Wikiversity:Colloquium

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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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        <username>Sj</username>
        <id>2660</id>
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice reply from [[user:SteveFoerster|SteveFoerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:08, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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    <revision>
      <id>2807201</id>
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      <timestamp>2026-05-01T04:09:05Z</timestamp>
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        <username>Sj</username>
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice reply from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:08, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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        <username>Sj</username>
        <id>2660</id>
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r%20yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:08, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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      <id>2807203</id>
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r_yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:08, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r_yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:08, 1 May 2026 (UTC)
:: A few questions that come to mind: 
:: - would people want to create matching user accounts
:: - are there any namespaces (user/talk?) that should not be moved over
:: We could look at how this was done for the [[m:Wikivoyage/Migration wikivoyage migration]].

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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        <id>2660</id>
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r_yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  
:: A few questions that come to mind: 
:: - would people want to create matching user accounts
:: - are there any namespaces (user/talk?) that should not be moved over
:: We could look at how this was done for the [[m:Wikivoyage/Migration wikivoyage migration]]. &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:27, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)
:Yes, great idea - ideally there will be separate &quot;Candidates for ...&quot; pages for each user right group. The most important for now is to separate curator and custodian pages as CN suggests. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:39, 1 May 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r_yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  
:: A few questions that come to mind: 
:: - would people want to create matching user accounts
:: - are there any namespaces (user/talk?) that should not be moved over
:: We could look at how this was done for the [[m:Wikivoyage/Migration wikivoyage migration]]. &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:27, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)
:Yes, great idea - ideally there will be separate &quot;Candidates for ...&quot; pages for each user right group. The most important for now is to separate curator and custodian pages as CN suggests. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:39, 1 May 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r_yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  
:: A few questions that come to mind: 
:: - would people want to create matching user accounts
:: - are there any namespaces (user/talk?) that should not be moved over
:: We could look at how this was done for the [[m:Wikivoyage/Migration]] wikivoyage migration. &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:27, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
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== Requested update to [[Wikiversity:Interface administrators]] ==

Currently, [[Wikiversity:Interface administrators]] is a policy that includes a caveat that interface admins are not required long-term and that user right can only be added for a period of up to two weeks. I am proposing that we remove this qualification and allow for indefinite interface admin status. I think this is useful because there are reasons for tweaking the site CSS or JavaScript (e.g. to comply with dark mode), add gadgets (e.g. importing Cat-a-Lot, which I would like to do), or otherwise modifying the site that could plausibly come up on an irregular basis and requiring the overhead of a bureaucrat to add the user rights is inefficient. In particular, I am also going to request this right if the community accepts indefinite interface admins. Thoughts? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:23, 17 August 2025 (UTC)

:And who will then monitor them to make sure they don't damage the project in any way, or abuse the rights acquired in this way? For large projects, this might not be a problem, but for smaller projects like the English Wikiversity, I'm not sure if there are enough users who would say, something is happening here that shouldn't be happening. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 10:28, 20 August 2025 (UTC)
::Anyone would be who. This argument applies to any person with any advanced rights here. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 10:46, 20 August 2025 (UTC)
:I think it is reasonable to allow for longer periods of access than 2 weeks to interface admin and support adjusting the policy to allow for this flexibility. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 04:57, 2 December 2025 (UTC)
::+1 —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:38, 25 January 2026 (UTC)
:@[[User:Koavf|Koavf]] I agree that the two-week requirement could be revised, but wouldn’t people just request access for a specific purpose anyway? Instead of granting indefinite access, they should request the specific time frame they need the rights for—until the planned fixes are completed—and then request an extension if more time is required. We could remove the two-week criterion while still keeping the access explicitly temporary. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:48, 25 January 2026 (UTC)
::I just don't see why this wiki needs to be different than all of the others. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 07:18, 25 January 2026 (UTC)
:::There isn’t really much of a need for a permanent one at this point in time [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 09:53, 25 January 2026 (UTC)
:I quite agree with this proposal, so long as they perform the suggested changes as mentioned here. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 04:06, 26 January 2026 (UTC)
:: Just to clarify, I support '''indefinite interface admin status'''. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:34, 13 April 2026 (UTC)
:I think there is decent consensus for lengthening this, but not necessarily for indefinite permissions, so does anyone object to me revising it to the standard being 120 days instead of two weeks? I'll check back on this thread in three weeks and if there's no objection, I'll make the change. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:47, 13 April 2026 (UTC)
::Sure [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:27, 13 April 2026 (UTC)
::Thanks for proposing this, Justin. I agree with the proposal to lengthen the interface admin period from 2 weeks but not indefinitely. Can I check the source(s) for the standard being 120 days (I'm guessing policies on other projects or maybe global policy?)? In any case, I think it is reasonable for us to adopt a similar period. However, note on the current policy discussion page notes from @[[User:Dave Braunschweig|Dave Braunschweig]] arguing for shorter periods to lower risk, that's why it is 2 weeks. But if there are projects that need longer access, that should also be accommodated. Maybe we could adjust the policy to specify that ''interface admin rights can be given for 14 to 120 days depending on how long is required and what is supported by the community''. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:29, 24 April 2026 (UTC)
:::There was there was no source for 120: it was just more than 14 and less than infinity. The &quot;14 to 120&quot; also seems reasonable. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:33, 24 April 2026 (UTC)
::: On some small/medium-sized wikis, such as English Wikibooks and English Wikiquote for example, indefinite interface administrator access for administrators is allowed, but they tend not to make changes to the CSS and JS page changes unless it's truly necessary. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:34, 24 April 2026 (UTC)
:::It's a good idea to make the length of this right on request or allow to be prolonged. However, IA should test large changes somewhere else, for example on the en.wv mirror, and only after testing it on the mirror, adapt it to the live version. That means I can't imagine a time-consuming operation right now. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:04, 24 April 2026 (UTC)
::::Sorry, what mirror is this? Are you talking about beta.wv? —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 20:32, 24 April 2026 (UTC)
:::::Not beta.wv. Basically somewhere else then on a live wiki. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:59, 24 April 2026 (UTC)
:::::: Wouldn't testing on a user's own common.css page work anyway? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:36, 24 April 2026 (UTC)

== [[Wikiversity:Curators|Curators and curators policy]] ==

How does it come, that Wikiversity has curators, but Curators policy is still being proposed? How do the curators exists and act if the policy about them havent been approved yet? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:33, 16 October 2025 (UTC)

:It looks as if it is not just curators. The policy on Bureaucratship is still being proposed as well. See [[Wikiversity:Bureaucratship]]. —[[User:RailwayEnthusiast2025|&lt;span style=&quot;font-family:Verdana; color:#008000; text-shadow:gray 0.2em 0.2em 0.4em;&quot;&gt;RailwayEnthusiast2025&lt;/span&gt;]] &lt;sup&gt;[[User talk:RailwayEnthusiast2025|&lt;span style=&quot;color:#59a53f&quot;&gt;''talk with me!''&lt;/span&gt;]]&lt;/sup&gt; 18:33, 27 October 2025 (UTC)

:I think its just the nature of a small WMF sister project in that there are lots of drafts, gaps, and potential improvements. In this case, these community would need to vote on those proposed Wikiversity staff policies if we think they're ready. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:08, 3 December 2025 (UTC)
:What? I thought you were getting it approved, Juandev... :) [[User:I&amp;#39;m Mr. Chris|I&amp;#39;m Mr. Chris]] ([[User talk:I&amp;#39;m Mr. Chris|discuss]] • [[Special:Contributions/I&amp;#39;m Mr. Chris|contribs]]) 14:20, 12 February 2026 (UTC)
::Yeah I think this one is important too and we need to aprove it too @[[User:I'm Mr. Chris|I'm Mr. Chris]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 15:56, 12 February 2026 (UTC)
:::I thinks its ready to made into a policy, it seems to be complete and informative about what the rights does and how to get it. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:08, 15 February 2026 (UTC)
::::Agree -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:00, 27 March 2026 (UTC)

Let's make this the official discussion about adopting the [[Wikiversity:Curators|curators policy]] policy. Your comments are invited and welcome. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:40, 24 April 2026 (UTC)

== [[Template:AI-generated]] ==

After going through the plethora of ChatGPT-generated pages made by [[User:Lbeaumont|Lbeaumont]] (with many more pages to go), I'd like community input on this proposal to [[Wikiversity:Artificial intelligence]] that I think would be benefical for the community:
*Resources generated by AI '''must''' be indicated as so through the project box, [[Template:AI-generated]], on either the page or the main resource (if the page is a part of a project).
I do not believe including a small note/reference that a page is AI-generated is sufficient, and I take my thinking from [[WV:Original research|Wikiversity's OR policy]] for OR work: ''Within Wikiversity, all original research should be clearly identified as such''. I believe resources created from AI should also be clearly indicated as such, especially since we are working on whether or not AI-generated resources should be allowed on the website (discussion is [[Wikiversity talk:Artificial intelligence|here]], for reference). This makes it easier for organizational purposes, and in the event ''if'' we ban AI-generated work. 

I've left a message on Lee's talk page over a week ago and did not get a response or acknowledgement, so I'd like for the community's input for this inclusion to the policy. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 26 January 2026 (UTC)

:I believe that existing Wikiversity policies are sufficient. Authors are responsible for the accuracy and usefulness of the content that is published. This policy covers AI-generated content that is: 1) carefully reviewed by the author publishing it, and 2) the source is noted.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:38, 27 January 2026 (UTC)
::A small reference for pages that are substantially filled with Chat-GPT entries, like [[Real Good Religion]], [[Attributing Blame]], [[Fostering Curiosity]], are not sufficient IMO and a project box would be the best indicator that a page is AI-generated (especially when there is a mixture of human created content AND AI-generated content, as present in a lot of your pages). This is useful, especially considering the notable issues with AI (including hallucinations and fabrication of details), so viewers and support staff are aware. These small notes left on the pages are not as easily viewable as a project box or banner would be. I really don't see the issue with a clear-label guideline. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:34, 27 January 2026 (UTC)
::{{ping|Lbeaumont}} I noticed your reversions [https://en.wikiversity.org/w/index.php?title=Exploring_Existential_Concerns&amp;diff=prev&amp;oldid=2788278 here] &amp; [https://en.wikiversity.org/w/index.php?title=Subjective_Awareness&amp;diff=prev&amp;oldid=2788257 here]. I'd prefer to have a clean conversation regarding this proposition. Please voice your concerns here. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:53, 28 January 2026 (UTC)
:::Regarding Subjective Awareness, I distinctly recall the effort I went to to write that the old-fashioned way. It is true that ChatGPT assisted me in augmenting the list of words suggested as candidate subjective states. This is a small section of the course, is clearly marked, and makes no factual claim. Marking the entire course as AI-generated is misleading. I would have made these comments when I reverted your edit; however, the revert button does not provide that opportunity.
:::Regarding the Exploring Existential Concerns course, please note this was adapted from my EmotionalCompetency.com website, which predates the availability of LLMs. The course does include two links, clearly labeled as ChatGPT-generated. Again, marking the entire course as AI-generated is misleading.
:::On a broader issue, I don't consider your opinions to have established a carefully debated and adopted Wikiversity policy. You went ahead and modified many of my courses over my clearly stated objections. Please let this issue play out more completely before editing my courses further. Thanks.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:11, 29 January 2026 (UTC)
::::Understood, and I respect your position. I apologize if my edits were seen as overarching. We could change the project box to &quot;a portion of this resource was generated by AI&quot;, or something along those lines. Feel free to revert my changes where you see fit, and I encourage more users to provide their input. EDIT: I've made changes to the template to indicate that a portion of the content has been generated from an LLM. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:50, 29 January 2026 (UTC)
:::::Thanks for this reply. The new banner is unduly large and alarming. There is no need for alarm here. The use of AI is not harmful per se. Like any technology, it can be used to help or to harm. I take care to craft prompts carefully, point the LMM to reliable source materials, and to carefully read and verify the generated text before I publish it. This is all in keeping with long-established Wikiversity policy. We don't want to use a  [[w:One-drop_rule|one-drop rule]] here or cause a [[w:Satanic_panic|satanic panic]]. We can learn our lessons from history here. I don't see any pedagogical reason for establishing a classification of &quot;AI generated&quot;, but if there is a consensus that it is needed, perhaps it can be handled as just another category that learning resources can be assigned to. I would rather focus on identifying any errors in factual claims than on casting pejorative bias toward AI-generated content. An essay on the best practices for using LMM on Wikiveristy would be welcome.   [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 15:58, 30 January 2026 (UTC)
::::::The new banner mimics the banner that is available on the English Wikibooks (see [[b:Template:AI-generated]] &amp; [[b:Template:Uses AI]]), so my revisions aren't unique in this aspect. At this point, I'd welcome other peoples' inputs. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:40, 30 January 2026 (UTC)

== How do I start making pages? ==
Is there a notability guideline for Wikiversity? What is the sourcing policy for information? What is the Manual of Style? What kind of educational content qualifies for Wikiversity? All the introduction pages are a bit unclear. 
[[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 02:25, 28 January 2026 (UTC)

:{{ping|VidanaliK}} Welcome to Wikiversity! I've left you a welcome message on your talk page. That should help you out. Make sure to especially look at [[Wikiversity:Introduction]]. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 03:11, 28 January 2026 (UTC)
::It says that I can't post more pages because I have apparently exceeded the new page limit. How long does it take before that new page limit expires? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 16:57, 28 January 2026 (UTC)
:::This is a restriction for new users so that Wikiversity is not hit with massive spam. As for when this limit will expire, it should be a few days or after a certain number of edits. It's easy to overcome, though I do not have the exact numbers atm. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:08, 29 January 2026 (UTC)
::::OK, I think I got past the limit. [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 17:21, 29 January 2026 (UTC)
==Why does it feel like Wikiversity is no longer really active anymore?==
I've been looking at recent changes, and both today and yesterday there haven't been many changes that I haven't made; it feels like walking through a ghost town, is this just me or is Wikiversity not really active anymore? [[User:VidanaliK|VidanaliK]] ([[User talk:VidanaliK|discuss]] • [[Special:Contributions/VidanaliK|contribs]]) 03:54, 30 January 2026 (UTC)

:There is fewer people editing these days compared to the past. Many newcomers tend to edit in Wikipedia instead. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 06:39, 30 January 2026 (UTC)
:It’s a little slow, but I’m happy to know that Wikiversity is a place that I think should provide value even if the activity of editors fluctuates. If it’s any consolation your edits may be encouraging for some anonymous newcomer to start edits on their own! I think it’s hard to build community when there is such a wide variety of interests and a smaller starting userbase. Also sometimes the getting into a particular topic that already exists can be intimidating because some relics (large portals, school, categories, etc.) have intricate, unique and generally messy levels of organization. [[User:IanVG|IanVG]] ([[User talk:IanVG|discuss]] • [[Special:Contributions/IanVG|contribs]]) 22:16, 9 March 2026 (UTC)
:I'd say it comes down to working hard for Wikiversity, basically if somebody or a group of people will start presenting good ideas and they turn out to be provably stable.
:I even asked Google's &quot;AI Mode&quot;, what is Wikiversity famous for? Unfortunately it could not answer that.
:Simply, we have not made Wikiversity famous by presenting really provable stable ideas yet. My hope is that this time might come. Perhaps even this year 2026!
:Hope dies last. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:12, 27 April 2026 (UTC)

