 00:31, 9 May 2026 (UTC)
== Omran Tokhi Nickname OT7 reported by MathXplore ==

* {{userlinks|Omran Tokhi Nickname OT7}}

Long-term abuse. Spam / spambot. [[Special:CentralAuth/OmranTokhi7]] &lt;!-- USERREPORTED:/Omran Tokhi Nickname OT7/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 03:25, 10 May 2026 (UTC)

:{{done}}. --[[User:SHB2000|SHB2000]] ([[User talk:SHB2000|discuss]] • [[Special:Contributions/SHB2000|contribs]]) 04:29, 10 May 2026 (UTC)
== ~2026-28014-44 reported by MathXplore ==

* {{userlinks|~2026-28014-44}}

Vandalism &lt;!-- USERREPORTED:/~2026-28014-44/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 01:02, 9 May 2026 (UTC)
: I blocked the underlying range. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:40, 10 May 2026 (UTC)
== Cs24jam2 reported by MathXplore ==

* {{userlinks|Cs24jam2}}

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:{{done}} by @[[User:Codename Noreste|Codename Noreste]] —[[User:Kittycataclysm|Kittycataclysm]] ([[User talk:Kittycataclysm|discuss]] • [[Special:Contributions/Kittycataclysm|contribs]]) 16:58, 11 May 2026 (UTC)
== Can't log in :( ==

Xania here. I am logged in on Wikipedia but can't log in here even though it has always been automatic when switching between the two. Wikibooks seems to want me to authenticate myself via my authenticator app which I have not done before. Allows me to also use a recovery code which I do not have. How do I log in guys? [[Special:Contributions/&amp;#126;2026-28255-89|&amp;#126;2026-28255-89]] ([[User talk:&amp;#126;2026-28255-89|talk]]) 18:15, 10 May 2026 (UTC)
: I believe it might be the CheckUser permission requiring 2FA (on parity with interface administrators and oversighters) as that group has restrictions. You might need to temporarily request to the [[m:Stewards' noticeboard|stewards]] to remove CU access from your account to enable 2FA; however, since this project only has 2 CUs, [[User:MarcGarver|MarcGarver]]'s CU rights would be temporarily suspended. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:36, 10 May 2026 (UTC)
: Thanks, I've left a notice on the Steward's board.--[[Special:Contributions/&amp;#126;2026-28255-89|&amp;#126;2026-28255-89]] ([[User talk:&amp;#126;2026-28255-89|talk]]) 18:59, 10 May 2026 (UTC)
::This happened before when your CU rights were removed because you hadn't enrolled in 2FA. I presume you must have enrolled to get the CU rights back. Are you really sure you've never used any authenticator here? [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 11:49, 11 May 2026 (UTC)
:::See [https://en.wikibooks.org/wiki/User_talk:MarcGarver#Check_User previous discussion] from last year [[User:MarcGarver|MarcGarver]] ([[User talk:MarcGarver|discuss]] • [[Special:Contributions/MarcGarver|contribs]]) 11:51, 11 May 2026 (UTC)
::::Thanks. Good to know. I had completely forgotten that discussion. I will have to install some old authenticators and see which works.--[[Special:Contributions/&amp;#126;2026-28255-89|&amp;#126;2026-28255-89]] ([[User talk:&amp;#126;2026-28255-89|talk]]) 17:09, 16 May 2026 (UTC)
: Logged in finally. Seems I had recovery codes (totally forgotten about them) saved but no authenticator so each time I log in I'll need to use the codes.--[[User:Xania|Xania]] [[Image:Flag_of_Estonia.svg|15px]]  [[Image:Flag_of_Ukraine.svg|15px]] [[User talk:Xania|&lt;sup&gt;talk&lt;/sup&gt;]] 17:54, 16 May 2026 (UTC)

== Mnckhagaul reported by MathXplore ==

* {{userlinks|Mnckhagaul}}

Spam &lt;!-- USERREPORTED:/Mnckhagaul/ --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 08:35, 16 May 2026 (UTC)
: {{done}}. [[User:Codename Noreste|&lt;span style=&quot;color:#0024FF&quot;&gt;Codename Noreste&lt;/span&gt;]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 03:28, 17 May 2026 (UTC)</text>
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    <title>Wikijunior:Animal Alphabet 2</title>
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&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]</text>
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&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]</text>
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&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>kjcvzijukwbtg9n3h91x8y7snvxfzop</sha1>
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        <id>3598117</id>
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      <text bytes="827" sha1="816cb0pfngd3tsqwkhlenuf3k5g2dd2" xml:space="preserve">[[File:Animal_diversity.jpg|center|500px]]&lt;br /&gt;
&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>816cb0pfngd3tsqwkhlenuf3k5g2dd2</sha1>
    </revision>
    <revision>
      <id>4638099</id>
      <parentid>4638098</parentid>
      <timestamp>2026-05-30T17:01:22Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638099</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="711" sha1="kjcvzijukwbtg9n3h91x8y7snvxfzop" xml:space="preserve">[[File:Animal_diversity.jpg|center|500px]]&lt;br /&gt;
&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>kjcvzijukwbtg9n3h91x8y7snvxfzop</sha1>
    </revision>
    <revision>
      <id>4638100</id>
      <parentid>4638099</parentid>
      <timestamp>2026-05-30T17:03:43Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638100</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="616" sha1="5um6hcyi11v3p7554axgcbv2z1j3lih" xml:space="preserve">[[File:Animal_diversity.jpg|center|500px]]&lt;br /&gt;
&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>5um6hcyi11v3p7554axgcbv2z1j3lih</sha1>
    </revision>
    <revision>
      <id>4638101</id>
      <parentid>4638100</parentid>
      <timestamp>2026-05-30T17:04:16Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638101</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="617" sha1="jrm2ecsqpwmjjinmnorz2flx6acpjq6" xml:space="preserve">[[File:Animal_diversity.jpg|center|500px]]&lt;br /&gt;
&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>jrm2ecsqpwmjjinmnorz2flx6acpjq6</sha1>
    </revision>
    <revision>
      <id>4638107</id>
      <parentid>4638101</parentid>
      <timestamp>2026-05-30T17:14:38Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638107</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="688" sha1="pa1hegq7oke7tl19ucegrye0y37eb7o" xml:space="preserve">[[File:Animal_diversity.jpg|center|500px]]&lt;br /&gt;
&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet 2'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}

&lt;/noinclude&gt;
{{Print version|Wikijunior:Animal_Alphabet_2/All pages}}</text>
      <sha1>pa1hegq7oke7tl19ucegrye0y37eb7o</sha1>
    </revision>
  </page>
  <page>
    <title>Wikijunior:Animal Alphabet (NatureRules1 Version)</title>
    <ns>110</ns>
    <id>483516</id>
    <revision>
      <id>4638095</id>
      <parentid>4637274</parentid>
      <timestamp>2026-05-30T16:50:08Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638095</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1146" sha1="rrdh0z8k8978soi7aoz39nh3749sbmp" xml:space="preserve">&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet (NatureRules1 Version)'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --

'''A''' - anteater
'''B''' - bear
'''C''' - camel
'''D''' - dinosaur
'''E''' - elephant
'''F''' - flamingo
'''G''' - giraffe
'''H''' - hippopotamus
'''I''' - iguana
'''J''' - jaguar
'''K''' - kangaroo
'''L''' - lion
'''M''' - mammoth
'''N''' - narwhal
'''O''' - ostrich
'''P''' - panda
'''Q''' - quail
'''R''' - rhinoceros
'''S''' - shark
'''T''' - tiger
'''U''' - umbrellabird
'''V''' - vulture
'''W''' - water buffalo
'''X''' - ox
'''Y''' - yak
'''Z''' - zebu

==Authors/Contributors==
* [[User:Xania|Xania]]
* [[User:Codename Noreste|Codename Noreste]]
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>rrdh0z8k8978soi7aoz39nh3749sbmp</sha1>
    </revision>
    <revision>
      <id>4638102</id>
      <parentid>4638095</parentid>
      <timestamp>2026-05-30T17:04:59Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638102</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1052" sha1="jwocc7448wajcz8qj8iynpf8w1hxpe8" xml:space="preserve">&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet (NatureRules1 Version)'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --

'''A''' - anteater
'''B''' - bear
'''C''' - camel
'''D''' - dinosaur
'''E''' - elephant
'''F''' - flamingo
'''G''' - giraffe
'''H''' - hippopotamus
'''I''' - iguana
'''J''' - jaguar
'''K''' - kangaroo
'''L''' - lion
'''M''' - mammoth
'''N''' - narwhal
'''O''' - ostrich
'''P''' - panda
'''Q''' - quail
'''R''' - rhinoceros
'''S''' - shark
'''T''' - tiger
'''U''' - umbrellabird
'''V''' - vulture
'''W''' - water buffalo
'''X''' - ox
'''Y''' - yak
'''Z''' - zebu
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}</text>
      <sha1>jwocc7448wajcz8qj8iynpf8w1hxpe8</sha1>
    </revision>
    <revision>
      <id>4638109</id>
      <parentid>4638102</parentid>
      <timestamp>2026-05-30T17:18:41Z</timestamp>
      <contributor>
        <username>~2026-32200-97</username>
        <id>3598117</id>
      </contributor>
      <comment>/* */</comment>
      <origin>4638109</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1144" sha1="hk19s5mzmz96emd81ww3ssznuon228f" xml:space="preserve">&lt;div style=&quot;font-size: xx-large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;'''Wikijunior Animal Alphabet (NatureRules1 Version)'''&lt;/div&gt;


&lt;noinclude&gt;
&lt;div style=&quot;font-size: large; text-align: center; margin: 0px auto 0px auto;&quot;&gt;-- [[/A/]]  [[/B/]]  [[/C/]]  [[/D/]]  [[/E/]]  [[/F/]]  [[/G/]]  [[/H/]]  [[/I/]]  [[/J/]]  [[/K/]]  [[/L/]]  [[/M/]]  [[/N/]]  [[/O/]]  [[/P/]]  [[/Q/]]  [[/R/]]  [[/S/]]  [[/T/]]  [[/U/]]  [[/V/]]  [[/W/]]  [[/X/]]  [[/Y/]]  [[/Z/]] --

'''A''' - anteater
'''B''' - bear
'''C''' - camel
'''D''' - dinosaur
'''E''' - elephant
'''F''' - flamingo
'''G''' - giraffe
'''H''' - hippopotamus
'''I''' - iguana
'''J''' - jaguar
'''K''' - kangaroo
'''L''' - lion
'''M''' - mammoth
'''N''' - narwhal
'''O''' - ostrich
'''P''' - panda
'''Q''' - quail
'''R''' - rhinoceros
'''S''' - shark
'''T''' - tiger
'''U''' - umbrellabird
'''V''' - vulture
'''W''' - water buffalo
'''X''' - ox
'''Y''' - yak
'''Z''' - zebu
&lt;/div&gt;
&lt;/noinclude&gt;
{{Shelves|Wikijunior pre-reader books}}{{Status|100%}}
&lt;noinclude&gt;
{{reading level|Pre-reader}}

&lt;/noinclude&gt;
{{Print version|Wikijunior:Animal_Alphabet_(NatureRules1_Version)/All pages}}</text>
      <sha1>hk19s5mzmz96emd81ww3ssznuon228f</sha1>
    </revision>
  </page>
  <page>
    <title>Maxima/Identifiers</title>
    <ns>0</ns>
    <id>483550</id>
    <revision>
      <id>4638089</id>
      <parentid>4637410</parentid>
      <timestamp>2026-05-30T16:21:22Z</timestamp>
      <contributor>
        <username>Idavidmiller</username>
        <id>3577687</id>
      </contributor>
      <comment>Work in progress. Saving Changes.</comment>
      <origin>4638089</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7898" sha1="mwxtgyrgzu8rl9utxvun9bvga20r0ev" xml:space="preserve">== The Maxima Namespace ==
The topic of the namespace system used by Maxima is in a sense more relevant to programming expressions. However, since the nature of the Maxima namespace system is also relevant to Maxima identifiers as used in this book, and also as used routinely in the composition of Maxima expressions in general, and particularly mathematical expressions, some of the technical detail is provided here for the purpose of describing the role of identifiers. It is worth repeating here that in this book, for reasons of simplicity, the use of the term '''''identifier''''' is meant to encapsulate names used for various purposes as described below. 
The Maxima CAS namespace system is best characterized as '''case-sensitive''' for user-defined entities but '''case-insensitive''' (normalized to lowercase) for built-in operators (functions) and constants, with a '''flat global namespace''' for identifiers:

* '''Case Sensitivity''': Maxima provides a '''case-sensitive''' namespace system where variables, functions, and operators are distinct entities based on their spelling. Maxima distinguishes between upper and lower case for user-defined variables and functions; for example, &lt;code&gt;foo&lt;/code&gt;, &lt;code&gt;Foo&lt;/code&gt;, and &lt;code&gt;FOO&lt;/code&gt; are treated as distinct identifiers. 
* '''Built-in Normalization''': All built-in operators (e.g., &lt;code&gt;sin&lt;/code&gt;, &lt;code&gt;cos&lt;/code&gt;) and constants (e.g., &lt;code&gt;%e&lt;/code&gt;, &lt;code&gt;%pi&lt;/code&gt;) have '''lowercase''' names only.  Typing &lt;code&gt;SIN(x)&lt;/code&gt; or &lt;code&gt;Sin(x)&lt;/code&gt; causes Maxima to assume the user is referring to a user-defined function rather than the built-in sine function.
* '''Namespace Structure''': The system uses a '''single global namespace''' where variables and functions persist until the session ends or are explicitly removed (e.g., via the &lt;code&gt;kill&lt;/code&gt;&lt;code&gt;()&lt;/code&gt; command).  There is no modular scoping for standard variables.


However, Maxima maintains specific exceptions for predefined mathematical operators (functions) and constants:

* '''Built-in''' '''(predefined) operators (functions)''' (e.g., &lt;code&gt;sin&lt;/code&gt;, &lt;code&gt;cos&lt;/code&gt;, &lt;code&gt;log&lt;/code&gt;) are mapped to '''uppercase''' versions internally (e.g., &lt;code&gt;SIN&lt;/code&gt;, &lt;code&gt;COS&lt;/code&gt;), allowing users to call them with either case, though lowercase is recommended for clarity. 
* '''Built-in constants''' (e.g., &lt;code&gt;%e&lt;/code&gt;, &lt;code&gt;%pi&lt;/code&gt;, &lt;code&gt;%i&lt;/code&gt;, &lt;code&gt;%gamma&lt;/code&gt;) are strictly '''lowercase''' and must be entered exactly as such. 
* '''System''' '''names''' related to session history (input or output '''''labels''''') also use the &lt;code&gt;%&lt;/code&gt; prefix and are case-sensitive. 

Users are advised to use '''lowercase''' for user-defined names and functions to ensure readability and avoid conflicts with the internal uppercase mapping of standard mathematical operators.

The namespace system in Maxima is fundamentally built upon its underlying Lisp implementation, creating a unique environment where case sensitivity, symbol translation rules, and special prefixes dictate how variables and functions are stored and accessed. 
The namespace utilizes '''dynamic scoping''' rather than lexical scoping for most operations, which impacts variable visibility and modification:

* '''Dynamic Scope''': Variables defined outside a function (global) can be inadvertently modified by functions if the variable names match, unless explicitly localized using &lt;code&gt;block&lt;/code&gt; or &lt;code&gt;module&lt;/code&gt;. For instance, a loop variable &lt;code&gt;i&lt;/code&gt; in a global context might be overwritten by a function using &lt;code&gt;i&lt;/code&gt; if not properly scoped. 
* '''Global Persistence''': By default, all user definitions reside in a '''single global namespace'''. They persist until the session ends or are explicitly removed.
* '''Unbinding Mechanisms''':
** &lt;code&gt;kill(symbol)&lt;/code&gt;: Completely removes the value, function definition, array, and properties of a symbol.
** &lt;code&gt;remvalue(symbol)&lt;/code&gt;: Removes only the assigned value, leaving function definitions or array properties intact.
** &lt;code&gt;kill(all)&lt;/code&gt;: Clears all user-defined items from the namespace but does not reset internal global flags or options to their defaults (for which &lt;code&gt;reset&lt;/code&gt; is used).

== Identifiers ==
Names, symbols, words, variables, constants, literals, labels, and identifiers are all technical terms the meaning of which may depend on the context in which these terms are used. In this book, for the sake of simplicity, the term '''''identifier''''' is used as names as follows:

# A name that has a value of itself ( a is a ), or
# A name that has a value of an expression other than itself ( a is b )
&lt;syntaxhighlight lang=&quot;maxima&quot;&gt;
(%i1)	y; /* The value of y is y, y is a name for itself. */
(%o1)	y

(%i2)	y : f(x); /* y is assigned an expression  */
(y)	f(x)

(%i3)	y; /* The value of y is f(x), y is a name for f(x). */
(%o3)	f(x)
&lt;/syntaxhighlight&gt;

=== Reserved Words ===
The Maxima documentation provides the following caveat regarding '''''reserved words''''':&lt;blockquote&gt;&quot;There are a number of reserved words which should not be used as variable names. Their use would cause a possibly cryptic syntax error.&quot;&lt;/blockquote&gt;
 integrate            next           from                 diff            
 in                   at             limit                sum             
 for                  and            elseif               then            
 else                 do             or                   if              
 unless               product        while                thru            
 step                                                                     
Apart from these Maxima reserved words, there is relative freedom in the choice of identifiers.

=== &lt;u&gt;Identifier Composition Rules&lt;/u&gt;: ===
Maxima identifiers follow specific lexical rules:

* '''Allowed Characters''': Alphabetic characters (&lt;code&gt;A-Z&lt;/code&gt;, &lt;code&gt;a-z&lt;/code&gt;), digits (&lt;code&gt;0-9&lt;/code&gt;), and the underscore (&lt;code&gt;_&lt;/code&gt;). 
* '''Special Characters''': Any special character can be included if preceded by a backslash (&lt;code&gt;\&lt;/code&gt;). For example, &lt;code&gt;a\+b&lt;/code&gt; is a valid single identifier. 
* '''Starting with Digits''': An identifier can start with a digit if escaped (e.g., &lt;code&gt;\1st_var&lt;/code&gt;).
* '''Unicode Support''': Modern versions of Maxima (and specifically interfaces like ''wxMaxima'') support Unicode characters in identifiers, treating them as alphabetic characters without needing escape sequences, ''provided the underlying Lisp and font support them''.


It seems to be the case that, unless otherwise noted, there are no naming conventions or a style guide for Maxima. So in general, it is up to the user to decide on identifiers.

Note that identifiers may be used that are one or more characters that comprise the alphabetic characters, plus the digits 0 through 9, plus any other character preceded by the backslash ( &lt;code&gt;\&lt;/code&gt; ) escape character including the space character. Note however, that the &lt;code&gt;\&lt;/code&gt; must be entered for each reference to the identifier.

A numeral may be the first character of an identifier if it is preceded by a backslash. Numerals which are the second or later characters need not be preceded by a backslash.

The alphabetic characters are initially %, _, and the lower and upper case letters of the alphabet - that is, all characters for which the Lisp function &lt;code&gt;ALPHA-CHAR-P&lt;/code&gt; returns &lt;code&gt;true&lt;/code&gt;.

Characters may be declared alphabetic by the &lt;code&gt;declare&lt;/code&gt;&lt;code&gt;()&lt;/code&gt; operator. If so declared, they need not be preceded by a backslash in an identifier. However, the use of the &lt;code&gt;declare&lt;/code&gt;&lt;code&gt;()&lt;/code&gt; operator may cause unintended and unwanted side effects depending on the character, so this function should be used with that in mind if at all.


symbols %z7 and %z9 represent any arbitrary integer value.</text>
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  </page>
  <page>
    <title>Chess Opening Theory/1. e4/1...c5/2. Nf3/2...d6/3. d4/3...cxd4/4. Nxd4/4...Nf6/5. Nc3/5...a6/6. h4</title>
    <ns>0</ns>
    <id>483640</id>
    <revision>
      <id>4638118</id>
      <parentid>4637814</parentid>
      <timestamp>2026-05-30T18:14:39Z</timestamp>
      <contributor>
        <username>~2026-31627-10</username>
        <id>3596295</id>
      </contributor>
      <origin>4638118</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="149" sha1="auf7hmloqtvkqcgunubzpwzjuy3ljrr" xml:space="preserve">==Kobo-Steinberg Variation==
A sharp move that initiates a kingside initiative.
first played in the game Nitzan Steinberg vs. Lali Agbabishvili 2017.</text>
      <sha1>auf7hmloqtvkqcgunubzpwzjuy3ljrr</sha1>
    </revision>
  </page>
  <page>
    <title>Vehicle Identification Numbers (VIN codes)/Volkswagen/VIN Codes</title>
    <ns>0</ns>
    <id>483652</id>
    <revision>
      <id>4638153</id>
      <parentid>4637991</parentid>
      <timestamp>2026-05-31T02:27:14Z</timestamp>
      <contributor>
        <username>JustTheFacts33</username>
        <id>3434282</id>
      </contributor>
      <comment>/* Position 7-8, Model Line: */</comment>
      <origin>4638153</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="4515" sha1="d47aoikqiaakbfl8p0ijt7g1qvvm1g7" xml:space="preserve">{{Vehicle Identification Numbers (VIN codes)/Warning}}{{clear}}

===Positions 1–3, World Manufacturer Identifier:===  
* WVW - VW passenger car
* WVG - VW SUV &amp; ID Buzz
* WV1 - VW Comm. Vehicles - cargo van, pickup truck (truck)
* WV2 - VW Comm. Vehicles - passenger van, camper van, or minibus (M.P.V.)
* WV3 - VW Comm. Vehicles - chassis cab (incomplete vehicle)
* WV4 - VW Comm. Vehicles made by Ford (T7 Transporter, 2nd gen. Amarok) - cargo van, pickup truck (truck)
* WV5 - VW Comm. Vehicles made by Ford (T7 Caravelle) - passenger van, camper van, or minibus (M.P.V.)
* 1VW - VW passenger car made in USA
* 1V1 - VW truck made in USA
* 1V2 - VW SUV made in USA
* 2V8 - VW M.P.V. (Routan) 2009 with side airbags made by Chrysler Canada
* 2V4 - VW M.P.V. (Routan) 2010-2011 made by Chrysler Canada
* 2C4 - Chrysler Group Canada (all brands) M.P.V. - used for 2012-2014 Routan
* 3VW - VW passenger car made in Mexico
* 3VV - VW SUV made in Mexico
* 9BW - VW passenger car made in Brazil

M.P.V.=Multipurpose Passenger Vehicle

===Position 6, Restraint Systems:===
*0 = Active (Manual) 3-point Seat Belts only
*1 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts and front knee bolsters
*2 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts, Manual front lap belts, and front knee bolsters
*4 = VW-ELRA (VW Electromechanical Restraint Automatic): Motorized front shoulder belts, Manual front lap belts
*5 = Driver-side Airbag, Driver and Passenger Active (Manual) 3-point Seat Belts
*8 = Driver and Passenger Front Airbags

*6 = Active (Manual) belts plus Driver and Passenger Front Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*9 = Active (Manual) belts plus Driver and Passenger Front Dual-stage Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*0 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Phaeton)
*7 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Touareg)

===Position 7-8, Model Line:===
*30 = Fox ('87-'93)
*15 = Rabbit Convertible ('81-'84), Cabriolet ('85-'93)
*16 = Jetta ('81-'88)
*17 = Rabbit ('81-'84), Rabbit Truck ('81-'83), Golf (US built: '85-'89)
*1G = Golf (Mexican built: '89-'92), Jetta ('89-'92)
*1H = Golf/GTI ('93-'99 - Mark III), Jetta ('93-'99 - Mark III)
*1E = Cabrio ('95-'99)
*1V = Cabrio ('00-'02)
*1J = Golf/GTI ('99-'06 - Mark IV), R32 ('04), Jetta wagon ('01-'05 &amp; '06 in Canada - Mark IV)
*9M = Jetta sedan ('99-'05 - Mark IV)
*1K = Rabbit/GTI ('06-'09 - Mark V), R32 ('08), Jetta ('05-'09 - Mark V), Jetta Sportwagen ('09 - Mark V)
*32 = Dasher hatchback ('81), Quantum hatchback ('82-'83)/sedan ('82-'88)
*33 = Dasher wagon ('81), Quantum wagon ('82-'88)
*31 = Passat ('90-'94)
*3A = Passat ('95-'97)
*3B = Passat ('98-'05)
*3C = Passat ('06-'09), CC ('09)
*3D = Phaeton ('04-'06)
*53 = Scirocco ('81-'88 &amp; '89 in Canada)
*50 = Corrado ('90-'94 &amp; '95 in Canada)
*1C = New Beetle coupe ('98-'09)
*1Y = New Beetle convertible ('03-'09)
*1F = Eos ('07-'09)
*25 - Vanagon ('81-'91)
*70 = Eurovan ('93-'03 &amp; '92 in Canada)
*5N = Tiguan ('09)
*7L = Touareg ('04-'09)

===Position 9, Check Digit===
[[Vehicle Identification Numbers (VIN codes)/Check digit |Check digit]]

===Position 10, Model Year: ===                      
[[Vehicle Identification Numbers (VIN codes)/Model year|Model year]]

===Position 11, Production Plant:===
* B:    Brussels, Belgium
* C:    Chattanooga, TN, USA
* D:    Bratislava, Slovakia
* E:    Emden, Germany
* G:    Graz, Austria (Steyr-Daimler-Puch plant: Vanagon Syncro 4wd [US: '86-'87, '89-'91, Canada: '86-'91]) 
* H:    Hanover, Germany
* K:    Osnabrueck, Germany (Karmann plant: Scirocco ['81-'88 &amp; '89 in Canada], Corrado ['90-'94 &amp; '95 in Canada], Rabbit Convertible ['81-'84], Cabriolet ['85-'93], Cabrio ['95-'96])
* K:    Osnabrueck, Germany (ex-Karmann VW Osnabrueck GmbH plant: Tiguan ['17], Tiguan Limited ['17-'18])
* M:    Puebla, Mexico
* P:    Zwickau, Germany [For WMI: WVW or WVG]
* P:    Sao Bernardo do Campo, Sao Paulo state, Brazil (Anchieta plant) [For WMI: 9BW]
* R:    Windsor Assembly - Windsor, ON, Canada (Chrysler plant)
* V:    Westmoreland Assembly - East Huntingdon, Westmoreland County, PA, USA [For WMI: 1VW or 1V1]
* V:    Portugal [For WMI: WVW]
* W:    Wolfsburg, Germany
* 4:    Sao Jose dos Pinhais, Parana state, Brazil (Curitiba plant)
* 8:    Dresden, Germany

'''Positions 12–17, Serial Number'''

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      <timestamp>2026-05-31T07:47:20Z</timestamp>
      <contributor>
        <username>JustTheFacts33</username>
        <id>3434282</id>
      </contributor>
      <comment>/* Positions 1–3, World Manufacturer Identifier: */</comment>
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      <model>wikitext</model>
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===Positions 1–3, World Manufacturer Identifier:===  
* WVW - VW passenger car
* WVG - VW SUV &amp; ID Buzz
* WV1 - VW Comm. Vehicles - cargo van, pickup truck (truck)
* WV2 - VW Comm. Vehicles - passenger van, camper van, or minibus (M.P.V.)
* WV3 - VW Comm. Vehicles - chassis cab or cutaway (incomplete vehicle)
* WV4 - VW Comm. Vehicles made by Ford (T7 Transporter, 2nd gen. Amarok) - cargo van, pickup truck (truck)
* WV5 - VW Comm. Vehicles made by Ford (T7 Caravelle) - passenger van, camper van, or minibus (M.P.V.)
* 1VW - VW passenger car made in USA
* 1V1 - VW truck made in USA
* 1V2 - VW SUV made in USA
* 2V8 - VW M.P.V. (Routan) 2009 with side airbags made by Chrysler Canada
* 2V4 - VW M.P.V. (Routan) 2010-2011 made by Chrysler Canada
* 2C4 - Chrysler Group Canada (all brands) M.P.V. - used for 2012-2014 Routan
* 3VW - VW passenger car made in Mexico
* 3VV - VW SUV made in Mexico
* 9BW - VW passenger car made in Brazil

M.P.V.=Multipurpose Passenger Vehicle

===Position 6, Restraint Systems:===
*0 = Active (Manual) 3-point Seat Belts only
*1 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts and front knee bolsters
*2 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts, Manual front lap belts, and front knee bolsters
*4 = VW-ELRA (VW Electromechanical Restraint Automatic): Motorized front shoulder belts, Manual front lap belts
*5 = Driver-side Airbag, Driver and Passenger Active (Manual) 3-point Seat Belts
*8 = Driver and Passenger Front Airbags

*6 = Active (Manual) belts plus Driver and Passenger Front Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*9 = Active (Manual) belts plus Driver and Passenger Front Dual-stage Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*0 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Phaeton)
*7 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Touareg)

===Position 7-8, Model Line:===
*30 = Fox ('87-'93)
*15 = Rabbit Convertible ('81-'84), Cabriolet ('85-'93)
*16 = Jetta ('81-'88)
*17 = Rabbit ('81-'84), Rabbit Truck ('81-'83), Golf (US built: '85-'89)
*1G = Golf (Mexican built: '89-'92), Jetta ('89-'92)
*1H = Golf/GTI ('93-'99 - Mark III), Jetta ('93-'99 - Mark III)
*1E = Cabrio ('95-'99)
*1V = Cabrio ('00-'02)
*1J = Golf/GTI ('99-'06 - Mark IV), R32 ('04), Jetta wagon ('01-'05 &amp; '06 in Canada - Mark IV)
*9M = Jetta sedan ('99-'05 - Mark IV)
*1K = Rabbit/GTI ('06-'09 - Mark V), R32 ('08), Jetta ('05-'09 - Mark V), Jetta Sportwagen ('09 - Mark V)
*32 = Dasher hatchback ('81), Quantum hatchback ('82-'83)/sedan ('82-'88)
*33 = Dasher wagon ('81), Quantum wagon ('82-'88)
*31 = Passat ('90-'94)
*3A = Passat ('95-'97)
*3B = Passat ('98-'05)
*3C = Passat ('06-'09), CC ('09)
*3D = Phaeton ('04-'06)
*53 = Scirocco ('81-'88 &amp; '89 in Canada)
*50 = Corrado ('90-'94 &amp; '95 in Canada)
*1C = New Beetle coupe ('98-'09)
*1Y = New Beetle convertible ('03-'09)
*1F = Eos ('07-'09)
*25 - Vanagon ('81-'91)
*70 = Eurovan ('93-'03 &amp; '92 in Canada)
*5N = Tiguan ('09)
*7L = Touareg ('04-'09)

===Position 9, Check Digit===
[[Vehicle Identification Numbers (VIN codes)/Check digit |Check digit]]

===Position 10, Model Year: ===                      
[[Vehicle Identification Numbers (VIN codes)/Model year|Model year]]