== Inactivity policy for Curators ==

I was wondering if there is a specific inactivity polity for curators (semi-admins) as I am pretty sure the global policy does not apply to them as they are not ''fully'' sysops. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 03:20, 15 February 2026 (UTC)

:Unfortunately, I don't see an inactivity policy, but if we were to create such a new policy for curators, it should be the same for custodians (administrators). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 18:45, 15 February 2026 (UTC)
::@[[User:Codename Noreste|Codename Noreste]] There is currently none, that I could find, for custodians either. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:47, 17 February 2026 (UTC)
:::I think we should propose a local inactivity policy for custodians (and by extension, curators), which should be at least one year without any edits ''and'' logged actions. However, I don't know which page should it be when the inactivity removal procedure starts. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:53, 17 February 2026 (UTC)
::::@[[User:Codename Noreste|Codename Noreste]] In theory, there should be a section added at [[WV:Candidates for custodianship]] [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:55, 17 February 2026 (UTC)
::::: To be consistent with the [[meta:Admin activity review|global period of 2 years inactivity]] for en.wv  [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship#How are bureaucrats removed?|Bureaucrats]] we could add something like this to [[Wikiversity:Curators]]:
::::::The maximum time period of inactivity &lt;u&gt;without community review&lt;/u&gt; for curators is two years (consistent with  the [[:meta:Category:Global policies|global policy]] described at [[meta:Admin activity review|Admin activity review]] which applies for [[Wikiversity:Custodianship#Notes|Custodians]] and [[Wikiversity:Bureaucratship|Bureaucrats]]). After that time a custodian will remove the rights.
::::: -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:51, 27 March 2026 (UTC)
:::::Yup, I agree with Jtneill, there is a policy proposal for Wikiversity:Curators, where it should be logically deployed. The question is if we are ready to aprove the policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:43, 17 April 2026 (UTC)
:::::: I agree, but we should notify the colloquium about inactive curators, just like a steward would do for inactive custodians and bureaucrats per [[:m:Admin activity review|AAR]]. What is the minimum timeframe an inactive curator should receive so they can respond they would keep their rights? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 17:49, 17 April 2026 (UTC)
:I incorporated these suggestions into the proposed curators policy. Please review/comment/improve. Summary: 2 years, notify curator's user page, then remove rights after 1 month: [[Wikiversity:Curators#Inactivity]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:59, 24 April 2026 (UTC)
:: @[[User:Jtneill|Jtneill]] I created [[Template:Inactive curator]] for this. Feel free to make any changes or improvements. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:29, 24 April 2026 (UTC)

== [[Wikiversity:Artificial intelligence]] to become an official policy ==
{{Archive top|After running for a week, there is consensus, alongside comments, for [[Wikiversity:Artificial intelligence]] to be implemented as an official policy. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:27, 17 April 2026 (UTC)}}
With the introduction of AI-material, and some material just plain disruptive, its imperative that Wikiversity catches up with its sister projects and implements an official AI policy that we can work with. The recent issue of [[User:Lbeaumont|Lbeaumont]]'s 50+ articles that contain significantly large AI-generated material has made me came to the Colloquium. This user has also been removing the [[Template:AI-generated]] template from their pages, calling it &quot;misleading&quot;, &quot;alarmist&quot;, and &quot;pejorative&quot; - which is all just simply nonsensical rationales. Not to even mention this user's contributions to the English Wikipedia have been [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Inner_Development_Goals contested] and [https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Multipolar_trap removed] a couple of times (for being low-quality and clearly LLM-generated), highlighting the need for an actual policy to be implemented here on Wikiversity. I would like to ping {{ping|Juandev}} and {{ping|Jtneill}} for their thoughts as well, since I'd like this to be implemented as soon as possible. 

Wikiversity has a significant issue with implementing anti-disruptive measures, hence why we have received numerous complaints as a community about our quality. I originally was reverting the removal of the templates, but realized that this is still a proposed policy, which it shouldn't be anymore. It should be a recognized Wikiversity policy. 14:54, 10 March 2026 (UTC) —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:54, 10 March 2026 (UTC)

:@[[User:Atcovi|Atcovi]] '''I agree''' that the draft, should become official policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:00, 10 March 2026 (UTC)
:I provided a detailed response at: [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI]]
:I will appreaciate it if you consder that carefully. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 22:49, 10 March 2026 (UTC)
:Agree it should become official Wikiversity policy on the condition &lt;u&gt;that point point 5 is about [significant/substantial] LLM-generated text specifically&lt;/u&gt;. Not a good idea to overuse it, it should be added when there is substantial AI-generated text on the page, not for other cases. [[User:Prototyperspective|Prototyperspective]] ([[User talk:Prototyperspective|discuss]] • [[Special:Contributions/Prototyperspective|contribs]]) 12:37, 11 March 2026 (UTC)
:What policy is being debated? Is it the text on this page, which is pointed to by the general banner, or the text at:   [[Wikiversity:Artificial intelligence|Wikiversity:Artificial intelligence,]]   which is pointed to by the specific banner? Let's begin with coherence on the text being debated. Thanks!  [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 11:49, 17 March 2026 (UTC)
::@[[User:Lbeaumont|Lbeaumont]] This is a call for approval of the new Wikiversity policy. You expressed your opinion [[Wikiversity talk:Artificial intelligence#Evolving a Wikiversity policy on AI|on the talk page of the proposal]], I replied to you and await your response.When creating policies, it is necessary to propose specific solutions. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 14:12, 17 March 2026 (UTC)
:::Toward a Justified and Parsimonious AI Policy 
:::As we collaborate to develop a consensus policy on the use of Large Language Models, it is wise to begin by considering the needs of the various stakeholders to the policy.
:::The stakeholders are:
:::1)     The users, 
:::2)     The source providers, and
:::3)     The editors
:::There may also be others with a minor stake in this policy, including the population at large.
:::The many needs of the users are currently addressed by long-standing [[Wikiversity:Policies|Wikiversity policies]], so we can focus on what, if any, additional needs arise as LLMs are deployed. 
:::As always, users need assurance that propositional statements are accurate. This is covered by the existing policy on [[Wikiversity:Verifiability|verifiably]]. In addition, it is expected by both the users and those that provide materials used as sources for the text are [[Wikiversity:Cite sources|accurately attributed]]. This is also covered by [[Wikiversity:Cite sources|existing policies]].
:::To respect the time and effort of editors, a parsimonious policy will unburden editors from costly requirements that exceed benefits to the users.
:::Finally, it is important to recognize that because attention is our most valuable seizing attention unnecessarily is a form of theft. 
:::The following proposed policy statement results from these considerations:
:::Recommended Policy statement:
:::·       Editors [[Wikiversity:Verifiability|verify the accuracy]] of propositional statements, regardless of the source.
:::·       Editors [[Wikiversity:Cite sources|attribute the source]] of propositional statements. In the case of LLM, cite the LLM model and the prompt used.
:::·       Use of various available templates to mark the use of LLM are optional. Templates that are flexible in noting the type and extend of LLM usage are preferred. Templates that avoid unduly distracting or alarming the user are preferred. [[User:Lbeaumont|Lbeaumont]] ([[User talk:Lbeaumont|discuss]] • [[Special:Contributions/Lbeaumont|contribs]]) 19:56, 19 March 2026 (UTC)
::::Do we discuss here or there? I have replied you there as your proposal is about that policy so it is tradition to discuss it at the affected talk page. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:59, 19 March 2026 (UTC)
: {{support}} Thanks for the proposed policy development and discussion; also note proposed policy talk page discussion: [[Wikiversity talk:Artificial intelligence]] -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 12:05, 24 March 2026 (UTC)
::I think the Wikiversity AI policy shall be official. – [[User:RestoreAccess111|RestoreAccess111]] &lt;sup style=&quot;font-family:Arimo, Arial;&quot;&gt;[[User talk:RestoreAccess111|Talk!]]&lt;/sup&gt; &lt;sup style=&quot;font-family:Times New Roman, Tinos;&quot;&gt;[[Special:Contributions/RestoreAccess111|Watch!]]&lt;/sup&gt; 06:11, 13 April 2026 (UTC)
{{archive bottom}}

== New titles for user right nominations ==
&lt;div class=&quot;cd-moveMark&quot;&gt;''Moved from [[Wikiversity talk:Candidates for Custodianship#New titles for user right nominations]].  [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 23:20, 17 April 2026 (UTC)''&lt;/div&gt;

I would like to propose the following retitles should a user be nominated for any of the following user rights:
* Curator: Candidates for Curatorship
* Bureaucrat: Candidates for Bureaucratship
The reason is that many curator (and probably bureaucrat) requests have run solely under {{tq|Candidates for Custodianship}}, but that title might sound misleading (especially in regards to the permission a user is requesting). CheckUser and Oversight (suppressor) are not included above since no user was nominated for these sensitive permissions, probably. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 01:30, 19 March 2026 (UTC)

:And it's not that when someone at the beginning misplaced the request, no one thought to move it and the others copied it. Even today, it would be possible to simply take it all and move it. Otherwise, for me, the more fundamental problem is that there is [[Wikiversity:Curators|no approved policy for curators]] than where the requests are based. Curators then operate in a certain vacuum and if one of them &quot;breaks out of the chain&quot;, the average user doesn't have many transparent tools to deal with it, because there is no policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 07:02, 19 March 2026 (UTC)
::I am not talking about the curator page (policy proposal). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:08, 21 March 2026 (UTC)
: @[[User:Juandev|Juandev]] I'll see if I can do an overhaul of [[Wikiversity:Candidates for Custodianship]], just like I recently did with the Requests for adminship page on English Wikiquote. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:17, 18 April 2026 (UTC)
:Yes, great idea - ideally there will be separate &quot;Candidates for ...&quot; pages for each user right group. The most important for now is to separate curator and custodian pages as CN suggests. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:39, 1 May 2026 (UTC)

== Technical Request:  Courtesy link.. ==

[[Template_talk:Information#Background_must_have_color_defined_as_well]] [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
: I can't edit the template directly as it need an sysop/interface admin to do it. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)
:: Also if the Template field of - https://en.wikiversity.org/wiki/Special:LintErrors/night-mode-unaware-background-color is examined, there is poential for an admin to clear a substantial proportion of these by implmenting a simmilar fix to the indciated templates (and underlying stylesheets). It would be nice to clear things like Project box and others, as many other templates (and thus pages depend on them.) :)
[[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 11:43, 20 March 2026 (UTC)

:I think it would be best to grant you interface admin rights for a short period of time to make these changes. However, I still have doubts about the suitability of this solution, which may cause other problems and no one has explained to me why dark mode has to be implemented this way @[[User:ShakespeareFan00|ShakespeareFan00]]. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:43, 20 March 2026 (UTC)

: I would have reservations about holding such rights, which is why I was trying to do what I could without needing them. However if it is the only way to get the required changes made, I would suggest asking on Wikipedia to find technical editors, willing to undertake the changes needed. [[User:ShakespeareFan00|ShakespeareFan00]] ([[User talk:ShakespeareFan00|discuss]] • [[Special:Contributions/ShakespeareFan00|contribs]]) 09:32, 21 March 2026 (UTC)

== WikiEducator has closed ==

Some of you may know of a similar project to Wikiversity, called [https://wikieducator.org/Main_Page WikiEducator], championed by [https://oerfoundation.org/about/staff/wayne-mackintosh/ Wayne Mackintosh][https://www.linkedin.com/posts/waynemackintosh_important-notice-about-the-oer-foundation-activity-7405113051688931329-Nhm9/][https://openeducation.nz/killed-not-starved/].

It seems [https://openeducation.nz/terminating-oer-foundation their foundation has closed] and they are no longer operating.

They had done quite a bit of outreach (e.g., in the Pacific and Africa) to get educators using wiki.

The WikiEducator content is still available in MediaWiki - and potentially could be imported to Wikiversity ([https://wikieducator.org/WikiEducator:Copyrights CC-BY-SA] is the default license).

The closing of WikiEducator arguably makes the nurturing of Wikiversity even more important.

-- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:09, 1 April 2026 (UTC)

:I was never active there. If anyone has an account or is otherwise in contact, we may want to copy relevant information here or even at [[:outreach:]]. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 04:46, 1 April 2026 (UTC)

:: I reached out to [[User:Mackiwg~enwikiversity|Wayne]] in January, and he responded briefly but positively (while travelling).  I wrote to the low-traffic wikieducator mailing list today and got a nice [https://groups.google.com/g/wikieducator/c/r_yIyUw6ZIA reply] from [[user:SteveFoerster|Steve Foerster]] who's interested in helping. If we can figure out a migration path it would be great to adopt at least the main namespace pages here.  
:: A few questions that come to mind: 
:: - would people want to create matching user accounts
:: - are there any namespaces (user/talk?) that should not be moved over
:: We could look at how this was done for the [[m:Wikivoyage/Migration]] wikivoyage migration. &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 04:27, 1 May 2026 (UTC)
:::That's fantastic, SJ, that you've reached out and that Wayne, Steve, and Jim are receptive—and that you can help! -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:52, 1 May 2026 (UTC)

== Wikinews is ending ==

Apparently mainly due to low editorial activity, low public interest, but also failure to achieve the goals from the proposal for the creation of the project, the Wikinews project is ending after years of discussions ([[Meta:Proposal for Closing Wikinews|some reading]]).

And I would be interested to see how Wikiversity is doing in the monitored metrics. We probably have more editors than Wikinews had, but what about consumers and achieving the goals? [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 19:14, 1 April 2026 (UTC)

:Wikiversity's biggest issue in recent times was the hosting of low-quality, trash content. Thankfully we've done a great job in removing pseudoscience and other embarrassingly trash content (Wikidebates, for example), but the biggest concern moving forward is proper maintenance IMO. I've caught several pseudoscience pages being created within the last few months that could easily have flown under the radar (ex, [[The Kelemen Dilemma: Causal Collapse and Axiomatic Instability]]), so I'd urge our custodians/curators to be on the lookout for this type of content. Usually an AI-overview can point this type of content out relatively well.
:In terms of visibility, I believe Wikiversity is a high-traffic project. I remember my [[Mathematical Properties]] showing up on the first page of Google when searching up &quot;math properties&quot; for the longest time (and is still showing up in the first page 'till this day!). Besides, Wikinews hosted a lot of short-term content (the nature of news articles), while Wikiversity hosts content that can still be useful a decade later (ex, [[A Reader's Guide to Annotation]]). 
:I think we are on a better path than we were a few months ago, and I do want to thank everyone here who has been helping out with maintaining our website! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:48, 1 April 2026 (UTC)
:For what it's worth, the group that did that study has since disbanded, so no one is monitoring the other sister projects in the same way. Additionally, Wikinews had some catastrophic server issues due to the maintenance of [[:m:Extension:DynamicPageList]] which don't apply here. Your questions are still worth addressing, but I just wanted to cut off any concern at the pass about Wikiversity being in the same precarious situation. Wikiversity is definitely the biggest &quot;lagging behind&quot; or &quot;failure&quot; project now that Wikinews is being shuttered, but I don't see any near- or medium-term pathway to closing Wikiversity. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 00:46, 2 April 2026 (UTC)

:[[w:en:Wikipedia:Wikipedia Signpost/2026-03-31/News and notes|Entirety of Wikinews to be shut down]] (Wikipedia Signpost) -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 02:03, 11 April 2026 (UTC)

== Action Required: Update templates/modules for electoral maps (Migrating from P1846 to P14226) ==

Hello everyone,

This is a notice regarding an ongoing data migration on Wikidata that may affect your election-related templates and Lua modules (such as &lt;code&gt;Module:Itemgroup/list&lt;/code&gt;).

'''The Change:'''&lt;br /&gt;
Currently, many templates pull electoral maps from Wikidata using the property [[:d:Property:P1846|P1846]], combined with the qualifier [[:d:Property:P180|P180]]: [[:d:Q19571328|Q19571328]]. 

We are migrating this data (across roughly 4,000 items) to a newly created, dedicated property: '''[[:d:Property:P14226|P14226]]'''.

'''What You Need To Do:'''&lt;br /&gt;
To ensure your templates and infoboxes do not break or lose their maps, please update your local code to fetch data from [[:d:Property:P14226|P14226]] instead of the old [[:d:Property:P1846|P1846]] + [[:d:Property:P180|P180]] structure. A [[m:Wikidata/Property Migration: P1846 to P14226/List|list of pages]] was generated using Wikimedia Global Search.

'''Deadline:'''&lt;br /&gt;
We are temporarily retaining the old data on [[:d:Property:P1846|P1846]] to allow for a smooth transition. However, to complete the data cleanup on Wikidata, the old [[:d:Property:P1846|P1846]] statements will be removed after '''May 1, 2026'''. Please update your modules and templates before this date to prevent any disruption to your wiki's election articles.

Let us know if you have any questions or need assistance with the query logic. Thank you for your help! [[User:ZI Jony|ZI Jony]] using [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 17:11, 3 April 2026 (UTC)
&lt;!-- Message sent by User:ZI Jony@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Non-Technical_Village_Pumps_distribution_list&amp;oldid=29941252 --&gt;
:I didnt find such properties, so we are probably fine. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 21:00, 12 April 2026 (UTC)
:: +1 (agreed). [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:19, 12 April 2026 (UTC)

== Enable the abuse filter block action? ==

In light of [[Special:AbuseLog/80178]] (coupon spam), I would like to propose enabling the block action for the abuse filter. Only custodians will be able to enable and disable that action on an abuse filter, and it is useful to block ongoing vandalism. Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 19:12, 13 April 2026 (UTC)

:Seems like a good idea, almost all of the users which create such pages are spambots so this shouldn’t be a problem. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 23:41, 13 April 2026 (UTC)
:Can you explain some more (I am new to abuse filters)? It looks like the attempted edit was prevented? Which abuse filter?
:Note on your suggestion, have also reactivated Antispam Filter 12 - see [[WV:RCA]]. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:45, 15 April 2026 (UTC)
:: I am proposing that we activate the abuse filter block action, which if a user triggers an abuse filter, it would actually block the user in question - the same mechanism that a custodian would use to block users. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 13:11, 15 April 2026 (UTC)
:::OK, thankyou, that makes sense. And, reviewing the abuse filter 12 log, it would be helpful because it would prevent the need for manual blocking. But I don't see a setting for autoblocking? -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 23:14, 15 April 2026 (UTC)
:::: I think it probably adds an autoblock. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:43, 16 April 2026 (UTC)
: [[User:Jtneill|Jtneill]] and [[User:PieWriter|PieWriter]], given that a little bit more than a week has passed and there is minimal consensus to activate the abuse filter block action, I filed [[phab:T424053]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:05, 21 April 2026 (UTC)
::Thank-you for doing this. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 08:03, 24 April 2026 (UTC)

== Advice needed: A Neurodiversity-inspired Idea/observation ==

If I want the greatest participation of others to &quot;provide constructive criticism to my idea&quot; or to &quot;shoot down my idea&quot; or &quot;idea&quot;.

What I've called it so far is &quot;The Neurodiversity-inspired Idea&quot;. At other times I used more sensationalist wording but here on Wikiversity I don't dare do that. I actually woke up with thinking about putting this into my userspace draft: &quot;Personal Observations Made By Meeting Autistic and Non-Autistic Adults&quot;.

My ultimate goal is to stop blathering about my &quot;idea&quot; to friend and family without feeling my &quot;methodology&quot; is going into any progressive direction whatsoever. My latest encounter was somewhat constructive though. A friend of a friend who worked with people presenting ideas in attempting to getting grants. I don't want a grant. I just want to figure out how I can express my &quot;idea&quot; in a way so that I can more clearly figure out what flaws it got.

At the same time I tend to overthink. If anyone thinks etherpad might be a good place and considering Wikimedia already got an etherpad at https://etherpad.wikimedia.org/ if anyone feels like they know me better in the future feel free to suggest a &quot;session&quot; on etherpad.

'''If I don't receive a reply to this in 1 week's time I will begin to explore this &quot;idea&quot; into my userspace''' unless you replied and refrained me from doing so, of course. Then maybe after &quot;developing it there&quot; I might reference it to you another future time here in the Colloquium, with my &quot;idea&quot; still in my userspace draft. This &quot;idea&quot; is sort of a burden, I'm happy I've made the choice to get rid of it and hopefully move on with my life, unless there is something to this &quot;idea&quot;. 

My failure is probably evident: I feel I haven't told you anything. Same happened to when I talked to friends and family. In danger of overthinking it further I'll publish this right now. I need to &quot;keep it together&quot; [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:36, 16 April 2026 (UTC)

:Good on you putting it out there ... and hitting publish :). I'd say go for it (no need to wait), give birth to your idea and share about it here and elsewhere. Let it take shape and see where it might go. In many ways, this is exactly what an open collaborative learning community should be doing. Others might not know well how to respond, so perhaps consider creating some questions to accompany the idea. Sincerely, James -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 11:21, 16 April 2026 (UTC)
::Thank you for encouraging me in developing the idea.
::I have created a &quot;questions&quot; section in the draft which is visible in the table of contents now. My brain was &quot;frozen&quot; today metaphorically speaking in that I felt I had like a &quot;writer's block&quot; so the draft has more &quot;AI/LLM&quot; content than before. I used the LLM for generating questions. The answers are so far human-only.
::I've also created a subsection where I could add the prompts that made the LLM generate the questions. That could help people make better prompts perhaps. I've described what it is about inside of it and there are some chaotically written notes.
::[[Draft:The_Neurodiversity-inspired_Idea#Questions_that_might_encourage_the_development_of_this_idea_and_its_methodology]]
::My draft is missing stuff. Any questions that you contribute to my draft will probably help me and if I don't understand the questions I'll probably notify you and also at the same time &quot;feed them&quot; to an LLM and ask in my input like &quot;explain in simple words what this question means, what is it searching for?&quot; etc. while I wait for an answer. If you have any more feedback please give it to me here or on the Draft page, its talk page or my user talk page. Thank you for helping me! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 21:20, 18 April 2026 (UTC)
::Today I woke up with not only thinking about supplying questions along with the &quot;idea&quot; but also answers. ie. Is it possible to &quot;test&quot; this idea? Is it possible to create one or multiple hypotheses based on this &quot;idea&quot;?(etc.) I've thought about this before in this &quot;idea&quot; but since I'm beginning to add to Wikiversity what was previously 'locked in my mind' it's also easier for me to see what I've done so far. Thank you for this comment! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 09:11, 23 April 2026 (UTC)
:May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish. Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet. Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible. Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents. --  [[User:Eric.LEWIN|Eric.LEWIN]] ([[User talk:Eric.LEWIN|discussion]] • [[Special:Contributions/Eric.LEWIN|contributions]]) 10:06, 17 April 2026 (UTC)
::Sorry about the false positive on the profanity filter - I've fixed it. -- [[User:Jtneill|Jtneill]] - &lt;small&gt;[[User talk:Jtneill|Talk]] - [[Special:Contributions/Jtneill|c]]&lt;/small&gt; 10:26, 17 April 2026 (UTC)
:::&quot;May I think that you should not add deadlines ; being read, and rising interest for collaboration, or even simply for exchange of thoughts, such an effective meeting event loads a huge bunch of unprobability, which time can help to… somehow diminish.&quot;
::Thank you Eric for this comment. Trust in time is how I interpret it. I should not feel like I need to be in a hurry. I'll try to give this time. Thank you!
:::&quot;Maybe, I would advice you having a central place for developping your ideas, your needs, your advances, maybe a page in your own user zone, and from time to time, depending your feeling, it could be every trimester or so, or more frequently, you could write a short account of progress (or even of no progress), or a call for participation, in such a place as this present one ; I think that will increase much exposure of your projet.&quot;
::A central place for developing or making &quot;project notes&quot; regarding the Neurodiversity idea on my userspace, I might need that, like a diary or &quot;project notes&quot; of the Neurodiversity idea similar to my course notes regarding my experience with Coursera.
::Any actions I take are going to be related to my Userspace from now on but I'll also update the draft when necessary. Now in the beginning I might be working daily to once every 3 days on both the draft and the daily notes I plan to make.
:::&quot;Maybe also, if you can find a project name, not necessarily very meaningfull by itseilf (at least it will gain signification with time, as your project develops), that will serve as a kind-of hook, and make your announcement titles more visible.&quot;
::Thank you for the advice. I was brainstorming yesterday about it. I concluded that since I've not yet developed a methodology that adheres to &quot;Do no harm&quot; and this is my first time working my &quot;idea&quot; into a way that is compatible with how projects develop on English Wikiversity this is new to me. My methodology isn't developed and therefore trying to get attention to my project through a name can wait. Yesterday I figured out a silly title that has nothing to do with the project: &quot;Planetary Awareness Potato Cabbage Rolls&quot; or something like that. Google output read that no such thing exists so I wanted it mainly to be unique. I don't want to raise attention that I'm unsure whether I'll actually be capable of developing a methodology for but project notes is my best bet so far in tracking my progress. Every day I think about this &quot;idea&quot; but I need to improve the important parts.
:::&quot;Best regards (and my excuses for my poor command of English, which seems to be unplease an anti-abuse filter, &quot;Questionable Language (profanity)&quot;, which I don't understand…). My few cents.&quot;
::You added great points and I felt that I was helped by you! I encourage you to post again and I can understand that interacting with any kind of automated filter can be discouraging and can be for me too! Thank you for giving me feedback! [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 16:01, 18 April 2026 (UTC)

== Add some user rights to the curator user group? ==

By default, only custodians have the ability to mark new pages as patrolled (&lt;code&gt;patrol&lt;/code&gt;) and have their own page creations automatically marked as patrolled (&lt;code&gt;autopatrol&lt;/code&gt;). I am proposing both of the following:
* Curators can mark new pages as patrolled, helping on reducing the backlog of new, unpatrolled pages.
* New pages made by curators will be automatically marked as patrolled by the MediaWiki software.
Before we implement this, I would suggest implementing a proposed guideline for marking new pages as patrolled for curators and custodians.

Thoughts? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 16:32, 17 April 2026 (UTC)

:Agree, &lt;s&gt;also can we also allow curators to undelete pages since they already have the rights to delete them?&lt;/s&gt; [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 02:54, 18 April 2026 (UTC)
::I think the requirement that undelete NOT be included came from above (meta / stewards / central office). Having access to the undelete page gives access to information that is restricted by their policies to admins (custodians and bureaucrats). -- [[User:Dave Braunschweig|Dave Braunschweig]] ([[User talk:Dave Braunschweig|discuss]] • [[Special:Contributions/Dave Braunschweig|contribs]]) 20:12, 18 April 2026 (UTC)
::: [[User:PieWriter|PieWriter]], unless if requests for curator and custodian should be RfA-like processes (that is, including voting and comments), then I have to agree with Dave above. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 22:03, 18 April 2026 (UTC)
::::Oh, I didn’t realise that. Withdrawing my comment.. [[User:PieWriter|PieWriter]] ([[User talk:PieWriter|discuss]] • [[Special:Contributions/PieWriter|contribs]]) 00:08, 19 April 2026 (UTC)
:{{support}} Seems reasonable and would reduce overhead. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 14:35, 18 April 2026 (UTC)
:'''Agree''', implement it also to [[Wikiversity:Curators]] proposal please. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 17:11, 18 April 2026 (UTC)
: I went ahead and filed [[phab:T424445]]. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 15:39, 26 April 2026 (UTC)

== Wikiversity:Curators to become a policy ==

I've looked at the discussions about the Curators policy, I've looked at the practices, and it seems to me that there is no dispute about the wording of the policy, and what's more, the community has been using this proposal as if it were an offical policy for several years. Therefore, I propose that [[Wikiversity:Curators]] become a policy. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 18:35, 18 April 2026 (UTC)

:{{support}} —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 18:54, 18 April 2026 (UTC)
:{{support}} —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 20:21, 18 April 2026 (UTC)
: {{support|Yes, please}}. Especially after when I and PieWriter proposed above, I agree. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 14:27, 24 April 2026 (UTC)
:: @[[User:Juandev|Juandev]]; as of now, curators now have the user rights &lt;code&gt;autopatrol&lt;/code&gt; and &lt;code&gt;patrol&lt;/code&gt;. Perhaps we should also include that in [[Wikiversity:Custodianship]]? [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 12:07, 30 April 2026 (UTC)

== Inactive curators ==

Hello, even though [[Wikiversity:Curators]] is not a policy yet, there are curators listed here that have been inactive for two years or more:
* {{user|Cody naccarato}} (last edit on 13 Dec 2022, last logged action on 10 Dec 2022)
* {{user|Praxidicae}} (last edit on 10 Sep 2022, last logged action on 12 Sep 2022)
[[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 21:14, 19 April 2026 (UTC)

:Yup, I would remove the rights. To get the rights back if theyll come back should not be a big deal. [[User:Juandev|Juandev]] ([[User talk:Juandev|discuss]] • [[Special:Contributions/Juandev|contribs]]) 20:08, 24 April 2026 (UTC)
:: When they don't reply by May 19, feel free (or any custodian) to do so. [[User:Codename Noreste|Codename Noreste]] ([[User talk:Codename Noreste|discuss]] • [[Special:Contributions/Codename Noreste|contribs]]) 00:28, 25 April 2026 (UTC)

== Is anyone interested in Neurodiversity? ==

Is anyone interested in Neurodiversity? Is there anyone here who is interested for Neurodiversity to be &quot;something more&quot; than it already is? Does anyone here consider Neurodiversity one of the &quot;harder topics&quot; to work on or discuss? Does anyone here have an opinion about the [[Neurodiversity Movement]]? So these questions don't appear like &quot;out of a vacuum&quot; I can tell you a bit about my background:

Many years ago I got a psychiatric diagnosis &quot;Asperger's&quot;. After I stepped out of the office and my Äsperger's was 'concluded', I stepped out into the street and thought my first negative thought(but the positive thought followed after). The thought was about concentration camps in the second world war and that the world seemed to be going into the direction of &quot;labeling others&quot;. I was unsure whether this was &quot;real science&quot; and sort of &quot;challenged myself&quot; to make up my own mind after meeting people that had been given this diagnosis. The more adults with this diagnosis I met the more I started seeing &quot;patterns&quot;.

Was it a coincidence that the first person with Asperger's I met reminded me about my father later after I had plenty of times of experience with interacting with him? None of the people I interacted with online through IRC text chat...I felt I got any clue about how &quot;their brains work&quot;. Only when I met one person from the Asperger's chat community in person we both realized that whatever we experienced was akin to the &quot;chaos theory&quot;. He told me about &quot;chaos theory&quot; while I didn't know even what that term meant but I guess I 'read between the lines'. My question that I linger on still today is &quot;did he understand about me what I think I understood about him?&quot;? That our brains had the same configuration? Most autistic adults who meet other autistic adults usually get disappointed. They think the diagnosis will help them meet somebody like themselves and then they realize the great diversity in the autistic spectrum created by Psychiatry.