===Position 11, Production Plant:===
* B:    Brussels, Belgium
* C:    Chattanooga, TN, USA
* D:    Bratislava, Slovakia
* E:    Emden, Germany
* G:    Graz, Austria (Steyr-Daimler-Puch plant: Vanagon Syncro 4wd [US: '86-'87, '89-'91, Canada: '86-'91]) 
* H:    Hanover, Germany
* K:    Osnabrueck, Germany (Karmann plant: Scirocco ['81-'88 &amp; '89 in Canada], Corrado ['90-'94 &amp; '95 in Canada], Rabbit Convertible ['81-'84], Cabriolet ['85-'93], Cabrio ['95-'96])
* K:    Osnabrueck, Germany (ex-Karmann VW Osnabrueck GmbH plant: Tiguan ['17], Tiguan Limited ['17-'18])
* M:    Puebla, Mexico
* P:    Zwickau, Germany [For WMI: WVW or WVG]
* P:    Sao Bernardo do Campo, Sao Paulo state, Brazil (Anchieta plant) [For WMI: 9BW]
* R:    Windsor Assembly - Windsor, ON, Canada (Chrysler plant)
* V:    Westmoreland Assembly - East Huntingdon, Westmoreland County, PA, USA [For WMI: 1VW or 1V1]
* V:    Portugal [For WMI: WVW]
* W:    Wolfsburg, Germany
* 4:    Sao Jose dos Pinhais, Parana state, Brazil (Curitiba plant)
* 8:    Dresden, Germany

'''Positions 12–17, Serial Number'''

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      <parentid>4638176</parentid>
      <timestamp>2026-05-31T11:42:59Z</timestamp>
      <contributor>
        <username>JustTheFacts33</username>
        <id>3434282</id>
      </contributor>
      <comment>/* Position 7-8, Model Line: */</comment>
      <origin>4638189</origin>
      <model>wikitext</model>
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===Positions 1–3, World Manufacturer Identifier:===  
* WVW - VW passenger car
* WVG - VW SUV &amp; ID Buzz
* WV1 - VW Comm. Vehicles - cargo van, pickup truck (truck)
* WV2 - VW Comm. Vehicles - passenger van, camper van, or minibus (M.P.V.)
* WV3 - VW Comm. Vehicles - chassis cab or cutaway (incomplete vehicle)
* WV4 - VW Comm. Vehicles made by Ford (T7 Transporter, 2nd gen. Amarok) - cargo van, pickup truck (truck)
* WV5 - VW Comm. Vehicles made by Ford (T7 Caravelle) - passenger van, camper van, or minibus (M.P.V.)
* 1VW - VW passenger car made in USA
* 1V1 - VW truck made in USA
* 1V2 - VW SUV made in USA
* 2V8 - VW M.P.V. (Routan) 2009 with side airbags made by Chrysler Canada
* 2V4 - VW M.P.V. (Routan) 2010-2011 made by Chrysler Canada
* 2C4 - Chrysler Group Canada (all brands) M.P.V. - used for 2012-2014 Routan
* 3VW - VW passenger car made in Mexico
* 3VV - VW SUV made in Mexico
* 9BW - VW passenger car made in Brazil

M.P.V.=Multipurpose Passenger Vehicle

===Position 6, Restraint Systems:===
*0 = Active (Manual) 3-point Seat Belts only
*1 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts and front knee bolsters
*2 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts, Manual front lap belts, and front knee bolsters
*4 = VW-ELRA (VW Electromechanical Restraint Automatic): Motorized front shoulder belts, Manual front lap belts
*5 = Driver-side Airbag, Driver and Passenger Active (Manual) 3-point Seat Belts
*8 = Driver and Passenger Front Airbags

*6 = Active (Manual) belts plus Driver and Passenger Front Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*9 = Active (Manual) belts plus Driver and Passenger Front Dual-stage Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*0 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Phaeton)
*7 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Touareg)

===Position 7-8, Model Line:===
*30 = Fox ('87-'93)
*15 = Rabbit Convertible ('81-'84), Cabriolet ('85-'93)
*16 = Jetta ('81-'88)
*17 = Rabbit ('81-'84), Rabbit Truck ('81-'83), Golf (US built: '85-'89)
*1G = Golf (Mexican built: '89-'92), Jetta ('89-'92)
*1H = Golf/GTI ('93-'99 - Mark III), Jetta ('93-'99 - Mark III)
*1E = Cabrio ('95-'99)
*1V = Cabrio ('00-'02)
*1J = Golf/GTI ('99-'06 - Mark IV), R32 ('04), City Golf (Canada only: '07-'09), Jetta wagon ('01-'05 &amp; '06 in Canada - Mark IV)
*9M = Jetta sedan ('99-'05 - Mark IV), City Jetta (Canada only: '07-'09)
*1K = Rabbit/GTI ('06-'09 - Mark V), R32 ('08), Jetta sedan ('05-'09 - Mark V), Jetta Sportwagen ('09 - Mark V)
*32 = Dasher hatchback ('81), Quantum hatchback ('82-'83)/sedan ('82-'88)
*33 = Dasher wagon ('81), Quantum wagon ('82-'88)
*31 = Passat ('90-'94)
*3A = Passat ('95-'97)
*3B = Passat ('98-'05)
*3C = Passat ('06-'09), CC ('09)
*3D = Phaeton ('04-'06)
*53 = Scirocco ('81-'88 &amp; '89 in Canada)
*50 = Corrado ('90-'94 &amp; '95 in Canada)
*1C = New Beetle coupe ('98-'09)
*1Y = New Beetle convertible ('03-'09)
*1F = Eos ('07-'09)
*25 - Vanagon ('81-'91)
*70 = Eurovan ('93-'03 &amp; '92 in Canada)
*5N = Tiguan ('09)
*7L = Touareg ('04-'09)

===Position 9, Check Digit===
[[Vehicle Identification Numbers (VIN codes)/Check digit |Check digit]]

===Position 10, Model Year: ===                      
[[Vehicle Identification Numbers (VIN codes)/Model year|Model year]]

===Position 11, Production Plant:===
* B:    Brussels, Belgium
* C:    Chattanooga, TN, USA
* D:    Bratislava, Slovakia
* E:    Emden, Germany
* G:    Graz, Austria (Steyr-Daimler-Puch plant: Vanagon Syncro 4wd [US: '86-'87, '89-'91, Canada: '86-'91]) 
* H:    Hanover, Germany
* K:    Osnabrueck, Germany (Karmann plant: Scirocco ['81-'88 &amp; '89 in Canada], Corrado ['90-'94 &amp; '95 in Canada], Rabbit Convertible ['81-'84], Cabriolet ['85-'93], Cabrio ['95-'96])
* K:    Osnabrueck, Germany (ex-Karmann VW Osnabrueck GmbH plant: Tiguan ['17], Tiguan Limited ['17-'18])
* M:    Puebla, Mexico
* P:    Zwickau, Germany [For WMI: WVW or WVG]
* P:    Sao Bernardo do Campo, Sao Paulo state, Brazil (Anchieta plant) [For WMI: 9BW]
* R:    Windsor Assembly - Windsor, ON, Canada (Chrysler plant)
* V:    Westmoreland Assembly - East Huntingdon, Westmoreland County, PA, USA [For WMI: 1VW or 1V1]
* V:    Portugal [For WMI: WVW]
* W:    Wolfsburg, Germany
* 4:    Sao Jose dos Pinhais, Parana state, Brazil (Curitiba plant)
* 8:    Dresden, Germany

'''Positions 12–17, Serial Number'''

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      <id>4638190</id>
      <parentid>4638189</parentid>
      <timestamp>2026-05-31T11:47:27Z</timestamp>
      <contributor>
        <username>JustTheFacts33</username>
        <id>3434282</id>
      </contributor>
      <comment>/* Position 7-8, Model Line: */</comment>
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      <format>text/x-wiki</format>
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===Positions 1–3, World Manufacturer Identifier:===  
* WVW - VW passenger car
* WVG - VW SUV &amp; ID Buzz
* WV1 - VW Comm. Vehicles - cargo van, pickup truck (truck)
* WV2 - VW Comm. Vehicles - passenger van, camper van, or minibus (M.P.V.)
* WV3 - VW Comm. Vehicles - chassis cab or cutaway (incomplete vehicle)
* WV4 - VW Comm. Vehicles made by Ford (T7 Transporter, 2nd gen. Amarok) - cargo van, pickup truck (truck)
* WV5 - VW Comm. Vehicles made by Ford (T7 Caravelle) - passenger van, camper van, or minibus (M.P.V.)
* 1VW - VW passenger car made in USA
* 1V1 - VW truck made in USA
* 1V2 - VW SUV made in USA
* 2V8 - VW M.P.V. (Routan) 2009 with side airbags made by Chrysler Canada
* 2V4 - VW M.P.V. (Routan) 2010-2011 made by Chrysler Canada
* 2C4 - Chrysler Group Canada (all brands) M.P.V. - used for 2012-2014 Routan
* 3VW - VW passenger car made in Mexico
* 3VV - VW SUV made in Mexico
* 9BW - VW passenger car made in Brazil

M.P.V.=Multipurpose Passenger Vehicle

===Position 6, Restraint Systems:===
*0 = Active (Manual) 3-point Seat Belts only
*1 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts and front knee bolsters
*2 = VW-RA (VW Restraint Automatic): Door-mounted front shoulder belts, Manual front lap belts, and front knee bolsters
*4 = VW-ELRA (VW Electromechanical Restraint Automatic): Motorized front shoulder belts, Manual front lap belts
*5 = Driver-side Airbag, Driver and Passenger Active (Manual) 3-point Seat Belts
*8 = Driver and Passenger Front Airbags

*6 = Active (Manual) belts plus Driver and Passenger Front Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*9 = Active (Manual) belts plus Driver and Passenger Front Dual-stage Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags
*0 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Phaeton)
*7 = Active (Manual) belts plus Driver and Passenger Front Advanced Airbags &amp; Front Side Airbags &amp; Side Curtain Airbags (Touareg)

===Position 7-8, Model Line:===
*30 = Fox ('87-'93)
*15 = Rabbit Convertible ('81-'84), Cabriolet ('85-'93)
*16 = Jetta ('81-'88)
*17 = Rabbit ('81-'84), Rabbit Truck ('81-'83), Golf (US built: '85-'89)
*1G = Golf (Mexican built: '89-'92), Jetta ('89-'92)
*1H = Golf/GTI ('93-'99 - Mark III), Jetta ('93-'99 - Mark III)
*1E = Cabrio ('95-'99)
*1V = Cabrio ('00-'02)
*1J = Golf/GTI ('99-'06 - Mark IV), R32 ('04), City Golf (Canada only: '07-'09), Jetta wagon ('01-'05 &amp; '06 in Canada - Mark IV)
*9M = Jetta sedan ('99-'05 - Mark IV), City Jetta (Canada only: '07-'09)
*1K = Rabbit/GTI ('06-'09 - Mark V), R32 ('08), Jetta sedan ('05-'09 - Mark V), Jetta Sportwagen ('09 - Mark V)
*32 = Dasher hatchback ('81), Quantum hatchback ('82-'83)/sedan ('82-'88)
*33 = Dasher wagon ('81), Quantum wagon ('82-'88)
*31 = Passat ('90-'94)
*3A = Passat ('95-'97)
*3B = Passat ('98-'05)
*3C = Passat ('06-'09), CC ('09)
*3D = Phaeton ('04-'06)
*53 = Scirocco ('81-'88 &amp; '89 in Canada)
*50 = Corrado ('90-'94 &amp; '95 in Canada)
*1C = New Beetle coupe ('98-'09)
*1Y = New Beetle convertible ('03-'09)
*1F = Eos ('07-'09)
*25 - Vanagon ('81-'91)
*70 = Eurovan ('93-'03 &amp; '92 in Canada), Eurovan-based Winnebago Rialta, Winnebago Vista, Itasca Sunstar Class C motorhomes
*5N = Tiguan ('09)
*7L = Touareg ('04-'09)

===Position 9, Check Digit===
[[Vehicle Identification Numbers (VIN codes)/Check digit |Check digit]]

===Position 10, Model Year: ===                      
[[Vehicle Identification Numbers (VIN codes)/Model year|Model year]]

===Position 11, Production Plant:===
* B:    Brussels, Belgium
* C:    Chattanooga, TN, USA
* D:    Bratislava, Slovakia
* E:    Emden, Germany
* G:    Graz, Austria (Steyr-Daimler-Puch plant: Vanagon Syncro 4wd [US: '86-'87, '89-'91, Canada: '86-'91]) 
* H:    Hanover, Germany
* K:    Osnabrueck, Germany (Karmann plant: Scirocco ['81-'88 &amp; '89 in Canada], Corrado ['90-'94 &amp; '95 in Canada], Rabbit Convertible ['81-'84], Cabriolet ['85-'93], Cabrio ['95-'96])
* K:    Osnabrueck, Germany (ex-Karmann VW Osnabrueck GmbH plant: Tiguan ['17], Tiguan Limited ['17-'18])
* M:    Puebla, Mexico
* P:    Zwickau, Germany [For WMI: WVW or WVG]
* P:    Sao Bernardo do Campo, Sao Paulo state, Brazil (Anchieta plant) [For WMI: 9BW]
* R:    Windsor Assembly - Windsor, ON, Canada (Chrysler plant)
* V:    Westmoreland Assembly - East Huntingdon, Westmoreland County, PA, USA [For WMI: 1VW or 1V1]
* V:    Portugal [For WMI: WVW]
* W:    Wolfsburg, Germany
* 4:    Sao Jose dos Pinhais, Parana state, Brazil (Curitiba plant)
* 8:    Dresden, Germany

'''Positions 12–17, Serial Number'''

{{BookCat}}</text>
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  <page>
    <title>User:Panic2k4/Sandbox/On UFOs</title>
    <ns>2</ns>
    <id>483658</id>
    <revision>
      <id>4638039</id>
      <timestamp>2026-05-30T12:52:19Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <comment>UFO start...</comment>
      <origin>4638039</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2741" sha1="7cnp56ntjnbv3anlb5xwweykgo6spw9" xml:space="preserve">== On UFOs ==
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what man kind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multigenerational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation no only of a system that holds up bound to itself but binds us to stabilize visions of what should be. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}</text>
      <sha1>7cnp56ntjnbv3anlb5xwweykgo6spw9</sha1>
    </revision>
    <revision>
      <id>4638040</id>
      <parentid>4638039</parentid>
      <timestamp>2026-05-30T12:55:13Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <minor />
      <origin>4638040</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3507" sha1="7t3ch7mrsuzb5wforkob48lvgmzvnky" xml:space="preserve">== On UFOs ==
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what man kind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multigenerational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation no only of a system that holds up bound to itself but binds us to stabilize visions of what should be. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;</text>
      <sha1>7t3ch7mrsuzb5wforkob48lvgmzvnky</sha1>
    </revision>
    <revision>
      <id>4638044</id>
      <parentid>4638040</parentid>
      <timestamp>2026-05-30T13:08:42Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <origin>4638044</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11146" sha1="l7wqq0d1w4l5ngu4vsx1hruqloqdq2a" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
1.1 The Human Conceptualization of “Alien”
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.
    
== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

     Flaying sources and other alien crafts

     Pre WW2 -&gt; Foo fighters


      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation.
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.
  

== 2 - The Astro-biological Framework ==

2.1 What Counts as Life?
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

2.2 The Evolution of Complexity
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).


2.3 The Cosmic Context
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.</text>
      <sha1>l7wqq0d1w4l5ngu4vsx1hruqloqdq2a</sha1>
    </revision>
    <revision>
      <id>4638045</id>
      <parentid>4638044</parentid>
      <timestamp>2026-05-30T13:09:44Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <minor />
      <comment>/* PART I — Foundation of the Alien problem */</comment>
      <origin>4638045</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11150" sha1="h5az27bo7soykw8j0n94h3g44n3ik3g" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

     Flaying sources and other alien crafts

     Pre WW2 -&gt; Foo fighters


      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation.
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.
  

== 2 - The Astro-biological Framework ==

2.1 What Counts as Life?
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

2.2 The Evolution of Complexity
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).


2.3 The Cosmic Context
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.</text>
      <sha1>h5az27bo7soykw8j0n94h3g44n3ik3g</sha1>
    </revision>
    <revision>
      <id>4638046</id>
      <parentid>4638045</parentid>
      <timestamp>2026-05-30T13:13:03Z</timestamp>
      <contributor>
        <username>Panic2k4</username>
        <id>2865</id>
      </contributor>
      <minor />
      <comment>/* The Historical Context of UFOs and UAPs */</comment>
      <origin>4638046</origin>
      <model>wikitext</model>
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      <text bytes="11143" sha1="0prr4cr097owe8wjyszkk9s6zr6na4q" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

2.1 What Counts as Life?
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

2.2 The Evolution of Complexity
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).


2.3 The Cosmic Context
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.</text>
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      <text bytes="11166" sha1="qgf71lkzh7tyuntsokfu02xc5l6f644" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.</text>
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      <comment>moved here</comment>
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      <text bytes="15944" sha1="sjdgq76mhl1d3abrwid5oeqowcm0h20" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term  _extraordinary_ implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="16378" sha1="nps53m2ipaycwwc3ucjmt1pezsdp68u" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="16382" sha1="9s54b113mwl7g4e9c2ps7ckg8ietsmi" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
=== 1.1 The Human Conceptualization of “Alien” ===
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="16380" sha1="aa46ndvvquukho5pz0ncc5ntvzj7p7p" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
=== 1 - Defining the Problem Space ===
== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="16379" sha1="hk6i4j460q60wrxqa7qllzzub9u0fxy" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

=== 2.1 What Counts as Life? ===
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="16377" sha1="b6tbasdqofgfzwg71ront93bwwiwphb" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

=== 2.2 The Evolution of Complexity ===
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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        <id>2865</id>
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      <text bytes="16375" sha1="hcpawlemcu8942bwxiianvu2o1z33xm" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

=== 2.3 The Cosmic Context ===
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.
      
== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="16367" sha1="brnl9gir010i7l05s865icdxrnx2im7" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

=== Evaluation of claims ===
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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    <revision>
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        <id>2865</id>
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      <text bytes="16369" sha1="nqbo61d5wt6i17ok4g5o17xpmbjwryo" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="18593" sha1="o362n3nsl902yjgqlcqm5n21ggyzoja" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==
Mankind has the unusual ability to believe anything and to ignore almost anything, especially when the facts point toward a truth we find disturbing. We explain away what we see because we need not only to understand it privately but to share that understanding socially. Statistically, the existence of intelligent life somewhere in the Universe is not speculation but probability. There are even indications that life may once have existed elsewhere within our own solar system. At some point, humanity will have to confront the implications of that reality.

But every discussion needs a beginning, and the debate must be recentered. This has never truly been about extraterrestrials in the imaginative sense, whatever form or color people assign to them. That framing was introduced to shift attention away from what no longer requires belief. The simple fact is that intelligent craft have been present in our skies for millennia, and they are not made or operated by humans. This is the starting point that commands the broadest consensus. Everything else is a derivative narrative built from human wishes, fears, and cultural projections. These narratives may have real psychological or historical value, but they do not outweigh the consistent record that points to this basic fact.

We do not know who they are. But if they are not us, then they are them, and humans instinctively prefer that framing because it reinforces our own identity and place in the story.

Earth and Alien problem.  Since the greater probability is that they (not us) will be here, or already are here, long before we encounter them on our own terms, the first questions are straightforward:

&lt;center&gt;What ARE we doing about it?&lt;br&gt;Where are they coming from?&lt;br&gt;
What are they doing here?&lt;br&gt;What CAN we do about it?&lt;br&gt;How CAN it affect us in the long term?&lt;/center&gt;

The term alien does not necessarily mean extraterrestrial or something arriving from outside the solar system. We must work with the highest‑probability interpretations suggested by the context in which each event presents itself. Cause, effect, and the degrees of freedom with which the phenomenon operates are the real starting points for understanding the problem.

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="25098" sha1="16rnpfgd9qr45fni5gl1v8ldo7cokas" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART I — Foundation of the Alien problem]] → concepts, frames, biases, history, terminology.
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
== 1 - Defining the Problem Space ==
Mankind has the unusual ability to believe anything and to ignore almost anything, especially when the facts point toward a truth we find disturbing. We explain away what we see because we need not only to understand it privately but to share that understanding socially. Statistically, the existence of intelligent life somewhere in the Universe is not speculation but probability. There are even indications that life may once have existed elsewhere within our own solar system. At some point, humanity will have to confront the implications of that reality.

But every discussion needs a beginning, and the debate must be recentered. This has never truly been about extraterrestrials in the imaginative sense, whatever form or color people assign to them. That framing was introduced to shift attention away from what no longer requires belief. The simple fact is that intelligent craft have been present in our skies for millennia, and they are not made or operated by humans. This is the starting point that commands the broadest consensus. Everything else is a derivative narrative built from human wishes, fears, and cultural projections. These narratives may have real psychological or historical value, but they do not outweigh the consistent record that points to this basic fact.

We do not know who they are. But if they are not us, then they are them, and humans instinctively prefer that framing because it reinforces our own identity and place in the story.

Earth and Alien problem.  Since the greater probability is that they (not us) will be here, or already are here, long before we encounter them on our own terms, the first questions are straightforward:

&lt;center&gt;What ARE we doing about it?&lt;br&gt;Where are they coming from?&lt;br&gt;
What are they doing here?&lt;br&gt;What CAN we do about it?&lt;br&gt;How CAN it affect us in the long term?&lt;/center&gt;

The term alien does not necessarily mean extraterrestrial or something arriving from outside the solar system. We must work with the highest‑probability interpretations suggested by the context in which each event presents itself. Cause, effect, and the degrees of freedom with which the phenomenon operates are the real starting points for understanding the problem.

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

==== Ufology ====
Ufology, the study of unidentified flying objects (UFOs) is an activity, a field of study, specifically of UFOs, not a science per se, rarely falling into a scientific area beyond mathematics and vector physics due to the social nature of the phenomena and facing a prolonged boycott of institutions and state. One could even argue that ufology predates sciences as we know them today, that it was born at the same time religion was created. It certainly is the link between Astronomy and the age of Myths of pre-history and shares its roots in religious creation myths and the Metaphysical considerations who are we as a specie, why we are here and where is here in the context of it all. Some would link Ufology with the search for extraterrestrial intelligence that was mostly single-handed made into a legitimate scientific endeavor by Hollywood despite the lack of concrete evidence for extraterrestrial life. This seems strange to most persons that have passing knowledge of history and the debate regarding little green men, mysterious radio signals and the water channels found on Mars. How little we have advanced... 

Then there is the claim that the discovery of extraterrestrial life would be one of the most significant events in human history. I do not think so, we already have a lot of non-human intelligence on the planet. We can even admit that Neanderthals shared many of the human intellectual capabilities. The Roman Catholic Church has even cleared the path for the possibility. This from an institution that has until recently monopolized all non-human ententes interactions and established humanity place in it.  

It nevertheless as a group makes an effort, that many non-hard sciences still manage to blunder with, for example psychology or sociology for the use of scientific methodologies, information distribution and instruments. There is a full understanding of participants that reputation of clarity of argumentation and the publication of event investigation is what advances the field.  As a fringe and unregulated area of study, it lacks proper academic structure, it is open to public participation and accreditation with a great myopia in regard to what constitutes work in the field and simple regurgitation and speculation, that mere interest is not a valid credential and as in any field a publisher may not be, nothing more that a publicist to the field in general it reminds us to how silly medicine was not so long ago in regard to the notions and personages that attempted to aggregate and mutually support each other into a reputable state even in the type of forums it generates.

In pursuit of understanding UFOs many sciences are useful like Physics, Chemistry, Astronomy, History, Mathematics or Psychology.

Since common sense dictates that some of the observed objects can be graduated into a definition of being called craft, and with that it implies an intelligence capable not only of constructing something that seems beyond human capability but manages to pilot it beyond the ability of human pilots. Being clear here we are talking about human reports that predate the renascence, observations that can be declared as consistent (in what was described as observed, the evolution has been more on the speculative explanations to the observations).

Due to this and as if a snow ball, the implications add layers and if there are creators and pilots this signifies the possibility on interaction between those and humanity in general, and reports of that are also abundant  and so ufology get redefined to cover alleged extraterrestrial encounters, with all the added baggage of controversy and skepticism and a ever-increasing surface area where all and any event related to parapsychology phenomena is pilled on (literally from Big Foot to the Afterlife). 

While skepticism stems from a complex interplay of factors, the prominence seems to be in the lack of empirical evidence, that there is a subjective nature to the UFO sightings, and the ultimately to the lack of perceived credibility of ufologists. While these could in an even playfield be sufficient argumentation, when we deal with a topic of this magnitude and characteristics it fails to serve do dismiss the argument in favor of studying UFOs based on the principle of scientific inquiry.

Let us consider that most observations are done or in relation to nuclear arsenals and bases. That the best sensor data is not permitted into the public. That observations include interaction with military craft. That prime testimony from commercial pilots, police officers is discarded or ridiculized (people that have by function life and death power over others). To the point that it is clear there is a long-lasting campaign to suppress, diminish, challenge and silences public debate around the subject beyond a few narrow paths that at best permit for prebiotic life in the 150 light-years around our planet and only in the last 20 years managed to allow alien bacteria in Mars. This is absurd, and does not take into consideration that if life is a rare accident one should look in the space-time near the positive sampling not across the light-years of interstellar space, its not like we have more reports of UFOs in interstellar space than on our own atmosphere. If the narrative has problems, we should challenge the narrator... 

Personally, I do not accept the securitization explanation for the effort put into suppressing the subject (every action has a cost and consequences). Yes there are considerations that must be taken but unless one has full and supreme control over the subject, any potential military applications and strategic advantages that could arise from the discovery of advanced technologies associated with UFOs could not be assured. The only way this would make sense is if there is an inside cabal profiting from the privilege. But it raises the concern on how could such thing occur in a democratic and constitutional state setup and the scope would have to be international. 

While the first explanation is always human error in this case if there is not a so defined conspiracy for suppression, the only alternative is that we have already been colonized or infiltrated by a power that prefers to stay hidden, more so than the UFO phenomena that it suppresses. The reality may even be more complex but we are long past the possibility of blissful ignorance into a darkening sky situation where we plot ourselves out of the equation.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="28716" sha1="f8t8or6rvuhfrlr2i7xtspypy824le2" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
In the beginning of any honest attempt to solve a global problem, there is a kind of quiet humility, an acknowledgment that the world is older, stranger, and far more intricate than any single mind. 

We stand, together on the shoulders of our culture effort's to understand reality, to grow beyond the individual into the cosmic ocean and trying to understand not only the waves but the currents beneath them. But before we can act wisely, we must learn to see clearly.

To see clearly, we begin with **classification**, our first tool for carving order out of the blooming confusion of reality. Classification is not merely labeling; it is the art of noticing patterns without imprisoning them. When we classify, we ask: *What belongs together? What stands apart?* Yet we must tread lightly, for classification can harden into **objectification**, where living systems are mistaken for static things, and complexity is flattened into caricature. The challenge is to use categories as maps, not cages.

From classification, we step into the realm of **frames**. Every question we ask is shaped by a frame, an invisible border that defines what counts as relevant, what counts as true. Frames are the lenses through which we interpret the world, and like lenses, they can clarify or distort. A frame of validity is not universal; it is contextual, provisional, a best guess at the moment. To explore a global problem is to examine the frames we inherit, the frames we choose, and the frames we fail to notice.

Inevitably, we encounter **biases**, the subtle pollutants of thought. Some biases arise from error, the natural byproduct of limited perception. Others are introduced deliberately, the handiwork of interested parties who benefit from confusion. Bias is not a moral failing; it is a signal that our instruments need recalibration. To detect bias is to practice intellectual hygiene, to ask: *Who gains from this narrative? Who loses? What assumptions are smuggled in beneath the surface?*

History, too, becomes a guide. Not the tidy history of textbooks, but the living history of patterns and experience. Across centuries, humanity has left behind a trail of experiments—some triumphant, many tragic. In this trail lies a signal, faint but discernible, buried beneath the noise of myth, propaganda, and forgetfulness. To study history is to tune our receivers, to amplify the lessons that matter and dampen the static that misleads.

And then there is **terminology**, the shared vocabulary through which we coordinate meaning. Words are the vessels that carry our understanding across generations. But they are also fragile, prone to drift, distortion, and misuse. To solve global problems, we must cultivate a consensus understanding, not a rigid uniformity, but a common ground sturdy enough to support collaboration. This requires filtering the vast, multigenerational world culture for what is real, what is useful, what is humane.

All these steps (classification, framing, bias detection, historical pattern recognition, terminological clarity) form the scaffolding of inquiry. They are not the solution themselves, but the conditions that make solutions possible. Without them, we are explorers without instruments, sailors without stars.

To approach a global problem is to embark on a journey of disciplined curiosity. It is to admit that truth is not handed down but uncovered, layer by layer, through patient examination. And it is to believe, with a kind of stubborn optimism, that clarity is achievable, that understanding is within reach, and that the world, for all its complexity, can be known well enough to be cared for.

This is the first step for understanding and pursue truth . 

== 1 - Defining the Problem Space ==
Mankind has the unusual ability to believe anything and to ignore almost anything, especially when the facts point toward a truth we find disturbing. We explain away what we see because we need not only to understand it privately but to share that understanding socially. Statistically, the existence of intelligent life somewhere in the Universe is not speculation but probability. There are even indications that life may once have existed elsewhere within our own solar system. At some point, humanity will have to confront the implications of that reality.

But every discussion needs a beginning, and the debate must be recentered. This has never truly been about extraterrestrials in the imaginative sense, whatever form or color people assign to them. That framing was introduced to shift attention away from what no longer requires belief. The simple fact is that intelligent craft have been present in our skies for millennia, and they are not made or operated by humans. This is the starting point that commands the broadest consensus. Everything else is a derivative narrative built from human wishes, fears, and cultural projections. These narratives may have real psychological or historical value, but they do not outweigh the consistent record that points to this basic fact.

We do not know who they are. But if they are not us, then they are them, and humans instinctively prefer that framing because it reinforces our own identity and place in the story.

Earth and Alien problem.  Since the greater probability is that they (not us) will be here, or already are here, long before we encounter them on our own terms, the first questions are straightforward:

&lt;center&gt;What ARE we doing about it?&lt;br&gt;Where are they coming from?&lt;br&gt;
What are they doing here?&lt;br&gt;What CAN we do about it?&lt;br&gt;How CAN it affect us in the long term?&lt;/center&gt;

The term alien does not necessarily mean extraterrestrial or something arriving from outside the solar system. We must work with the highest‑probability interpretations suggested by the context in which each event presents itself. Cause, effect, and the degrees of freedom with which the phenomenon operates are the real starting points for understanding the problem.

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

==== Ufology ====
Ufology, the study of unidentified flying objects (UFOs) is an activity, a field of study, specifically of UFOs, not a science per se, rarely falling into a scientific area beyond mathematics and vector physics due to the social nature of the phenomena and facing a prolonged boycott of institutions and state. One could even argue that ufology predates sciences as we know them today, that it was born at the same time religion was created. It certainly is the link between Astronomy and the age of Myths of pre-history and shares its roots in religious creation myths and the Metaphysical considerations who are we as a specie, why we are here and where is here in the context of it all. Some would link Ufology with the search for extraterrestrial intelligence that was mostly single-handed made into a legitimate scientific endeavor by Hollywood despite the lack of concrete evidence for extraterrestrial life. This seems strange to most persons that have passing knowledge of history and the debate regarding little green men, mysterious radio signals and the water channels found on Mars. How little we have advanced... 