I later stopped interacting with autistic communities that much, I felt that it did not benefit me. Also Neurodiversity's &quot;neurotypes&quot; interested me for a while until I realized I had &quot;misunderstood everything&quot; about them and how they are used in the Neurodiversity Movement or &quot;Neurodiversity community&quot; if that even can precisely be defined? I doubt it but if you want to contribute to the [[Neurodiversity Movement]]. My previous attempts failed as I got more and more confused. I think a community project needs a community. With a lack of that I don't think it is worth my time. If any of you would like to work on that project let me know on my talk page.

So I was kinda lost and was talking to my friend and psychologist and I realized if I never talk about my idea to anyone in a &quot;comprehensive way&quot; or show that it matters to me nothing is going to ever happen. So I started talking about my &quot;idea&quot; more. Nobody could understand the &quot;idea&quot; because I had not developed my skills regarding where to start...although the process had already started &quot;automatically&quot; and that's why I often think of &quot;well my brain sort of activated me&quot;. I don't feel like I did have a plan and this idea happened. It happened &quot;by itself&quot;. My brain reacted to what I was seeing in a video or stream.

I value interaction highly in this idea. I think it would be helpful to make a community of people who are not paranoid about stuff that can express itself like &quot;don't analyze me!&quot;, &quot;don't compare me to anyone!&quot;. 

On the contrary, more often than not those adults who were diagnosed were actually openly comparing themselves with each other and I think that is healthy in a &quot;science&quot; way if done the &quot;right way&quot; which probably means &quot;Do no harm&quot;.

I found video material is important but I'm very unsure if uploading own video material to Wikimedia Commons would constitute a &quot;reasonable&quot; use of the resources there. Maybe somebody here needs to ask more questions to me that I should answer before that happens. I also know the '''be bold''' so I could just do what I think might be ok. Though I work better in a group as long as I know what &quot;group configurations&quot; help me. This is in a non-profit way. Since the state supported me this might be a way I am trying to &quot;give back&quot; to the state and &quot;the world&quot;. May seem overly ambitious and crazy but this thing gives me energy. It gives me hope when trying to develop this idea. [[User:ThinkingScience|ThinkingScience]] ([[User talk:ThinkingScience|discuss]] • [[Special:Contributions/ThinkingScience|contribs]]) 10:47, 23 April 2026 (UTC)

== Request for comment (global AI policy) ==

&lt;bdi lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot;&gt;A [[:m:Requests for comment/Artificial intelligence policy|request for comment]] is currently being held to decide on a global AI policy. {{int:Feedback-thanks-title}} [[User:MediaWiki message delivery|MediaWiki message delivery]] ([[User talk:MediaWiki message delivery|discuss]] • [[Special:Contributions/MediaWiki message delivery|contribs]]) 00:58, 26 April 2026 (UTC)&lt;/bdi&gt;
&lt;!-- Message sent by User:Codename Noreste@metawiki using the list at https://meta.wikimedia.org/w/index.php?title=Distribution_list/Global_message_delivery&amp;oldid=30424282 --&gt;</text>
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'''WikiEducator''' is an education-oriented wiki that aims to produce a free version of the education curriculum. WikiEducator has a collection of learning content in a variety of disciplines, with a unique approach to developing learning content. The project has a strong focus on users contributing free content resources, often linking incentives to the process of contribution to encourage users to participate; as a result, WikiEducator has built up a strong content database.

The WikiEducator site is powered by the [[w:MediaWiki|MediaWiki]] software, which also powers [[Wikiversity]], however WikiEducator has taken advantage of innovative extensions to the software to provide further technical infrastructure to facilitate learning. For example, the project is experimenting with collaborative video through the Kaltura system.

As of 2026, it no longer has funding from New Zealand and may be shut down.&lt;ref&gt;{{Cite web|url=https://openeducation.nz/|title=Open Education NZ – Supporting the UNESCO OER Recommendation in Aotearoa New Zealand|language=en-NZ|access-date=2026-05-01}}&lt;/ref&gt;

==Relationship with Wikiversity==
The founder of WikiEducator, Dr. [[User:Mackiwg|Wayne Mackintosh]], sits on the [[Foundation:Advisory_Board|Advisory Board]] of the [[Wikimedia Foundation]], and has a Wikiversity account. [[User:Countrymike]]/BrentSimpson and [[User:Leighblackall]] are admins/custodians on both WikiEducator and Wikiversity. [[m:User:Eloquence|Erik Möller]] from Wikipedia and various other Wikimedia projects is on the [http://wikieducator.org/WikiEducator:Community_Council/Members WikiEducator Community Council] and has run the hosting for WikiEducator as of April 2006. [[User:Leighblackall]] and [[User:Ktucker]] have also been significant contributors to both wikis and both are on the WikiEducator Community Council.

==See also==
(((((((wikipedia)))))))
* [[Educational wikis#Wikiversity and WikiEducator|Wikiversity and WikiEducator]]

==External links==
* [http://www.wikieducator.org WikiEducator]
* [http://wikieducator.org/stats/reports/ WikiEducator Statistics]
* [http://en.wikieducator.org/Initiatives Initiatives@WikiEducator]

[[Category:WikiEducator]]</text>
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{{history|World War II}}
{{launch}}
This course is about World War II, its causes and effects, and the people in it. More detailed courses will cover related topics, like the Holocaust.

==Material==
* [[World War II/Causes of WWII|Causes]]
* [[Medical experiments at Auschwitz]]
* [[World War II/Important People|Important people]]
* [[World War II/Glossary of terms|Glossary]]
* [[World War II/Timeline|Timeline]]

==Extra Pages==
These [[World War II/Extra Pages|extra pages]] are taken directly from the Wikipedia.

===See also===
* [[Looking_at_World_War_II_-_Text_and_Media|World War II in Text and Media]]
* [[Did the United States need to use atomic weapons to end World War II?]]
* [[Should Mein Kampf be banned?]]
* [[Hitler's Germany]]

==External Links==
[[World War II/External Links|External Links]]

==Related Books==
[[World_War_II/Related_Books|Great WWII Authors and Books]]

==Related Wikipedia Pages==
[https://en.wikipedia.org/wiki/World_War_II World War II]

==School and Department Links==
*[[Portal:Military History|Department of Military History]]
*[[School:History|School of History]]
*[[World War II|Topic:World War II]]

This page was requested at [[Wikiversity:Requests]]

[[Category:World War II]]
[[Category:Military History]]</text>
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{{history|World War II}}
{{launch}}
This course is about World War II, its causes and effects, and the people in it. More detailed courses will cover related topics, like the Holocaust.

==Material==
* [[World War II/Causes of WWII|Causes]]
* [[Medical experiments at Auschwitz]]
* [[World War II/Important People|Important people]]
* [[World War II/Glossary of terms|Glossary]]
* [[World War II/Timeline|Timeline]]

===See also===
* [[Looking at World War II - Text and Media|World War II in Text and Media]]
* [[Did the United States need to use atomic weapons to end World War II?]]
* [[Should Mein Kampf be banned?]]
* [[Hitler's Germany]]

==External links==
[[World War II/External Links|External Links]]

==Related books==
[[World War_II/Related Books|Great WWII Authors and Books]]

==Related Wikipedia Pages==
[https://en.wikipedia.org/wiki/World_War_II World War II]

==School and Department Links==
*[[Portal:Military History|Department of Military History]]
*[[School:History|School of History]]
*[[World War II|Topic:World War II]]

This page was requested at [[Wikiversity:Requests]]

[[Category:World War II]]
[[Category:Military History]]</text>
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{{history|World War II}}
{{launch}}
This course is about World War II, its causes and effects, and the people in it. More detailed courses will cover related topics, like the Holocaust.

==Material==
* [[World War II/Causes of WWII|Causes]]
* [[Medical experiments at Auschwitz]]
* [[World War II/Important People|Important people]]
* [[World War II/Glossary of terms|Glossary]]
* [[World War II/Timeline|Timeline]]

===See also===
* [[Looking at World War II - Text and Media|World War II in Text and Media]]
* [[Did the United States need to use atomic weapons to end World War II?]]
* [[Should Mein Kampf be banned?]]
* [[Hitler's Germany]]

==External links==
[[World War II/External Links|External Links]]

==Related books==
[[World War_II/Related Books|Great WWII Authors and Books]]

==Related Wikipedia Pages==
[https://en.wikipedia.org/wiki/World_War_II World War II]

==School and Department Links==
*[[Portal:Military History|Department of Military History]]
*[[School:History|School of History]]

This page was requested at [[Wikiversity:Requests]]

[[Category:World War II]]
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[[File:FDR 1944 Color Portrait.jpg|thumb|Franklin D Roosevelt ]]
Franklin D. Roosevelt was an American politician who served as the 32nd [[President of the United States]] from 1933 to 1945. He defeated leaders like [[World War II/Important People/Adolf Hitler|Adolf Hitler]] and Emperor [[Hirohito]].

== Early life ==
	Franklin D. Roosevelt was born on January 30, 1882, in the Hudson Valley town of Hyde Park. His father, James Roosevelt, Sr., and his mother, Sara Ann Delano, were each from wealthy old New York families of Dutch and French ancestry, respectively. FDR was a lucky kid. His family traveled to Europe constantly. He learned to speak French and German, and he learned how to ride, shoot, play polo, and play lawn tennis. FDR went to Groton School, an Episcopal boarding school in Massachusetts, and was deeply inspired by the headmaster, Endicott Peabody, who taught the duty of Christians to help the less fortunate and urged his students to help others. Roosevelt completed his studies at Harvard, where he lived in wonderful Adams House and was a member of the Alpha Delta Phi fraternity. While at Harvard, his fifth cousin, Theodore Roosevelt, became president, and Theodore's vigorous leadership style and reforming zeal made him Franklin's role model and hero.

== Adulthood ==
	 In 1854, he met his future wife, Eleanor Roosevelt, Theodore's niece, at a White House reception. Roosevelt entered Columbia Law School in 1905, but dropped out in 1907 because he had passed the New York State Bar exam.
	On March 17, 1905, Roosevelt married Eleanor even though his mother told him not to. Her uncle, Theodore Roosevelt, stood in at the wedding in place of Eleanor's dead father, Elliott. The young couple moved into Springwood, his family's estate, where FDR's mother usually came, much to Eleanor's chagrin. Franklin was a charismatic, handsome, and socially active man. On the other hand, Eleanor was shy and disliked social life, and at first stayed at home to raise their children. They had six children in rapid succession: Anna Eleanor (1906–1975), James (1907–1991), Franklin Delano, Jr. (March 3, 1909–November 7, 1909), Elliott (1910–1990), Franklin Delano, Jr. 2(1914–1988), and John Aspinwall (1916–1981).
	In 1910, Roosevelt ran for the New York State Senate from the district around Hyde Park in Dutchess County. He entered the Roosevelt name, with its associated wealth, prestige, and influence in the Hudson Valley, and the Democratic landslide that year carried him to the state capital of Albany, New York. Roosevelt entered the statehouse on January 1, 1911. He became a leader of a group of retired people who opposed Manhattan's Tammany Hall machine, which dominated the state Democratic Party. Roosevelt soon became a popular figure among New York Democrats. He was reelected for a second term on November 5, 1912, and he retired from the New York State Senate on March 17, 1913.

== Political career ==
	The 1920 Democratic National Convention elected Roosevelt as the candidate for Vice President of the United States on the ticket led by Governor James M. Cox of Ohio, helping build a national base, but the Cox-Roosevelt ticket was defeated by Republican Warren Harding in the presidential election. Roosevelt then retired to a New York legal practice, but a few doubted that he would soon run for public office again.
	In August 1921, while the Roosevelts were vacationing at Campobello Island, New Brunswick, Roosevelt contracted an illness, at the time believed to be polio, which paralyzed Roosevelt from the waist down. For the rest of his life, Roosevelt was paralyzed. He tried a lot of therapies, including hydrotherapy, and, in 1926, he purchased a resort at Warm Springs, Georgia, where he founded a hydrotherapy center for the treatment of polio patients, which still operates as the Roosevelt Warm Springs Institute for Rehabilitation. After he became President, he helped to found the National Foundation for Infantile Paralysis (now known as the March of Dimes). His leadership in this organization is one reason he is commemorated on the dime.

At the time, when the private lives of public figures were subject to less scrutiny than they are today, Roosevelt was able to convince many people that he was getting better, which he believed was needed if he was to run for public office again. Fitting his hips and legs with iron braces, he laboriously taught himself to walk a short distance by swiveling his torso while supporting himself with a cane. In private, he used a wheelchair, but he was careful never to use it in public. He usually appeared in public standing upright, supported on one side by an aide or one of his sons.

(In 2003, a peer-reviewed study found that it was more likely that Roosevelt's paralytic illness was actually Guillain-Barré syndrome, not polio.)

== Presidency ==
	On March 4, 1933, FDR became the 32nd president of the U.S. The nation struggled under the Great Depression. It lasted until 1934. Five years later was the start of World War 2. FDR (unsuccessfully) tried to keep the U.S. out of the war. On Dec. 7, 1941, Japan attacked Malaysia, Hong Kong, the Philippines, Guam, and Hawaii, and on the next day, Japan attacked Midway, a US territory. That led [[America]] into World War II.

In 1944, FDR was elected president for his 4th and last time. Cerebral hemorrhage prevented him from seeing his retirement. He died on April 12, 1945.