Then there is the claim that the discovery of extraterrestrial life would be one of the most significant events in human history. I do not think so, we already have a lot of non-human intelligence on the planet. We can even admit that Neanderthals shared many of the human intellectual capabilities. The Roman Catholic Church has even cleared the path for the possibility. This from an institution that has until recently monopolized all non-human ententes interactions and established humanity place in it.  

It nevertheless as a group makes an effort, that many non-hard sciences still manage to blunder with, for example psychology or sociology for the use of scientific methodologies, information distribution and instruments. There is a full understanding of participants that reputation of clarity of argumentation and the publication of event investigation is what advances the field.  As a fringe and unregulated area of study, it lacks proper academic structure, it is open to public participation and accreditation with a great myopia in regard to what constitutes work in the field and simple regurgitation and speculation, that mere interest is not a valid credential and as in any field a publisher may not be, nothing more that a publicist to the field in general it reminds us to how silly medicine was not so long ago in regard to the notions and personages that attempted to aggregate and mutually support each other into a reputable state even in the type of forums it generates.

In pursuit of understanding UFOs many sciences are useful like Physics, Chemistry, Astronomy, History, Mathematics or Psychology.

Since common sense dictates that some of the observed objects can be graduated into a definition of being called craft, and with that it implies an intelligence capable not only of constructing something that seems beyond human capability but manages to pilot it beyond the ability of human pilots. Being clear here we are talking about human reports that predate the renascence, observations that can be declared as consistent (in what was described as observed, the evolution has been more on the speculative explanations to the observations).

Due to this and as if a snow ball, the implications add layers and if there are creators and pilots this signifies the possibility on interaction between those and humanity in general, and reports of that are also abundant  and so ufology get redefined to cover alleged extraterrestrial encounters, with all the added baggage of controversy and skepticism and a ever-increasing surface area where all and any event related to parapsychology phenomena is pilled on (literally from Big Foot to the Afterlife). 

While skepticism stems from a complex interplay of factors, the prominence seems to be in the lack of empirical evidence, that there is a subjective nature to the UFO sightings, and the ultimately to the lack of perceived credibility of ufologists. While these could in an even playfield be sufficient argumentation, when we deal with a topic of this magnitude and characteristics it fails to serve do dismiss the argument in favor of studying UFOs based on the principle of scientific inquiry.

Let us consider that most observations are done or in relation to nuclear arsenals and bases. That the best sensor data is not permitted into the public. That observations include interaction with military craft. That prime testimony from commercial pilots, police officers is discarded or ridiculized (people that have by function life and death power over others). To the point that it is clear there is a long-lasting campaign to suppress, diminish, challenge and silences public debate around the subject beyond a few narrow paths that at best permit for prebiotic life in the 150 light-years around our planet and only in the last 20 years managed to allow alien bacteria in Mars. This is absurd, and does not take into consideration that if life is a rare accident one should look in the space-time near the positive sampling not across the light-years of interstellar space, its not like we have more reports of UFOs in interstellar space than on our own atmosphere. If the narrative has problems, we should challenge the narrator... 

Personally, I do not accept the securitization explanation for the effort put into suppressing the subject (every action has a cost and consequences). Yes there are considerations that must be taken but unless one has full and supreme control over the subject, any potential military applications and strategic advantages that could arise from the discovery of advanced technologies associated with UFOs could not be assured. The only way this would make sense is if there is an inside cabal profiting from the privilege. But it raises the concern on how could such thing occur in a democratic and constitutional state setup and the scope would have to be international. 

While the first explanation is always human error in this case if there is not a so defined conspiracy for suppression, the only alternative is that we have already been colonized or infiltrated by a power that prefers to stay hidden, more so than the UFO phenomena that it suppresses. The reality may even be more complex but we are long past the possibility of blissful ignorance into a darkening sky situation where we plot ourselves out of the equation.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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        <username>Panic2k4</username>
        <id>2865</id>
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      <comment>/* PART I — Foundation of the Alien problem */</comment>
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      <text bytes="28855" sha1="2rfm589gsy95ivef8kobkzn60gwbezx" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
In the beginning of any honest attempt to solve a global problem, there is a kind of quiet humility, an acknowledgment that the world is older, stranger, and far more intricate than any single mind. 

We stand, together on the shoulders of our culture effort's to understand reality, to grow beyond the individual into the cosmic ocean and trying to understand not only the waves but the currents beneath them. But before we can act wisely, we must learn to see clearly.

To see clearly, we begin with **classification**, our first tool for carving order out of the blooming confusion of reality. Classification is not merely labeling; it is the art of noticing patterns without imprisoning them. When we classify, we ask: *What belongs together? What stands apart?* Yet we must tread lightly, for classification can harden into **objectification**, where living systems are mistaken for static things, and complexity is flattened into caricature. The challenge is to use categories as maps, not cages.

From classification, we step into the realm of **frames**. Every question we ask is shaped by a frame, an invisible border that defines what counts as relevant, what counts as true. Frames are the lenses through which we interpret the world, and like lenses, they can clarify or distort. A frame of validity is not universal; it is contextual, provisional, a best guess at the moment. To explore a global problem is to examine the frames we inherit, the frames we choose, and the frames we fail to notice.

Inevitably, we encounter **biases**, the subtle pollutants of thought. Some biases arise from error, the natural byproduct of limited perception. Others are introduced deliberately, the handiwork of interested parties who benefit from confusion. Bias is not a moral failing; it is a signal that our instruments need recalibration. To detect bias is to practice intellectual hygiene, to ask: *Who gains from this narrative? Who loses? What assumptions are smuggled in beneath the surface?*

History. Not the tidy history of textbooks, but the living history of patterns and experience. Across centuries, humanity has left behind a trail of experiences records and experimental conclusions it is in this pursuit, the management and recognition of this effort that the trail lies for a signal, faint but discernible, buried beneath the noise of myth, propaganda, and forgetfulness. To study history is to tune our receivers, to amplify the lessons that matter and dampen the static that misleads.

And then there is **terminology**, the shared vocabulary through which we coordinate meaning non only for the self but other conscientiousnesses. Words are the vessels that carry our understanding across generations. But they are also fragile, prone to drift, distortion, and misuse. To solve global problems, we must cultivate a consensus understanding, not a rigid uniformity, but a common ground sturdy enough to support collaboration and reinterpretation of meaning. This requires filtering the vast, multigenerational world culture for what is real, what is useful, what is humane.

All these steps (classification, framing, bias detection, historical pattern recognition, terminological clarity) form the scaffolding of inquiry. They are not the solution themselves, but the conditions that make solutions possible. Without them, we are explorers without instruments, sailors without stars.

To approach a global problem is to embark on a journey of disciplined curiosity. It is to admit that truth is not handed down but uncovered, layer by layer, through patient examination. And it is to believe, with a kind of stubborn optimism, that clarity is achievable, that understanding is within reach, and that the world, for all its complexity, can be known well enough to be cared for.

This is the first step for understanding and pursue truth.

== 1 - Defining the Problem Space ==
Mankind has the unusual ability to believe anything and to ignore almost anything, especially when the facts point toward a truth we find disturbing. We explain away what we see because we need not only to understand it privately but to share that understanding socially. Statistically, the existence of intelligent life somewhere in the Universe is not speculation but probability. There are even indications that life may once have existed elsewhere within our own solar system. At some point, humanity will have to confront the implications of that reality.

But every discussion needs a beginning, and the debate must be recentered. This has never truly been about extraterrestrials in the imaginative sense, whatever form or color people assign to them. That framing was introduced to shift attention away from what no longer requires belief. The simple fact is that intelligent craft have been present in our skies for millennia, and they are not made or operated by humans. This is the starting point that commands the broadest consensus. Everything else is a derivative narrative built from human wishes, fears, and cultural projections. These narratives may have real psychological or historical value, but they do not outweigh the consistent record that points to this basic fact.

We do not know who they are. But if they are not us, then they are them, and humans instinctively prefer that framing because it reinforces our own identity and place in the story.

Earth and Alien problem.  Since the greater probability is that they (not us) will be here, or already are here, long before we encounter them on our own terms, the first questions are straightforward:

&lt;center&gt;What ARE we doing about it?&lt;br&gt;Where are they coming from?&lt;br&gt;
What are they doing here?&lt;br&gt;What CAN we do about it?&lt;br&gt;How CAN it affect us in the long term?&lt;/center&gt;

The term alien does not necessarily mean extraterrestrial or something arriving from outside the solar system. We must work with the highest‑probability interpretations suggested by the context in which each event presents itself. Cause, effect, and the degrees of freedom with which the phenomenon operates are the real starting points for understanding the problem.

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

==== Ufology ====
Ufology, the study of unidentified flying objects (UFOs) is an activity, a field of study, specifically of UFOs, not a science per se, rarely falling into a scientific area beyond mathematics and vector physics due to the social nature of the phenomena and facing a prolonged boycott of institutions and state. One could even argue that ufology predates sciences as we know them today, that it was born at the same time religion was created. It certainly is the link between Astronomy and the age of Myths of pre-history and shares its roots in religious creation myths and the Metaphysical considerations who are we as a specie, why we are here and where is here in the context of it all. Some would link Ufology with the search for extraterrestrial intelligence that was mostly single-handed made into a legitimate scientific endeavor by Hollywood despite the lack of concrete evidence for extraterrestrial life. This seems strange to most persons that have passing knowledge of history and the debate regarding little green men, mysterious radio signals and the water channels found on Mars. How little we have advanced... 

Then there is the claim that the discovery of extraterrestrial life would be one of the most significant events in human history. I do not think so, we already have a lot of non-human intelligence on the planet. We can even admit that Neanderthals shared many of the human intellectual capabilities. The Roman Catholic Church has even cleared the path for the possibility. This from an institution that has until recently monopolized all non-human ententes interactions and established humanity place in it.  

It nevertheless as a group makes an effort, that many non-hard sciences still manage to blunder with, for example psychology or sociology for the use of scientific methodologies, information distribution and instruments. There is a full understanding of participants that reputation of clarity of argumentation and the publication of event investigation is what advances the field.  As a fringe and unregulated area of study, it lacks proper academic structure, it is open to public participation and accreditation with a great myopia in regard to what constitutes work in the field and simple regurgitation and speculation, that mere interest is not a valid credential and as in any field a publisher may not be, nothing more that a publicist to the field in general it reminds us to how silly medicine was not so long ago in regard to the notions and personages that attempted to aggregate and mutually support each other into a reputable state even in the type of forums it generates.

In pursuit of understanding UFOs many sciences are useful like Physics, Chemistry, Astronomy, History, Mathematics or Psychology.

Since common sense dictates that some of the observed objects can be graduated into a definition of being called craft, and with that it implies an intelligence capable not only of constructing something that seems beyond human capability but manages to pilot it beyond the ability of human pilots. Being clear here we are talking about human reports that predate the renascence, observations that can be declared as consistent (in what was described as observed, the evolution has been more on the speculative explanations to the observations).

Due to this and as if a snow ball, the implications add layers and if there are creators and pilots this signifies the possibility on interaction between those and humanity in general, and reports of that are also abundant  and so ufology get redefined to cover alleged extraterrestrial encounters, with all the added baggage of controversy and skepticism and a ever-increasing surface area where all and any event related to parapsychology phenomena is pilled on (literally from Big Foot to the Afterlife). 

While skepticism stems from a complex interplay of factors, the prominence seems to be in the lack of empirical evidence, that there is a subjective nature to the UFO sightings, and the ultimately to the lack of perceived credibility of ufologists. While these could in an even playfield be sufficient argumentation, when we deal with a topic of this magnitude and characteristics it fails to serve do dismiss the argument in favor of studying UFOs based on the principle of scientific inquiry.

Let us consider that most observations are done or in relation to nuclear arsenals and bases. That the best sensor data is not permitted into the public. That observations include interaction with military craft. That prime testimony from commercial pilots, police officers is discarded or ridiculized (people that have by function life and death power over others). To the point that it is clear there is a long-lasting campaign to suppress, diminish, challenge and silences public debate around the subject beyond a few narrow paths that at best permit for prebiotic life in the 150 light-years around our planet and only in the last 20 years managed to allow alien bacteria in Mars. This is absurd, and does not take into consideration that if life is a rare accident one should look in the space-time near the positive sampling not across the light-years of interstellar space, its not like we have more reports of UFOs in interstellar space than on our own atmosphere. If the narrative has problems, we should challenge the narrator... 

Personally, I do not accept the securitization explanation for the effort put into suppressing the subject (every action has a cost and consequences). Yes there are considerations that must be taken but unless one has full and supreme control over the subject, any potential military applications and strategic advantages that could arise from the discovery of advanced technologies associated with UFOs could not be assured. The only way this would make sense is if there is an inside cabal profiting from the privilege. But it raises the concern on how could such thing occur in a democratic and constitutional state setup and the scope would have to be international. 

While the first explanation is always human error in this case if there is not a so defined conspiracy for suppression, the only alternative is that we have already been colonized or infiltrated by a power that prefers to stay hidden, more so than the UFO phenomena that it suppresses. The reality may even be more complex but we are long past the possibility of blissful ignorance into a darkening sky situation where we plot ourselves out of the equation.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="28851" sha1="cy6cptku29yppif90777ucq8clavaxc" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
In the beginning of any honest attempt to solve a global problem, there is a kind of quiet humility, an acknowledgment that the world is older, stranger, and far more intricate than any single mind. 

We stand, together on the shoulders of our culture effort's to understand reality, to grow beyond the individual into the cosmic ocean and trying to understand not only the waves but the currents beneath them. But before we can act wisely, we must learn to see clearly.

To see clearly, we begin with **classification**, our first tool for carving order out of the blooming confusion of reality. Classification is not merely labeling; it is the art of noticing patterns without imprisoning them. When we classify, we ask: *What belongs together? What stands apart?* Yet we must tread lightly, for classification can harden into **objectification**, where living systems are mistaken for static things, and complexity is flattened into caricature. The challenge is to use categories as maps, not cages.

From classification, we step into the realm of **frames**. Every question we ask is shaped by a frame, an invisible border that defines what counts as relevant, what counts as true. Frames are the lenses through which we interpret the world, and like lenses, they can clarify or distort. A frame of validity is not universal; it is contextual, provisional, a best guess at the moment. To explore a global problem is to examine the frames we inherit, the frames we choose, and the frames we fail to notice.

Inevitably, we encounter **biases**, the subtle pollutants of thought. Some biases arise from error, the natural byproduct of limited perception. Others are introduced deliberately, the handiwork of interested parties who benefit from confusion. Bias is not a moral failing; it is a signal that our instruments need recalibration. To detect bias is to practice intellectual hygiene, to ask: *Who gains from this narrative? Who loses? What assumptions are smuggled in beneath the surface?*

History. Not the tidy history of textbooks, but the living history of patterns and experience. Across centuries, humanity has left behind a trail of experiences records and experimental conclusions it is in this pursuit, the management and recognition of this effort that the trail lies for a signal, faint but discernible, buried beneath the noise of myth, propaganda, and forgetfulness. To study history is to tune our receivers, to amplify the lessons that matter and dampen the static that misleads.

And then there is **terminology**, the shared vocabulary through which we coordinate meaning non only for the self but other consciousnesses. Words are the vessels that carry our understanding across generations. But they are also fragile, prone to drift, distortion, and misuse. To solve global problems, we must cultivate a consensus understanding, not a rigid uniformity, but a common ground sturdy enough to support collaboration and reinterpretation of meaning. This requires filtering the vast, multigenerational world culture for what is real, what is useful, what is humane.

All these steps (classification, framing, bias detection, historical pattern recognition, terminological clarity) form the scaffolding of inquiry. They are not the solution themselves, but the conditions that make solutions possible. Without them, we are explorers without instruments, sailors without stars.

To approach a global problem is to embark on a journey of disciplined curiosity. It is to admit that truth is not handed down but uncovered, layer by layer, through patient examination. And it is to believe, with a kind of stubborn optimism, that clarity is achievable, that understanding is within reach, and that the world, for all its complexity, can be known well enough to be cared for.

This is the first step for understanding and pursue truth.

== 1 - Defining the Problem Space ==
Mankind has the unusual ability to believe anything and to ignore almost anything, especially when the facts point toward a truth we find disturbing. We explain away what we see because we need not only to understand it privately but to share that understanding socially. Statistically, the existence of intelligent life somewhere in the Universe is not speculation but probability. There are even indications that life may once have existed elsewhere within our own solar system. At some point, humanity will have to confront the implications of that reality.

But every discussion needs a beginning, and the debate must be recentered. This has never truly been about extraterrestrials in the imaginative sense, whatever form or color people assign to them. That framing was introduced to shift attention away from what no longer requires belief. The simple fact is that intelligent craft have been present in our skies for millennia, and they are not made or operated by humans. This is the starting point that commands the broadest consensus. Everything else is a derivative narrative built from human wishes, fears, and cultural projections. These narratives may have real psychological or historical value, but they do not outweigh the consistent record that points to this basic fact.

We do not know who they are. But if they are not us, then they are them, and humans instinctively prefer that framing because it reinforces our own identity and place in the story.

Earth and Alien problem.  Since the greater probability is that they (not us) will be here, or already are here, long before we encounter them on our own terms, the first questions are straightforward:

&lt;center&gt;What ARE we doing about it?&lt;br&gt;Where are they coming from?&lt;br&gt;
What are they doing here?&lt;br&gt;What CAN we do about it?&lt;br&gt;How CAN it affect us in the long term?&lt;/center&gt;

The term alien does not necessarily mean extraterrestrial or something arriving from outside the solar system. We must work with the highest‑probability interpretations suggested by the context in which each event presents itself. Cause, effect, and the degrees of freedom with which the phenomenon operates are the real starting points for understanding the problem.

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

==== Ufology ====
Ufology, the study of unidentified flying objects (UFOs) is an activity, a field of study, specifically of UFOs, not a science per se, rarely falling into a scientific area beyond mathematics and vector physics due to the social nature of the phenomena and facing a prolonged boycott of institutions and state. One could even argue that ufology predates sciences as we know them today, that it was born at the same time religion was created. It certainly is the link between Astronomy and the age of Myths of pre-history and shares its roots in religious creation myths and the Metaphysical considerations who are we as a specie, why we are here and where is here in the context of it all. Some would link Ufology with the search for extraterrestrial intelligence that was mostly single-handed made into a legitimate scientific endeavor by Hollywood despite the lack of concrete evidence for extraterrestrial life. This seems strange to most persons that have passing knowledge of history and the debate regarding little green men, mysterious radio signals and the water channels found on Mars. How little we have advanced... 

Then there is the claim that the discovery of extraterrestrial life would be one of the most significant events in human history. I do not think so, we already have a lot of non-human intelligence on the planet. We can even admit that Neanderthals shared many of the human intellectual capabilities. The Roman Catholic Church has even cleared the path for the possibility. This from an institution that has until recently monopolized all non-human ententes interactions and established humanity place in it.  

It nevertheless as a group makes an effort, that many non-hard sciences still manage to blunder with, for example psychology or sociology for the use of scientific methodologies, information distribution and instruments. There is a full understanding of participants that reputation of clarity of argumentation and the publication of event investigation is what advances the field.  As a fringe and unregulated area of study, it lacks proper academic structure, it is open to public participation and accreditation with a great myopia in regard to what constitutes work in the field and simple regurgitation and speculation, that mere interest is not a valid credential and as in any field a publisher may not be, nothing more that a publicist to the field in general it reminds us to how silly medicine was not so long ago in regard to the notions and personages that attempted to aggregate and mutually support each other into a reputable state even in the type of forums it generates.

In pursuit of understanding UFOs many sciences are useful like Physics, Chemistry, Astronomy, History, Mathematics or Psychology.

Since common sense dictates that some of the observed objects can be graduated into a definition of being called craft, and with that it implies an intelligence capable not only of constructing something that seems beyond human capability but manages to pilot it beyond the ability of human pilots. Being clear here we are talking about human reports that predate the renascence, observations that can be declared as consistent (in what was described as observed, the evolution has been more on the speculative explanations to the observations).

Due to this and as if a snow ball, the implications add layers and if there are creators and pilots this signifies the possibility on interaction between those and humanity in general, and reports of that are also abundant  and so ufology get redefined to cover alleged extraterrestrial encounters, with all the added baggage of controversy and skepticism and a ever-increasing surface area where all and any event related to parapsychology phenomena is pilled on (literally from Big Foot to the Afterlife). 

While skepticism stems from a complex interplay of factors, the prominence seems to be in the lack of empirical evidence, that there is a subjective nature to the UFO sightings, and the ultimately to the lack of perceived credibility of ufologists. While these could in an even playfield be sufficient argumentation, when we deal with a topic of this magnitude and characteristics it fails to serve do dismiss the argument in favor of studying UFOs based on the principle of scientific inquiry.

Let us consider that most observations are done or in relation to nuclear arsenals and bases. That the best sensor data is not permitted into the public. That observations include interaction with military craft. That prime testimony from commercial pilots, police officers is discarded or ridiculized (people that have by function life and death power over others). To the point that it is clear there is a long-lasting campaign to suppress, diminish, challenge and silences public debate around the subject beyond a few narrow paths that at best permit for prebiotic life in the 150 light-years around our planet and only in the last 20 years managed to allow alien bacteria in Mars. This is absurd, and does not take into consideration that if life is a rare accident one should look in the space-time near the positive sampling not across the light-years of interstellar space, its not like we have more reports of UFOs in interstellar space than on our own atmosphere. If the narrative has problems, we should challenge the narrator... 

Personally, I do not accept the securitization explanation for the effort put into suppressing the subject (every action has a cost and consequences). Yes there are considerations that must be taken but unless one has full and supreme control over the subject, any potential military applications and strategic advantages that could arise from the discovery of advanced technologies associated with UFOs could not be assured. The only way this would make sense is if there is an inside cabal profiting from the privilege. But it raises the concern on how could such thing occur in a democratic and constitutional state setup and the scope would have to be international. 

While the first explanation is always human error in this case if there is not a so defined conspiracy for suppression, the only alternative is that we have already been colonized or infiltrated by a power that prefers to stay hidden, more so than the UFO phenomena that it suppresses. The reality may even be more complex but we are long past the possibility of blissful ignorance into a darkening sky situation where we plot ourselves out of the equation.

== 2 - The Astro-biological Framework ==

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <text bytes="31821" sha1="7as8u2dwh3optjbv22388dyg5wswztc" xml:space="preserve">= On UFOs =
:&lt;big&gt;Reflections on little &lt;s&gt;green&lt;/s&gt; gray men&lt;/big&gt;
::The Alien Question, Scientific pathways through UFOs, life, and the future of intelligence

While I long ago came to the belief or understanding that there is no truer madness than what mankind can produce to mire itself into empty and fruitless debate and discussion about the minor things of reality. As if there was an unspoken agreement to avoid addressing the pink Poko dot elephant in the middle of the room. We chose as a species to avoid confrontation with our own limitations and rely in a minority of individuals to supplant themselves, in an individualistic way, in a inch by inch effort to broaden what the species sees to be the limits for itself.

Only very recently in our history we have the knowledge and capability in organization to build and participate in long multi-generational projects, and even those requires a figure head, the aggregating figure. Civilization has so far being about the creation not only of a system that holds up bounds for itself, but binds us to the task to stabilize visions of what should be and go to war on the should be nots of a particular minority. From the China´s Kingdoms to the rise of Rome (and fall of Greece) into WWI and WWII into the cold war and the fragile democratic state most of the world is now...

We still marvel on how our ancestors were able to build the pyramids (the larger ones at least), or why go to the efforts to erect Stonehenge. But this is due to us as a species suffering until now from a specie wide amnesia, that only on the last two thousand years or so shifted into a Alzheimer's ridden self editing memory mess. Hopefully will now start to improve on each generation (if we take the clues right until that future EMP wipeout). The changes in technology are becoming ever so rapid that its hard to empathize with generations past where a trip to the next town would take a few days or that going from Portugal to Japan and back would take 15 years, even simple tings like light after the sun goes down seems a distant concern but was something that only recently became available to most members of the specie (with all it implicates, from pollution to social changes).

At the same time as individuals we have become much less than we where physically and mentally. We have started a decline that will become unstoppable, due to environmental causes but also due to cultural pleasures we have but removed ourselves from natural selection pressures (except from the very drastic ones). Just consider what the Greeks achieved with only their memory and oratory (and slavery, as thinking takes time resources to come about).

{{Quotation|Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn't.|Mark Twain}}

&lt;nowiki&gt;
![[PART II — Evaluating Extraordinary Claims]] → how we judge data, evidence, testimony, and anomalies.
![[PART III — Xenobiology, Techno-signatures and the search for intelligence]]  → what kinds of life/intelligence are possible and detectable.
![[PART IV — Origin]]→ where the phenomenon could come from (solar system, interstellar, temporal, co-presence).
![[PART V — Evidences]] → concrete cases, datasets, patterns, physical traces.
![[PART VI — Contact]]→ scenarios, models of interaction, risks, strategies.
![[PART VII — After contact]]→ long-term consequences, civilizational shifts, integration.

![[Appendix]]
&lt;/nowiki&gt;

== PART I — Foundation of the Alien problem ==
In the beginning of any honest attempt to solve a global problem, there is a kind of quiet humility, an acknowledgment that the world is older, stranger, and far more intricate than any single mind. 

We stand, together on the shoulders of our culture effort's to understand reality, to grow beyond the individual into the cosmic ocean and trying to understand not only the waves but the currents beneath them. But before we can act wisely, we must learn to see clearly.

To see clearly, we begin with **classification**, our first tool for carving order out of the blooming confusion of reality. Classification is not merely labeling; it is the art of noticing patterns without imprisoning them. When we classify, we ask: *What belongs together? What stands apart?* Yet we must tread lightly, for classification can harden into **objectification**, where living systems are mistaken for static things, and complexity is flattened into caricature. The challenge is to use categories as maps, not cages.

From classification, we step into the realm of **frames**. Every question we ask is shaped by a frame, an invisible border that defines what counts as relevant, what counts as true. Frames are the lenses through which we interpret the world, and like lenses, they can clarify or distort. A frame of validity is not universal; it is contextual, provisional, a best guess at the moment. To explore a global problem is to examine the frames we inherit, the frames we choose, and the frames we fail to notice.

Inevitably, we encounter **biases**, the subtle pollutants of thought. Some biases arise from error, the natural byproduct of limited perception. Others are introduced deliberately, the handiwork of interested parties who benefit from confusion. Bias is not a moral failing; it is a signal that our instruments need recalibration. To detect bias is to practice intellectual hygiene, to ask: *Who gains from this narrative? Who loses? What assumptions are smuggled in beneath the surface?*

History. Not the tidy history of textbooks, but the living history of patterns and experience. Across centuries, humanity has left behind a trail of experiences records and experimental conclusions it is in this pursuit, the management and recognition of this effort that the trail lies for a signal, faint but discernible, buried beneath the noise of myth, propaganda, and forgetfulness. To study history is to tune our receivers, to amplify the lessons that matter and dampen the static that misleads.

And then there is **terminology**, the shared vocabulary through which we coordinate meaning non only for the self but other consciousnesses. Words are the vessels that carry our understanding across generations. But they are also fragile, prone to drift, distortion, and misuse. To solve global problems, we must cultivate a consensus understanding, not a rigid uniformity, but a common ground sturdy enough to support collaboration and reinterpretation of meaning. This requires filtering the vast, multigenerational world culture for what is real, what is useful, what is humane.

All these steps (classification, framing, bias detection, historical pattern recognition, terminological clarity) form the scaffolding of inquiry. They are not the solution themselves, but the conditions that make solutions possible. Without them, we are explorers without instruments, sailors without stars.

To approach a global problem is to embark on a journey of disciplined curiosity. It is to admit that truth is not handed down but uncovered, layer by layer, through patient examination. And it is to believe, with a kind of stubborn optimism, that clarity is achievable, that understanding is within reach, and that the world, for all its complexity, can be known well enough to be cared for.

This is the first step for understanding and pursue truth.

== 1 - Defining the Problem Space ==
Mankind has the unusual ability to believe anything and to ignore almost anything, especially when the facts point toward a truth we find disturbing. We explain away what we see because we need not only to understand it privately but to share that understanding socially. Statistically, the existence of intelligent life somewhere in the Universe is not speculation but probability. There are even indications that life may once have existed elsewhere within our own solar system. At some point, humanity will have to confront the implications of that reality.

But every discussion needs a beginning, and the debate must be recentered. This has never truly been about extraterrestrials in the imaginative sense, whatever form or color people assign to them. That framing was introduced to shift attention away from what no longer requires belief. The simple fact is that intelligent craft have been present in our skies for millennia, and they are not made or operated by humans. This is the starting point that commands the broadest consensus. Everything else is a derivative narrative built from human wishes, fears, and cultural projections. These narratives may have real psychological or historical value, but they do not outweigh the consistent record that points to this basic fact.

We do not know who they are. But if they are not us, then they are them, and humans instinctively prefer that framing because it reinforces our own identity and place in the story.

Earth and Alien problem.  Since the greater probability is that they (not us) will be here, or already are here, long before we encounter them on our own terms, the first questions are straightforward:

&lt;center&gt;What ARE we doing about it?&lt;br&gt;Where are they coming from?&lt;br&gt;
What are they doing here?&lt;br&gt;What CAN we do about it?&lt;br&gt;How CAN it affect us in the long term?&lt;/center&gt;

The term alien does not necessarily mean extraterrestrial or something arriving from outside the solar system. We must work with the highest‑probability interpretations suggested by the context in which each event presents itself. Cause, effect, and the degrees of freedom with which the phenomenon operates are the real starting points for understanding the problem.

== 1.1 The Human Conceptualization of “Alien” ==
      - How humans define “otherness” across biological, cultural, and cognitive domains, including the contrast between familiar life and radically unfamiliar intelligence.
      - Comparisons with non-human Earth species, extinct hominids, and artificial intelligences as reference points for understanding non-human agency.
      - Anthropocentrism, projection, and the construction of alien archetypes, including how fiction, religion, and scientific paradigms shape expectations.
      - The role of cognitive biases in interpreting unknown entities, including pattern-seeking, agency attribution, and the human tendency to fill gaps with narrative.

== 1.2 The Historical Context of UFOs and UAPs ==

A UFO, meaning unidentified flying object, is just as it is labeled, any object that fails to get identified by an observer can properly be given this label. 

The label of UFO also does not restrict the object to a factual flying object, it only requires the appearance of movement or even hovering capacity. The definition is of course very broad, for instance there are reports of UFOs exiting or entering water and even outside of Earth's atmosphere.

Unidentified objects are the default state of every observed phenomena. As we take notice of things around us we automatically utilize our knowledge base and experience to provide an identity, a function, an explanation and assessment, for what we observe. Really abnormal, or rare, phenomena stands outside of this  methodology that our brain uses as a way to permit us to deal with the perceived reality we must function in. These types of phenomena will require verification of records, since rarity of the events will puts them outside of one or more lifetimes of the observer, preventing him to provide a valid identification or even to rely in others around him for it. New phenomena on the other hand, will not be present on record, they will be truly new experiences, and so require the creation of valid documentation, as a way to share and validate what was observed and hopefully repetition, so science can provide an explanation to it. In this case providing only a untestable hypothesis will not suffice to declare the phenomena as identified, but can serve as a tentative response to inquiring minds and open the path for the application of the scientific method.

Other factors of providing valid identifications, is the effect of imagination and culture. These human capabilities will at times provide a framework to create a reasonable explanation to what is observed, at least one that satisfies the observer, but in fact may not reflect reality. This increases the problem on relying on others for a report of the observation as it increases error. This is especially true when dealing with unexplained and unexpected events, as this will be a point of collision, between the factual observer and someone that is only getting the report in second hand. The other side of the problem is that some observations of unexplained events can also be dismissed as explained even more so if the observer is unable to mentally deal with it or primed to label it in another way.

==== Do UFOs exist ? ====
Yes they do, always have and probably will always exists, there is no expectation that we will ever be able to explain all the phenomena that can happen in nature, even if we reduce the range to those that occur in the atmosphere that mimic flight, every new explained phenomena will undoubtedly open up the possibility for even more discoveries.

As man first looked into the vast skies all things seemed strange and fascinating, the moon and the starts could only be speculated about, even the other planets on our solar system have been first tentatively labeled as something else, even stars. Over the ages a myriad of hypothesis where put forward to explain those direct observations, labeling something as an UFO signifies simply that it is an unknown.

The pertinence about UFOs today is special in two fronts, first we can now fly, and with flight we must be concerned with collisions and other atmospheric phenomena that can be dangerous to that activity. The second one is security, since the sky was until very recently the uppermost higher ground it permitted observation and even attacks on national interests, especially during the cold war, and with the development and testing of new spy and stealth technologies.

=== How far back in time do UFOs reports go? ===
It depends on the definitions but consider for example that the supernova [[w:SN 185|SN 185]] was observed in 185 CE, near the direction of [[w:Alpha Centauri|Alpha Centauri]], between the constellations [[w:Circinus|Circinus]] and [[w:Centaurus|Centaurus]], by Chinese astronomers, as reported in the ''[[w:Book of Later Han|Book of Later Han]]'', and was visible for eight months.

==== Flying sources and other alien crafts ====
      - Overview of sightings, military reports, and cultural interpretations across centuries, emphasizing continuity rather than artificial segmentation. Pre WW2 -&gt; Foo fighters
      - Examination of how institutional actors reframed the phenomenon through terminology, including the shift from “UFO” to “UAP,” and how this rebranding altered public perception.
      - Analysis of the early attempt to merge UAPs with drones, how this conflation introduced categorical noise, and how public pressure forced partial correction.
      - Discussion of how renaming and reframing create historical amnesia, obscure long-term patterns, and distance modern discourse from earlier records.
      - Consideration of how political, military, and intelligence institutions shaped narratives to manage public reaction, avoid historical accountability, and redefine the scope of the phenomenon.
      - Shifts in interpretation across eras (mythological, technological, psychological), showing how each era’s conceptual framework influenced what was considered “credible” or “explainable.”
      - The importance of preserving historical continuity to avoid losing signal in the noise of reclassification.

==== Ufology ====
Ufology, the study of unidentified flying objects (UFOs) is an activity, a field of study, specifically of UFOs, not a science per se, rarely falling into a scientific area beyond mathematics and vector physics due to the social nature of the phenomena and facing a prolonged boycott of institutions and state. One could even argue that ufology predates sciences as we know them today, that it was born at the same time religion was created. It certainly is the link between Astronomy and the age of Myths of pre-history and shares its roots in religious creation myths and the Metaphysical considerations who are we as a specie, why we are here and where is here in the context of it all. Some would link Ufology with the search for extraterrestrial intelligence that was mostly single-handed made into a legitimate scientific endeavor by Hollywood despite the lack of concrete evidence for extraterrestrial life. This seems strange to most persons that have passing knowledge of history and the debate regarding little green men, mysterious radio signals and the water channels found on Mars. How little we have advanced... 

Then there is the claim that the discovery of extraterrestrial life would be one of the most significant events in human history. I do not think so, we already have a lot of non-human intelligence on the planet. We can even admit that Neanderthals shared many of the human intellectual capabilities. The Roman Catholic Church has even cleared the path for the possibility. This from an institution that has until recently monopolized all non-human ententes interactions and established humanity place in it.  

It nevertheless as a group makes an effort, that many non-hard sciences still manage to blunder with, for example psychology or sociology for the use of scientific methodologies, information distribution and instruments. There is a full understanding of participants that reputation of clarity of argumentation and the publication of event investigation is what advances the field.  As a fringe and unregulated area of study, it lacks proper academic structure, it is open to public participation and accreditation with a great myopia in regard to what constitutes work in the field and simple regurgitation and speculation, that mere interest is not a valid credential and as in any field a publisher may not be, nothing more that a publicist to the field in general it reminds us to how silly medicine was not so long ago in regard to the notions and personages that attempted to aggregate and mutually support each other into a reputable state even in the type of forums it generates.

In pursuit of understanding UFOs many sciences are useful like Physics, Chemistry, Astronomy, History, Mathematics or Psychology.

Since common sense dictates that some of the observed objects can be graduated into a definition of being called craft, and with that it implies an intelligence capable not only of constructing something that seems beyond human capability but manages to pilot it beyond the ability of human pilots. Being clear here we are talking about human reports that predate the renascence, observations that can be declared as consistent (in what was described as observed, the evolution has been more on the speculative explanations to the observations).

Due to this and as if a snow ball, the implications add layers and if there are creators and pilots this signifies the possibility on interaction between those and humanity in general, and reports of that are also abundant  and so ufology get redefined to cover alleged extraterrestrial encounters, with all the added baggage of controversy and skepticism and a ever-increasing surface area where all and any event related to parapsychology phenomena is pilled on (literally from Big Foot to the Afterlife). 

While skepticism stems from a complex interplay of factors, the prominence seems to be in the lack of empirical evidence, that there is a subjective nature to the UFO sightings, and the ultimately to the lack of perceived credibility of ufologists. While these could in an even playfield be sufficient argumentation, when we deal with a topic of this magnitude and characteristics it fails to serve do dismiss the argument in favor of studying UFOs based on the principle of scientific inquiry.

Let us consider that most observations are done or in relation to nuclear arsenals and bases. That the best sensor data is not permitted into the public. That observations include interaction with military craft. That prime testimony from commercial pilots, police officers is discarded or ridiculized (people that have by function life and death power over others). To the point that it is clear there is a long-lasting campaign to suppress, diminish, challenge and silences public debate around the subject beyond a few narrow paths that at best permit for prebiotic life in the 150 light-years around our planet and only in the last 20 years managed to allow alien bacteria in Mars. This is absurd, and does not take into consideration that if life is a rare accident one should look in the space-time near the positive sampling not across the light-years of interstellar space, its not like we have more reports of UFOs in interstellar space than on our own atmosphere. If the narrative has problems, we should challenge the narrator... 

Personally, I do not accept the securitization explanation for the effort put into suppressing the subject (every action has a cost and consequences). Yes there are considerations that must be taken but unless one has full and supreme control over the subject, any potential military applications and strategic advantages that could arise from the discovery of advanced technologies associated with UFOs could not be assured. The only way this would make sense is if there is an inside cabal profiting from the privilege. But it raises the concern on how could such thing occur in a democratic and constitutional state setup and the scope would have to be international. 

While the first explanation is always human error in this case if there is not a so defined conspiracy for suppression, the only alternative is that we have already been colonized or infiltrated by a power that prefers to stay hidden, more so than the UFO phenomena that it suppresses. The reality may even be more complex but we are long past the possibility of blissful ignorance into a darkening sky situation where we plot ourselves out of the equation.

== 2 - The Astro-biological Framework ==
The Sun is **not unique**, it formed in a **cluster**, not alone. Its siblings **shared its initial momentum**, but are now dispersed. We can still find them by studying **chemical composition** and **motion**.

A star (a system’s “Sol”) defines the physical, chemical environment of its system (planetary or not).  This determines the matter distribution of its system, it shapes the **temperature gradient** of the protoplanetary disk, the **ionization environment**, the **dust grain alignment**, the **magnetic field topology**, the **pressure and density waves**, the **chemical reaction zones** and so the **locations where organics can form or survive**

These factors determine which molecules form, which molecules survive, which molecules get transported inward, which molecules get incorporated into meteorites and planets.

As the star determines the [[w:Ultraviolet|UV spectrum]], the polarization of emitted/scattered light, the magnetic field structure,  the dust scattering geometry, the radiation flux at different wavelengths, - the photochemical pathways available on planets and in protoplanetary disks.

Therefore, the biologic [[w:Chirality|Chirality]] bias we observe in Sol system is most likely a _local_ consequence of the Sun’s radiation environment, not a universal rule. As these are exactly the factors that influence **chiral photochemistry** especially if Circularly polarized UV from the Sun is a _local_ asymmetry as the Sun’s UV is not perfectly symmetric. 

The UV symmetry depends on the scattering in the protoplanetary disk, magnetic field alignment, dust grain orientation, solar flares and plasma structures and the geometry of early solar nebula clouds

It is when the UV that reaches prebiotic molecules, that they can be **circularly polarized**.  Circularly polarized UV is known to preferentially destroy one enantiomer, create small enantiomeric excesses, drive asymmetric photolysis and bias amino acids and sugars.

This seems a **local astrophysical effect**, may not be a universal law. Meteorites from our solar system show the same chirality bias as Earth life, this strongly suggests a shared local cause.

Interstellar molecules in _other_ regions show different or racemic distributions this suggests chirality is _not_ universal.

Different stars produce different UV spectra and polarization patterns and Physics does not enforce one handedness for organic molecules.

 **Local star → local UV → local chirality bias → inherited by local life.**

The star also defines the _electromagnetic asymmetries_ that drive chirality Sun produces **circularly polarized UV** (CP‑UV), **asymmetric scattering patterns** in the disk, **magnetically induced polarization effects** and **wavelength‑dependent photolysis**.

These asymmetries can preferentially destroy one enantiomer,, create small enantiomeric excesses, bias amino acids and sugars, influence prebiotic chemistry on dust grains and ices.

== 2.1 What Counts as Life? ==
      - Biochemical definitions, alternative biochemistries, extremophiles, and the limits of Earth-based assumptions.
      - The challenge of defining “life” universally, including the possibility of non-biochemical or post-biological systems.
      - The distinction between indirect bio and techno signatures.

== 2.2 The Evolution of Complexity ==
      - Evolutionary milestones, convergent evolution, and the emergence of intelligence as a rare or inevitable outcome.
      - Comparative cognition across species and implications for non-human intelligence, including tool use, communication, and problem-solving.
      - The possibility that intelligence may arise in forms not recognizable through human cognitive templates.
      - The need to account for technologically expressed intelligence: most observed UFO events involve physical craft exhibiting performance outside current human physics, suggesting that technological capability may be the primary observable layer, independent of the biological form that produced it.
      - Recognition that only a very small minority of reports imply non-craft “entities” or biological vehicles; the dominant pattern is engineered objects with consistent physical signatures (radar returns, thermal profiles, acceleration patterns).

== 2.3 The Cosmic Context ==
      - Habitable zones, planetary formation, and the parameters of the Drake Equation as tools for estimating the distribution of life.
      - Constraints on detectability, rarity, and the distribution of technological civilizations.
      - The role of stellar age, planetary stability, and galactic environment in shaping the probability of advanced life.

== PART II — Evaluating Extraordinary Claims ==      
The term ''extraordinary'' implies that the event itself stands outside normal experience. Shifting the burden of proof upward and forces the observer to justify even noticing what happened. This framing turns any event with an unclassified into something exceptional, even when the observation is composed of elements that are entirely ordinary.

Humans understand the idea of a craft in the sky. Since the invention of the airplane this has become the ordinary expectation. Acceleration is ordinary. A radar return is ordinary. A thermal signature is ordinary. A pilot report is ordinary. These things only become non‑ordinary when something in them does not match what is expected. In 1970 a radar return was routine. It was the absence of an explanation that made it stand out. By 2000 most people understood thermal imagery well enough to treat it as normal. The same applies to the expectation that trained pilots provide observations of higher than ordinary quality.

The problem is not the observation. It is the label. The word extraordinary is used as a semantic trap to pathologize the unknown. Reinforces institutional framing and raises the evidentiary bar in a way that is not applied to other fields. It encourages the idea that the phenomenon is strange rather than simply unidentified.

This is why the phrase extraordinary claims require extraordinary evidence is so often used as a gatekeeping tool. It is not a scientific principle. It is a way to discourage reporting and to make the witness doubt the validity of their own experience. The only thing that is unknown is the source. That alone does not justify treating the entire observation as something outside the ordinary.

== 2 - Evaluation of claims ==
 
1.1 Culture vs. Science and Non-Scientific Approaches

There is an intrinsic need in human society to explain all the phenomenons we live surrounded by, that explanation needs to be only as good as we need need it to be, as technology and cultures evolve so does the need for depth and logic on what we cannot readily explain.

Folk tales and legends have been in several occasions proven to describe not only real events but to offer plausible explanations for the events to those lived near the time they occurred, this tales, that have been passed from generation to generations have been an immense repository of knowledge before the written word and after in a time were alphabetization was very low, and the practice is still relevant to some cultures from all around the world.

Religion -&gt; World controlled by the Church, Of angels and daemons, Book of Ezekiel the third of the Latter Prophets in the Hebrew Bible also in the Christian Old Testament, Papal declaration regarding aliens

	  - Criteria for evidence, falsifiability, and methodological rigor.
      - The boundary between scientific inquiry, intelligence analysis, and folklore.
      - Policy, Ethics, and Planetary Stewardship

  1.2 The Problem of Anecdotes
      - Human perceptual limits, memory distortions, and the influence of cultural narratives on witness interpretation.
      - The contrast between anecdotal testimony and sensor‑corroborated events.
      - The role of mass sightings, pilot reports, and multi‑observer events in reducing subjective noise.
   1.2.1  Natural Explanations
      - Atmospheric physics, plasma phenomena, sensor artifacts.
   1.2.2 Technological Explanations
      - Classified human tech, foreign adversary tech.
   1.2.3 Non-Human Hypotheses
      - Constraints from physics, energy, and evolutionary logic.

  1.3 Standards of Evidence
      - Application of Bayesian reasoning, statistical anomaly detection, and reproducibility criteria to ambiguous aerial events.
      - The problem of incomplete datasets, asymmetric information access, and institutional gatekeeping.
      - Distinguishing between low-information events and high-information anomalies.
  1.3.1 Transparency and Scientific Responsibility
      - Data sharing, public communication, research standards.

  1.4 The Role of Technology
      - Sensor fusion, multi-spectrum imaging, and AI-assisted analysis as tools for reducing ambiguity in modern observations.
      - The limitations of current sensor architectures, including parallax errors, IR bloom, radar clutter, and algorithmic misclassification.
      - The challenge of distinguishing unknown aerospace phenomena from advanced human technologies, including classified platforms and experimental systems.

  1.5 Why the Question Persists
      - Cognitive biases, sociological drivers, and gaps in scientific communication.
      - The role of uncertainty, ambiguity, and human pattern-seeking behavior.

THE ALIEN PROBLEM ON EARTH</text>
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      <comment>Created page with &quot;{{w:Template:Text diff|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.  T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess co...&quot;</comment>
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T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.

A '''compound piece''' is a piece that combines the powers of 2 or more pieces. The queen could be considered a compound of the rook and the bishop, and the king of the ferz and wazir, ignoring check, checkmate, and castling. An '''amphibian''' is a compound leaper with a larger range than any of its components. When one component is a knight, the compound can be called a '''knighted''' piece. '''Marine pieces''' are compounds made of a rider or leaper for normal moves, and a locust for capturing pieces, in the same directions. Chess games made of these pieces are sometimes called sea chesses, with special names for the pieces: '''prawn''' (marine pawn), '''seahorse''' (marine knight), '''nereide''' (marine bishop), '''triton''' (marine rook), '''mermaid''' (marine queen), and '''poseidon''' (marine king).

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.}}</text>
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      <text bytes="2366" sha1="2pduvip1q3iwidk6jj5u637xkgi61wh" xml:space="preserve">The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.
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The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.

A '''compound piece''' is a piece that combines the powers of 2 or more pieces. The queen could be considered a compound of the rook and the bishop, and the king of the ferz and wazir, ignoring check, checkmate, and castling. An '''amphibian''' is a compound leaper with a larger range than any of its components. When one component is a knight, the compound can be called a '''knighted''' piece. '''Marine pieces''' are compounds made of a rider or leaper for normal moves, and a locust for capturing pieces, in the same directions. Chess games made of these pieces are sometimes called sea chesses, with special names for the pieces: '''prawn''' (marine pawn), '''seahorse''' (marine knight), '''nereide''' (marine bishop), '''triton''' (marine rook), '''mermaid''' (marine queen), and '''poseidon''' (marine king).

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.</text>
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T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.}}}|{{{2|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.

A '''compound piece''' is a piece that combines the powers of 2 or more pieces. The queen could be considered a compound of the rook and the bishop, and the king of the ferz and wazir, ignoring check, checkmate, and castling. An '''amphibian''' is a compound leaper with a larger range than any of its components. When one component is a knight, the compound can be called a '''knighted''' piece. '''Marine pieces''' are compounds made of a rider or leaper for normal moves, and a locust for capturing pieces, in the same directions. Chess games made of these pieces are sometimes called sea chesses, with special names for the pieces: '''prawn''' (marine pawn), '''seahorse''' (marine knight), '''nereide''' (marine bishop), '''triton''' (marine rook), '''mermaid''' (marine queen), and '''poseidon''' (marine king).

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.
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T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.}}|{{2|The prototypical fairy chess hopper is the grasshopper. It moves in any direction, like a queen, but it can move only by hopping over another piece, and it lands one square beyond that piece.

A '''compound piece''' is a piece that combines the powers of 2 or more pieces. The queen could be considered a compound of the rook and the bishop, and the king of the ferz and wazir, ignoring check, checkmate, and castling. An '''amphibian''' is a compound leaper with a larger range than any of its components. When one component is a knight, the compound can be called a '''knighted''' piece. '''Marine pieces''' are compounds made of a rider or leaper for normal moves, and a locust for capturing pieces, in the same directions. Chess games made of these pieces are sometimes called sea chesses, with special names for the pieces: '''prawn''' (marine pawn), '''seahorse''' (marine knight), '''nereide''' (marine bishop), '''triton''' (marine rook), '''mermaid''' (marine queen), and '''poseidon''' (marine king).

T. R. Dawson, one of the most prolific chess composers of all time, defined the concepts of fairy chess in the 1930s, and produced many problems using invented pieces such as the nightrider and grasshopper. Fairy chess has become a popular domain for chess composing and solving, especially because it offers a level of creativity that is sometimes hard to find in the more thoroughly developed areas of traditional chess composition.
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      <comment>Created page with &quot;== Table of Contents == === Preface ===  === Mechanics === * [[/Units and Measurement|Units and Measurement]] ** [[/Units and Measurement/Introduction|Introduction]] ** [[/Units and Measurement/The Scope and Scale of Physics|The Scope and Scale of Physics]] ** [[/Units and Measurement/Units and Standards|Units and Standards]] ** [[/Units and Measurement/Unit Conversion|Unit Conversion]] ** [[/Units and Measurement/Dimensional Analysis|Dimensional Analysis]] ** /Units a...&quot;</comment>
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      <text bytes="1961" sha1="hznzlqc7rdiu33ox55m2mgcmm6nmlxn" xml:space="preserve">== Table of Contents ==
=== Preface ===

=== Mechanics ===
* [[/Units and Measurement|Units and Measurement]]
** [[/Units and Measurement/Introduction|Introduction]]
** [[/Units and Measurement/The Scope and Scale of Physics|The Scope and Scale of Physics]]
** [[/Units and Measurement/Units and Standards|Units and Standards]]
** [[/Units and Measurement/Unit Conversion|Unit Conversion]]
** [[/Units and Measurement/Dimensional Analysis|Dimensional Analysis]]
** [[/Units and Measurement/Estimates and Fermi Calculations|Estimates and Fermi Calculations]]
** [[/Units and Measurement/Significant Figures|Significant Figures]]
** [[/Units and Measurement/Solving Problems in Physics|Solving Problems in Physics]]
** [[/Units and Measurement/Chapter Review|Chapter Review]]
* [[/Vectors|Vectors]]
* [[/Motion Along a Straight Line|Motion Along a Straight Line]]
* [[/Motion in Two and Three Dimensions|Motion in Two and Three Dimensions]]
* [[/Newton's Laws of Motion|Newton's Laws of Motion]]
* [[/Applications of Newton's Laws|Applications of Newton's Laws]]
* [[/Work and Kinetic Energy|Work and Kinetic Energy]]
* [[/Potential Energy and Conservation of Energy|Potential Energy and Conservation of Energy]]
* [[/Linear Momentum and Collisions|Linear Momentum and Collisions]]
* [[/Fixed-Axis Rotation|Fixed-Axis Rotation]]
* [[/Angular Momentum|Angular Momentum]]
* [[/Static Equilibrium and Elasticity|Static Equilibrium and Elasticity]]
* [[/Gravitation|Gravitation]]
* [[/Fluid Mechanics|Fluid Mechanics]]

=== Waves and Acoustics ===
* [[/Oscillations|Oscillations]]
* [[/Waves|Waves]]
* [[/Sound|Sound]]

=== Appendices ===
* [[/Units|Units]]
* [[/Conversion Factors|Conversion Factors]]
* [[/Fundamental Constants|Fundamental Constants]]
* [[/Astronomical Data|Astronomical Data]]
* [[/Mathematical Formulas|Mathematical Formulas]]
* [[/Chemistry|Chemistry]]
* [[/The Greek Alphabet|The Greek Alphabet]]
* [[/Answer Key|Answer Key]]
* [[/Index|Index]]</text>
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      <text bytes="1974" sha1="jgtme7dntjlgpq7ut5naoi78y68q3ku" xml:space="preserve">== Table of Contents ==
=== [[/Preface|Preface]] ===

=== Mechanics ===
* [[/Units and Measurement|Units and Measurement]]
** [[/Units and Measurement/Introduction|Introduction]]
** [[/Units and Measurement/The Scope and Scale of Physics|The Scope and Scale of Physics]]
** [[/Units and Measurement/Units and Standards|Units and Standards]]
** [[/Units and Measurement/Unit Conversion|Unit Conversion]]
** [[/Units and Measurement/Dimensional Analysis|Dimensional Analysis]]
** [[/Units and Measurement/Estimates and Fermi Calculations|Estimates and Fermi Calculations]]
** [[/Units and Measurement/Significant Figures|Significant Figures]]
** [[/Units and Measurement/Solving Problems in Physics|Solving Problems in Physics]]
** [[/Units and Measurement/Chapter Review|Chapter Review]]
* [[/Vectors|Vectors]]
* [[/Motion Along a Straight Line|Motion Along a Straight Line]]
* [[/Motion in Two and Three Dimensions|Motion in Two and Three Dimensions]]
* [[/Newton's Laws of Motion|Newton's Laws of Motion]]
* [[/Applications of Newton's Laws|Applications of Newton's Laws]]
* [[/Work and Kinetic Energy|Work and Kinetic Energy]]
* [[/Potential Energy and Conservation of Energy|Potential Energy and Conservation of Energy]]
* [[/Linear Momentum and Collisions|Linear Momentum and Collisions]]
* [[/Fixed-Axis Rotation|Fixed-Axis Rotation]]
* [[/Angular Momentum|Angular Momentum]]
* [[/Static Equilibrium and Elasticity|Static Equilibrium and Elasticity]]
* [[/Gravitation|Gravitation]]
* [[/Fluid Mechanics|Fluid Mechanics]]

=== Waves and Acoustics ===
* [[/Oscillations|Oscillations]]
* [[/Waves|Waves]]
* [[/Sound|Sound]]

=== Appendices ===
* [[/Units|Units]]
* [[/Conversion Factors|Conversion Factors]]
* [[/Fundamental Constants|Fundamental Constants]]
* [[/Astronomical Data|Astronomical Data]]
* [[/Mathematical Formulas|Mathematical Formulas]]
* [[/Chemistry|Chemistry]]
* [[/The Greek Alphabet|The Greek Alphabet]]
* [[/Answer Key|Answer Key]]
* [[/Index|Index]]</text>
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      <text bytes="1975" sha1="4aih8na86xsuhc3igu3w5lr0w8oopgo" xml:space="preserve">f== Table of Contents ==
=== [[/Preface|Preface]] ===

=== Mechanics ===
# [[/Units and Measurement|Units and Measurement]]
#* [[/Units and Measurement/Introduction|Introduction]]
## [[/Units and Measurement/The Scope and Scale of Physics|The Scope and Scale of Physics]]
## [[/Units and Measurement/Units and Standards|Units and Standards]]
## [[/Units and Measurement/Unit Conversion|Unit Conversion]]
## [[/Units and Measurement/Dimensional Analysis|Dimensional Analysis]]
## [[/Units and Measurement/Estimates and Fermi Calculations|Estimates and Fermi Calculations]]
## [[/Units and Measurement/Significant Figures|Significant Figures]]
## [[/Units and Measurement/Solving Problems in Physics|Solving Problems in Physics]]
#* [[/Units and Measurement/Chapter Review|Chapter Review]]
* [[/Vectors|Vectors]]
* [[/Motion Along a Straight Line|Motion Along a Straight Line]]
* [[/Motion in Two and Three Dimensions|Motion in Two and Three Dimensions]]
* [[/Newton's Laws of Motion|Newton's Laws of Motion]]
* [[/Applications of Newton's Laws|Applications of Newton's Laws]]
* [[/Work and Kinetic Energy|Work and Kinetic Energy]]
* [[/Potential Energy and Conservation of Energy|Potential Energy and Conservation of Energy]]
* [[/Linear Momentum and Collisions|Linear Momentum and Collisions]]
* [[/Fixed-Axis Rotation|Fixed-Axis Rotation]]
* [[/Angular Momentum|Angular Momentum]]
* [[/Static Equilibrium and Elasticity|Static Equilibrium and Elasticity]]
* [[/Gravitation|Gravitation]]
* [[/Fluid Mechanics|Fluid Mechanics]]

=== Waves and Acoustics ===
* [[/Oscillations|Oscillations]]
* [[/Waves|Waves]]
* [[/Sound|Sound]]

=== Appendices ===
* [[/Units|Units]]
* [[/Conversion Factors|Conversion Factors]]
* [[/Fundamental Constants|Fundamental Constants]]
* [[/Astronomical Data|Astronomical Data]]
* [[/Mathematical Formulas|Mathematical Formulas]]
* [[/Chemistry|Chemistry]]
* [[/The Greek Alphabet|The Greek Alphabet]]
* [[/Answer Key|Answer Key]]
* [[/Index|Index]]</text>
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      <text bytes="2072" sha1="s7q2f0e7i2ikhf68gu6eqxy5lvl3jzd" xml:space="preserve">== Table of Contents ==
=== [[/Preface|Preface]] ===

=== Mechanics ===
; [[/Units and Measurement|1 Units and Measurement]]
;: [[/Units and Measurement#Introduction|Introduction]]
;: [[/Units and Measurement/The Scope and Scale of Physics|1.1 The Scope and Scale of Physics]]
;: [[/Units and Measurement/Units and Standards|1.2 Units and Standards]]
;: [[/Units and Measurement/Unit Conversion|1.3 Unit Conversion]]
;: [[/Units and Measurement/Dimensional Analysis|1.4 Dimensional Analysis]]
;: [[/Units and Measurement/Estimates and Fermi Calculations|1.5 Estimates and Fermi Calculations]]
;: [[/Units and Measurement/Significant Figures|1.6 Significant Figures]]
;: [[/Units and Measurement/Solving Problems in Physics|1.7 Solving Problems in Physics]]
;: [[/Units and Measurement/Chapter Review|Chapter Review]]
; [[/Vectors|2 Vectors]]
; [[/Motion Along a Straight Line|3 Motion Along a Straight Line]]
; [[/Motion in Two and Three Dimensions|4 Motion in Two and Three Dimensions]]
; [[/Newton's Laws of Motion|5 Newton's Laws of Motion]]
; [[/Applications of Newton's Laws|6 Applications of Newton's Laws]]
; [[/Work and Kinetic Energy|7 Work and Kinetic Energy]]
; [[/Potential Energy and Conservation of Energy|8 Potential Energy and Conservation of Energy]]
; [[/Linear Momentum and Collisions|9 Linear Momentum and Collisions]]
; [[/Fixed-Axis Rotation|10 Fixed-Axis Rotation]]
; [[/Angular Momentum|11 Angular Momentum]]
; [[/Static Equilibrium and Elasticity|12 Static Equilibrium and Elasticity]]
; [[/Gravitation|13 Gravitation]]
; [[/Fluid Mechanics|14 Fluid Mechanics]]

=== Waves and Acoustics ===
; [[/Oscillations|15 Oscillations]]
; [[/Waves|16 Waves]]
; [[/Sound|17 Sound]]

=== Appendices ===
; [[/Units|A | Units]]
; [[/Conversion Factors|B | Conversion Factors]]
; [[/Fundamental Constants|C | Fundamental Constants]]
; [[/Astronomical Data|D | Astronomical Data]]
; [[/Mathematical Formulas|E | Mathematical Formulas]]
; [[/Chemistry|F | Chemistry]]
; [[/The Greek Alphabet|G | The Greek Alphabet]]
; [[/Answer Key|Answer Key]]
; [[/Index|Index]]</text>
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    <revision>
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      <text bytes="2093" sha1="s2cy8ggc0xjhwtjr6grsz612egbvmlu" xml:space="preserve">== Table of Contents ==
=== [[/Preface|Preface]] ===

=== Mechanics ===
; [[/Units and Measurement|1 Units and Measurement]]
;: [[/Units and Measurement#Introduction|Introduction]]
;: [[/Units and Measurement/The Scope and Scale of Physics|1.1 The Scope and Scale of Physics]]
;: [[/Units and Measurement/Units and Standards|1.2 Units and Standards]]
;: [[/Units and Measurement/Unit Conversion|1.3 Unit Conversion]]
;: [[/Units and Measurement/Dimensional Analysis|1.4 Dimensional Analysis]]
;: [[/Units and Measurement/Estimates and Fermi Calculations|1.5 Estimates and Fermi Calculations]]
;: [[/Units and Measurement/Significant Figures|1.6 Significant Figures]]
;: [[/Units and Measurement/Solving Problems in Physics|1.7 Solving Problems in Physics]]
;: [[/Units and Measurement/Chapter Review|Chapter Review]]
; [[/Vectors|2 Vectors]]
; [[/Motion Along a Straight Line|3 Motion Along a Straight Line]]
; [[/Motion in Two and Three Dimensions|4 Motion in Two and Three Dimensions]]
; [[/Newton's Laws of Motion|5 Newton's Laws of Motion]]
; [[/Applications of Newton's Laws|6 Applications of Newton's Laws]]
; [[/Work and Kinetic Energy|7 Work and Kinetic Energy]]
; [[/Potential Energy and Conservation of Energy|8 Potential Energy and Conservation of Energy]]
; [[/Linear Momentum and Collisions|9 Linear Momentum and Collisions]]
; [[/Fixed-Axis Rotation|10 Fixed-Axis Rotation]]
; [[/Angular Momentum|11 Angular Momentum]]
; [[/Static Equilibrium and Elasticity|12 Static Equilibrium and Elasticity]]
; [[/Gravitation|13 Gravitation]]
; [[/Fluid Mechanics|14 Fluid Mechanics]]

=== Waves and Acoustics ===
; [[/Oscillations|15 Oscillations]]
; [[/Waves|16 Waves]]
; [[/Sound|17 Sound]]

=== Appendices ===
; [[/Units|A | Units]]
; [[/Conversion Factors|B | Conversion Factors]]
; [[/Fundamental Constants|C | Fundamental Constants]]
; [[/Astronomical Data|D | Astronomical Data]]
; [[/Mathematical Formulas|E | Mathematical Formulas]]
; [[/Chemistry|F | Chemistry]]
; [[/The Greek Alphabet|G | The Greek Alphabet]]
; [[/Answer Key|Answer Key]]
; [[/Index|Index]]

{{Shelves|physics}}</text>
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      <text bytes="2107" sha1="f2uk0yejrxaj2bs7sxpozbe84em3cmr" xml:space="preserve">== Table of Contents ==
=== [[/Preface|Preface]] ===

=== Mechanics ===
; [[/Units and Measurement|1 Units and Measurement]]
;: [[/Units and Measurement#Introduction|Introduction]]
;: [[/Units and Measurement/The Scope and Scale of Physics|1.1 The Scope and Scale of Physics]]
;: [[/Units and Measurement/Units and Standards|1.2 Units and Standards]]
;: [[/Units and Measurement/Unit Conversion|1.3 Unit Conversion]]
;: [[/Units and Measurement/Dimensional Analysis|1.4 Dimensional Analysis]]
;: [[/Units and Measurement/Estimates and Fermi Calculations|1.5 Estimates and Fermi Calculations]]
;: [[/Units and Measurement/Significant Figures|1.6 Significant Figures]]
;: [[/Units and Measurement/Solving Problems in Physics|1.7 Solving Problems in Physics]]
;: [[/Units and Measurement/Chapter Review|Chapter Review]]
; [[/Vectors|2 Vectors]]
; [[/Motion Along a Straight Line|3 Motion Along a Straight Line]]
; [[/Motion in Two and Three Dimensions|4 Motion in Two and Three Dimensions]]
; [[/Newton's Laws of Motion|5 Newton's Laws of Motion]]
; [[/Applications of Newton's Laws|6 Applications of Newton's Laws]]
; [[/Work and Kinetic Energy|7 Work and Kinetic Energy]]
; [[/Potential Energy and Conservation of Energy|8 Potential Energy and Conservation of Energy]]
; [[/Linear Momentum and Collisions|9 Linear Momentum and Collisions]]
; [[/Fixed-Axis Rotation|10 Fixed-Axis Rotation]]
; [[/Angular Momentum|11 Angular Momentum]]
; [[/Static Equilibrium and Elasticity|12 Static Equilibrium and Elasticity]]
; [[/Gravitation|13 Gravitation]]
; [[/Fluid Mechanics|14 Fluid Mechanics]]

=== Waves and Acoustics ===
; [[/Oscillations|15 Oscillations]]
; [[/Waves|16 Waves]]
; [[/Sound|17 Sound]]

=== Appendices ===
; [[/Units|A | Units]]
; [[/Conversion Factors|B | Conversion Factors]]
; [[/Fundamental Constants|C | Fundamental Constants]]
; [[/Astronomical Data|D | Astronomical Data]]
; [[/Mathematical Formulas|E | Mathematical Formulas]]
; [[/Chemistry|F | Chemistry]]
; [[/The Greek Alphabet|G | The Greek Alphabet]]
; [[/Answer Key|Answer Key]]
; [[/Index|Index]]

{{Shelves|physics}}
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      <text bytes="4394" sha1="gceh7chzs4kx1yoega5hxbb7bxlj74j" xml:space="preserve">Welcome to ''University Physics'', an OpenStax resource. This textbook was written to increase student access to high-quality learning materials, maintaining highest standards of academic rigor at little to no cost.