== Legacy ==

FDR was one of the greatest presidents in U.S. history. As the longest-serving president of America, he saw 12 years (and 69 weeks) of improvement in the U.S. Franklin Delano Roosevelt will forever be in the hearts of Americans.
[[Category:20th century in the United States]]</text>
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    <title>Understanding Arithmetic Circuits</title>
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== Adder ==

* Binary Adder Architecture Exploration ( [[Media:Adder.20131113.pdf|pdf]]  )
 
{| class=&quot;wikitable&quot;
|-
!  Adder type      !! Overview !! Analysis !! VHDL Level Design  !! CMOS Level Design  
|-
| '''1. Ripple Carry Adder'''
|| [[Media:VLSI.Arith.1A.RCA.20250522.pdf|A]]||
|| [[Media:Adder.rca.20140313.pdf|pdf]]
|| [[Media:VLSI.Arith.1D.RCA.CMOS.20211108.pdf|pdf]]
|-
| '''2. Carry Lookahead Adder'''
|| [[Media:VLSI.Arith.1.A.CLA.20260109.pdf|org]], [[Media:VLSI.Arith.2A.CLA.20260430.pdf|A]], [[Media:VLSI.Arith.2B.CLA.20260304.pdf|B]] ||
|| [[Media:Adder.cla.20140313.pdf|pdf]]||
|-
| '''3. Carry Save Adder''' 
|| [[Media:VLSI.Arith.1.A.CSave.20151209.pdf|A]]||
|| ||
|-
|| '''4. Carry Select Adder''' 
|| [[Media:VLSI.Arith.1.A.CSelA.20191002.pdf|A]]||
|| || 
|-
|| '''5. Carry Skip Adder'''
|| [[Media:VLSI.Arith.5A.CSkip.20250405.pdf|A]]||
|| 
|| [[Media:VLSI.Arith.5D.CSkip.CMOS.20211108.pdf|pdf]]
|- 
|| '''6. Carry Chain Adder'''
|| [[Media:VLSI.Arith.6A.CCA.20211109.pdf|A]]||
|| [[Media:VLSI.Arith.6C.CCA.VHDL.20211109.pdf|pdf]],  [[Media:Adder.cca.20140313.pdf|pdf]]
|| [[Media:VLSI.Arith.6D.CCA.CMOS.20211109.pdf|pdf]]
|- 
|| '''7. Kogge-Stone Adder'''
|| [[Media:VLSI.Arith.1.A.KSA.20140315.pdf|A]]||
|| [[Media:Adder.ksa.20140409.pdf|pdf]]||
|-
|| '''8. Prefix Adder'''
|| [[Media:VLSI.Arith.1.A.PFA.20140314.pdf|A]]||
|| || 
|-
|| '''9.1 Variable Block Adder'''
|| [[Media:VLSI.Arith.1A.VBA.20221110.pdf|A]], [[Media:VLSI.Arith.1B.VBA.20230911.pdf|B]], [[Media:VLSI.Arith.1C.VBA.20240622.pdf|C]], [[Media:VLSI.Arith.1C.VBA.20250218.pdf|D]]||
|| || 
|-
|| '''9.2 Multi-Level Variable Block Adder'''
|| [[Media:VLSI.Arith.1.A.VBA-Multi.20221031.pdf|A]]||
|| || 
|}
&lt;/br&gt;
 
=== Adder Architectures Suitable for FPGA === 
* FPGA Carry-Chain Adder ([[Media:VLSI.Arith.1.A.FPGA-CCA.20210421.pdf|pdf]])
* FPGA Carry Select Adder ([[Media:VLSI.Arith.1.B.FPGA-CarrySelect.20210522.pdf|pdf]])
* FPGA Variable Block Adder ([[Media:VLSI.Arith.1.C.FPGA-VariableBlock.20220125.pdf|pdf]])
* FPGA Carry Lookahead Adder ([[Media:VLSI.Arith.1.D.FPGA-CLookahead.20210304.pdf|pdf]])
* Carry-Skip Adder
&lt;/br&gt;

== Barrel Shifter ==
* Barrel Shifter Architecture Exploration ([[Media:Bshift.20131105.pdf|bshfit.vhdl]], [[Media:Bshift.makefile.20131109.pdf|bshfit.makefile]])
&lt;/br&gt;

'''Mux Based Barrel Shifter'''
* Analysis  ([[Media:Arith.BShfiter.20151207.pdf|pdf]]) 
* Implementation 
&lt;/br&gt;

== Multiplier == 
=== Array Multipliers ===
* Analysis  ([[Media:VLSI.Arith.1.A.Mult.20151209.pdf|pdf]])
&lt;/br&gt;

=== Tree Mulltipliers ===
* Lattice Multiplication  ([[Media:VLSI.Arith.LatticeMult.20170204.pdf|pdf]])
* Wallace Tree  ([[Media:VLSI.Arith.WallaceTree.20170204.pdf|pdf]])
* Dadda Tree  ([[Media:VLSI.Arith.DaddaTree.20170701.pdf|pdf]])
&lt;/br&gt;

=== Booth Multipliers ===
* [[Media:RNS4.BoothEncode.20161005.pdf|Booth Encoding Note]]
* Booth Multiplier Note ([[Media:BoothMult.20160929.pdf|H1.pdf]])
&lt;/br&gt;

== Divider == 
* Binary Divider ([[Media:VLSI.Arith.1.A.Divider.20131217.pdf|pdf]])&lt;/br&gt;

&lt;/br&gt;
&lt;/br&gt; 
go to [ [[Electrical_%26_Computer_Engineering_Studies]] ]

[[Category:Digital Circuit Design]]
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  <page>
    <title>Computer Skills/Basic/Graphics</title>
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Basic graphics includes graphics manipulation and drawing tools.

== Objectives and Skills ==
Objectives and skills for simple formatting include:&lt;ref&gt;[http://www.eaa.unsw.edu.au/forms/pdf/icas/subjects/computer-skills-framework.pdf University of New South Wales: Computer Skills Assessment Framework]&lt;/ref&gt;
* Manipulate graphics: resize; rotate; flip; order; color
* Understand function of drawing tools

== Multimedia ==
# [http://www.youtube.com/watch?v=hlnodEYZ71w YouTube: How to Use: Microsoft Paint]

== Activities ==
These activities may be completed using any drawing or graphics application (Microsoft Paint, Paintbrush, LibreOffice Draw, Google Drawings, GIMP, etc.).
# Start your graphics application. It should automatically open with a new, blank drawing. If it does not, add a new blank drawing.
# Either insert an image into your drawing or paste an image from the clipboard.
# Select the image. Drag the border to resize the image.
# Rotate the selected image. You should be able to rotate it 90 or 180 degrees. Some graphics applications will allow more precise rotations.
# Flip the selected image. You should be able to flip the image both horizontally and vertically.
# Insert or paste a second image. Move the image to layer it on top of the first image.  Some graphics programs allow you to have multiple layers of images and change the order (which image is on top as viewed).
# Use the pen or color fill feature to add color to your drawing.
# Use the text feature to add a title and your name to the drawing.
# Save your drawing.
# Print your drawing.

== See Also ==
* [[Computer Skills/Intermediate/Graphics]]
* [[Computer Skills/Advanced/Graphics]]
* [[Computer Skills/Proficient/Graphics]]

== References ==
{{Reflist}}
{{subpage navbar}}

[[Category:Computer Skills]]
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Basic graphics includes graphics manipulation and drawing tools.

== Objectives and Skills ==
Objectives and skills for simple formatting include:&lt;ref&gt;[http://www.eaa.unsw.edu.au/forms/pdf/icas/subjects/computer-skills-framework.pdf University of New South Wales: Computer Skills Assessment Framework]&lt;/ref&gt;
* Manipulate graphics: resize; rotate; flip; order; color
* Understand function of drawing tools

== Multimedia ==
# [http://www.youtube.com/watch?v=hlnodEYZ71w YouTube: How to Use: Microsoft Paint]

== Activities ==
These activities may be completed using any drawing or graphics application (Microsoft Paint, Paintbrush, LibreOffice Draw, Google Draw, GIMP, etc.).
# Start your graphics application. It should automatically open with a new, blank drawing.  If it does not, add a new blank drawing.
# Either insert an image into your drawing or paste an image from the clipboard.
# Select the image.  Drag the border to resize the image.
# Rotate the selected image.  You should be able to rotate it 90 or 180 degrees.  Some graphics applications will allow more precise rotations.
# Flip the selected image.  You should be able to flip the image both horizontally and vertically.
# Insert or paste a second image.  Move the image to layer it on top of the first image.  Some graphics programs allow you to have multiple layers of images and change the order (which image is on top as viewed).
# Use the pen or color fill feature to add color to your drawing.
# Use the text feature to add a title and your name to the drawing.
# Save your drawing.
# Print your drawing.

== See Also ==
* [[Computer Skills/Intermediate/Graphics]]
* [[Computer Skills/Advanced/Graphics]]
* [[Computer Skills/Proficient/Graphics]]

== References ==
{{Reflist}}
{{subpage navbar}}

[[Category:Computer Skills]]
[[Category:Graphics]]
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Basic graphics includes graphics manipulation and drawing tools.

== Objectives and Skills ==
Objectives and skills for simple formatting include:&lt;ref&gt;[http://www.eaa.unsw.edu.au/forms/pdf/icas/subjects/computer-skills-framework.pdf University of New South Wales: Computer Skills Assessment Framework]&lt;/ref&gt;
* Manipulate graphics: resize; rotate; flip; order; color
* Understand function of drawing tools

== Multimedia ==
# [http://www.youtube.com/watch?v=hlnodEYZ71w YouTube: How to Use: Microsoft Paint]

== Activities ==
These activities may be completed using any drawing or graphics application (Microsoft Paint, Paintbrush, LibreOffice Draw, Google Drawings, GIMP, etc.).
# Start your graphics application. It should automatically open with a new, blank drawing.  If it does not, add a new blank drawing.
# Either insert an image into your drawing or paste an image from the clipboard.
# Select the image.  Drag the border to resize the image.
# Rotate the selected image.  You should be able to rotate it 90 or 180 degrees.  Some graphics applications will allow more precise rotations.
# Flip the selected image.  You should be able to flip the image both horizontally and vertically.
# Insert or paste a second image.  Move the image to layer it on top of the first image.  Some graphics programs allow you to have multiple layers of images and change the order (which image is on top as viewed).
# Use the pen or color fill feature to add color to your drawing.
# Use the text feature to add a title and your name to the drawing.
# Save your drawing.
# Print your drawing.

== See Also ==
* [[Computer Skills/Intermediate/Graphics]]
* [[Computer Skills/Advanced/Graphics]]
* [[Computer Skills/Proficient/Graphics]]

== References ==
{{Reflist}}
{{subpage navbar}}

[[Category:Computer Skills]]
[[Category:Graphics]]
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Basic multimedia includes recognizing common multimedia components.

== Objectives and Skills ==
Objectives and skills for basic multimedia include:&lt;ref&gt;[http://www.eaa.unsw.edu.au/forms/pdf/icas/subjects/computer-skills-framework.pdf University of New South Wales: Computer Skills Assessment Framework]&lt;/ref&gt;
* Know about some components of multimedia
* Recognize icons: audio; video

== Multimedia ==
# [https://www.youtube.com/watch?v=UJBCanWJD0k PowerPoint: Inserting Videos]
# [https://www.youtube.com/watch?v=pP3kTmsnbnY PowerPoint: Inserting Audio]

== Activities ==
These activities may be completed using any presentation application (Microsoft PowerPoint, LibreOffice Impress, Google Slides, Apple Keynote, etc.):
# Start your presentation application.  It should automatically open with a new, blank presentation.
# Add a title and your name.  Title the presentation 'Multimedia'.
# Add a new slide.  Title the slide 'Audio'.  Add an audio clip to the slide.
# Add a new slide.  Title the slide 'Video'.  Add a video clip to the slide.
# Select a theme for your presentation.  Apply the theme to all slides.
# Add any additional slides and content you wish.
# Save your presentation.
# Practice presenting your presentation.

== See Also ==
* [[Computer Skills/Intermediate/Multimedia]]
* [[Computer Skills/Advanced/Multimedia]]
* [[Computer Skills/Proficient/Multimedia]]

== References ==
{{Reflist}}
{{subpage navbar}}

{{CourseCat}}
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        <username>SunKissedMocha</username>
        <id>3067192</id>
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      <comment>Removed the outdated Multimedia section and added the LearnFree tutorial. While it’s unclear whether the LearnFree tutorial should be categorized as an activity or multimedia, it has been treated as an activity on previous pages, so I placed it under activities to maintain consistency.</comment>
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Basic spreadsheets includes recognizing user interface elements and entering data.

== Objectives and Skills ==
Objectives and skills for basic spreadsheets include:&lt;ref&gt;[http://www.eaa.unsw.edu.au/forms/pdf/icas/subjects/computer-skills-framework.pdf University of New South Wales: Computer Skills Assessment Framework]&lt;/ref&gt;
* Recognize structure and purpose 
* Recognize the active cell
* Know how to enter data
* Interpret simple spreadsheets and data
* Conduct a search in a simple database

== Multimedia ==
# [http://www.youtube.com/watch?v=iTraG7F2_FY YouTube: How to Find and replace data in Excel 2010]

== Activities ==
Complete the tutorial [https://www.learnfree.org/series/excel-foundations LearnFree: Excel Foundations].

The following activities may be completed using any spreadsheet application (Microsoft Excel, LibreOffice Calc, Google Spreadsheet, Apple Numbers, etc.):
# Start your spreadsheet application.  It should automatically open with a new, blank spreadsheet.
# Identify columns (letter labels) and rows (number labels).
# Identify the active cell (A1).  Use the cursor keys to move around the spreadsheet and continue to identify the active cell.
# Return to cell A1.  Enter your name in cell A1.
# Move to cell A2.  Enter your age in cell A2.  If you prefer not to enter your age, you can enter the number for the month you were born (January = 1, etc.).
# Use Print Preview to see the page layout for your spreadsheet.
# Print your spreadsheet.
# Save your spreadsheet.
# Review [http://www.excel-easy.com/basics/find-select.html Excel-Easy: Find &amp; Select].  Download the find-select.xls file and complete the activities listed.
# To interpret simple spreadsheets and data, identify the fastest car and model and the most expensive car and model in the Find &amp; Select Sheet1 worksheet.

== See Also ==
* [[Computer Skills/Intermediate/Spreadsheets]]
* [[Computer Skills/Advanced/Spreadsheets]]
* [[Computer Skills/Proficient/Spreadsheets]]
* [http://www.excel-easy.com: Excel-Easy: Free Excel Tutorials]

== References ==
{{Reflist}}
{{subpage navbar}}

{{CourseCat}}
[[Category:Computer Skills]]
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    <title>Complex analysis in plain view</title>
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      <comment>/* Geometric Series Examples */</comment>
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      <text bytes="5296" sha1="304wrs1zhme7z38oo0pk86i81k1bs8q" xml:space="preserve">Many of the functions that arise naturally in mathematics and real world applications can be extended to and regarded as complex functions, meaning the input, as well as the output, can be complex numbers &lt;math&gt;x+iy&lt;/math&gt;, where &lt;math&gt;i=\sqrt{-1}&lt;/math&gt;, in such a way that it is a more natural object to study. '''Complex analysis''', which used to be known as '''function theory''' or '''theory of functions of a single complex variable''', is a sub-field of analysis that studies such functions (more specifically, '''holomorphic''' functions) on the complex plane, or part (domain) or extension (Riemann surface) thereof. It notably has great importance in number theory, e.g. the [[Riemann zeta function]] (for the distribution of primes) and other &lt;math&gt;L&lt;/math&gt;-functions, modular forms, elliptic functions, etc. &lt;blockquote&gt;The shortest path between two truths in the real domain passes through the complex domain.  — [[wikipedia:Jacques_Hadamard|Jacques Hadamard]]&lt;/blockquote&gt;In a certain sense, the essence of complex functions is captured by the principle of [[analytic continuation]].{{mathematics}}

==''' Complex Functions '''== 
* Complex Functions ([[Media:CAnal.1.A.CFunction.20140222.Basic.pdf|1.A.pdf]], [[Media:CAnal.1.B.CFunction.20140111.Octave.pdf|1.B.pdf]], [[Media:CAnal.1.C.CFunction.20140111.Extend.pdf|1.C.pdf]])

* Complex Exponential and Logarithm ([[Media:CAnal.5.A.CLog.20131017.pdf|5.A.pdf]], [[Media:CAnal.5.A.Octave.pdf|5.B.pdf]])

* Complex Trigonometric and Hyperbolic ([[Media:CAnal.7.A.CTrigHyper..pdf|7.A.pdf]], [[Media:CAnal.7.A.Octave..pdf|7.B.pdf]])

'''Complex Function Note'''
: 1. Exp and Log Function Note ([[Media:ComplexExp.29160721.pdf|H1.pdf]])

: 2. Trig and TrigH Function Note ([[Media:CAnal.Trig-H.29160901.pdf|H1.pdf]])

: 3. Inverse Trig and TrigH Functions Note ([[Media:CAnal.Hyper.29160829.pdf|H1.pdf]])

==''' Complex Integrals '''== 
* Complex Integrals ([[Media:CAnal.2.A.CIntegral.20140224.Basic.pdf|2.A.pdf]], [[Media:CAnal.2.B.CIntegral.20140117.Octave.pdf|2.B.pdf]], [[Media:CAnal.2.C.CIntegral.20140117.Extend.pdf|2.C.pdf]])