== About OpenStax ==
OpenStax is part of Rice University, which is a 501(c)(3) nonprofit charitable corporation. Our mission is to make an amazing education accessible for all. Through our partnerships with philanthropic organizations and our alliance with other educational resource companies, we’re breaking down the most common barriers to learning. Because we believe that everyone should and can have access to knowledge.

=== About OpenStax's resources ===
==== Customization ====
''University Physics'' is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 (CC BY NC-SA) license, which means that you can non-commercially distribute, remix, and build upon the content, as long as you provide attribution to OpenStax and its content contributors, and distribute all derivatives under the same license.
Because our books are openly licensed, you are free to use the entire book or pick and choose the sections that are most relevant to the needs of your course. Feel free to remix the content by assigning your students certain chapters and sections in your syllabus in the order that you prefer. You can even provide a direct link in your syllabus to the sections in the web view of your book.
For any art that is openly licensed, non-commercial users or organizations may reuse the art as long as they provide the same attribution to its original source. (Commercial entities should contact OpenStax to discuss reuse rights and permissions.) To maximize readability and content flow, some art does not include attribution in the text. If you reuse art from this text that does not have attribution provided, use the following attribution: Copyright Rice University, OpenStax, under CC BY NC-SA 4.0 license.
Instructors also have the option of creating a customized version of their OpenStax book. The custom version can be made available to students in low-cost print or digital form through their campus bookstore. Visit your book page on OpenStax.org for more information.

==== Errata ====
All OpenStax textbooks undergo a rigorous review process. However, like any professional-grade textbook, errors sometimes occur. Since our books are web based, we can make updates periodically when deemed pedagogically necessary. If you have a correction to suggest, submit it through the link on your book page on OpenStax.org. Subject matter experts review all errata suggestions. OpenStax is committed to remaining transparent about all updates, so you will also find a list of past errata changes on your book page on OpenStax.org.

==== Format ====
You can access this textbook for free in web view or PDF through OpenStax.org, and for a low cost in print.

=== About ''University Physics'' ===
''University Physics'' is designed for the two- or three-semester calculus-based physics course. The text has been developed to meet the scope and sequence of most university physics courses and provides a foundation for a career in mathematics, science, or engineering. The book provides an important opportunity for students to learn the core concepts of physics and understand how those concepts apply to their lives and to the world around them.
Due to the comprehensive nature of the material, we are offering the book in three volumes for flexibility and efficiency.
Coverage and scope

Our ''University Physics'' textbook adheres to the scope and sequence of most two- and three-semester physics courses nationwide. We have worked to make physics interesting and accessible to students while maintaining the mathematical rigor inherent in the subject. With this objective in mind, the content of this textbook has been developed and arranged to provide a logical progression from fundamental to more advanced concepts, building upon what students have already learned and emphasizing connections between topics and between theory and applications. The goal of each section is to enable students not just to recognize concepts, but to work with them in ways that will be useful in later courses and future careers. The organization and pedagogical features were developed and vetted with feedback from science educators dedicated to the project.</text>
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      <text bytes="4407" sha1="jzj1rlbn9z3w3njs823umxy40b8mhrs" xml:space="preserve">Welcome to ''University Physics'', an OpenStax resource. This textbook was written to increase student access to high-quality learning materials, maintaining highest standards of academic rigor at little to no cost.

== About OpenStax ==
OpenStax is part of Rice University, which is a 501(c)(3) nonprofit charitable corporation. Our mission is to make an amazing education accessible for all. Through our partnerships with philanthropic organizations and our alliance with other educational resource companies, we’re breaking down the most common barriers to learning. Because we believe that everyone should and can have access to knowledge.

=== About OpenStax's resources ===
==== Customization ====
''University Physics'' is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 (CC BY NC-SA) license, which means that you can non-commercially distribute, remix, and build upon the content, as long as you provide attribution to OpenStax and its content contributors, and distribute all derivatives under the same license.
Because our books are openly licensed, you are free to use the entire book or pick and choose the sections that are most relevant to the needs of your course. Feel free to remix the content by assigning your students certain chapters and sections in your syllabus in the order that you prefer. You can even provide a direct link in your syllabus to the sections in the web view of your book.
For any art that is openly licensed, non-commercial users or organizations may reuse the art as long as they provide the same attribution to its original source. (Commercial entities should contact OpenStax to discuss reuse rights and permissions.) To maximize readability and content flow, some art does not include attribution in the text. If you reuse art from this text that does not have attribution provided, use the following attribution: Copyright Rice University, OpenStax, under CC BY NC-SA 4.0 license.
Instructors also have the option of creating a customized version of their OpenStax book. The custom version can be made available to students in low-cost print or digital form through their campus bookstore. Visit your book page on OpenStax.org for more information.

==== Errata ====
All OpenStax textbooks undergo a rigorous review process. However, like any professional-grade textbook, errors sometimes occur. Since our books are web based, we can make updates periodically when deemed pedagogically necessary. If you have a correction to suggest, submit it through the link on your book page on OpenStax.org. Subject matter experts review all errata suggestions. OpenStax is committed to remaining transparent about all updates, so you will also find a list of past errata changes on your book page on OpenStax.org.

==== Format ====
You can access this textbook for free in web view or PDF through OpenStax.org, and for a low cost in print.

=== About ''University Physics'' ===
''University Physics'' is designed for the two- or three-semester calculus-based physics course. The text has been developed to meet the scope and sequence of most university physics courses and provides a foundation for a career in mathematics, science, or engineering. The book provides an important opportunity for students to learn the core concepts of physics and understand how those concepts apply to their lives and to the world around them.
Due to the comprehensive nature of the material, we are offering the book in three volumes for flexibility and efficiency.
Coverage and scope

Our ''University Physics'' textbook adheres to the scope and sequence of most two- and three-semester physics courses nationwide. We have worked to make physics interesting and accessible to students while maintaining the mathematical rigor inherent in the subject. With this objective in mind, the content of this textbook has been developed and arranged to provide a logical progression from fundamental to more advanced concepts, building upon what students have already learned and emphasizing connections between topics and between theory and applications. The goal of each section is to enable students not just to recognize concepts, but to work with them in ways that will be useful in later courses and future careers. The organization and pedagogical features were developed and vetted with feedback from science educators dedicated to the project.

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      <comment>Created page with &quot;As noted in the figure caption, the chapter-opening image is of the Whirlpool Galaxy, which we examine in the first section of this chapter. Galaxies are as immense as atoms are small, yet the same laws of physics describe both, along with all the rest of nature—an indication of the underlying unity in the universe. The laws of physics are surprisingly few, implying an underlying simplicity to nature’s apparent complexity. In this text, you learn about the laws of ph...&quot;</comment>
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      <text bytes="747" sha1="bdja1w3d83iw8ok411zqz58dc4l4c2t" xml:space="preserve">As noted in the figure caption, the chapter-opening image is of the Whirlpool Galaxy, which we examine in the first section of this chapter. Galaxies are as immense as atoms are small, yet the same laws of physics describe both, along with all the rest of nature—an indication of the underlying unity in the universe. The laws of physics are surprisingly few, implying an underlying simplicity to nature’s apparent complexity. In this text, you learn about the laws of physics. Galaxies and atoms may seem far removed from your daily life, but as you begin to explore this broad-ranging subject, you may soon come to realize that physics plays a much larger role in your life than you first thought, no matter your life goals or career choice.</text>
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## [[/Introduction|Introduction]]
## [[/The Scope and Scale of Physics|The Scope and Scale of Physics]]
## [[/Units and Standards|Units and Standards]]
## [[/Unit Conversion|Unit Conversion]]
## [[/Dimensional Analysis|Dimensional Analysis]]
## [[/Estimates and Fermi Calculations|Estimates and Fermi Calculations]]
## [[/Significant Figures|Significant Figures]]
## [[/Solving Problems in Physics|Solving Problems in Physics]]
## [[/Chapter Review|Chapter Review]]</text>
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      <text bytes="1132" sha1="3uel8u98n4whvm2topa85273grtsl3i" xml:space="preserve">[[File:Whirlpool Galaxy.webp|thumb|550px|'''Figure 1.1''' This image might be showing any number of things. It might be a whirlpool in a tank of water or perhaps a collage of paint and shiny beads done for art class. Without knowing the size of the object in units we all recognize, such as meters or inches, it is difficult to know what we’re looking at. In fact, this image shows the Whirlpool Galaxy (and its companion galaxy), which is about 60,000 light-years in diameter (about 6 &amp;times; 10&lt;sup&gt;17&lt;/sup&gt; km across). (credit: modification of work by S. Beckwith (STScI) Hubble Heritage Team, (STScI/AURA), ESA, NASA)]]
== Chapter Outline ==
; [[/Introduction|Introduction]]
; [[/The Scope and Scale of Physics|1.1 The Scope and Scale of Physics]]
; [[/Units and Standards|1.2 Units and Standards]]
; [[/Unit Conversion|1.3 Unit Conversion]]
; [[/Dimensional Analysis|1.4 Dimensional Analysis]]
; [[/Estimates and Fermi Calculations|1.5 Estimates and Fermi Calculations]]
; [[/Significant Figures|1.6 Significant Figures]]
; [[/Solving Problems in Physics|1.7 Solving Problems in Physics]]
; [[/Chapter Review|Chapter Review]]</text>
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== Chapter Outline ==
; [[#Introduction|Introduction]]
; [[/The Scope and Scale of Physics|1.1 The Scope and Scale of Physics]]
; [[/Units and Standards|1.2 Units and Standards]]
; [[/Unit Conversion|1.3 Unit Conversion]]
; [[/Dimensional Analysis|1.4 Dimensional Analysis]]
; [[/Estimates and Fermi Calculations|1.5 Estimates and Fermi Calculations]]
; [[/Significant Figures|1.6 Significant Figures]]
; [[/Solving Problems in Physics|1.7 Solving Problems in Physics]]
; [[/Chapter Review|Chapter Review]]

== Introduction ==
As noted in the figure caption, the chapter-opening image is of the Whirlpool Galaxy, which we examine in the first section of this chapter. Galaxies are as immense as atoms are small, yet the same laws of physics describe both, along with all the rest of nature—an indication of the underlying unity in the universe. The laws of physics are surprisingly few, implying an underlying simplicity to nature’s apparent complexity. In this text, you learn about the laws of physics. Galaxies and atoms may seem far removed from your daily life, but as you begin to explore this broad-ranging subject, you may soon come to realize that physics plays a much larger role in your life than you first thought, no matter your life goals or career choice.</text>
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== Chapter Outline ==
; [[#Introduction|Introduction]]
; [[/The Scope and Scale of Physics|1.1 The Scope and Scale of Physics]]
; [[/Units and Standards|1.2 Units and Standards]]
; [[/Unit Conversion|1.3 Unit Conversion]]
; [[/Dimensional Analysis|1.4 Dimensional Analysis]]
; [[/Estimates and Fermi Calculations|1.5 Estimates and Fermi Calculations]]
; [[/Significant Figures|1.6 Significant Figures]]
; [[/Solving Problems in Physics|1.7 Solving Problems in Physics]]
; [[/Chapter Review|Chapter Review]]

== Introduction ==
As noted in the figure caption, the chapter-opening image is of the Whirlpool Galaxy, which we examine in the first section of this chapter. Galaxies are as immense as atoms are small, yet the same laws of physics describe both, along with all the rest of nature—an indication of the underlying unity in the universe. The laws of physics are surprisingly few, implying an underlying simplicity to nature’s apparent complexity. In this text, you learn about the laws of physics. Galaxies and atoms may seem far removed from your daily life, but as you begin to explore this broad-ranging subject, you may soon come to realize that physics plays a much larger role in your life than you first thought, no matter your life goals or career choice.

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      <comment>Created page with &quot;== Learning Objectives == By the end of this section, you will be able to: * Describe the scope of physics. * Calculate the order of magnitude of a quantity. * Compare measurable length, mass, and timescales quantitatively. * Describe the relationshipfs among models, theories, and laws.  Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire...&quot;</comment>
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      <text bytes="945" sha1="m5isajw4ehg3587igm9e2jqbybxnwa5" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.</text>
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      <text bytes="10110" sha1="apgb1508yatftkjnkpfbym1f2bdje5y" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.</text>
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      <text bytes="11943" sha1="r17gjfgkcw9zlxbf8bytdtjdlcn2nwr" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m) that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers (1 &amp;micro;m is 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m) to as much as 2 mm (1 mm is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m) in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located 300 million light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]</text>
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      <text bytes="11949" sha1="a49olh582le7yoycwpvcaqt37ssl11d" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m) that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers (1 &amp;micro;m is 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m) to as much as 2 mm (1 mm is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m) in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located 300 million light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]</text>
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      <text bytes="15785" sha1="60nd5qbfdq47346g9xfldushhrivmei" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m) that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers (1 &amp;micro;m is 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m) to as much as 2 mm (1 mm is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m) in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located 300 million light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as 8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;. Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as 4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;, so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is 2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m, whereas the diameter of the Sun is on the order of 10&lt;sup&gt;9&lt;/sup&gt; m, so it would take roughly &lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of 1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m for a hydrogen atom diameter and 1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m for the Sun’s diameter, to find that it would take 1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.</text>
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      <text bytes="17432" sha1="ntsuznjap0c2g5yt7uxpyy42cxrmzg3" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m) that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers (1 &amp;micro;m is 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m) to as much as 2 mm (1 mm is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m) in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located 300 million light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as 8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;. Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as 4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;, so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is 2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m, whereas the diameter of the Sun is on the order of 10&lt;sup&gt;9&lt;/sup&gt; m, so it would take roughly &lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of 1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m for a hydrogen atom diameter and 1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m for the Sun’s diameter, to find that it would take 1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.

=== Known ranges of length, mass, and time ===
The vastness of the universe and the breadth over which physics applies are illustrated by the wide range of examples of known lengths, masses, and times (given as orders of magnitude) in Figure 1.4 below. Examining this table will give you a feeling for the range of possible topics in physics and numerical values. A good way to appreciate the vastness of the ranges of values in Figure 1.4 is to try to answer some simple comparative questions, such as the following:
* How many hydrogen atoms does it take to stretch across the diameter of the Sun?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{9} \text{m}/ 10^{-10} \text{m} = 10^{19}&lt;/math&gt; hydrogen atoms)
* How many protons are there in a bacterium?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{-15} \text{kg} / 10^{-27} \text{kg} = 10^{12}&lt;/math&gt; protons)
* How many floating-point operations can a supercomputer do in 1 day?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{5} \text{s} / 10^{-17} \text{s} = 10^{22}&lt;/math&gt; floating-point operations)

In studying Figure 1.4 below, take some time to come up with similar questions that interest you and then try answering them. Doing this can breathe some life into almost any table of numbers.

[[File:Orders of Magnitude.webp|center|'''Figure 1.4''' This table shows the orders of magnitude of length, mass, and time.]]

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      <text bytes="20037" sha1="paptuvwyospigdvr0j9qvcz6lovn403" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m) that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers (1 &amp;micro;m is 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m) to as much as 2 mm (1 mm is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m) in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located 300 million light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as 8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;. Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as 4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;, so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is 2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m, whereas the diameter of the Sun is on the order of 10&lt;sup&gt;9&lt;/sup&gt; m, so it would take roughly &lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of 1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m for a hydrogen atom diameter and 1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m for the Sun’s diameter, to find that it would take 1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.

=== Known ranges of length, mass, and time ===
The vastness of the universe and the breadth over which physics applies are illustrated by the wide range of examples of known lengths, masses, and times (given as orders of magnitude) in Figure 1.4 below. Examining this table will give you a feeling for the range of possible topics in physics and numerical values. A good way to appreciate the vastness of the ranges of values in Figure 1.4 is to try to answer some simple comparative questions, such as the following:
* How many hydrogen atoms does it take to stretch across the diameter of the Sun?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{9} \text{m}/ 10^{-10} \text{m} = 10^{19}&lt;/math&gt; hydrogen atoms)
* How many protons are there in a bacterium?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{-15} \text{kg} / 10^{-27} \text{kg} = 10^{12}&lt;/math&gt; protons)
* How many floating-point operations can a supercomputer do in 1 day?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{5} \text{s} / 10^{-17} \text{s} = 10^{22}&lt;/math&gt; floating-point operations)

In studying Figure 1.4 below, take some time to come up with similar questions that interest you and then try answering them. Doing this can breathe some life into almost any table of numbers.

[[File:Orders of Magnitude.webp|frame|center|'''Figure 1.4''' This table shows the orders of magnitude of length, mass, and time.]]

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== Building Models ==
How did we come to know the laws governing natural phenomena? What we refer to as the laws of nature are concise descriptions of the universe around us. They are human statements of the underlying laws or rules that all natural processes follow. Such laws are intrinsic to the universe; humans did not create them and cannot change them. We can only discover and understand them. Their discovery is a very human endeavor, with all the elements of mystery, imagination, struggle, triumph, and disappointment inherent in any creative effort (see Figure 1.5). The cornerstone of discovering natural laws is observation; scientists must describe the universe as it is, not as we imagine it to be.

[[File:Fermi and Curie.webp|frame|center|'''Figure 1.5''' (a) Enrico Fermi (1901–1954) was born in Italy. On accepting the Nobel Prize in Stockholm in 1938 for his work on artificial radioactivity produced by neutrons, he took his family to America rather than return home to the government in power at the time. He became an American citizen and was a leading participant in the Manhattan Project. (b) Marie Curie (1867–1934) sacrificed monetary assets to help finance her early research and damaged her physical well-being with radiation exposure. She is the only person to win Nobel prizes in both physics and chemistry. One of her daughters also won a Nobel Prize. (credit a: modification of work by United States Department of Energy)]]

A '''model''' is a representation of something that is often too difficult (or impossible) to display directly. Although a model is justified by experimental tests, it is only accurate in describing certain aspects of a physical system. An example is the Bohr model of single-electron atoms, in which the electron is pictured as orbiting the nucleus, analogous to the way planets orbit the Sun (see Figure 1.6). We cannot observe electron orbits directly, but the mental image helps explain some of the observations we can make, such as the emission of light from hot gases (atomic spectra). However, other observations show that the picture in the Bohr model is not really what atoms look like. The model is “wrong,” but is still useful for some purposes. Physicists use models for a variety of purposes. For example, models can help physicists analyze a scenario and perform a calculation or models can be used to represent a situation in the form of a computer simulation. Ultimately, however, the results of these calculations and simulations need to be double-checked by other means—namely, observation and experimentation.</text>
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      <text bytes="24052" sha1="ctpm7myogqi709gvha23dfzamxcss6e" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationshipfs among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles (1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi) from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m) that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers (1 &amp;micro;m is 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m) to as much as 2 mm (1 mm is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m) in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located 300 million light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as 8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;. Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as 4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;, so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is 2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m, whereas the diameter of the Sun is on the order of 10&lt;sup&gt;9&lt;/sup&gt; m, so it would take roughly &lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of 1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m for a hydrogen atom diameter and 1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m for the Sun’s diameter, to find that it would take 1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.

=== Known ranges of length, mass, and time ===
The vastness of the universe and the breadth over which physics applies are illustrated by the wide range of examples of known lengths, masses, and times (given as orders of magnitude) in Figure 1.4 below. Examining this table will give you a feeling for the range of possible topics in physics and numerical values. A good way to appreciate the vastness of the ranges of values in Figure 1.4 is to try to answer some simple comparative questions, such as the following:
* How many hydrogen atoms does it take to stretch across the diameter of the Sun?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{9} \text{m}/ 10^{-10} \text{m} = 10^{19}&lt;/math&gt; hydrogen atoms)
* How many protons are there in a bacterium?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{-15} \text{kg} / 10^{-27} \text{kg} = 10^{12}&lt;/math&gt; protons)
* How many floating-point operations can a supercomputer do in 1 day?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{5} \text{s} / 10^{-17} \text{s} = 10^{22}&lt;/math&gt; floating-point operations)

In studying Figure 1.4 below, take some time to come up with similar questions that interest you and then try answering them. Doing this can breathe some life into almost any table of numbers.

[[File:Orders of Magnitude.webp|frame|center|'''Figure 1.4''' This table shows the orders of magnitude of length, mass, and time.]]

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== Building Models ==
How did we come to know the laws governing natural phenomena? What we refer to as the laws of nature are concise descriptions of the universe around us. They are human statements of the underlying laws or rules that all natural processes follow. Such laws are intrinsic to the universe; humans did not create them and cannot change them. We can only discover and understand them. Their discovery is a very human endeavor, with all the elements of mystery, imagination, struggle, triumph, and disappointment inherent in any creative effort (see Figure 1.5). The cornerstone of discovering natural laws is observation; scientists must describe the universe as it is, not as we imagine it to be.

[[File:Fermi and Curie.webp|frame|center|'''Figure 1.5''' (a) Enrico Fermi (1901–1954) was born in Italy. On accepting the Nobel Prize in Stockholm in 1938 for his work on artificial radioactivity produced by neutrons, he took his family to America rather than return home to the government in power at the time. He became an American citizen and was a leading participant in the Manhattan Project. (b) Marie Curie (1867–1934) sacrificed monetary assets to help finance her early research and damaged her physical well-being with radiation exposure. She is the only person to win Nobel prizes in both physics and chemistry. One of her daughters also won a Nobel Prize. (credit a: modification of work by United States Department of Energy)]]

A '''model''' is a representation of something that is often too difficult (or impossible) to display directly. Although a model is justified by experimental tests, it is only accurate in describing certain aspects of a physical system. An example is the Bohr model of single-electron atoms, in which the electron is pictured as orbiting the nucleus, analogous to the way planets orbit the Sun (see Figure 1.6). We cannot observe electron orbits directly, but the mental image helps explain some of the observations we can make, such as the emission of light from hot gases (atomic spectra). However, other observations show that the picture in the Bohr model is not really what atoms look like. The model is “wrong,” but is still useful for some purposes. Physicists use models for a variety of purposes. For example, models can help physicists analyze a scenario and perform a calculation or models can be used to represent a situation in the form of a computer simulation. Ultimately, however, the results of these calculations and simulations need to be double-checked by other means—namely, observation and experimentation.

[[File:Bohr model.webp|frame|center|'''Figure 1.6''' What is a model? The Bohr model of a single-electron atom shows the electron orbiting the nucleus in one of several possible circular orbits. Like all models, it captures some, but not all, aspects of the physical system.]]

The word ''theory'' means something different to scientists than what is often meant when the word is used in everyday conversation. In particular, to a scientist a theory is not the same as a “guess” or an “idea” or even a “hypothesis.” The phrase “it’s just a theory” seems meaningless and silly to scientists because science is founded on the notion of theories. To a scientist, a '''theory''' is a testable explanation for patterns in nature supported by scientific evidence and verified multiple times by various groups of researchers. Some theories include models to help visualize phenomena whereas others do not. Newton’s theory of gravity, for example, does not require a model or mental image, because we can observe the objects directly with our own senses. Although models are meant only to describe certain aspects of a physical system accurately, a theory should describe all aspects of any system that falls within its domain of applicability. In particular, any experimentally testable implication of a theory should be verified. If an experiment ever shows an implication of a theory to be false, then the theory is either thrown out or modified suitably (for example, by limiting its domain of applicability).

A '''law''' uses concise language to describe a generalized pattern in nature supported by scientific evidence and repeated experiments. Often, a law can be expressed in the form of a single mathematical equation. Laws and theories are similar in that they are both scientific statements that result from a tested hypothesis and are supported by scientific evidence. However, the designation ''law'' is usually reserved for a concise and very general statement that describes phenomena in nature, such as the law that energy is conserved during any process, or Newton’s second law of motion, which relates force (''F''), mass (''m''), and acceleration (''a'') by the simple equation &lt;math display=&quot;inline&quot;&gt;F = ma&lt;/math&gt;. A theory, in contrast, is a less concise statement of observed behavior. For example, the theory of evolution and the theory of relativity cannot be expressed concisely enough to be considered laws. The biggest difference between a law and a theory is that a theory is much more complex and dynamic. A law describes a single action whereas a theory explains an entire group of related phenomena. Less broadly applicable statements are usually called principles (such as Pascal’s principle, which is applicable only in fluids), but the distinction between laws and principles often is not made carefully.

The models, theories, and laws we devise sometimes imply the existence of objects or phenomena that are as yet unobserved. These predictions are remarkable triumphs and tributes to the power of science. It is the underlying order in the universe that enables scientists to make such spectacular predictions. However, if experimentation does not verify our predictions, then the theory or law is wrong, no matter how elegant or convenient it is. Laws can never be known with absolute certainty because it is impossible to perform every imaginable experiment to confirm a law for every possible scenario. Physicists operate under the assumption that all scientific laws and theories are valid until a counterexample is observed. If a good-quality, verifiable experiment contradicts a well-established law or theory, then the law or theory must be modified or overthrown completely.

The study of science in general, and physics in particular, is an adventure much like the exploration of an uncharted ocean. Discoveries are made; models, theories, and laws are formulated; and the beauty of the physical universe is made more sublime for the insights gained.</text>
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      <text bytes="24697" sha1="oh680rd7q5xdxuo4ptaydo3vznog0l0" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationships among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles &lt;span style=&quot;white-space: pre&quot;&gt;(1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi)&lt;/span&gt; from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m)&lt;/span&gt; that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers &lt;span style=&quot;white-space: pre&quot;&gt;(1 &amp;micro;m&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m)&lt;/span&gt; to as much as &lt;span style=&quot;white-space: pre&quot;&gt;2 mm&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;(1 mm&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m)&lt;/span&gt; in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located &lt;span style=&quot;white-space: pre&quot;&gt;300 million&lt;/span&gt; light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as &lt;span style=&quot;white-space: pre&quot;&gt;8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;.&lt;/span&gt; Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as &lt;span style=&quot;white-space: pre&quot;&gt;4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;,&lt;/span&gt; so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is &lt;span style=&quot;white-space: pre&quot;&gt;2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;&lt;/span&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m,&lt;/span&gt; whereas the diameter of the Sun is on the order of &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;9&lt;/sup&gt; m,&lt;/span&gt; so it would take roughly &lt;span style=&quot;white-space: pre&quot;&gt;&lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen&lt;/span&gt; atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of &lt;span style=&quot;white-space: pre&quot;&gt;1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m&lt;/span&gt; for a hydrogen atom diameter and &lt;span style=&quot;white-space: pre&quot;&gt;1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m&lt;/span&gt; for the Sun’s diameter, to find that it would take &lt;span style=&quot;white-space: pre&quot;&gt;1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen&lt;/span&gt; atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.