==''' Complex Series '''== 
* Complex Series ([[Media:CPX.Series.20150226.2.Basic.pdf|3.A.pdf]], [[Media:CAnal.3.B.CSeries.20140121.Octave.pdf|3.B.pdf]], [[Media:CAnal.3.C.CSeries.20140303.Extend.pdf|3.C.pdf]])

==''' Residue Integrals '''==
* Residue Integrals ([[Media:CAnal.4.A.Residue.20140227.Basic.pdf|4.A.pdf]], [[Media:CAnal.4.B.pdf|4.B.pdf]], [[Media:CAnal.4.C.Residue.20140423.Extend.pdf|4.C.pdf]]) 

==='''Residue Integrals Note'''===
* Laurent Series with the Residue Theorem Note ([[Media:Laurent.1.Residue.20170713.pdf|H1.pdf]])
* Laurent Series with Applications Note ([[Media:Laurent.2.Applications.20170327.pdf|H1.pdf]])
* Laurent Series and the z-Transform Note ([[Media:Laurent.3.z-Trans.20170831.pdf|H1.pdf]])
* Laurent Series as a Geometric Series Note ([[Media:Laurent.4.GSeries.20170802.pdf|H1.pdf]])

=== Laurent Series and the z-Transform Example Note === 
* Overview ([[Media:Laurent.4.z-Example.20170926.pdf|H1.pdf]])

====Geometric Series Examples====

* Causality ([[Media:Laurent.5.Causality.1.A.20191026n.pdf|A.pdf]], [[Media:Laurent.5.Causality.1.B.20191026.pdf|B.pdf]]) 

* Time Shift ([[Media:Laurent.5.TimeShift.2.A.20191028.pdf|A.pdf]], [[Media:Laurent.5.TimeShift.2.B.20191029.pdf|B.pdf]]) 

* Reciprocity ([[Media:Laurent.5.Reciprocity.3A.20191030.pdf|A.pdf]], [[Media:Laurent.5.Reciprocity.3B.20191031.pdf|B.pdf]]) 

* Combinations ([[Media:Laurent.5.Combination.4A.20200702.pdf|A.pdf]], [[Media:Laurent.5.Combination.4B.20201002.pdf|B.pdf]]) 

* Properties ([[Media:Laurent.5.Property.5A.20220105.pdf|A.pdf]], [[Media:Laurent.5.Property.5B.20220126.pdf|B.pdf]]) 

* Permutations ([[Media:Laurent.6.Permutation.6A.20230711.pdf|A.pdf]], [[Media:Laurent.5.Permutation.6B.20251225.pdf|B.pdf]], [[Media:Laurent.5.Permutation.6C.20260430.pdf|C.pdf]], [[Media:Laurent.5.Permutation.6C.20240528.pdf|D.pdf]]) 

* Applications ([[Media:Laurent.5.Application.6B.20220723.pdf|A.pdf]]) 

* Double Pole Case

:- Examples ([[Media:Laurent.5.DPoleEx.7A.20220722.pdf|A.pdf]], [[Media:Laurent.5.DPoleEx.7B.20220720.pdf|B.pdf]]) 

:- Properties ([[Media:Laurent.5.DPoleProp.5A.20190226.pdf|A.pdf]], [[Media:Laurent.5.DPoleProp.5B.20190228.pdf|B.pdf]])

====The Case Examples====
* Example Overview : ([[Media:Laurent.4.Example.0.A.20171208.pdf|0A.pdf]], [[Media:Laurent.6.CaseExample.0.B.20180205.pdf|0B.pdf]])
* Example Case 1 : ([[Media:Laurent.4.Example.1.A.20171107.pdf|1A.pdf]], [[Media:Laurent.4.Example.1.B.20171227.pdf|1B.pdf]])
* Example Case 2 : ([[Media:Laurent.4.Example.2.A.20171107.pdf|2A.pdf]], [[Media:Laurent.4.Example.2.B.20171227.pdf|2B.pdf]])
* Example Case 3 : ([[Media:Laurent.4.Example.3.A.20171017.pdf|3A.pdf]], [[Media:Laurent.4.Example.3.B.20171226.pdf|3B.pdf]])
* Example Case 4 : ([[Media:Laurent.4.Example.4.A.20171017.pdf|4A.pdf]], [[Media:Laurent.4.Example.4.B.20171228.pdf|4B.pdf]])
* Example Summary : ([[Media:Laurent.4.Example.5.A.20171212.pdf|5A.pdf]], [[Media:Laurent.4.Example.5.B.20171230.pdf|5B.pdf]])

==''' Conformal Mapping '''== 
* Conformal Mapping ([[Media:CAnal.6.A.Conformal.20131224.pdf|6.A.pdf]], [[Media:CAnal.6.A.Octave..pdf|6.B.pdf]])

go to [ [[Electrical_%26_Computer_Engineering_Studies]] ]

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      <text bytes="218549" sha1="hsq8vfxq8wlgy7zlnyk4x7ltexg88r0" xml:space="preserve">{{Translations|Localization}}

{{Cleanup|&lt;br&gt;This resource needs organization and [[Wikipedia:Chunking|chunking]] through the use of [[Help:Subpages|subpages]]}}

'''Localization''' (also known as ''L10n'') is the adaptation of a product, [[software]], application or document so that it meets the requirements of the specific target market or locale. &lt;ref&gt;{{Cite web
|url=https://www.w3.org/International/questions/qa-i18n
|title=Localization vs. Internationalization
|website=www.w3.org
|language=en
|accessdate=2018-03-11
}}&lt;/ref&gt; The localization process revolves around [[translation]] of the content. However, it can also include other elements such as:
* Modifying [[w:Computer graphics|graphics]] to target markets
* Redesigning content to suit the market audience's tastes
* Changing the layout for proper text display
* Converting phone numbers, currencies, hours, dates to local formats
* Adding relevant or removing irrelevant content to the target market 
* Following legal requirements and regulations &lt;ref&gt;{{Cite news
|url=https://www.gala-global.org/industry/intro-language-industry/what-localization
|title=What is Localization?
|date=2015-08-05
|work=GALA Global
|access-date=2018-03-11
|language=en
}}&lt;/ref&gt;
* Considering geopolitical issues/factors and changing it properly to the target market

The goal of localization (l10n) is to make a product speak the same language and create trust with a potential consumer base in a specific target market. To achieve this, the localization process goes beyond mere translation of words. An essential part of global product launch and distribution strategies, localization is indispensable for international growth. &lt;ref&gt;{{Cite news|url=https://phrase.com/blog/localization-and-translation-glossary/localization-l10n/|title=Localization and Translation Glossary – Localization (l10n)|work=Phrase|access-date=2021-02-26|language=en-US}}&lt;/ref&gt;

Localization is also referred to as ''&quot;''l10n,&quot; where the number ''10'' represents the number of letters between the ''l'' and ''n''. {{Localization}}
{{course}}
{{TOCright}}

== History ==
{{tertiary education}}The history of localization dates back to the 1980s. [[w:Desktop computer|Desktop computer]]s were not just for engineers anymore; they began to make an appearance in homes and offices. These everyday users needed software that would help them do their work efficiently and in a way that met the local language, standards and habits. &lt;ref&gt;Esselink, Bert. “The Evolution of Localization.” www.intercultural.urv.cat/media/upload/domain_317/arxius/Technology/Esselink_Evolution.pdf.&lt;/ref&gt; 

Software companies also began to look for international audiences. They had successfully achieved [[w:Target market|target market]] goals and looked to expand. Everyday users in other countries would need the software to be adapted in a way where they could work efficiently. &lt;ref&gt;{{Cite news
|url=https://blog.localizejs.com/the-history-of-localization/
|title=The History of Localization - Localize
|date=2016-11-08
|work=Localize
|access-date=2018-03-12
|language=en-US
}}&lt;/ref&gt; In addition to translating the content, for the software to feel truly local, dates had to be formatted, [[layout]] had to adapted to [[w:Electronic visual display|display]] text properly and legal requirements had to be met. 

In the early 1980s most software vendors started in-house translation departments or outsourced translation work to [[w:Freelancer|freelance translator]]s or in-country product distributors. The increasing size and complexity of localization projects soon forced companies to an [[w:Outsourcing|outsourcing]] model. In the mid 1980s, the first multi-language vendors (MLVs) were formed. New companies such as INK (now [[w:Lionbridge|Lionbridge]]) or IDOC (now [[w:Bowne Global Solutions|Bowne Global Solutions]]) specialized in the management and translation of [[w:Technical documentation|technical documentation]] and software. Existing companies with other core competencies, such as [[w:Berlitz|Berlitz]], started translation divisions that could handle multilingual translation and localization projects. &lt;ref name=&quot;esselink2&quot;&gt;Esselink, Bert. [https://books.google.com/books?id=JwGUS1Bt36YC&amp;lpg=PP1&amp;pg=PA5#v=onepage&amp;q&amp;f=false A Practical Guide to Localization]. [[w:Amsterdam|Amsterdam]]; [[w:Philadelphia|Philadelphia]], [[w:John Benjamins Publishing Company|John Benjamins Publishing Company]], 2000.&lt;/ref&gt;{{rp|5}}

As the localization industry developed, standards became increasingly important. The development of [[wikipedia:Unicode|Unicode]] in 1987, and its success at unifying character sets, had an enormous impact. Another important change was the introduction of a &quot;single world-wide binary&quot;, i.e. development of one version of a program that supports all languages. This single binary was often combined with &quot;resource-only [[wikipedia:Dynamic-link library|DLL]] files&quot;, where all user interface text elements, such as dialog box options, menus and error messages, were centralized. All program code was separated from the resources which meant that applications could be run in another language by replacing the resource-only [[wikipedia:Dynamic-link library|DLL]] with a localized version.&lt;ref name=&quot;esselink2&quot; /&gt;{{rp|9}}{{research}}

== Key Concepts and Terms ==

=== [[wikipedia:Translation#Literary_translation|Translation]] ===
Translation is the process of recreating a written text from a source language into a target language, in a way that sounds natural to the target audience. A specialized [[w:Applied linguistics|linguist]] will typically translate a text into their native language. Translation is often performed using a [[Computer-assisted translation|CAT tool]], which contains a [[w:Translation memory|translation memory]] and [[w:Terminology|terminology]] for the project. Linguists also usually reference a [[w:Style guide|style guide]] and other materials provided by the client.

===[[Localization]]===
Localization is the linguistic and cultural adaptation of [[w:Digital content|digital content]] to the requirements and the [[w:Locale (computer software)|locale]] of a foreign market; it includes the provision of services and technologies for the management of [[Multilingualism/Multilingualism in Digital World|multilingualism]] across the digital global information flow. Thus, localization activities include translation and a wide range of additional activities.&lt;ref&gt;Schäler, Reinhard. [https://benjamins.com/#catalog/books/hts.1.loc1/details &quot;Localization and translation&quot;] ''[[Handbook of Translation Studies: Volume 1]]'', Edited by Yves Gambier and Luc van Doorslaer, 2010, pp. 209–214.&lt;/ref&gt; True localization considers language, culture, customs and the characteristics of the target locale. It frequently involves changes to the software’s writing system and may change keyboard use and fonts as well as date, time and monetary formats. The common abbreviation for localization is ''l10n'', where the number ''10'' refers to the number of letters between the ''l'' and the ''n''.&lt;ref&gt;[http://dig.multilingual.com/2016Index-2017RD/offline/download.pdf &quot;2017 Resource Directory&quot;] ''[[MultiLingual]]'', January 2017, p. 77.&lt;/ref&gt;

=== Localizability ===
Designing software code and resources so that resources can be [https://localizely.com/blog/internationalization-vs-localization/#standard-software-localization-process localized] with no changes in the [[w:Source code|source code]].

=== Internationalization ===
The process of developing a program core whose features and code design are not solely based on a single language or [[w:Locale (computer software)|locale]]. Instead, their design is developed for the input, display, and output of a defined set of Unicode-supported language scripts and data related to specific locales. &lt;ref&gt; [https://msdn.microsoft.com/en-us/globalization/mt613165 Microsoft Globalization Development Center]&lt;/ref&gt; The common abbreviation for internationalization is ''i18n'', where the ''18'' refers to the number of letters between the ''i'' and the ''n''.

=== Globalization ===
[[w:Software design|Designing]] software for the input, display, and output of a defined set of [[w:Unicode|Unicode]] supported language scripts and data relating to specific locales and cultures. The common abbreviation for globalization is ''g11n'', where the ''11'' refers to the number of letters between the ''g'' and the ''n''.

=== World-Readiness/Global Readiness ===
The state of a product when it is properly globalized and is easy to customize and localize. It has to consider the readers' cultures, beliefs, languages, locations, etc. in order to let the readers get the original intended meaning without distortion or being offended.

=== Customizability ===
Designing software that is componentized and extensible to allow for replacement, addition and/or subtraction of features necessary for a given market.

=== Locale ===
A language and geographic region that also includes common language and cultural information. Thus French-France (fr-fr), [[w:Canadian French|French-Canada (fr-ca)]], [[w:Belgium French|French-Belgium (fr-be)]] are different locales. Locale also refers to the features of a user’s computing environment that are dependent on geographic location, language and cultural information. A locale specifically determines conventions such as sort order rules; date, time and currency formats; [[w:Keyboard layout|keyboard layout]]; and other cultural conventions.

A '''locale''' is a collection of international preferences, generally related to a language and geographic region that a (certain category) of users require, which are represented as a list of values. The locales are usually identified by a language and a sort order, and they include a local name and a shorthand identifier or token, such as a language tag. It can be composed of: a base language, the country (territory or region) of use, and a set of codes. 

More than one locale can be associated with a particular language, which allows for regional differences. For example, Spanish for Spain vs. Spanish for Latin America, or French for France vs. French for Canada.

Usually, in the L10N industry, locales are displayed in a combination of 2-letter code for Language (ISO 639&lt;ref&gt;ISO 639 Language Codes. https://www.iso.org/iso-639-language-codes.html&lt;/ref&gt;) and 2-letter code for Country (ISO 3166&lt;ref&gt;ISO 3166 Country Codes. https://www.iso.org/iso-3166-country-codes.html&lt;/ref&gt;). For example, Microsoft has the list of Locale ID (LCID)&lt;ref&gt;the list of Locale ID (LCID). https://docs.microsoft.com/en-us/openspecs/office_standards/ms-oe376/6c085406-a698-4e12-9d4d-c3b0ee3dbc4a&lt;/ref&gt; they use (e.g. French-France as fr-FR, Spanish-Spain as es-ES, Dutch-Netherlands as nl-NL.)

A '''language tag''' is a string used as an identifier for a language. These language tags consist of one or more subtags.

A '''subtag''' is a sequence of ASCII letters or digits separated from other subtags by the hyphen-minus character and identifying a specific element of meaning withing the overall language tag. Subtags are limited to no more than eight characters.