=== Known ranges of length, mass, and time ===
The vastness of the universe and the breadth over which physics applies are illustrated by the wide range of examples of known lengths, masses, and times (given as orders of magnitude) in Figure 1.4 below. Examining this table will give you a feeling for the range of possible topics in physics and numerical values. A good way to appreciate the vastness of the ranges of values in Figure 1.4 is to try to answer some simple comparative questions, such as the following:
* How many hydrogen atoms does it take to stretch across the diameter of the Sun?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{9} \text{m}/ 10^{-10} \text{m} = 10^{19}&lt;/math&gt; hydrogen atoms)
* How many protons are there in a bacterium?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{-15} \text{kg} / 10^{-27} \text{kg} = 10^{12}&lt;/math&gt; protons)
* How many floating-point operations can a supercomputer do in 1 day?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{5} \text{s} / 10^{-17} \text{s} = 10^{22}&lt;/math&gt; floating-point operations)

In studying Figure 1.4 below, take some time to come up with similar questions that interest you and then try answering them. Doing this can breathe some life into almost any table of numbers.

[[File:Orders of Magnitude.webp|frame|center|'''Figure 1.4''' This table shows the orders of magnitude of length, mass, and time.]]

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'''INTERACTIVE'''
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Visit [this site] to explore interactively the vast range of length scales in our universe. Scroll down and up the scale to view hundreds of organisms and objects, and click on the individual objects to learn more about each one.
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== Building Models ==
How did we come to know the laws governing natural phenomena? What we refer to as the laws of nature are concise descriptions of the universe around us. They are human statements of the underlying laws or rules that all natural processes follow. Such laws are intrinsic to the universe; humans did not create them and cannot change them. We can only discover and understand them. Their discovery is a very human endeavor, with all the elements of mystery, imagination, struggle, triumph, and disappointment inherent in any creative effort (see Figure 1.5). The cornerstone of discovering natural laws is observation; scientists must describe the universe as it is, not as we imagine it to be.

[[File:Fermi and Curie.webp|frame|center|'''Figure 1.5''' (a) Enrico Fermi (1901–1954) was born in Italy. On accepting the Nobel Prize in Stockholm in 1938 for his work on artificial radioactivity produced by neutrons, he took his family to America rather than return home to the government in power at the time. He became an American citizen and was a leading participant in the Manhattan Project. (b) Marie Curie (1867–1934) sacrificed monetary assets to help finance her early research and damaged her physical well-being with radiation exposure. She is the only person to win Nobel prizes in both physics and chemistry. One of her daughters also won a Nobel Prize. (credit a: modification of work by United States Department of Energy)]]

A '''model''' is a representation of something that is often too difficult (or impossible) to display directly. Although a model is justified by experimental tests, it is only accurate in describing certain aspects of a physical system. An example is the Bohr model of single-electron atoms, in which the electron is pictured as orbiting the nucleus, analogous to the way planets orbit the Sun (see Figure 1.6). We cannot observe electron orbits directly, but the mental image helps explain some of the observations we can make, such as the emission of light from hot gases (atomic spectra). However, other observations show that the picture in the Bohr model is not really what atoms look like. The model is “wrong,” but is still useful for some purposes. Physicists use models for a variety of purposes. For example, models can help physicists analyze a scenario and perform a calculation or models can be used to represent a situation in the form of a computer simulation. Ultimately, however, the results of these calculations and simulations need to be double-checked by other means—namely, observation and experimentation.

[[File:Bohr model.webp|frame|center|'''Figure 1.6''' What is a model? The Bohr model of a single-electron atom shows the electron orbiting the nucleus in one of several possible circular orbits. Like all models, it captures some, but not all, aspects of the physical system.]]

The word ''theory'' means something different to scientists than what is often meant when the word is used in everyday conversation. In particular, to a scientist a theory is not the same as a “guess” or an “idea” or even a “hypothesis.” The phrase “it’s just a theory” seems meaningless and silly to scientists because science is founded on the notion of theories. To a scientist, a '''theory''' is a testable explanation for patterns in nature supported by scientific evidence and verified multiple times by various groups of researchers. Some theories include models to help visualize phenomena whereas others do not. Newton’s theory of gravity, for example, does not require a model or mental image, because we can observe the objects directly with our own senses. Although models are meant only to describe certain aspects of a physical system accurately, a theory should describe all aspects of any system that falls within its domain of applicability. In particular, any experimentally testable implication of a theory should be verified. If an experiment ever shows an implication of a theory to be false, then the theory is either thrown out or modified suitably (for example, by limiting its domain of applicability).

A '''law''' uses concise language to describe a generalized pattern in nature supported by scientific evidence and repeated experiments. Often, a law can be expressed in the form of a single mathematical equation. Laws and theories are similar in that they are both scientific statements that result from a tested hypothesis and are supported by scientific evidence. However, the designation ''law'' is usually reserved for a concise and very general statement that describes phenomena in nature, such as the law that energy is conserved during any process, or Newton’s second law of motion, which relates force (''F''), mass (''m''), and acceleration (''a'') by the simple equation &lt;math display=&quot;inline&quot;&gt;F = ma&lt;/math&gt;. A theory, in contrast, is a less concise statement of observed behavior. For example, the theory of evolution and the theory of relativity cannot be expressed concisely enough to be considered laws. The biggest difference between a law and a theory is that a theory is much more complex and dynamic. A law describes a single action whereas a theory explains an entire group of related phenomena. Less broadly applicable statements are usually called principles (such as Pascal’s principle, which is applicable only in fluids), but the distinction between laws and principles often is not made carefully.

The models, theories, and laws we devise sometimes imply the existence of objects or phenomena that are as yet unobserved. These predictions are remarkable triumphs and tributes to the power of science. It is the underlying order in the universe that enables scientists to make such spectacular predictions. However, if experimentation does not verify our predictions, then the theory or law is wrong, no matter how elegant or convenient it is. Laws can never be known with absolute certainty because it is impossible to perform every imaginable experiment to confirm a law for every possible scenario. Physicists operate under the assumption that all scientific laws and theories are valid until a counterexample is observed. If a good-quality, verifiable experiment contradicts a well-established law or theory, then the law or theory must be modified or overthrown completely.

The study of science in general, and physics in particular, is an adventure much like the exploration of an uncharted ocean. Discoveries are made; models, theories, and laws are formulated; and the beauty of the physical universe is made more sublime for the insights gained.</text>
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      <text bytes="24703" sha1="gxlfnxw2fdruoqplrg0qibjlp3nek0b" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationships among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles &lt;span style=&quot;white-space: pre&quot;&gt;(1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi)&lt;/span&gt; from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m)&lt;/span&gt; that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers &lt;span style=&quot;white-space: pre&quot;&gt;(1 &amp;micro;m&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m)&lt;/span&gt; to as much as &lt;span style=&quot;white-space: pre&quot;&gt;2 mm&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;(1 mm&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m)&lt;/span&gt; in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located &lt;span style=&quot;white-space: pre&quot;&gt;300 million&lt;/span&gt; light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as &lt;span style=&quot;white-space: pre&quot;&gt;8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;.&lt;/span&gt; Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as &lt;span style=&quot;white-space: pre&quot;&gt;4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;,&lt;/span&gt; so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is &lt;span style=&quot;white-space: pre&quot;&gt;2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;&lt;/span&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m,&lt;/span&gt; whereas the diameter of the Sun is on the order of &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;9&lt;/sup&gt; m,&lt;/span&gt; so it would take roughly &lt;span style=&quot;white-space: pre&quot;&gt;&lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen&lt;/span&gt; atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of &lt;span style=&quot;white-space: pre&quot;&gt;1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m&lt;/span&gt; for a hydrogen atom diameter and &lt;span style=&quot;white-space: pre&quot;&gt;1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m&lt;/span&gt; for the Sun’s diameter, to find that it would take &lt;span style=&quot;white-space: pre&quot;&gt;1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen&lt;/span&gt; atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.

=== Known ranges of length, mass, and time ===
The vastness of the universe and the breadth over which physics applies are illustrated by the wide range of examples of known lengths, masses, and times (given as orders of magnitude) in Figure 1.4 below. Examining this table will give you a feeling for the range of possible topics in physics and numerical values. A good way to appreciate the vastness of the ranges of values in Figure 1.4 is to try to answer some simple comparative questions, such as the following:
* How many hydrogen atoms does it take to stretch across the diameter of the Sun?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{9} \text{ m}/ 10^{-10} \text{ m} = 10^{19}&lt;/math&gt; hydrogen atoms)
* How many protons are there in a bacterium?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{-15} \text{ kg} / 10^{-27} \text{ kg} = 10^{12}&lt;/math&gt; protons)
* How many floating-point operations can a supercomputer do in 1 day?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{5} \text{ s} / 10^{-17} \text{ s} = 10^{22}&lt;/math&gt; floating-point operations)

In studying Figure 1.4 below, take some time to come up with similar questions that interest you and then try answering them. Doing this can breathe some life into almost any table of numbers.

[[File:Orders of Magnitude.webp|frame|center|'''Figure 1.4''' This table shows the orders of magnitude of length, mass, and time.]]

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'''INTERACTIVE'''
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Visit [this site] to explore interactively the vast range of length scales in our universe. Scroll down and up the scale to view hundreds of organisms and objects, and click on the individual objects to learn more about each one.
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== Building Models ==
How did we come to know the laws governing natural phenomena? What we refer to as the laws of nature are concise descriptions of the universe around us. They are human statements of the underlying laws or rules that all natural processes follow. Such laws are intrinsic to the universe; humans did not create them and cannot change them. We can only discover and understand them. Their discovery is a very human endeavor, with all the elements of mystery, imagination, struggle, triumph, and disappointment inherent in any creative effort (see Figure 1.5). The cornerstone of discovering natural laws is observation; scientists must describe the universe as it is, not as we imagine it to be.

[[File:Fermi and Curie.webp|frame|center|'''Figure 1.5''' (a) Enrico Fermi (1901–1954) was born in Italy. On accepting the Nobel Prize in Stockholm in 1938 for his work on artificial radioactivity produced by neutrons, he took his family to America rather than return home to the government in power at the time. He became an American citizen and was a leading participant in the Manhattan Project. (b) Marie Curie (1867–1934) sacrificed monetary assets to help finance her early research and damaged her physical well-being with radiation exposure. She is the only person to win Nobel prizes in both physics and chemistry. One of her daughters also won a Nobel Prize. (credit a: modification of work by United States Department of Energy)]]

A '''model''' is a representation of something that is often too difficult (or impossible) to display directly. Although a model is justified by experimental tests, it is only accurate in describing certain aspects of a physical system. An example is the Bohr model of single-electron atoms, in which the electron is pictured as orbiting the nucleus, analogous to the way planets orbit the Sun (see Figure 1.6). We cannot observe electron orbits directly, but the mental image helps explain some of the observations we can make, such as the emission of light from hot gases (atomic spectra). However, other observations show that the picture in the Bohr model is not really what atoms look like. The model is “wrong,” but is still useful for some purposes. Physicists use models for a variety of purposes. For example, models can help physicists analyze a scenario and perform a calculation or models can be used to represent a situation in the form of a computer simulation. Ultimately, however, the results of these calculations and simulations need to be double-checked by other means—namely, observation and experimentation.

[[File:Bohr model.webp|frame|center|'''Figure 1.6''' What is a model? The Bohr model of a single-electron atom shows the electron orbiting the nucleus in one of several possible circular orbits. Like all models, it captures some, but not all, aspects of the physical system.]]

The word ''theory'' means something different to scientists than what is often meant when the word is used in everyday conversation. In particular, to a scientist a theory is not the same as a “guess” or an “idea” or even a “hypothesis.” The phrase “it’s just a theory” seems meaningless and silly to scientists because science is founded on the notion of theories. To a scientist, a '''theory''' is a testable explanation for patterns in nature supported by scientific evidence and verified multiple times by various groups of researchers. Some theories include models to help visualize phenomena whereas others do not. Newton’s theory of gravity, for example, does not require a model or mental image, because we can observe the objects directly with our own senses. Although models are meant only to describe certain aspects of a physical system accurately, a theory should describe all aspects of any system that falls within its domain of applicability. In particular, any experimentally testable implication of a theory should be verified. If an experiment ever shows an implication of a theory to be false, then the theory is either thrown out or modified suitably (for example, by limiting its domain of applicability).

A '''law''' uses concise language to describe a generalized pattern in nature supported by scientific evidence and repeated experiments. Often, a law can be expressed in the form of a single mathematical equation. Laws and theories are similar in that they are both scientific statements that result from a tested hypothesis and are supported by scientific evidence. However, the designation ''law'' is usually reserved for a concise and very general statement that describes phenomena in nature, such as the law that energy is conserved during any process, or Newton’s second law of motion, which relates force (''F''), mass (''m''), and acceleration (''a'') by the simple equation &lt;math display=&quot;inline&quot;&gt;F = ma&lt;/math&gt;. A theory, in contrast, is a less concise statement of observed behavior. For example, the theory of evolution and the theory of relativity cannot be expressed concisely enough to be considered laws. The biggest difference between a law and a theory is that a theory is much more complex and dynamic. A law describes a single action whereas a theory explains an entire group of related phenomena. Less broadly applicable statements are usually called principles (such as Pascal’s principle, which is applicable only in fluids), but the distinction between laws and principles often is not made carefully.

The models, theories, and laws we devise sometimes imply the existence of objects or phenomena that are as yet unobserved. These predictions are remarkable triumphs and tributes to the power of science. It is the underlying order in the universe that enables scientists to make such spectacular predictions. However, if experimentation does not verify our predictions, then the theory or law is wrong, no matter how elegant or convenient it is. Laws can never be known with absolute certainty because it is impossible to perform every imaginable experiment to confirm a law for every possible scenario. Physicists operate under the assumption that all scientific laws and theories are valid until a counterexample is observed. If a good-quality, verifiable experiment contradicts a well-established law or theory, then the law or theory must be modified or overthrown completely.

The study of science in general, and physics in particular, is an adventure much like the exploration of an uncharted ocean. Discoveries are made; models, theories, and laws are formulated; and the beauty of the physical universe is made more sublime for the insights gained.</text>
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      <text bytes="24716" sha1="abv9q6ou234zm7mcxkradi4rgbi9poh" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe the scope of physics.
* Calculate the order of magnitude of a quantity.
* Compare measurable length, mass, and timescales quantitatively.
* Describe the relationships among models, theories, and laws.

Physics is devoted to the understanding of all natural phenomena. In physics, we try to understand physical phenomena at all scales—from the world of subatomic particles to the entire universe. Despite the breadth of the subject, the various subfields of physics share a common core. The same basic training in physics will prepare you to work in any area of physics and the related areas of science and engineering. In this section, we investigate the scope of physics; the scales of length, mass, and time over which the laws of physics have been shown to be applicable; and the process by which science in general, and physics in particular, operates.

== The Scope of Physics ==
Take another look at the chapter-opening image. The Whirlpool Galaxy contains billions of individual stars as well as huge clouds of gas and dust. Its companion galaxy is also visible to the right. This pair of galaxies lies a staggering billion trillion miles &lt;span style=&quot;white-space: pre&quot;&gt;(1.4 &amp;times; 10&lt;sup&gt;21&lt;/sup&gt; mi)&lt;/span&gt; from our own galaxy (which is called the ''Milky Way''). The stars and planets that make up the Whirlpool Galaxy might seem to be the furthest thing from most people’s everyday lives, but the Whirlpool is a great starting point to think about the forces that hold the universe together. The forces that cause the Whirlpool Galaxy to act as it does are thought to be the same forces we contend with here on Earth, whether we are planning to send a rocket into space or simply planning to raise the walls for a new home. The gravity that causes the stars of the Whirlpool Galaxy to rotate and revolve is thought to be the same as what causes water to flow over hydroelectric dams here on Earth. When you look up at the stars, realize the forces out there are the same as the ones here on Earth. Through a study of physics, you may gain a greater understanding of the interconnectedness of everything we can see and know in this universe.

Humans have created and manufactured millions of different objects. Successive technological periods (often referred to as the Stone Age, the Bronze Age, the Iron Age, and so on) are marked by knowledge of the physical properties of certain materials and the ability to manipulate them. This knowledge all stems from physics, whether it's the way a rock would flake when constructing a spear point, the effect of integrating carbon with iron in South Indian and Sri Lankan furnaces to create the earliest high-quality steel, or the proper way to combine perfectly ground and polished pieces of glass to create optical instruments. Our current technological age, the Information Age, can be traced to critical innovations made by people from all backgrounds working together. Mohamed M. Atalla and Dawon Kahng, for example, invented the MOSFET (metal-oxide-semiconductor field-effect transistor). Although unknown to most people, this tiny device, created in 1959 by an Egyptian-born scientist and a Korean-born scientist working in a lab in New Jersey (U.S.), is the basis for modern electronics. More MOSFETs have been produced than any other object in human history. They are used in computers, smartphones, microwave ovens, automotive controls, medical instruments, and nearly every other electronic device.

Next, think about the most exciting modern technologies that you have heard about in the news, such as trains that levitate above tracks, “invisibility cloaks” that bend light around them, and microscopic robots that fight cancer cells in our bodies. All these groundbreaking advances, commonplace or unbelievable, rely on the principles of physics. Aside from playing a significant role in technology, professionals such as engineers, pilots, physicians, physical therapists, electricians, and computer programmers apply physics concepts in their daily work. For example, a pilot must understand how wind forces affect a flight path; a physical therapist must understand how the muscles in the body experience forces as they move and bend. As you will learn in this text, the principles of physics are propelling new, exciting technologies, and these principles are applied in a wide range of careers.

The underlying order of nature makes science in general, and physics in particular, interesting and enjoyable to study. For example, what do a bag of chips and a car battery have in common? Both contain energy that can be converted to other forms. The law of conservation of energy (which says that energy can change form but is never lost) ties together such topics as food calories, batteries, heat, light, and watch springs. Understanding this law makes it easier to learn about the various forms energy takes and how they relate to one another. Apparently unrelated topics are connected through broadly applicable physical laws, permitting an understanding beyond just the memorization of lists of facts.

Science consists of theories and laws that are the general truths of nature, as well as the body of knowledge they encompass. Scientists are continuously trying to expand this body of knowledge and to perfect the expression of the laws that describe it. '''Physics''', which comes from the Greek ''phúsis'', meaning “nature,” is concerned with describing the interactions of energy, matter, space, and time to uncover the fundamental mechanisms that underlie every phenomenon. This concern for describing the basic phenomena in nature essentially defines the ''scope of physics''.

Physics aims to understand the world around us at the most basic level. It emphasizes the use of a small number of quantitative laws to do this, which can be useful to other fields pushing the performance boundaries of existing technologies. Consider a smartphone (see Figure 1.2). Physics describes how electricity interacts with the various circuits inside the device. This knowledge helps engineers select the appropriate materials and circuit layout when building a smartphone. Knowledge of the physics underlying these devices is required to shrink their size or increase their processing speed. Or, think about a GPS. Physics describes the relationship between the speed of an object, the distance over which it travels, and the time it takes to travel that distance. GPS relies on precise calculations that account for variations in the Earth's landscapes, the exact distance between orbiting satellites, and even the effect of a complex occurrence of time dilation. Most of these calculations are founded on algorithms developed by Gladys West, a mathematician and computer scientist who programmed the first computers capable of highly accurate remote sensing and positioning. When you use a GPS device, it utilizes these algorithms to recognize where you are and how your position relates to other objects on Earth.

[[File:Apple iPhone.webp|thumb|center|'''Figure 1.2''' The Apple iPhone is a common smartphone with a GPS function. Physics describes the way that electricity flows through the circuits of this device. Engineers use their knowledge of physics to construct an iPhone with features that consumers will enjoy. One specific feature of an iPhone is the GPS function. A GPS uses physics equations to determine the drive time between two locations on a map. (credit: Jane Whitney)]]

Knowledge of physics is useful in everyday situations as well as in nonscientific professions. It can help you understand how microwave ovens work, why metals should not be put into them, and why they might affect pacemakers. Physics allows you to understand the hazards of radiation and to evaluate these hazards rationally and more easily. Physics also explains the reason why a black car radiator helps remove heat in a car engine, and it explains why a white roof helps keep the inside of a house cool. Similarly, the operation of a car’s ignition system as well as the transmission of electrical signals throughout our body’s nervous system are much easier to understand when you think about them in terms of basic physics.

Physics is a key element of many important disciplines and contributes directly to others. Chemistry, for example—since it deals with the interactions of atoms and molecules—has close ties to atomic and molecular physics. Most branches of engineering are concerned with designing new technologies, processes, or structures within the constraints set by the laws of physics. In architecture, physics is at the heart of structural stability and is involved in the acoustics, heating, lighting, and cooling of buildings. Parts of geology rely heavily on physics, such as radioactive dating of rocks, earthquake analysis, and heat transfer within Earth. Some disciplines, such as biophysics and geophysics, are hybrids of physics and other disciplines.

Physics has many applications in the biological sciences. On the microscopic level, it helps describe the properties of cells and their environments. On the macroscopic level, it explains the heat, work, and power associated with the human body and its various organ systems. Physics is involved in medical diagnostics, such as radiographs, magnetic resonance imaging, and ultrasonic blood flow measurements. Medical therapy sometimes involves physics directly; for example, cancer radiotherapy uses ionizing radiation. Physics also explains sensory phenomena, such as how musical instruments make sound, how the eye detects color, and how lasers transmit information.

It is not necessary to study all applications of physics formally. What is most useful is knowing the basic laws of physics and developing skills in the analytical methods for applying them. The study of physics also can improve your problem-solving skills. Furthermore, physics retains the most basic aspects of science, so it is used by all the sciences, and the study of physics makes other sciences easier to understand.

== The Scale of Physics ==
From the discussion so far, it should be clear that to accomplish your goals in any of the various fields within the natural sciences and engineering, a thorough grounding in the laws of physics is necessary. The reason for this is simply that the laws of physics govern everything in the observable universe at all measurable scales of length, mass, and time. Now, that is easy enough to say, but to come to grips with what it really means, we need to get a little bit quantitative. So, before surveying the various scales that physics allows us to explore, let’s first look at the concept of “order of magnitude,” which we use to come to terms with the vast ranges of length, mass, and time that we consider in this text (see Figure 1.3).

[[File:OSUPhys Figure 1.3.webp|frame|center|'''Figure 1.3''' (a) Using a scanning tunneling microscope, scientists can see the individual atoms (diameters around &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m)&lt;/span&gt; that compose this sheet of gold. (b) Tiny phytoplankton swim among crystals of ice in the Antarctic Sea. They range from a few micrometers &lt;span style=&quot;white-space: pre&quot;&gt;(1 &amp;micro;m&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;6&lt;/sup&gt; m)&lt;/span&gt; to as much as &lt;span style=&quot;white-space: pre&quot;&gt;2 mm&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;(1 mm&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt; m)&lt;/span&gt; in length. (c) These two colliding galaxies, known as NGC 4676A (right) and NGC 4676B (left), are nicknamed “The Mice” because of the tail of gas emanating from each one. They are located &lt;span style=&quot;white-space: pre&quot;&gt;300 million&lt;/span&gt; light-years from Earth in the constellation Coma Berenices. Eventually, these two galaxies will merge into one. (credit a: modification of work by &quot;Erwinrossen&quot;/Wikimedia Commons; credit b: modification of work by Prof. Gordon T. Taylor, Stony Brook University; NOAA Corps Collections; credit c: modification of work by NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M. Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA)]]

=== Order of magnitude ===
The '''order of magnitude''' of a number is the power of 10 that most closely approximates it. Thus, the order of magnitude refers to the scale (or size) of a value. Each power of 10 represents a different order of magnitude. For example, 10&lt;sup&gt;1&lt;/sup&gt;, 10&lt;sup&gt;2&lt;/sup&gt;, 10&lt;sup&gt;3&lt;/sup&gt;, and so forth, are all different orders of magnitude, as are &lt;math display=&quot;inline&quot;&gt;10^{0} = 1&lt;/math&gt;, 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;, 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;, and 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;. To find the order of magnitude of a number, take the base-10 logarithm of the number and round it to the nearest integer, then the order of magnitude of the number is simply the resulting power of 10. For example, the order of magnitude of 800 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 800 \approx 2.903&lt;/math&gt;, which rounds to 3. Similarly, the order of magnitude of 450 is 10&lt;sup&gt;3&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 450 \approx 2.563&lt;/math&gt;, which rounds to 3 as well. Thus, we say the numbers 800 and 450 are of the same order of magnitude: 10&lt;sup&gt;3&lt;/sup&gt;. However, the order of magnitude of 250 is 10&lt;sup&gt;2&lt;/sup&gt; because &lt;math display=&quot;inline&quot;&gt;\log_{10} 250 \approx 2.397&lt;/math&gt;, which rounds to 2.

An equivalent but quicker way to find the order of magnitude of a number is first to write it in scientific notation and then check to see whether the first factor is greater than or less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5} \approx 3&lt;/math&gt;. The idea is that &lt;math display=&quot;inline&quot;&gt;\sqrt{10} = 10^{0.5}&lt;/math&gt; is halfway between &lt;math display=&quot;inline&quot;&gt;1 = 10^{0}&lt;/math&gt; and &lt;math display=&quot;inline&quot;&gt;10 = 10^{1}&lt;/math&gt; on a log base-10 scale. Thus, if the first factor is less than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it down to 1 and the order of magnitude is simply whatever power of 10 is required to write the number in scientific notation. On the other hand, if the first factor is greater than &lt;math display=&quot;inline&quot;&gt;\sqrt{10}&lt;/math&gt;, then we round it up to 10 and the order of magnitude is one power of 10 higher than the power needed to write the number in scientific notation. For example, the number 800 can be written in scientific notation as &lt;span style=&quot;white-space: pre&quot;&gt;8 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;.&lt;/span&gt; Because 8 is bigger than &lt;math display=&quot;inline&quot;&gt;\sqrt{10} \approx 3&lt;/math&gt;, we say the order of magnitude of 800 is &lt;math display=&quot;inline&quot;&gt;10^{2+1} = 10^{3}&lt;/math&gt;. The number 450 can be written as &lt;span style=&quot;white-space: pre&quot;&gt;4.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;,&lt;/span&gt; so its order of magnitude is also 10&lt;sup&gt;3&lt;/sup&gt; because 4.5 is greater than 3. However, 250 written in scientific notation is &lt;span style=&quot;white-space: pre&quot;&gt;2.5 &amp;times; 10&lt;sup&gt;2&lt;/sup&gt;&lt;/span&gt; and 2.5 is less than 3, so its order of magnitude is 10&lt;sup&gt;2&lt;/sup&gt;.

The order of magnitude of a number is designed to be a ballpark estimate for the scale (or size) of its value. It is simply a way of rounding numbers consistently to the nearest (on a logarithmic scale) power of 10. In other words, if numbers differ by one order of magnitude, the one is larger than the other by a multiplicative factor of about ten. This makes doing rough mental math with very big and very small numbers easier. For example, the diameter of a hydrogen atom is on the order of &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m,&lt;/span&gt; whereas the diameter of the Sun is on the order of &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;9&lt;/sup&gt; m,&lt;/span&gt; so it would take roughly &lt;span style=&quot;white-space: pre&quot;&gt;&lt;math display=&quot;inline&quot;&gt;10^{9} / 10^{-10} = 10^{19}&lt;/math&gt; hydrogen&lt;/span&gt; atoms to stretch across the diameter of the Sun. This is much easier to do in your head than using the more precise values of &lt;span style=&quot;white-space: pre&quot;&gt;1.06 &amp;times; 10&lt;sup&gt;&amp;minus;10&lt;/sup&gt; m&lt;/span&gt; for a hydrogen atom diameter and &lt;span style=&quot;white-space: pre&quot;&gt;1.39 &amp;times; 10&lt;sup&gt;9&lt;/sup&gt; m&lt;/span&gt; for the Sun’s diameter, to find that it would take &lt;span style=&quot;white-space: pre&quot;&gt;1.31 &amp;times; 10&lt;sup&gt;19&lt;/sup&gt; hydrogen&lt;/span&gt; atoms to stretch across the Sun’s diameter. In addition to being easier, the rough estimate is also nearly as informative as the precise calculation.

=== Known ranges of length, mass, and time ===
The vastness of the universe and the breadth over which physics applies are illustrated by the wide range of examples of known lengths, masses, and times (given as orders of magnitude) in Figure 1.4 below. Examining this table will give you a feeling for the range of possible topics in physics and numerical values. A good way to appreciate the vastness of the ranges of values in Figure 1.4 is to try to answer some simple comparative questions, such as the following:
* How many hydrogen atoms does it take to stretch across the diameter of the Sun?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{9} \text{ m}/ 10^{-10} \text{ m} = 10^{19}&lt;/math&gt; hydrogen atoms)
* How many protons are there in a bacterium?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{-15} \text{ kg} / 10^{-27} \text{ kg} = 10^{12}&lt;/math&gt; protons)
* How many floating-point operations can a supercomputer do in 1 day?&lt;br /&gt;(Answer: &lt;math display=&quot;inline&quot;&gt;10^{5} \text{ s} / 10^{-17} \text{ s} = 10^{22}&lt;/math&gt; floating-point operations)

In studying Figure 1.4 below, take some time to come up with similar questions that interest you and then try answering them. Doing this can breathe some life into almost any table of numbers.

[[File:Orders of Magnitude.webp|frame|center|'''Figure 1.4''' This table shows the orders of magnitude of length, mass, and time.]]

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Visit [this site] to explore interactively the vast range of length scales in our universe. Scroll down and up the scale to view hundreds of organisms and objects, and click on the individual objects to learn more about each one.
| BG = #ededed
}}

== Building Models ==
How did we come to know the laws governing natural phenomena? What we refer to as the laws of nature are concise descriptions of the universe around us. They are human statements of the underlying laws or rules that all natural processes follow. Such laws are intrinsic to the universe; humans did not create them and cannot change them. We can only discover and understand them. Their discovery is a very human endeavor, with all the elements of mystery, imagination, struggle, triumph, and disappointment inherent in any creative effort (see Figure 1.5). The cornerstone of discovering natural laws is observation; scientists must describe the universe as it is, not as we imagine it to be.

[[File:Fermi and Curie.webp|frame|center|'''Figure 1.5''' (a) Enrico Fermi (1901–1954) was born in Italy. On accepting the Nobel Prize in Stockholm in 1938 for his work on artificial radioactivity produced by neutrons, he took his family to America rather than return home to the government in power at the time. He became an American citizen and was a leading participant in the Manhattan Project. (b) Marie Curie (1867–1934) sacrificed monetary assets to help finance her early research and damaged her physical well-being with radiation exposure. She is the only person to win Nobel prizes in both physics and chemistry. One of her daughters also won a Nobel Prize. (credit a: modification of work by United States Department of Energy)]]

A '''model''' is a representation of something that is often too difficult (or impossible) to display directly. Although a model is justified by experimental tests, it is only accurate in describing certain aspects of a physical system. An example is the Bohr model of single-electron atoms, in which the electron is pictured as orbiting the nucleus, analogous to the way planets orbit the Sun (see Figure 1.6). We cannot observe electron orbits directly, but the mental image helps explain some of the observations we can make, such as the emission of light from hot gases (atomic spectra). However, other observations show that the picture in the Bohr model is not really what atoms look like. The model is “wrong,” but is still useful for some purposes. Physicists use models for a variety of purposes. For example, models can help physicists analyze a scenario and perform a calculation or models can be used to represent a situation in the form of a computer simulation. Ultimately, however, the results of these calculations and simulations need to be double-checked by other means—namely, observation and experimentation.