Notes: 
* Language tags are not case-sensitive. en-AU, en-AU, en-au, En-Au, etc., are all the same tag, and denote the same language (Australian English). 
* Language tags are not for computer languages. 
* Language tags are not country codes

=== Locale names and codes ===

{| class=&quot;wikitable&quot;
|-
! Locale Name !! Local Code !! Native Name !! Language Family
|-
| Afrikaans || af || Afrikaans || 
|-
| Albanian || sq || Shqip || 
|-
| Algerian Arabic || arq || الدارجة الجزايرية ||
|-
| Amharic || am || አማርኛ ||
|-
| Arabic || ar || العربية ||
|-
| Armenian || hy || Հայերեն ||
|-
| Aromanian || rup || Armãneashce ||
|-
| Arpitan || frp || Arpitan ||
|-
| Assamese || as || অসমীয়া  || 
|-
| Azerbaijani || az || Azərbaycan dili || Azərbaycan
|-
| Azerbaijani (Turkey) || az-TR || Azərbaycan Türkcəsi || Azerbaijani
|-
| Balochi Southern || bcc || بلوچی مکرانی ||
|-
| Bashkir || ba || башҡорт теле ||
|-
| Basque || eu || Euskara ||
|-
| Belarusian || bel || Беларуская мова ||
|-
| Bengali || bn || বাংলা ||
|-
| Bosnian || bs || Bosanski ||
|-
| Breton || br || Brezhoneg ||
|-
| Bulgarian || bg || Български  ||
|-
| Catalan || ca || Català ||
|-
| Cebuano || ceb || Cebuano ||
|-
| Chinese (China) || zh-CN || 简体中文 || Chinese
|-
| Chinese (Hong Kong) || zh-HK || 香港中文版 || Chinese
|-
| Chinese (Taiwan) || zh-TW || 繁體中文 || Chinese
|-
| Corsican || co || Corsu ||
|-
| Croatian || hr || Hrvatski ||
|-
| Czech‎ || cs || Čeština ||
|-
| Danish || da || Dansk ||
|-
| Dhivehi || dv || ދިވެހި ||
|-
| Dutch (Netherlands) || nl-NL || Nederlands || Dutch
|-
| Dutch (Belgium) || nl-BE || Nederlands (België) || Dutch
|-
| Emoji || art-xemoji || 🌏🌍🌎 (Emoji) ||
|-
| English (United States) || En-US || English (United States) || English
|-
| English (Australia) || en-AU || English (Australia) || English
|-
| English (Canada) || en-CA || English (Canada) || English
|-
| English (New Zealand) || en-NZ || English (New Zealand) || English
|-
| English (South Africa) || en-ZA || English (South Africa) || English
|-
| English (UK) || en-GB || English (UK) || English
|-
| Estonian || et || Eesti ||
|-
| Faroese || fo || Føroyskt ||
|-
| Finnish || fi || Suomi ||
|-
| French (Belgium) || fr-BE || Français de Belgique || French
|-
| French (Canada) || fr-CA || Français du Canada || French
|-
| French (France) || Fr-FR || Français || French
|-
| Frisian || fy || Frysk ||
|-
| Friulian || fur || Friulian ||
|-
| Galician || gl || Galego ||
|-
| Georgian || ka || ქართული ||
|-
| German (Germany) || de-DE || Deutsch (Deutschland) || German
|-
| German (Luxembourg) || de-LU || Deutsch (Luxemburg) || German
|-
| German (Switzerland) || de-CH || Deutsch (Schweiz) || German
|-
| Greek || el || Ελληνικά ||
|-
| Greenlandic || kal || Kalaallisut ||
|-
| Guaraní || gn || Avañe'ẽ ||
|-
| Hawaiian || haw || Ōlelo Hawaiʻi ||
|-
| Hazaragi || haz || هزاره گی ||
|-
| Hebrew || he || עִבְרִית ||
|-
| Hindi || hi || हिन्दी ||
|-
| Hungarian || hu || Magyar ||
|-
| Icelandic || is || Íslenska ||
|-
| Indonesian || id || Bahasa Indonesia ||
|-
| Irish || ga || Gaelige ||
|-
| Italian || it || Italiano ||
|-
| Japanese || ja-JP || 日本語 ||
|-
| Javanese || jv || Basa Jawa ||
|-
| Kabyle || kab || Taqbaylit ||
|-
| Kinyarwanda || kin || Ikinyarwanda ||
|-
| Korean || ko-KR || 한국어 ||
|-
| Lao || lo || ພາສາລາວ ||
|-
| Latvian || lv || Latviešu valoda || 
|-
| Limburgish || li || Limburgs ||
|-
| Lithuanian || lt || Lietuvių kalba ||
|-
| Luxembourgish || lb || Lëtzebuergesch ||
|-
| Macedonian || mk || Македонски јазик ||
|-
| Maori	 || mri || Te Reo Māori ||
|-
| Mongolian || mn || Монгол ||
|-
| Nepali || ne || नेपाली ||
|-
| Norwegian (Bokmål) || nb || Norsk bokmål ||
|-
| Occitan || oci || Occitan || 
|-
| Ossetic || os || Ирон ||
|-
| Persian || fa || فارسی || 
|-
| Polish || pl || Polski || 
|-
| Portuguese (Brazil) || pt-BR || Português do Brasil || Portuguese
|-
| Portuguese (Portugal) || Pt-PT || Português || Portuguese
|-
| Romanian || ro || Română ||
|-
| Russian || ru || Русский ||
|-
| Serbian || sr || Српски језик || 
|-
| Slovenian || sl || Slovenščina ||
|-
| Somali || so || Afsoomaali ||
|-
| Spanish (Argentina) || es-AR || Español de Argentina || Spanish
|-
| Spanish (Chile) || es-CL || Español de Chile || Spanish
|-
| Spanish (Colombia) || es-CO || Español de Colombia || Spanish
|-
| Spanish (Guatemala) || es-GT || Español de Guatemala || Spanish
|-
| Spanish (Mexico) || es-MX || Español de México || Spanish
|-
| Spanish (Peru) || es-PE || Español de Perú || Spanish
|-
| Spanish (Puerto Rico) || es-PR || Español de Puerto Rico || Spanish
|-
| Spanish (Spain) || es-ES || Español de España || Spanish
|-
| Spanish (Venezuela) || es-VE || Español de Venezuela || Spanish
|-
| Sundanese || su || Basa Sunda ||
|-
| Swedish || sv || Svenska ||
|-
| Tahitian || tah || Reo Tahiti ||
|-
| Thai || th || ไทย ||
|-
| Tibetan|| bo || བོད་སྐད ||
|-
| Turkish || tr || Türkçe ||
|-
| Ukrainian || uk || Українська ||
|-
| Urdu || ur || اردو ||
|-
| Vietnamese || vi || Tiếng Việt ||
|-
| Walloon || wa || Walon ||
|-
| Welsh	 || cy || Cymraeg ||
|-
| Yoruba || yor || Yorùbá ||
|}

References: 
* https://wpcentral.io/internationalization/
* https://docs.microsoft.com/en-us/windows/win32/intl/locales-and-languages
* https://docs.microsoft.com/en-us/globalization/locale/locale-names
* https://perldoc.perl.org/I18N/LangTags/List.html
* https://www.w3.org/TR/ltli/

=== Transcreation ===
Transcreation is typically employed by marketing teams and describes the process of translating a message from one language to another, preserving the emotion and implications &lt;ref&gt;{{Cite journal
|date=2018-12-27
|title=Transcreation
|url=https://en.wikipedia.org/w/index.php?title=Transcreation&amp;oldid=875536191
|journal=Wikipedia
|language=en
}}&lt;/ref&gt; of the original message, not necessarily the exact same sentence and paragraph structure. While localization never employs word-to-word translation, transcreation goes a step farther and provides greater freedom in the cultural adaptation of its content, sometimes extending to the adaptation of company logos and images used in print ads.&lt;br&gt;

The [https://en.wikipedia.org/wiki/Transcreation transcreator] needs to understand the cultural background of both locales, where the original content was created and where the translated text will be used. The linguist will recreate the text in every aspect; conveying not only the message but also the style, and images and emotions it evokes. It requires not only a lot of creativity and cultural sensitivity but also familiarity with the product being advertised.&lt;ref&gt;https://theatacompass.org/2016/04/20/transcreation-translating-and-recreating/&lt;/ref&gt;
There are many advantages to use a transcreator instead of a copywriter in the target language, for example, it tailors a global message to a specific market, hence making a global advertising campaign more flexible, while aligning to a primary strategy.&lt;ref&gt;https://www.taus.net/academy/reports/evaluate-reports/taus-transcreation-best-practices-and-guidelines&lt;/ref&gt;

===Variant===
When a language is spoken in more than one country or is used by more than one culture, it develops specific forms that are called variants &lt;ref&gt;https://docs.sdl.com/LiveContent/content/en-US/SDL%20WorldServer-v6/GUID-83C3F944-F1C2-4B61-8A7C-310C0849B5E3&lt;/ref&gt;.
For example, the variants of German spoken in Germany and Austria would differ, as well as the variants of Russian spoken in Russia and Belarus. 
&lt;br&gt;
The aspects of a language that may differ include phonemes (accent), morphemes, syntactic structures (grammar) and meanings (lexicon)&lt;ref&gt;https://www.thoughtco.com/what-is-linguistic-variation-1691242 &lt;/ref&gt;. One can also find different variants of the same language within one country. In this case, variants would reflect the difference in social status or even different types of situations they are used in.
&lt;br&gt;

=== Term extraction ===
Also called term mining or term harvesting, term extraction occurs when a given text (or corpus) is analyzed to identify terms relevant to the task at hand within their context. It is the first step in terminology management, with the second step being the elimination of any inconsistencies. As one of the core concepts in of terminology management, term extraction is important because it improves the quality of communication through maintaining consistency while also reducing both translation costs and time to market for the project.

Term extraction can be monolingual or bilingual, and there are several existing tools to help by automating this task, each with positive elements and negative elements. In short, there is no one solution for all situations. These tools can be separated into 3 main categories: linguistic, statistic and hybrid. The linguistic category of tools searches for language patterns which match a defined set of rules. The statistical set of tools determines repetitions of a certain sequence of terms. The hybrid tools, the most frequently used, feature a combination of the above two approaches. These tools can also be stand-alone tools or web-based tools.

Term extraction can be completed using different strategies: 1) Automated analysis and term extraction from source files and existing TMs using terminology extraction software such as Term Extract from SDL Studio. 2) Human review and manual extraction of terminology from reference materials: source &amp; target files (print, web, software, multimedia), TMs, existing legacy glossaries, list of non-translatable terms, lists of forbidden words, translatable and non-translatable database exports; 3) A combination of automated and manual terminology extraction from reference materials, which provides the best results allowing a human linguist to capture key terminology omitted by software based on linguistic or statistical parameters.  

The goal of term extraction is to identify and list key terminology such as: company names, legal names, brand names, product names, service(s) names, copyright names, service marks, programs, promotions, plans, discounts, features, functions, general terminology, legal terms, business terms... or any other term that is important depending on the purpose of the content to be translated. As part of the extraction process, it is important to provide context (complete sentence from which source term originates) and a visual (screenshot of application UI) for each extracted term to make sure translation team provides a recommendation that is both accurate, suitable, and useful.

==Before Localization==
Getting a product ready for international markets
===[[/Internationalization/]]===
[[Wikipedia:Internationalization|Internationalization]]
often abbreviated as I18n, is the process of designing and developing a software application in a way that it can be adapted to different languages and regions without changing the source code. It is also called translation or localization ''enablement''.
During the Internationalization process there are many differences to be taken into account that go way beyond the mere translation of words and phrases. 
For example different [[Wikipedia:Internationalization and localization#National conventions|national conventions]] and [[Wikipedia:Internationalization and localization#Standard locale data|standard locale data]].

A collection of such differences is provided by the [http://cldr.unicode.org/ Unicode Common Locale Data Repository].

The internationalization process is to enable easy localization for the target [[Wikipedia:Locale (computer software)|locale]].

Internationalization typically entails:

* Designing and developing in a way that removes barriers to localization or international deployment. This includes such things as enabling the use of Unicode, or ensuring the proper handling of legacy character encodings where appropriate, taking care over the concatenation of strings, avoiding dependance in code of user-interface string values, etc.

* Providing support for features that may not be used until localization occurs. For example, adding markup in your DTD to support bidirectional text, or for identifying language. Or adding to CSS support for vertical text or other non-Latin typographic features.

* Enabling code to support local, regional, language, or culturally related preferences. Typically this involves incorporating predefined localization data and features derived from existing libraries or user preferences. Examples include date and time formats, local calendars, number formats and numeral systems, sorting and presentation of lists, handling of personal names and forms of address, etc.

* Separating localizable elements from source code or content, such that localized alternatives can be loaded or selected based on the user's international preferences as needed.&lt;ref&gt;https://www.w3.org/International/questions/qa-i18n&lt;/ref&gt;

=== Internationalization links and resources ===

* [https://developer.apple.com/library/content/samplecode/InternationalMountains/Introduction/Intro.html#//apple_ref/doc/uid/DTS40008756 Internationalization and Localization for iOS]
* [https://developer.apple.com/library/content/documentation/MacOSX/Conceptual/BPInternational/Introduction/Introduction.html#//apple_ref/doc/uid/10000171i-CH1-SW1 Apple Internationalization and Localization Guide]
* [http://www.i18nguy.com/ Internationalization (I18n), Localization (L10n), Standards, and Amusements]

===[[/Localizability/]]===
Localizability is an intermediate process for verifying that a globalized application is ready for localization.&lt;ref&gt;http://msdn.microsoft.com/en-us/library/aa292135(v=vs.71).aspx&lt;/ref&gt;. Localizability testing verifies that the user interface of the program being tested can be easily adapted into any local market (locale) without modifying source code. This important process helps ensure the functionality of the application by discovering and fixing errors in source code.

===Culturalization===

Culturalization is a key component of the localization process that transcends language and focuses on the cultural, geopolitical, and historical adaptation of the content into different languages for specific locales. The term has been newly introduced in the localization industry in the past decade and it has been mainly associated with the video gaming industry. Increasingly, companies who generate non-gaming content have started integrating culturalization as part of their globalization and localization process. 
With culturalization, companies create content that is globally appropriate and locally relevant, while ensuring that it is adapted to local cultural sensitivities and free of local offensive statements. Where localization has the power to meet users’ language needs, culturalization goes one step further to ensure that users from different cultures can interact with a product in a more meaningful way. 

People who work in culturalization are included in brainstorming sessions and in the initial design of the game. Culturalization experts have deep international historical cultural, and geopolitical knowledge that they apply while considering adapting content to local audiences. Short experience has shown that it is easier and more thoughtful to include culturalization into the overall design and marketing strategy than to mend mistakes after launch. Political sensitivities include border delimitations and historical events. Cultural sensitivities can evolve around misappropriation of religious symbols and belief systems and ethnicity. 

Below are a few areas to be taken into consideration in the culturalization phase of a localization project: 

* Avoiding offending users

Culture has a huge impact on the way we do and say things, on what we read, we listen to, and on the way we think. This is why the impact of culture on website localization is enormous. Companies have invested a lot of money to make sure that they are not offending and are meeting the cultural appropriateness steps to satisfy their audience. 

* Use of images and symbols

[[w:Image|Image]]s and [[w:Symbol|symbol]]s are the first thing on a website that people pay attention to. Just because they are not in a written language, it doesn't mean they are without meaning. They carry many subtle cultural messages within them and can tell a lot of information about a service or product. For this reason, it is very important to be aware that they could have negative connotations that will affect the consumers. For example, a travel website showing women in bikinis, partying and being informal will not be considered appropriate and will not be successful in Muslim countries. In some circumstances, it could even lead to legal restrictions and penalties. 
It is usually recommended to avoid the use of hand symbols, gestures and body parts, religious symbols that are not globally recognized, animal symbols, graphical elements with text or a single letter. They can typically be replaced by abstract illustrations, geometric shapes, globally recognized symbols or other standardized images.  