[[File:Bohr model.webp|frame|center|'''Figure 1.6''' What is a model? The Bohr model of a single-electron atom shows the electron orbiting the nucleus in one of several possible circular orbits. Like all models, it captures some, but not all, aspects of the physical system.]]

The word ''theory'' means something different to scientists than what is often meant when the word is used in everyday conversation. In particular, to a scientist a theory is not the same as a “guess” or an “idea” or even a “hypothesis.” The phrase “it’s just a theory” seems meaningless and silly to scientists because science is founded on the notion of theories. To a scientist, a '''theory''' is a testable explanation for patterns in nature supported by scientific evidence and verified multiple times by various groups of researchers. Some theories include models to help visualize phenomena whereas others do not. Newton’s theory of gravity, for example, does not require a model or mental image, because we can observe the objects directly with our own senses. Although models are meant only to describe certain aspects of a physical system accurately, a theory should describe all aspects of any system that falls within its domain of applicability. In particular, any experimentally testable implication of a theory should be verified. If an experiment ever shows an implication of a theory to be false, then the theory is either thrown out or modified suitably (for example, by limiting its domain of applicability).

A '''law''' uses concise language to describe a generalized pattern in nature supported by scientific evidence and repeated experiments. Often, a law can be expressed in the form of a single mathematical equation. Laws and theories are similar in that they are both scientific statements that result from a tested hypothesis and are supported by scientific evidence. However, the designation ''law'' is usually reserved for a concise and very general statement that describes phenomena in nature, such as the law that energy is conserved during any process, or Newton’s second law of motion, which relates force (''F''), mass (''m''), and acceleration (''a'') by the simple equation &lt;math display=&quot;inline&quot;&gt;F = ma&lt;/math&gt;. A theory, in contrast, is a less concise statement of observed behavior. For example, the theory of evolution and the theory of relativity cannot be expressed concisely enough to be considered laws. The biggest difference between a law and a theory is that a theory is much more complex and dynamic. A law describes a single action whereas a theory explains an entire group of related phenomena. Less broadly applicable statements are usually called principles (such as Pascal’s principle, which is applicable only in fluids), but the distinction between laws and principles often is not made carefully.

The models, theories, and laws we devise sometimes imply the existence of objects or phenomena that are as yet unobserved. These predictions are remarkable triumphs and tributes to the power of science. It is the underlying order in the universe that enables scientists to make such spectacular predictions. However, if experimentation does not verify our predictions, then the theory or law is wrong, no matter how elegant or convenient it is. Laws can never be known with absolute certainty because it is impossible to perform every imaginable experiment to confirm a law for every possible scenario. Physicists operate under the assumption that all scientific laws and theories are valid until a counterexample is observed. If a good-quality, verifiable experiment contradicts a well-established law or theory, then the law or theory must be modified or overthrown completely.

The study of science in general, and physics in particular, is an adventure much like the exploration of an uncharted ocean. Discoveries are made; models, theories, and laws are formulated; and the beauty of the physical universe is made more sublime for the insights gained.

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      <comment>Created page with &quot;== Learning Objectives == By the end of this section, you will be able to: * Describe how SI base units are defined. * Describe how derived units are created from base units. * Express quantities given in SI units using metric prefixes.  As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of...&quot;</comment>
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      <text bytes="2102" sha1="c1lf8xnqi3p1a2h9bf1i3bs9mud1kno" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]</text>
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      <text bytes="3096" sha1="r7eilemgyp3nzbmd9s3lz80mvdeyepr" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.</text>
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      <text bytes="4862" sha1="12qlo2slfzsecgpg2v1hxwsgvtd1t7p" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}</text>
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      <text bytes="6345" sha1="hg8y2epof7yj9e5kr9x0howh39ygvvz" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.</text>
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      <text bytes="6813" sha1="cucowtw0i1hbubnvci312ynqybbxzmh" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.</text>
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    <revision>
      <id>4638144</id>
      <parentid>4638143</parentid>
      <timestamp>2026-05-31T01:31:32Z</timestamp>
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        <username>Rainmonger</username>
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      <text bytes="8493" sha1="by7z0h1glei1wav6jq89zegz1z3tq22" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly 30 feet tall. (credit: Steve Jurvetson)]]</text>
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      <id>4638145</id>
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      <text bytes="9562" sha1="gbu59v0ybsm4kmwphwa5y7s07p99mgz" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly 30 feet tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as 1,650,763.73 wavelengths of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly 299,792,458 m/s.

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]</text>
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      <id>4638146</id>
      <parentid>4638145</parentid>
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      <text bytes="10838" sha1="c4j5ovzofo60o2moebj9v6ms0pwm7m3" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly 30 feet tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as 1,650,763.73 wavelengths of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly 299,792,458 m/s.

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly 50 micrograms since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]</text>
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      <text bytes="11669" sha1="e0qn7sgjualkio2s9qtswpygxz6b6qf" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly 30 feet tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as 1,650,763.73 wavelengths of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly 299,792,458 m/s.

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly 50 micrograms since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).</text>
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      <text bytes="11895" sha1="gb8r4g1e5svopw87m2zp85s5rrrat1t" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly 30 feet tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as 1,650,763.73 wavelengths of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly 299,792,458 m/s.

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly 50 micrograms since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).</text>
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      <text bytes="12958" sha1="3an0s7enh4mhifh1xkq5owoor0ggd5n" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, 1 L is 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly 30 feet tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as 1,650,763.73 wavelengths of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly 299,792,458 m/s.

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly 50 micrograms since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).

{| class=&quot;wikitable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.2''' Metric Prefixes for Powers of 10 and Their Symbols
|-
! Prefix !! Symbol !! Meaning         !! Prefix !! Symbol  !! Meaning
|-
| yotta- || Y      || 10&lt;sup&gt;24&lt;/sup&gt; || yocto- || y       || 10&lt;sup&gt;&amp;minus;24&lt;/sup&gt;
|-
| zetta- || Z      || 10&lt;sup&gt;21&lt;/sup&gt; || zepto- || z       || 10&lt;sup&gt;&amp;minus;21&lt;/sup&gt;
|-
| exa-   || E      || 10&lt;sup&gt;18&lt;/sup&gt; || atto-  || a       || 10&lt;sup&gt;&amp;minus;18&lt;/sup&gt;
|-
| peta-  || P      || 10&lt;sup&gt;15&lt;/sup&gt; || femto- || f       || 10&lt;sup&gt;&amp;minus;15&lt;/sup&gt;
|-
| tera-  || T      || 10&lt;sup&gt;12&lt;/sup&gt; || pico-  || p       || 10&lt;sup&gt;&amp;minus;12&lt;/sup&gt;
|-
| giga-  || G      || 10&lt;sup&gt;9&lt;/sup&gt;  || nano-  || n       || 10&lt;sup&gt;&amp;minus;9&lt;/sup&gt;
|-
| mega-  || M      || 10&lt;sup&gt;6&lt;/sup&gt;  || micro- || &amp;micro; || 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt;
|-
| kilo-  || k      || 10&lt;sup&gt;3&lt;/sup&gt;  || milli- || m       || 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;
|-
| hecto- || h      || 10&lt;sup&gt;2&lt;/sup&gt;  || centi- || c       || 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;
|-
| deka-  || da     || 10&lt;sup&gt;1&lt;/sup&gt;  || deci-  || d       || 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;
|}</text>
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    <revision>
      <id>4638154</id>
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      <contributor>
        <username>Rainmonger</username>
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      <text bytes="15443" sha1="aa8qk6a51rrb6y1xpyr375y6hnjolu2" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, &lt;span style=&quot;white-space: pre&quot;&gt;1 L&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.&lt;/span&gt;

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly &lt;span style=&quot;white-space: pre&quot;&gt;30 feet&lt;/span&gt; tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as &lt;span style=&quot;white-space: pre&quot;&gt;1,650,763.73 wavelengths&lt;/span&gt; of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly &lt;span style=&quot;white-space: pre&quot;&gt;299,792,458 m/s.&lt;/span&gt;

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly &lt;span style=&quot;white-space: pre&quot;&gt;50 micrograms&lt;/span&gt; since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).

{| class=&quot;wikitable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.2''' Metric Prefixes for Powers of 10 and Their Symbols
|-
! Prefix !! Symbol !! Meaning         !! Prefix !! Symbol  !! Meaning
|-
| yotta- || Y      || 10&lt;sup&gt;24&lt;/sup&gt; || yocto- || y       || 10&lt;sup&gt;&amp;minus;24&lt;/sup&gt;
|-
| zetta- || Z      || 10&lt;sup&gt;21&lt;/sup&gt; || zepto- || z       || 10&lt;sup&gt;&amp;minus;21&lt;/sup&gt;
|-
| exa-   || E      || 10&lt;sup&gt;18&lt;/sup&gt; || atto-  || a       || 10&lt;sup&gt;&amp;minus;18&lt;/sup&gt;
|-
| peta-  || P      || 10&lt;sup&gt;15&lt;/sup&gt; || femto- || f       || 10&lt;sup&gt;&amp;minus;15&lt;/sup&gt;
|-
| tera-  || T      || 10&lt;sup&gt;12&lt;/sup&gt; || pico-  || p       || 10&lt;sup&gt;&amp;minus;12&lt;/sup&gt;
|-
| giga-  || G      || 10&lt;sup&gt;9&lt;/sup&gt;  || nano-  || n       || 10&lt;sup&gt;&amp;minus;9&lt;/sup&gt;
|-
| mega-  || M      || 10&lt;sup&gt;6&lt;/sup&gt;  || micro- || &amp;micro; || 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt;
|-
| kilo-  || k      || 10&lt;sup&gt;3&lt;/sup&gt;  || milli- || m       || 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;
|-
| hecto- || h      || 10&lt;sup&gt;2&lt;/sup&gt;  || centi- || c       || 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;
|-
| deka-  || da     || 10&lt;sup&gt;1&lt;/sup&gt;  || deci-  || d       || 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;
|}

The only rule when using metric prefixes is that you cannot “double them up.” For example, if you have measurements in petameters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Pm} = 10^{15} \text{ m}&lt;/math&gt;), it is not proper to talk about megagigameters, although &lt;math display=&quot;inline&quot;&gt;10^{6} \times 10^{9} = 10^{15}&lt;/math&gt;. In practice, the only time this becomes a bit confusing is when discussing masses. As we have seen, the base SI unit of mass is the kilogram (kg), but metric prefixes need to be applied to the gram (g), because we are not allowed to “double-up” prefixes. Thus, a thousand kilograms &lt;span style=&quot;white-space: pre&quot;&gt;(10&lt;sup&gt;3&lt;/sup&gt; kg)&lt;/span&gt; is written as a megagram &lt;span style=&quot;white-space: pre&quot;&gt;(1 Mg)&lt;/span&gt; since

&lt;math display=&quot;block&quot;&gt;10^{3} \text{ kg} = 10^{3} \times 10^{3} \text{ g} = 10^{6} \text{ g} = 1 \text{ Mg.}&lt;/math&gt;

Incidentally, 10&lt;sup&gt;3&lt;/sup&gt; kg is also called a ''metric ton'', abbreviated t. This is one of the units outside the SI system considered acceptable for use with SI units.

As we see in the next section, metric systems have the advantage that conversions of units involve only powers of 10. There are &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in&lt;span style=&quot;white-space: pre&quot;&gt;1 km,&lt;/span&gt; and so on. In nonmetric systems, such as the English system of units, the relationships are not as simple—there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;5,280 ft&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; and so on.

Another advantage of metric systems is that the same unit can be used over extremely large ranges of values simply by scaling it with an appropriate metric prefix. The prefix is chosen by the order of magnitude of physical quantities commonly found in the task at hand. For example, distances in meters are suitable in construction, whereas distances in kilometers are appropriate for air travel, and nanometers are convenient in optical design. With the metric system there is no need to invent new units for particular applications. Instead, we rescale the units with which we are already familiar.</text>
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      <text bytes="16140" sha1="nb5rccem0og3dfhnf6u5p6nzvg3lunv" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, &lt;span style=&quot;white-space: pre&quot;&gt;1 L&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.&lt;/span&gt;

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly &lt;span style=&quot;white-space: pre&quot;&gt;30 feet&lt;/span&gt; tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as &lt;span style=&quot;white-space: pre&quot;&gt;1,650,763.73 wavelengths&lt;/span&gt; of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly &lt;span style=&quot;white-space: pre&quot;&gt;299,792,458 m/s.&lt;/span&gt;

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly &lt;span style=&quot;white-space: pre&quot;&gt;50 micrograms&lt;/span&gt; since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).

{| class=&quot;wikitable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.2''' Metric Prefixes for Powers of 10 and Their Symbols
|-
! Prefix !! Symbol !! Meaning         !! Prefix !! Symbol  !! Meaning
|-
| yotta- || Y      || 10&lt;sup&gt;24&lt;/sup&gt; || yocto- || y       || 10&lt;sup&gt;&amp;minus;24&lt;/sup&gt;
|-
| zetta- || Z      || 10&lt;sup&gt;21&lt;/sup&gt; || zepto- || z       || 10&lt;sup&gt;&amp;minus;21&lt;/sup&gt;
|-
| exa-   || E      || 10&lt;sup&gt;18&lt;/sup&gt; || atto-  || a       || 10&lt;sup&gt;&amp;minus;18&lt;/sup&gt;
|-
| peta-  || P      || 10&lt;sup&gt;15&lt;/sup&gt; || femto- || f       || 10&lt;sup&gt;&amp;minus;15&lt;/sup&gt;
|-
| tera-  || T      || 10&lt;sup&gt;12&lt;/sup&gt; || pico-  || p       || 10&lt;sup&gt;&amp;minus;12&lt;/sup&gt;
|-
| giga-  || G      || 10&lt;sup&gt;9&lt;/sup&gt;  || nano-  || n       || 10&lt;sup&gt;&amp;minus;9&lt;/sup&gt;
|-
| mega-  || M      || 10&lt;sup&gt;6&lt;/sup&gt;  || micro- || &amp;micro; || 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt;
|-
| kilo-  || k      || 10&lt;sup&gt;3&lt;/sup&gt;  || milli- || m       || 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;
|-
| hecto- || h      || 10&lt;sup&gt;2&lt;/sup&gt;  || centi- || c       || 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;
|-
| deka-  || da     || 10&lt;sup&gt;1&lt;/sup&gt;  || deci-  || d       || 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;
|}

The only rule when using metric prefixes is that you cannot “double them up.” For example, if you have measurements in petameters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Pm} = 10^{15} \text{ m}&lt;/math&gt;), it is not proper to talk about megagigameters, although &lt;math display=&quot;inline&quot;&gt;10^{6} \times 10^{9} = 10^{15}&lt;/math&gt;. In practice, the only time this becomes a bit confusing is when discussing masses. As we have seen, the base SI unit of mass is the kilogram (kg), but metric prefixes need to be applied to the gram (g), because we are not allowed to “double-up” prefixes. Thus, a thousand kilograms &lt;span style=&quot;white-space: pre&quot;&gt;(10&lt;sup&gt;3&lt;/sup&gt; kg)&lt;/span&gt; is written as a megagram &lt;span style=&quot;white-space: pre&quot;&gt;(1 Mg)&lt;/span&gt; since

&lt;math display=&quot;block&quot;&gt;10^{3} \text{ kg} = 10^{3} \times 10^{3} \text{ g} = 10^{6} \text{ g} = 1 \text{ Mg.}&lt;/math&gt;

Incidentally, 10&lt;sup&gt;3&lt;/sup&gt; kg is also called a ''metric ton'', abbreviated t. This is one of the units outside the SI system considered acceptable for use with SI units.

As we see in the next section, metric systems have the advantage that conversions of units involve only powers of 10. There are &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in&lt;span style=&quot;white-space: pre&quot;&gt;1 km,&lt;/span&gt; and so on. In nonmetric systems, such as the English system of units, the relationships are not as simple—there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;5,280 ft&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; and so on.

Another advantage of metric systems is that the same unit can be used over extremely large ranges of values simply by scaling it with an appropriate metric prefix. The prefix is chosen by the order of magnitude of physical quantities commonly found in the task at hand. For example, distances in meters are suitable in construction, whereas distances in kilometers are appropriate for air travel, and nanometers are convenient in optical design. With the metric system there is no need to invent new units for particular applications. Instead, we rescale the units with which we are already familiar.

{{TextBox|
'''EXAMPLE 1.1'''
&lt;hr /&gt;
'''Using Metric Prefixes'''
&lt;br /&gt;
Restate the mass 1.93 &amp;times; 10&lt;sup&gt;13&lt;/sup&gt; ⁢kg using a metric prefix such that the resulting numerical value is bigger than one but less than 1,000.
&lt;br /&gt;
&lt;br /&gt;
'''Strategy'''
&lt;br /&gt;
Since we are not allowed to “double-up” prefixes, we first need to restate the mass in grams by replacing the prefix symbol k with a factor of 10&lt;sup&gt;3&lt;/sup&gt; (see Table 1.2). Then, we should see which two prefixes in Table 1.2 are closest to the resulting power of 10 when the number is written in scientific notation. We use whichever of these two prefixes gives us a number between one and 1,000.
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      <text bytes="16153" sha1="arak2wuyy7yx7itn6pf0ql5f0s7vl96" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, &lt;span style=&quot;white-space: pre&quot;&gt;1 L&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.&lt;/span&gt;

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly &lt;span style=&quot;white-space: pre&quot;&gt;30 feet&lt;/span&gt; tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as &lt;span style=&quot;white-space: pre&quot;&gt;1,650,763.73 wavelengths&lt;/span&gt; of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly &lt;span style=&quot;white-space: pre&quot;&gt;299,792,458 m/s.&lt;/span&gt;

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly &lt;span style=&quot;white-space: pre&quot;&gt;50 micrograms&lt;/span&gt; since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).

{| class=&quot;wikitable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.2''' Metric Prefixes for Powers of 10 and Their Symbols
|-
! Prefix !! Symbol !! Meaning         !! Prefix !! Symbol  !! Meaning
|-
| yotta- || Y      || 10&lt;sup&gt;24&lt;/sup&gt; || yocto- || y       || 10&lt;sup&gt;&amp;minus;24&lt;/sup&gt;
|-
| zetta- || Z      || 10&lt;sup&gt;21&lt;/sup&gt; || zepto- || z       || 10&lt;sup&gt;&amp;minus;21&lt;/sup&gt;
|-
| exa-   || E      || 10&lt;sup&gt;18&lt;/sup&gt; || atto-  || a       || 10&lt;sup&gt;&amp;minus;18&lt;/sup&gt;
|-
| peta-  || P      || 10&lt;sup&gt;15&lt;/sup&gt; || femto- || f       || 10&lt;sup&gt;&amp;minus;15&lt;/sup&gt;
|-
| tera-  || T      || 10&lt;sup&gt;12&lt;/sup&gt; || pico-  || p       || 10&lt;sup&gt;&amp;minus;12&lt;/sup&gt;
|-
| giga-  || G      || 10&lt;sup&gt;9&lt;/sup&gt;  || nano-  || n       || 10&lt;sup&gt;&amp;minus;9&lt;/sup&gt;
|-
| mega-  || M      || 10&lt;sup&gt;6&lt;/sup&gt;  || micro- || &amp;micro; || 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt;
|-
| kilo-  || k      || 10&lt;sup&gt;3&lt;/sup&gt;  || milli- || m       || 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;
|-
| hecto- || h      || 10&lt;sup&gt;2&lt;/sup&gt;  || centi- || c       || 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;
|-
| deka-  || da     || 10&lt;sup&gt;1&lt;/sup&gt;  || deci-  || d       || 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;
|}

The only rule when using metric prefixes is that you cannot “double them up.” For example, if you have measurements in petameters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Pm} = 10^{15} \text{ m}&lt;/math&gt;), it is not proper to talk about megagigameters, although &lt;math display=&quot;inline&quot;&gt;10^{6} \times 10^{9} = 10^{15}&lt;/math&gt;. In practice, the only time this becomes a bit confusing is when discussing masses. As we have seen, the base SI unit of mass is the kilogram (kg), but metric prefixes need to be applied to the gram (g), because we are not allowed to “double-up” prefixes. Thus, a thousand kilograms &lt;span style=&quot;white-space: pre&quot;&gt;(10&lt;sup&gt;3&lt;/sup&gt; kg)&lt;/span&gt; is written as a megagram &lt;span style=&quot;white-space: pre&quot;&gt;(1 Mg)&lt;/span&gt; since

&lt;math display=&quot;block&quot;&gt;10^{3} \text{ kg} = 10^{3} \times 10^{3} \text{ g} = 10^{6} \text{ g} = 1 \text{ Mg.}&lt;/math&gt;

Incidentally, 10&lt;sup&gt;3&lt;/sup&gt; kg is also called a ''metric ton'', abbreviated t. This is one of the units outside the SI system considered acceptable for use with SI units.

As we see in the next section, metric systems have the advantage that conversions of units involve only powers of 10. There are &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in&lt;span style=&quot;white-space: pre&quot;&gt;1 km,&lt;/span&gt; and so on. In nonmetric systems, such as the English system of units, the relationships are not as simple—there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;5,280 ft&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; and so on.

Another advantage of metric systems is that the same unit can be used over extremely large ranges of values simply by scaling it with an appropriate metric prefix. The prefix is chosen by the order of magnitude of physical quantities commonly found in the task at hand. For example, distances in meters are suitable in construction, whereas distances in kilometers are appropriate for air travel, and nanometers are convenient in optical design. With the metric system there is no need to invent new units for particular applications. Instead, we rescale the units with which we are already familiar.

{{TextBox|
'''EXAMPLE 1.1'''
&lt;hr /&gt;
'''Using Metric Prefixes'''
&lt;br /&gt;
Restate the mass 1.93 &amp;times; 10&lt;sup&gt;13&lt;/sup&gt; ⁢kg using a metric prefix such that the resulting numerical value is bigger than one but less than 1,000.
&lt;br /&gt;
&lt;br /&gt;
'''Strategy'''
&lt;br /&gt;
Since we are not allowed to “double-up” prefixes, we first need to restate the mass in grams by replacing the prefix symbol k with a factor of 10&lt;sup&gt;3&lt;/sup&gt; (see Table 1.2). Then, we should see which two prefixes in Table 1.2 are closest to the resulting power of 10 when the number is written in scientific notation. We use whichever of these two prefixes gives us a number between one and 1,000.
&lt;br /&gt;
&lt;br /&gt;
| BG = #ededed
}}

{{BookCat}}</text>
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      <text bytes="16998" sha1="4ryrbxnzsshuugq4dwj03konklispr2" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, &lt;span style=&quot;white-space: pre&quot;&gt;1 L&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.&lt;/span&gt;

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly &lt;span style=&quot;white-space: pre&quot;&gt;30 feet&lt;/span&gt; tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as &lt;span style=&quot;white-space: pre&quot;&gt;1,650,763.73 wavelengths&lt;/span&gt; of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly &lt;span style=&quot;white-space: pre&quot;&gt;299,792,458 m/s.&lt;/span&gt;

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly &lt;span style=&quot;white-space: pre&quot;&gt;50 micrograms&lt;/span&gt; since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).

{| class=&quot;wikitable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.2''' Metric Prefixes for Powers of 10 and Their Symbols
|-
! Prefix !! Symbol !! Meaning         !! Prefix !! Symbol  !! Meaning
|-
| yotta- || Y      || 10&lt;sup&gt;24&lt;/sup&gt; || yocto- || y       || 10&lt;sup&gt;&amp;minus;24&lt;/sup&gt;
|-
| zetta- || Z      || 10&lt;sup&gt;21&lt;/sup&gt; || zepto- || z       || 10&lt;sup&gt;&amp;minus;21&lt;/sup&gt;
|-
| exa-   || E      || 10&lt;sup&gt;18&lt;/sup&gt; || atto-  || a       || 10&lt;sup&gt;&amp;minus;18&lt;/sup&gt;
|-
| peta-  || P      || 10&lt;sup&gt;15&lt;/sup&gt; || femto- || f       || 10&lt;sup&gt;&amp;minus;15&lt;/sup&gt;
|-
| tera-  || T      || 10&lt;sup&gt;12&lt;/sup&gt; || pico-  || p       || 10&lt;sup&gt;&amp;minus;12&lt;/sup&gt;
|-
| giga-  || G      || 10&lt;sup&gt;9&lt;/sup&gt;  || nano-  || n       || 10&lt;sup&gt;&amp;minus;9&lt;/sup&gt;
|-
| mega-  || M      || 10&lt;sup&gt;6&lt;/sup&gt;  || micro- || &amp;micro; || 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt;
|-
| kilo-  || k      || 10&lt;sup&gt;3&lt;/sup&gt;  || milli- || m       || 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;
|-
| hecto- || h      || 10&lt;sup&gt;2&lt;/sup&gt;  || centi- || c       || 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;
|-
| deka-  || da     || 10&lt;sup&gt;1&lt;/sup&gt;  || deci-  || d       || 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;
|}

The only rule when using metric prefixes is that you cannot “double them up.” For example, if you have measurements in petameters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Pm} = 10^{15} \text{ m}&lt;/math&gt;), it is not proper to talk about megagigameters, although &lt;math display=&quot;inline&quot;&gt;10^{6} \times 10^{9} = 10^{15}&lt;/math&gt;. In practice, the only time this becomes a bit confusing is when discussing masses. As we have seen, the base SI unit of mass is the kilogram (kg), but metric prefixes need to be applied to the gram (g), because we are not allowed to “double-up” prefixes. Thus, a thousand kilograms &lt;span style=&quot;white-space: pre&quot;&gt;(10&lt;sup&gt;3&lt;/sup&gt; kg)&lt;/span&gt; is written as a megagram &lt;span style=&quot;white-space: pre&quot;&gt;(1 Mg)&lt;/span&gt; since

&lt;math display=&quot;block&quot;&gt;10^{3} \text{ kg} = 10^{3} \times 10^{3} \text{ g} = 10^{6} \text{ g} = 1 \text{ Mg.}&lt;/math&gt;

Incidentally, 10&lt;sup&gt;3&lt;/sup&gt; kg is also called a ''metric ton'', abbreviated t. This is one of the units outside the SI system considered acceptable for use with SI units.

As we see in the next section, metric systems have the advantage that conversions of units involve only powers of 10. There are &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in&lt;span style=&quot;white-space: pre&quot;&gt;1 km,&lt;/span&gt; and so on. In nonmetric systems, such as the English system of units, the relationships are not as simple—there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;5,280 ft&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; and so on.

Another advantage of metric systems is that the same unit can be used over extremely large ranges of values simply by scaling it with an appropriate metric prefix. The prefix is chosen by the order of magnitude of physical quantities commonly found in the task at hand. For example, distances in meters are suitable in construction, whereas distances in kilometers are appropriate for air travel, and nanometers are convenient in optical design. With the metric system there is no need to invent new units for particular applications. Instead, we rescale the units with which we are already familiar.

{{TextBox|
'''EXAMPLE 1.1'''
&lt;hr /&gt;
'''Using Metric Prefixes'''
&lt;br /&gt;
Restate the mass 1.93 &amp;times; 10&lt;sup&gt;13&lt;/sup&gt; kg using a metric prefix such that the resulting numerical value is bigger than one but less than 1,000.
&lt;br /&gt;
&lt;br /&gt;
'''Strategy'''
&lt;br /&gt;
Since we are not allowed to “double-up” prefixes, we first need to restate the mass in grams by replacing the prefix symbol k with a factor of 10&lt;sup&gt;3&lt;/sup&gt; (see Table 1.2). Then, we should see which two prefixes in Table 1.2 are closest to the resulting power of 10 when the number is written in scientific notation. We use whichever of these two prefixes gives us a number between one and 1,000.
&lt;br /&gt;
&lt;br /&gt;
'''Solution'''
&lt;br /&gt;
Replacing the k in kilogram with a factor of 10&lt;sup&gt;3&lt;/sup&gt;, we find that
&lt;br /&gt;
&lt;br /&gt;
&lt;math display=&quot;block&quot;&gt;{\color{White}1.93 \times 10^{13} \text{ kg} = 1.93 \times 10^{13} \times 10^{3} \text{ g} = 1.93 \times 10^{16} \text{ g.}}&lt;/math&gt;
&lt;br /&gt;
From Table 1.2, we see that 10&lt;sup&gt;16&lt;/sup&gt; is between “peta-” (10&lt;sup&gt;15&lt;/sup&gt;) and “exa-” (10&lt;sup&gt;18&lt;/sup&gt;). If we use the “peta-” prefix, then we find that &lt;math display=&quot;inline&quot;&gt;{\color{White}1.93 \times 10^{16} \text{ g} = 1.93 \times 10^{1} \text{ Pg}}&lt;/math&gt;, since &lt;math display=&quot;inline&quot;&gt;{\color{White}16 = 1 + 15}&lt;/math&gt;. Alternatively, if we use the “exa-” prefix we find that &lt;math display=&quot;inline&quot;&gt;{\color{White}1.93 \times 10^{16} \text{ g} = 1.93 \times 10^{-2} \text{ Eg}}&lt;/math&gt;, since &lt;math display=&quot;inline&quot;&gt;{\color{White}16 = -2 + 18}&lt;/math&gt;.
| BG = #ededed
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      <text bytes="18289" sha1="4h6jw4quf7932inx5up62cn789gz42a" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Describe how SI base units are defined.
* Describe how derived units are created from base units.
* Express quantities given in SI units using metric prefixes.

As we saw previously, the range of objects and phenomena studied in physics is immense. From the incredibly short lifetime of a nucleus to the age of Earth, from the tiny sizes of subnuclear particles to the vast distance to the edges of the known universe, from the force exerted by a jumping flea to the force between Earth and the Sun, there are enough factors of 10 to challenge the imagination of even the most experienced scientist. Giving numerical values for physical quantities and equations for physical principles allows us to understand nature much more deeply than qualitative descriptions alone. To comprehend these vast ranges, we must also have accepted units in which to express them. We shall find that even in the potentially mundane discussion of meters, kilograms, and seconds, a profound simplicity of nature appears: all physical quantities can be expressed as combinations of only seven base physical units.

We define a '''physical quantity''' either by specifying how it is measured or by stating how it is calculated from other measurements. For example, we might define distance and time by specifying methods for measuring them, such as using a meter stick and a stopwatch. Then, we could define ''average speed'' by stating that it is calculated as the total distance traveled divided by time of travel.

Measurements of physical quantities are expressed in terms of '''units''', which are standardized values. For example, the length of a race, which is a physical quantity, can be expressed in units of meters (for sprinters) or kilometers (for distance runners). Without standardized units, it would be extremely difficult for scientists to express and compare measured values in a meaningful way (see Figure 1.7).

[[File:Unknown Units.webp|frame|center|'''Figure 1.7''' Distances given in unknown units are maddeningly useless.]]

Two major systems of units are used in the world: '''SI units''' (for the French ''Système International d’Unités''), also known as the ''metric system'', and '''English units''' (also known as the ''customary'' or ''imperial system''). English units were historically used in nations once ruled by the British Empire and are still widely used in the United States. English units may also be referred to as the ''foot–pound–second'' (fps) system, as opposed to the ''centimeter–gram–second'' (cgs) system. You may also encounter the term ''SAE'' units, named after the Society of Automotive Engineers. Products such as fasteners and automotive tools (for example, wrenches) that are measured in inches rather than metric units are referred to as ''SAE fasteners'' or ''SAE wrenches''.

Virtually every other country in the world (except the United States) now uses SI units as the standard. The metric system is also the standard system agreed on by scientists and mathematicians.

== SI Units: Base and Derived Units ==
In any system of units, the units for some physical quantities must be defined through a measurement process. These are called the '''base quantities''' for that system and their units are the system’s '''base units'''. All other physical quantities can then be expressed as algebraic combinations of the base quantities. Each of these physical quantities is then known as a '''derived quantity''' and each unit is called a '''derived unit'''. The choice of base quantities is somewhat arbitrary, as long as they are independent of each other and all other quantities can be derived from them. Typically, the goal is to choose physical quantities that can be measured accurately to a high precision as the base quantities. The reason for this is simple. Since the derived units can be expressed as algebraic combinations of the base units, they can only be as accurate and precise as the base units from which they are derived.

Based on such considerations, the International Standards Organization recommends using seven base quantities, which form the International System of Quantities (ISQ). These are the base quantities used to define the SI base units. Table 1.1 lists these seven ISQ base quantities and the corresponding SI base units.

{| class=&quot;wikitable sortable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.1''' ISQ Base Quantities and Their SI Units
|-
! ISQ Base Quantity         !! SI Base Unit
|-
| Length                    || meter (m)
|-
| Mass                      || kilogram (kg)
|-
| Time                      || second (s)
|-
| Electrical current        || ampere (A)
|-
| Thermodynamic temperature || kelvin (K)
|-
| Amount of substance       || mole (mol)
|-
| Luminous intensity        || candela (cd)
|}

You are probably already familiar with some derived quantities that can be formed from the base quantities in Table 1.1. For example, the geometric concept of area is always calculated as the product of two lengths. Thus, area is a derived quantity that can be expressed in terms of SI base units using square meters (&lt;math display=&quot;inline&quot;&gt;\text{m} \times \text{m} = \text{m}^{2}&lt;/math&gt;). Similarly, volume is a derived quantity that can be expressed in cubic meters (m&lt;sup&gt;3&lt;/sup&gt;). Speed is length per time; so in terms of SI base units, we could measure it in meters per second (m/s). Volume mass density (or just density) is mass per volume, which is expressed in terms of SI base units such as kilograms per cubic meter (kg/m&lt;sup&gt;3&lt;/sup&gt;). Angles can also be thought of as derived quantities because they can be defined as the ratio of the arc length subtended by two radii of a circle to the radius of the circle. This is how the radian is defined. Depending on your background and interests, you may be able to come up with other derived quantities, such as the mass flow rate (kg/s) or volume flow rate (m&lt;sup&gt;3&lt;/sup&gt;/s) of a fluid, electric charge (A&amp;middot;s), mass flux density [kg/(m&lt;sup&gt;2&lt;/sup&gt;&amp;middot;s)], and so on. We will see many more examples throughout this text. For now, the point is that every physical quantity can be derived from the seven base quantities in Table 1.1, and the units of every physical quantity can be derived from the seven SI base units.

For the most part, we use SI units in this text. Non-SI units are used in a few applications in which they are in very common use, such as the measurement of temperature in degrees Celsius (°C), the measurement of fluid volume in liters (L), and the measurement of energies of elementary particles in electron-volts (eV). Whenever non-SI units are discussed, they are tied to SI units through conversions. For example, &lt;span style=&quot;white-space: pre&quot;&gt;1 L&lt;/span&gt; is &lt;span style=&quot;white-space: pre&quot;&gt;10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;⁢ m&lt;sup&gt;3&lt;/sup&gt;.&lt;/span&gt;

{{TextBox|
'''INTERACTIVE'''
&lt;hr /&gt;
Check out a comprehensive source of information on [SI units] at the National Institute of Standards and Technology (NIST) Reference on Constants, Units, and Uncertainty.
| BG = #ededed
}}

== Units of Time, Length, and Mass: The Second, Meter, and Kilogram ==
The initial chapters in this textbook are concerned with mechanics, fluids, and waves. In these subjects all pertinent physical quantities can be expressed in terms of the base units of length, mass, and time. Therefore, we now turn to a discussion of these three base units, leaving discussion of the others until they are needed later.

=== The second ===
The SI unit for time, the '''second''' (abbreviated s), has a long history. For many years it was defined as 1/86,400 of a mean solar day. More recently, a new standard was adopted to gain greater accuracy and to define the second in terms of a nonvarying or constant physical phenomenon (because the solar day is getting longer as a result of the very gradual slowing of Earth’s rotation). Cesium atoms can be made to vibrate in a very steady way, and these vibrations can be readily observed and counted. In 1967, the second was redefined as the time required for 9,192,631,770 of these vibrations to occur (see Figure 1.8). Note that this may seem like more precision than you would ever need, but it isn’t—GPSs rely on the precision of atomic clocks to be able to give you turn-by-turn directions on the surface of Earth, far from the satellites broadcasting their location.

[[File:Atomic Clock.webp|frame|center|'''Figure 1.8''' An atomic clock such as this one uses the vibrations of cesium atoms to keep time to a precision of better than a microsecond per year. The fundamental unit of time, the second, is based on such clocks. This image looks down from the top of an atomic fountain nearly &lt;span style=&quot;white-space: pre&quot;&gt;30 feet&lt;/span&gt; tall. (credit: Steve Jurvetson)]]

=== The meter ===
The SI unit for length is the '''meter''' (abbreviated m); its definition has also changed over time to become more precise. The meter was first defined in 1791 as 1/10,000,000 of the distance from the equator to the North Pole. This measurement was improved in 1889 by redefining the meter to be the distance between two engraved lines on a platinum–iridium bar now kept near Paris. By 1960, it had become possible to define the meter even more accurately in terms of the wavelength of light, so it was again redefined as &lt;span style=&quot;white-space: pre&quot;&gt;1,650,763.73 wavelengths&lt;/span&gt; of orange light emitted by krypton atoms. In 1983, the meter was given its current definition (in part for greater accuracy) as the distance light travels in a vacuum in 1/299,792,458 of a second (see Figure 1.9). This change came after knowing the speed of light to be exactly &lt;span style=&quot;white-space: pre&quot;&gt;299,792,458 m/s.&lt;/span&gt;

[[File:Meter Definition.webp|frame|center|'''Figure 1.9''' The meter is defined to be the distance light travels in 1/299,792,458 of a second in a vacuum. Distance traveled is speed multiplied by time.]]

=== The kilogram ===
The SI unit for mass is the '''kilogram''' (abbreviated kg); from 1795–2018 it was defined to be the mass of a platinum–iridium cylinder kept with the old meter standard at the International Bureau of Weights and Measures near Paris. However, this cylinder has lost roughly &lt;span style=&quot;white-space: pre&quot;&gt;50 micrograms&lt;/span&gt; since it was created. Because this is the standard, this has shifted how we defined a kilogram. Therefore, a new definition was adopted in May 2019 based on the Planck constant and other constants which will never change in value. We will study Planck’s constant in quantum mechanics, which is an area of physics that describes how the smallest pieces of the universe work. The kilogram is measured on a Kibble balance (see Figure 1.10). When a weight is placed on a Kibble balance, an electrical current is produced that is proportional to Planck’s constant. Since Planck’s constant is defined, the exact current measurements in the balance define the kilogram.

[[File:Kibble Balance.webp|frame|center|'''Figure 1.10''' Redefining the SI unit of mass. The U.S. National Institute of Standards and Technology’s Kibble balance is a machine that balances the weight of a test mass with the resulting electrical current needed for a force to balance it.]]

== Metric Prefixes ==
SI units are part of the '''metric system''', which is convenient for scientific and engineering calculations because the units are categorized by factors of 10. Table 1.2 lists the metric prefixes and symbols used to denote various factors of 10 in SI units. For example, a centimeter is one-hundredth of a meter (in symbols, &lt;math display=&quot;inline&quot;&gt;1 \text{ cm} = 10^{-2} \text{ m}&lt;/math&gt;) and a kilometer is a thousand meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ km} = 10^{3} \text{ m}&lt;/math&gt;). Similarly, a megagram is a million grams (&lt;math display=&quot;inline&quot;&gt;1 \text{ Mg} = 10^{6} \text{ g}&lt;/math&gt;), a nanosecond is a billionth of a second (&lt;math display=&quot;inline&quot;&gt;1 \text{ ns} = 10^{-9} \text{ s}&lt;/math&gt;), and a terameter is a trillion meters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Tm} = 10^{12} \text{ m}&lt;/math&gt;).

{| class=&quot;wikitable&quot; style=&quot;width: 100%&quot;
|+ '''Table 1.2''' Metric Prefixes for Powers of 10 and Their Symbols
|-
! Prefix !! Symbol !! Meaning         !! Prefix !! Symbol  !! Meaning
|-
| yotta- || Y      || 10&lt;sup&gt;24&lt;/sup&gt; || yocto- || y       || 10&lt;sup&gt;&amp;minus;24&lt;/sup&gt;
|-
| zetta- || Z      || 10&lt;sup&gt;21&lt;/sup&gt; || zepto- || z       || 10&lt;sup&gt;&amp;minus;21&lt;/sup&gt;
|-
| exa-   || E      || 10&lt;sup&gt;18&lt;/sup&gt; || atto-  || a       || 10&lt;sup&gt;&amp;minus;18&lt;/sup&gt;
|-
| peta-  || P      || 10&lt;sup&gt;15&lt;/sup&gt; || femto- || f       || 10&lt;sup&gt;&amp;minus;15&lt;/sup&gt;
|-
| tera-  || T      || 10&lt;sup&gt;12&lt;/sup&gt; || pico-  || p       || 10&lt;sup&gt;&amp;minus;12&lt;/sup&gt;
|-
| giga-  || G      || 10&lt;sup&gt;9&lt;/sup&gt;  || nano-  || n       || 10&lt;sup&gt;&amp;minus;9&lt;/sup&gt;
|-
| mega-  || M      || 10&lt;sup&gt;6&lt;/sup&gt;  || micro- || &amp;micro; || 10&lt;sup&gt;&amp;minus;6&lt;/sup&gt;
|-
| kilo-  || k      || 10&lt;sup&gt;3&lt;/sup&gt;  || milli- || m       || 10&lt;sup&gt;&amp;minus;3&lt;/sup&gt;
|-
| hecto- || h      || 10&lt;sup&gt;2&lt;/sup&gt;  || centi- || c       || 10&lt;sup&gt;&amp;minus;2&lt;/sup&gt;
|-
| deka-  || da     || 10&lt;sup&gt;1&lt;/sup&gt;  || deci-  || d       || 10&lt;sup&gt;&amp;minus;1&lt;/sup&gt;
|}

The only rule when using metric prefixes is that you cannot “double them up.” For example, if you have measurements in petameters (&lt;math display=&quot;inline&quot;&gt;1 \text{ Pm} = 10^{15} \text{ m}&lt;/math&gt;), it is not proper to talk about megagigameters, although &lt;math display=&quot;inline&quot;&gt;10^{6} \times 10^{9} = 10^{15}&lt;/math&gt;. In practice, the only time this becomes a bit confusing is when discussing masses. As we have seen, the base SI unit of mass is the kilogram (kg), but metric prefixes need to be applied to the gram (g), because we are not allowed to “double-up” prefixes. Thus, a thousand kilograms &lt;span style=&quot;white-space: pre&quot;&gt;(10&lt;sup&gt;3&lt;/sup&gt; kg)&lt;/span&gt; is written as a megagram &lt;span style=&quot;white-space: pre&quot;&gt;(1 Mg)&lt;/span&gt; since

&lt;math display=&quot;block&quot;&gt;10^{3} \text{ kg} = 10^{3} \times 10^{3} \text{ g} = 10^{6} \text{ g} = 1 \text{ Mg.}&lt;/math&gt;

Incidentally, 10&lt;sup&gt;3&lt;/sup&gt; kg is also called a ''metric ton'', abbreviated t. This is one of the units outside the SI system considered acceptable for use with SI units.

As we see in the next section, metric systems have the advantage that conversions of units involve only powers of 10. There are &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in&lt;span style=&quot;white-space: pre&quot;&gt;1 km,&lt;/span&gt; and so on. In nonmetric systems, such as the English system of units, the relationships are not as simple—there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;5,280 ft&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; and so on.

Another advantage of metric systems is that the same unit can be used over extremely large ranges of values simply by scaling it with an appropriate metric prefix. The prefix is chosen by the order of magnitude of physical quantities commonly found in the task at hand. For example, distances in meters are suitable in construction, whereas distances in kilometers are appropriate for air travel, and nanometers are convenient in optical design. With the metric system there is no need to invent new units for particular applications. Instead, we rescale the units with which we are already familiar.

{{TextBox|
'''EXAMPLE 1.1'''
&lt;hr /&gt;
'''Using Metric Prefixes'''
&lt;br /&gt;
Restate the mass 1.93 &amp;times; 10&lt;sup&gt;13&lt;/sup&gt; kg using a metric prefix such that the resulting numerical value is bigger than one but less than 1,000.
&lt;br /&gt;
&lt;br /&gt;
'''Strategy'''
&lt;br /&gt;
Since we are not allowed to “double-up” prefixes, we first need to restate the mass in grams by replacing the prefix symbol k with a factor of 10&lt;sup&gt;3&lt;/sup&gt; (see Table 1.2). Then, we should see which two prefixes in Table 1.2 are closest to the resulting power of 10 when the number is written in scientific notation. We use whichever of these two prefixes gives us a number between one and 1,000.
&lt;br /&gt;
&lt;br /&gt;
'''Solution'''
&lt;br /&gt;
Replacing the k in kilogram with a factor of 10&lt;sup&gt;3&lt;/sup&gt;, we find that
&lt;br /&gt;
&lt;br /&gt;
&lt;math display=&quot;block&quot;&gt;{\color{White}1.93 \times 10^{13} \text{ kg} = 1.93 \times 10^{13} \times 10^{3} \text{ g} = 1.93 \times 10^{16} \text{ g.}}&lt;/math&gt;
&lt;br /&gt;
From Table 1.2, we see that 10&lt;sup&gt;16&lt;/sup&gt; is between “peta-” (10&lt;sup&gt;15&lt;/sup&gt;) and “exa-” (10&lt;sup&gt;18&lt;/sup&gt;). If we use the “peta-” prefix, then we find that &lt;math display=&quot;inline&quot;&gt;{\color{White}1.93 \times 10^{16} \text{ g} = 1.93 \times 10^{1} \text{ Pg}}&lt;/math&gt;, since &lt;math display=&quot;inline&quot;&gt;{\color{White}16 = 1 + 15}&lt;/math&gt;. Alternatively, if we use the “exa-” prefix we find that &lt;math display=&quot;inline&quot;&gt;{\color{White}1.93 \times 10^{16} \text{ g} = 1.93 \times 10^{-2} \text{ Eg}}&lt;/math&gt;, since &lt;math display=&quot;inline&quot;&gt;{\color{White}16 = -2 + 18}&lt;/math&gt;. Because the problem asks for the numerical value between one and 1,000, we use the “peta-” prefix and the answer is 19.3 Pg.
&lt;br /&gt;
&lt;br /&gt;
'''Significance'''
&lt;br /&gt;
It is easy to make silly arithmetic errors when switching from one prefix to another, so it is always a good idea to check that our final answer matches the number we started with. An easy way to do this is to put both numbers in scientific notation and count powers of 10, including the ones hidden in prefixes. If we did not make a mistake, the powers of 10 should match up. In this problem, we started with 1.93 &amp;times; 10&lt;sup&gt;13&lt;/sup&gt; kg, so we have &lt;math display=&quot;inline&quot;&gt;{\color{White}13 + 3 = 16}&lt;/math&gt; powers of 10. Our final answer in scientific notation is 1.93 &amp;times; 10&lt;sup&gt;1&lt;/sup&gt; Pg, so we have &lt;math display=&quot;inline&quot;&gt;{\color{White}1 + 15 = 16}&lt;/math&gt; powers of 10. So, everything checks out.
&lt;br /&gt;
&lt;br /&gt;
If this mass arose from a calculation, we would also want to check to determine whether a mass this large makes any sense in the context of the problem. For this, Figure 1.4 might be helpful.
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{{TextBox|
'''CHECK YOUR UNDERSTANDING 1.1'''
&lt;hr /&gt;
Restate 4.79 &amp;times; 10&lt;sup&gt;5&lt;/sup&gt; ⁢kg using a metric prefix such that the resulting number is bigger than one but less than 1,000.
| BG = #ededed
}}

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  <page>
    <title>Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bb5/3...Nce7</title>
    <ns>0</ns>
    <id>483669</id>
    <revision>
      <id>4638148</id>
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      <contributor>
        <username>Y7at7Y</username>
        <id>3582263</id>
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      <comment>Created page with &quot;{{Chess Opening Theory/Position|Ruy Lopez |eco=[[Chess/ECOC|C60]] |parent=[[../|Ruy Lopez]] }} == 3...Nce7? == {{Chess/sideline}}Black undefends their e-pawn and blocks their kingside bishop. Perhaps they are thinking of transposing into a [[Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bb5/3...Nf6/4. d3/4...Ne7/5. Nxe5/5...c6|Mortimer trap]], but this is simply bad for Black.  '''4. Nxe5''' is easily the best move in this position. White snatches the free pawn as...&quot;</comment>
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      <text bytes="929" sha1="dox3f3wsgzvkgog0ww69yl55hwxf66u" xml:space="preserve">{{Chess Opening Theory/Position|Ruy Lopez
|eco=[[Chess/ECOC|C60]]
|parent=[[../|Ruy Lopez]]
}}
== 3...Nce7? ==
{{Chess/sideline}}Black undefends their e-pawn and blocks their kingside bishop. Perhaps they are thinking of transposing into a [[Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bb5/3...Nf6/4. d3/4...Ne7/5. Nxe5/5...c6|Mortimer trap]], but this is simply bad for Black.

'''4. Nxe5''' is easily the best move in this position. White snatches the free pawn as soon as it was available, and challenges Black to prove if they really have compensation. Unlike other knight moves that leave the e-pawn hanging, since the queen is blocked, 4...Qg5 is not possible. Black's best try is 4...Nf6, where a careless but popular 5. d3? transposes into the more well-known Mortimer trap after 5...c6!, where White is losing a piece.

{{ChessMid}}

== References ==

=== See also ===
{{Chess Opening Theory/Footer}}
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      <comment>Notifying author of speedy deletion nomination</comment>
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== I have added a tag to a page you created ==
Hi! I'm MathXplore, and I recently reviewed your page, [[:Biblical Studies/New Testament Commentaries/The Gospel of Luke]]. I have added a tag to the page, because it &lt;strong&gt;may meet the [[Wikibooks:Deletion policy#Speedy deletions|criteria for speedy deletion]].&lt;/strong&gt; This means that it can be deleted at any time. The reason I provided was: &lt;blockquote&gt;&lt;strong&gt;Test page&lt;/strong&gt;&lt;/blockquote&gt; If you believe that your page should not be deleted, please post a message on [[Talk:Biblical Studies/New Testament Commentaries/The Gospel of Luke|the page's talk page]] explaining why. &lt;strong&gt;If your reasoning is convincing, your page may be saved.&lt;/strong&gt; If you have any questions or concerns, please [[User talk:MathXplore|let me know]]. Thank you! &lt;!-- Substituted from User:JJPMaster/CurateThisPage/authorMsg --&gt; [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 03:17, 31 May 2026 (UTC)</text>
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    <title>Category:Book:University Physics Volume 1</title>
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      <comment>Created page with &quot;{{book category header}}&quot;</comment>
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  <page>
    <title>Chess Opening Theory/1. d4/1...f5/2. Nh3</title>
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      <comment>Created page with &quot;{{Chess Opening Theory/Position|2. Nh3 Dutch |eco=[[Chess/ECOA|A80]] |parent=[[../|Dutch defence]] }} == 2. Nh3 == {{Chess/sideline}}A rare but respectable sideline where White chooses to develop their knight to the edge of the board. Despite going against common opening principles, this move is sound.  '''2...Nf6''' is the most common move, continuing with the plan of controlling e4 alongside the f-pawn. The game can progress many ways, but the most common is the '''Bla...&quot;</comment>
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|eco=[[Chess/ECOA|A80]]
|parent=[[../|Dutch defence]]
}}
== 2. Nh3 ==
{{Chess/sideline}}A rare but respectable sideline where White chooses to develop their knight to the edge of the board. Despite going against common opening principles, this move is sound.

'''2...Nf6''' is the most common move, continuing with the plan of controlling e4 alongside the f-pawn. The game can progress many ways, but the most common is the '''Blackburne variation''', 3. g3 e6 4. Bg2, where the knight doesn't block the kingside bishop's sight, and is essentially similar to a [[Chess Opening Theory/1. d4/1...f5/2. c4/2...g6/3. Nc3/3...Nh6|Bladel]] but from the White side.

'''2...e6''' usually leads to the same line, just from a different move order, through 3. g3 Nf6 4. Bg2.

{{ChessMid}}

== References ==

=== See also ===
{{Chess Opening Theory/Footer}}
{{BookCat}}</text>
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    <title>Chess Opening Theory/1. d4/1...f5/2. Qd3</title>
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      <comment>Created page with &quot;{{Chess Opening Theory/Position|Alapin variation |eco=[[Chess/ECOA|A80]] |parent=[[../|Dutch defence]] }} == 2. Qd3 · Alapin variation == A rarer line. White develops their queen aggressively to an active square and attacks the vulnerable f5 pawn.  '''[[Chess Opening Theory/1. d4/1...f5/2. Qd3/2...e6|2...e6]]''' is the most common way of defending the pawn and the second most common move. Black goes into a Stonewall setup and makes the queen seem misplaced. However, the...&quot;</comment>
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|eco=[[Chess/ECOA|A80]]
|parent=[[../|Dutch defence]]
}}
== 2. Qd3 · Alapin variation ==
A rarer line. White develops their queen aggressively to an active square and attacks the vulnerable f5 pawn.

'''[[Chess Opening Theory/1. d4/1...f5/2. Qd3/2...e6|2...e6]]''' is the most common way of defending the pawn and the second most common move. Black goes into a Stonewall setup and makes the queen seem misplaced. However, the unique line that can arise from 2. Qd3 is 3. g4!?, the tricky '''Manhattan gambit'''.

'''[[Chess Opening Theory/1. d4/1...f5/2. Qd3/2...Nf6|2...Nf6!?]]''' is the most popular move, the so-called '''Pretzel gambit'''&lt;ref&gt;{{Cite web |title=Dutch Defense: Alapin Variation, Pretzel Gambit - Chess Openings |url=https://www.chess.com/openings/Dutch-Defense-Alapin-Variation-Pretzel-Gambit |access-date=2026-05-31 |website=Chess.com |language=en-US}}&lt;/ref&gt;. Black ignores that their pawn is hanging and hopes that kicking the queen around after 3. Qxf5 d5 is sufficient compensation.
{{ChessMid}}

== References ==
{{Reflist}}

=== See also ===
{{Chess Opening Theory/Footer}}
{{BookCat}}</text>
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  <page>
    <title>Football (Soccer)/The History</title>
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      <comment>Created page with &quot;== History ==  The game we know today as football—or soccer—did not appear overnight. Its history is a centuries-long evolution that spans ancient military exercises, chaotic medieval village matches, and finally, the structured rules created in 19th-century British schools.   === Ancient Roots ===  While modern football was born in England, people have been kicking balls for entertainment and training for thousands of years.   * '''Cuju (China):''' Recognized by FIF...&quot;</comment>
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      <text bytes="4618" sha1="hbqsj5isz369bb44mtb69kfwagyel0e" xml:space="preserve">== History ==

The game we know today as football—or soccer—did not appear overnight. Its history is a centuries-long evolution that spans ancient military exercises, chaotic medieval village matches, and finally, the structured rules created in 19th-century British schools. 

=== Ancient Roots ===

While modern football was born in England, people have been kicking balls for entertainment and training for thousands of years. 

* '''Cuju (China):''' Recognized by FIFA as the earliest form of competitive football, ''Cuju'' (literally &quot;kick ball&quot;) was played as early as the Han Dynasty (206 BC–220 AD). Soldiers used a leather ball filled with feathers and hair, kicking it through a small opening in a net strung between high bamboo canes. Hands were strictly forbidden.
* '''Harpastum (Ancient Rome):''' The Romans played a much more violent, rugby-like game where two teams fought over a small ball on a rectangular field. It was primarily used as a form of physical conditioning for military legions.
* '''Marn Grook (Australia):''' Aboriginal Australians played a traditional game using a ball made of possum skin. The game focused on high jumping and catching, later influencing Australian Rules Football.

=== Medieval Chaos: &quot;Mob Football&quot; ===

During the Middle Ages (roughly 14th to 18th centuries), England became the hotbed for a precursor to the modern sport known as &quot;mob football.&quot; 

These matches were highly disorganized and chaotic. Entire villages would compete against neighboring towns. The goal was simply to transport an inflated pig's bladder to a specific landmark at the opposite end of the town. There were almost no rules: hundreds of players took part, bones were routinely broken, and property destruction was common. The games were so disruptive that various British monarchs, including King Edward II and King Henry VIII, attempted to ban football entirely.

=== The Birth of the Modern Game (19th Century) ===

By the 1800s, football moved off the streets and into British public boarding schools (such as Eton, Harrow, Rugby, and Winchester). Each school played by its own unique set of rules. Some schools allowed players to carry the ball, while others preferred a game focused strictly on kicking and dribbling.

When these students graduated and moved on to universities like Cambridge and Oxford, they found it impossible to play against each other because of these conflicting rules. 

==== The Split: Association vs. Rugby ====

In 1848, representatives from several schools met at Cambridge University to draw up the '''Cambridge Rules'''. This was the first major step toward standardization, emphasizing passing and banning the deliberate handling of the ball.

The defining moment came on '''October 26, 1863''', when eleven clubs and schools met at the Freemasons' Tavern in London to form '''The Football Association (The FA)'''. 

Over the course of several meetings, they hammered out the first official ''Laws of the Game''. A major disagreement arose regarding whether players should be allowed to carry the ball and &quot;hack&quot; (kick opponents in the shins). The clubs favoring the rougher style walked out and eventually formed the Rugby Football Union in 1871. The remaining clubs stuck to the FA's rules, and the sport became known as '''Association Football''' to distinguish it from Rugby Football. The slang term &quot;soccer&quot; was later derived from a shortening of the word &quot;Association.&quot;

=== Going Global ===

British sailors, rail workers, and traders carried the newly codified sport across the globe. It quickly took root in Europe and South America.

To manage this exploding international popularity, football associations from France, Belgium, Denmark, the Netherlands, Spain, Sweden, and Switzerland met in Paris to found '''FIFA''' (Fédération Internationale de Football Association) on '''May 21, 1904'''. Surprisingly, Great Britain initially refused to join, believing the game belonged exclusively to them, though they joined a few years later.

==== The Rise of the World Cup ====

Football was included in the Olympic Games starting in 1900, but as the sport turned professional, FIFA wanted its own standalone championship. Under the leadership of FIFA President Jules Rimet, the first '''FIFA World Cup''' was hosted by Uruguay in '''1930'''. Only 13 teams participated, and the hosts became the first world champions by defeating Argentina.

Today, football has grown into a multi-billion dollar global phenomenon, played by over 250 million people across more than 200 nations, truly earning its title as &quot;The World's Game.&quot;
{{BookCat}}</text>
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    <title>University Physics Volume 1/Units and Measurement/Unit Conversion</title>
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      <comment>Created page with &quot;== Learning Objectives == By the end of this section, you will be able to: * Use conversion factors to express the value of a given quantity in different units.  It is often necessary to convert from one unit to another. For example, if you are reading a European cookbook, some quantities may be expressed in units of liters and you need to convert them to cups. Or perhaps you are reading walking directions from one location to another and you are interested in how many m...&quot;</comment>
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      <text bytes="1877" sha1="li018mmaxfpoxypj7guypodyksy1pqg" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Use conversion factors to express the value of a given quantity in different units.

It is often necessary to convert from one unit to another. For example, if you are reading a European cookbook, some quantities may be expressed in units of liters and you need to convert them to cups. Or perhaps you are reading walking directions from one location to another and you are interested in how many miles you will be walking. In this case, you may need to convert units of feet or meters to miles.

Let’s consider a simple example of how to convert units. Suppose we want to convert 80 m to kilometers. The first thing to do is to list the units you have and the units to which you want to convert. In this case, we have units in meters and we want to convert to kilometers. Next, we need to determine a conversion factor relating meters to kilometers. A conversion factor is a ratio that expresses how many of one unit are equal to another unit. For example, there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,609 m&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;60 s&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 min,&lt;/span&gt; and so on. Refer to Appendix B for a more complete list of conversion factors. In this case, we know that there are &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 km.&lt;/span&gt; Now we can set up our unit conversion. We write the units we have and then multiply them by the conversion factor so the units cancel out, as shown:

&lt;math display=&quot;block&quot;&gt;80 \text{ m} \times \frac{1 \text{ km}}{1000 \text{ m}} = 0.080 \text{ km.}&lt;/math&gt;</text>
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      <comment>Added {{[[Template:BookCat|BookCat]]}} using [[User:1234qwer1234qwer4/BookCat.js|BookCat.js]]</comment>
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      <text bytes="1890" sha1="6emb9mk5tmy4bt2q7kfccsoifc6hb6v" xml:space="preserve">== Learning Objectives ==
By the end of this section, you will be able to:
* Use conversion factors to express the value of a given quantity in different units.

It is often necessary to convert from one unit to another. For example, if you are reading a European cookbook, some quantities may be expressed in units of liters and you need to convert them to cups. Or perhaps you are reading walking directions from one location to another and you are interested in how many miles you will be walking. In this case, you may need to convert units of feet or meters to miles.

Let’s consider a simple example of how to convert units. Suppose we want to convert 80 m to kilometers. The first thing to do is to list the units you have and the units to which you want to convert. In this case, we have units in meters and we want to convert to kilometers. Next, we need to determine a conversion factor relating meters to kilometers. A conversion factor is a ratio that expresses how many of one unit are equal to another unit. For example, there are &lt;span style=&quot;white-space: pre&quot;&gt;12 in.&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 ft,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;1,609 m&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 mi,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;100 cm&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 m,&lt;/span&gt; &lt;span style=&quot;white-space: pre&quot;&gt;60 s&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 min,&lt;/span&gt; and so on. Refer to Appendix B for a more complete list of conversion factors. In this case, we know that there are &lt;span style=&quot;white-space: pre&quot;&gt;1,000 m&lt;/span&gt; in &lt;span style=&quot;white-space: pre&quot;&gt;1 km.&lt;/span&gt; Now we can set up our unit conversion. We write the units we have and then multiply them by the conversion factor so the units cancel out, as shown:

&lt;math display=&quot;block&quot;&gt;80 \text{ m} \times \frac{1 \text{ km}}{1000 \text{ m}} = 0.080 \text{ km.}&lt;/math&gt;

{{BookCat}}</text>
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