* Historical background of a locale and Maps

The treatment of maps in localization can present problems for countries or regions with disputed borders or territories. Current examples of disputed areas include [[w:Kashmir|Kashmir]] ([[India]] and [[Pakistan]]), the [[w:West Bank|West Bank]] ([[w:Israel|Israel]] and [[w:Palestine|Palestine]]), Taiwan ([[w:China|The People's Republic of China]] and [[The Republic of China]] ([[w:Taiwan|Taiwan]])), and [[w:Crimea|Crimea]] ([[w:Russia|Russia]] and [[w:Ucrain|Ukraine]]). For localization, decisions have to be made about how to portray the disputed territories. This problem is especially relevant when localizing map applications and GIS software. One solution is to mark such territories as &quot;disputed&quot; on maps. But this is not always possible if local regulations stipulate how the maps should be displayed. In some cases, there can also be conflicting geographic names, e.g. when the countries or entities that lay claim to disputed regions have different official languages and/or writing systems.

Issues with maps can also arise in marketing, advertising, and other creative domains. For example, in January 2016 a Coca Cola campaign on the Russian social media site [http://vk.com vKontakte] posted an Orthodox Christmas greeting using a map of Russia without Crimea. Groups of Russians criticized the omission of Crimea in the advertisement, and Coca Cola responded by publishing a new advertisement with a map of Russia that included Crimea. But Coca Cola's second attempt drew criticism from groups of Ukrainians, who protested the company's decision indicated Crimea as part of Russia and not Ukraine.&lt;ref&gt;http://www.nytimes.com/2016/01/07/world/europe/coca-cola-withdraws-from-social-media-war-over-crimea.html&lt;/ref&gt;

India claims the entire erstwhile princely state of [[Wikipedia: Kashmir conflict|Jammu and Kashmir]] based on an instrument of accession signed in 1947. Pakistan claims Jammu and Kashmir based on its majority Muslim population, whereas China claims the Shaksam Valley and Aksai Chin.

* Flags

Problems may also arise from the use of flags. A clear example of how a little mistake can affect an entire population is the event that took place during the Olympic Games in Rio 2016. On the first day of the games, the incorrect Chinese flag was used during the medal ceremony of the women's volleyball. The errors in the flag were immediately pointed out and new correct flags were used for the remaining medal ceremonies in which China was involved. Unfortunately, the mistake reappeared at the end of the games with the display of the wrong flag once again. The proper Chinese flag features one big star surrounded with four smaller stars against a red background. The larger yellow star represents the [[w:Communist Party of China|Communist Party of China]], and the four smaller stars symbolize the solidarity of Chinese people of all social classes and ethnic groups under the leadership of the CPC. In the correct version the four smaller stars all point towards the big star. But in the incorrect one that appeared at Rio 2016 the four smaller stars were parallel to each other. 
&lt;ref&gt;http://www.dailymail.co.uk/news/peoplesdaily/article-3729719/China-s-fury-Rio-Olympics-used-incorrect-national-flags.html&lt;/ref&gt;

When used to represent languages, flags related issues can be seen, for example, in a menu option for changing a website or application's display language. Some examples to illustrate this point:
* Some countries have more than one widely spoken language. In Belgium, French and Dutch are spoken by large portions of the population, and German is a third official language. In India, more than 30 languages are each spoken by over 1 million people&lt;ref&gt;[https://web.archive.org/web/20070101015404/http://www.indojin.com/discoverindia/indianlang.htm &quot;Major Indian Languages]&quot;, ''Discover India'', Archived 1 Jan 2007, Retrieved 2 March 2018.&lt;/ref&gt;.
* There are many languages that are commonly spoken in more than one country. For example, the Portuguese language could in theory be represented by the flags of [[w:Portugal|Portugal]], [[w:Brazil|Brazil]], or a number of other [[w:Lusophone|Lusophone countries]] such as [[w:Cape Verde|Cape Verde]] or [[w:East timor|East Timor]].
* Some countries have very similar flags. The national flags of [[w:Romania|Romania]] and [[w:Chad|Chad]] are almost identical, whereas the official language of Romania is Romanian, and Chad's official languages are [[Arabic]] and [[French]].
In each of these cases, using a single national flag to represent a language could be at best ambiguous, and at worst contentious or offensive.

* [[Religion]]

Having a good understanding of what is and is not acceptable is crucial especially for countries where religion is present in law.

Countries like [[w:Saudi Arabia|Saudi Arabia]], the [[w:United Arab Emirates|United Arab Emirates]] (UAE) and [[w:Pakistan|Pakistan]] operate mostly or entirely under [[Wikipedia:Sharia|Sharia law]] (the moral code and religious law for the Islamic faith). The usage of scantily-clad women in bikinis, beer drinking and gambling in marketing materials is forbidden in countries under Sharia law and food must not be advertised during [[w:Ramadan|Ramadan]], [[w:Fasting during Ramadan|a time of fasting]] (see also: [[w:Fasting in Islam|Fasting in Islam]]). Localization strategy in these countries have to take their religious law into considerations.

Another example of localization without religious consideration is the case with a [[w:Microsoft Xbox game|Microsoft Xbox game]]. In 2003, [[Wikipedia:Kakuto Chojin: Back Alley Brutal|Kakuto Chojin: Back Alley Brutal]], developed by Dream Publishing and published by [[w:Microsoft Game Studious|Microsoft Game Studios]] in 2002, was pulled of shelves just a few months after it was released after receiving an extremely vocal and negative reaction due to religious content deemed offensive. The Xbox Game featured a level with a background sound effect featuring a passage from the Quran being repeated over and over. Since the majority of Muslims believe the Qur’an should be handled with the utmost respect as it is the literal word of God, there was considerable outrage among many groups for the perceived lack of deference afforded to the Qur’an in the Xbox game. To date, there has not been any evidence that Kakuto Chojin was re-released.

* Animals

Animals can have different meanings between cultures and people from different cultures could have positive or negative feelings towards the same animal.

For example, when Apple launched their iPhone X with the new Animoji function, there is an introduction sentence in their US webpage &quot;Reveal your inner panda, pig, or robot.&lt;ref&gt;{{Cite web
|url=https://www.apple.com/iphone-x/
|title=iPhone X
|website=Apple
|language=en-US
|accessdate=2018-02-24
}}&lt;/ref&gt;&quot; The 3 animals are localized in China as panda, rabbit, robot&lt;ref&gt;{{Cite web
|url=https://www.apple.com/cn/iphone-x/
|title=iPhone X
|website=Apple
|language=zh-CN
|accessdate=2018-02-24
}}&lt;/ref&gt;; As panda, robot, unicorn in Portugal&lt;ref&gt;{{Cite web
|url=https://www.apple.com/pt/iphone-x/
|title=iPhone X
|website=Apple (Portugal)
|language=pt-PT
|accessdate=2018-02-24
}}&lt;/ref&gt;; and panda, monkey, robot in Egypt&lt;ref&gt;{{Cite web
|url=https://www.apple.com/eg/iphone-x/
|title=iPhone X
|website=Apple (Egypt)
|language=en-EG
|accessdate=2018-02-24
}}&lt;/ref&gt;.

* Colors

Colors mean different things to different people. They can have different connotations based on age, gender or even on the cultural symbolism they can acquire. For instance, younger consumers and women have a tendency towards bright and warm colors, whereas older consumers and men usually prefer darker and cooler colors. This is just a basic example to lead us towards the importance of establishing our target audience. 
Colors are also loaded with cultural meanings and sensitive to many different interpretations that need to be taken in consideration in website localization. For example, in Japan and China white is commonly associated with mourning and death while in Western cultures is usually considered pure and holy. In Europe and Western countries red is associated with danger, death and passion, while in China is good luck and happiness. In Africa certain colors represent different tribes.
This doesn't mean that other cultures are not aware of the different meanings of colors or how are they used. However, it is important to know what they are representing in the product and what message that color choice is attempting to communicate.

===Design for Language Switching===
====Concepts====
* Language fallback
Language fallback is a concept by which if a product user in a specified region does not have their settings to the locale that has been chosen for localization in that region, the product will automatically revert to, or fallback, to a default language. In many cases, this may be English for a global audience, but that is not necessarily the case. For example, countries and regions which have multiple official languages and/or regional languages may have the fallback language as the most widely spoken language. As a case in point, Spain could have up to 3-5 locale options for users depending on how specified a product's user base would be in that country. Using this example, if the product were being used in Catalunya, the likely default setting would be Catalan (Català), but a likely fallback would be Spanish. 

Language fallback can also apply to situations where products are not completely localized to a specified market. In these situations, a product would be partially localized and the specified language may not support all features. Therefore, for the unsupported features, a default language fallback will either need to be selected by the user or will be automatically chosen by the product's settings. To illustrate this point, imagine that a product has features ABCD and the default product language is English. However, the user would like to use the product in Swedish, but Swedish is only currently supported for features ABC. The likely outcome to this situation would be that the user would be able to use features ABC that have been localized into Swedish and if they choose to use feature D, then the product will revert to the English version. 

To further illustrate, one advantage and disadvantage to language fallback settings. If properly chosen, language fallback can help to keep the user engaged in the product by continuing to use the product's features even though it may not be in their preferred language. On the contrary, this is only relevant if the user has a high competency and comprehension of the fallback language chosen. If not, the outcome may lead to less customer satisfaction. 

Since user satisfaction is a primary concern, a lot of attention is often paid to chasing the right language fallback to get the best possible engagement. Some popular blog site's such as [https://wordpress.org Wordpress.org] even offer [https://wordpress.org/plugins/language-fallback/ plugins] which can help to ensure that a proper fallback language is chosen. Other methods include adding rules to specify the process of falling back to other related dialects where a high level of mutual intelligibility would be apparent. American English and British English would be one common situation. Brazilian Portuguese to Continental Portuguese could also be an obvious transition. 
*

====Language Switching in Software====
Software developers use different solutions for detecting and displaying different languages. Common methods include detecting the OS region setting or the default language or simply allowing the user to choose what language they wish to install. Additionally, software may be localized to different languages but will require the user to install additional language files in order to enable them. Language switching interface buttons, usually seen on websites, are not common in software. Most solutions allow the user to change the display language of the software through a settings or preferences menu and may require a restart of the program before the new language can display.

For Windows OS, every locale, such as English (United States), corresponds to a language identifier in the registry&lt;ref&gt;{{Cite web
|url=https://msdn.microsoft.com/en-us/library/windows/desktop/dd318693(v=vs.85).aspx
|title=Language Identifier Constants and Strings (Windows)
|website=msdn.microsoft.com
|language=en
|accessdate=2018-03-02
}}&lt;/ref&gt;. Every supported language of the operating system has a unique identifier. Identifiers for the default system locale and the user-defined locale exist for use, as well. While programming their software for Windows, developers may use the Multilingual User Interface (MUI)&lt;ref&gt;{{Cite web
|url=https://msdn.microsoft.com/en-us/library/windows/desktop/dd319073(v=vs.85).aspx
|title=Multilingual User Interface (Windows)
|website=msdn.microsoft.com
|language=en
|accessdate=2018-03-02
}}&lt;/ref&gt; which enables support for localization of user interfaces and allows the application to retrieve these language identifiers.

Some older software is not coded with Unicode support. If the user tries to run this software with a mismatched locale setting, the text displayed within the program may become unreadable. This happens because Windows loads the [[wikipedia:Windows_code_page|code page]] for the user's locale and matches text bytes within the software to corresponding characters in the code page; if the proper character does not have an equivalent in the code page, it will not display properly or it will display a corresponding character in the current locale's code page but not a character that is used in a separate locale's code page. In order to solve this, the user must change their locale in the &quot;Language for non-Unicode programs&quot;&lt;ref&gt;{{Cite web
|url=https://msdn.microsoft.com/en-us/library/ms912138(v=winembedded.10).aspx
|title=Set Regions and Language Options
|website=msdn.microsoft.com
|language=en
|accessdate=2018-03-02
}}&lt;/ref&gt; setting within Control Panel and restart their system to load the correct code page.

====Language Switching on Websites====

The are many things to consider when designing a language switcher for a website, such as:
* Number of available languages.
The number of available languages will influence the style of the language switcher to be chosen. It's always good to have an UI that requires the least number of clicks possible. 
* Fallback language, in case no default language is found.
It’s very important to programmatically set the current language of the webpage, even when is not possible to determine the user's language. The reason for that is so braille devices or screen readers can identify the language that should be used at the start point.
* Graphic representation of the available languages.
The use of flags to represent a language might not be good depending on the languages available and the possibility of the addition of new languages.
* Location of the language switcher on the page.
The language switcher has to be in a visible area, so that if any language selection error occurs and the user cannot read the current language, he/she can still find the switcher and change the language.
The best approach is to follow the standard area where the language switcher is present in most of the international websites, which is on the top right. However, if your UI is good enough, you might be able to have the language switcher in a different place and still succeed.
* Accessibility
The language switcher should use html tags that are made for listing options, so the screen reader is able to present the languages available to the user. 
Make use of ARIA attributes whenever necessary to make it easier for the user to find the language switcher.

===Localization Strategy===
====Picking markets====

Companies and organizations wanting to branch out to other regions in the world and localize their products should consider the following things:[http://www.commonsenseadvisory.com/AbstractView/tabid/74/ArticleID/5590/Title/The116MostEconomicallyActiveLanguagesOnline/Default.aspx][[Localization#cite%20note-23|&lt;span class=&quot;mw-reflink-text&quot;&gt;[23]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite%20note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-22|&lt;span class=&quot;mw-reflink-text&quot;&gt;[22]&lt;/span&gt;]][[Localization#cite note-21|&lt;span class=&quot;mw-reflink-text&quot;&gt;[21]&lt;/span&gt;]][[Localization#cite note-21|&lt;span class=&quot;mw-reflink-text&quot;&gt;[21]&lt;/span&gt;]][[Localization#cite note-21|&lt;span class=&quot;mw-reflink-text&quot;&gt;[21]&lt;/span&gt;]][[Localization#cite note-21|&lt;span class=&quot;mw-reflink-text&quot;&gt;[21]&lt;/span&gt;]][[Localization#cite note-19|&lt;span class=&quot;mw-reflink-text&quot;&gt;[19]&lt;/span&gt;]][[Localization#cite note-19|&lt;span class=&quot;mw-reflink-text&quot;&gt;[19]&lt;/span&gt;]][[Localization#cite note-19|&lt;span class=&quot;mw-reflink-text&quot;&gt;[19]&lt;/span&gt;]][[Localization#cite note-19|&lt;span class=&quot;mw-reflink-text&quot;&gt;[19]&lt;/span&gt;]][[Localization#cite note-16|&lt;span class=&quot;mw-reflink-text&quot;&gt;[16]&lt;/span&gt;]][[Localization#cite note-16|&lt;span class=&quot;mw-reflink-text&quot;&gt;[16]&lt;/span&gt;]][[Localization#cite note-16|&lt;span class=&quot;mw-reflink-text&quot;&gt;[16]&lt;/span&gt;]][[Localization#cite note-15|&lt;span class=&quot;mw-reflink-text&quot;&gt;[15]&lt;/span&gt;]][[Localization#cite note-11|&lt;span class=&quot;mw-reflink-text&quot;&gt;[11]&lt;/span&gt;]][[Localization#cite note-7|&lt;span class=&quot;mw-reflink-text&quot;&gt;[7]&lt;/span&gt;]][[Localization#cite note-7|&lt;span class=&quot;mw-reflink-text&quot;&gt;[7]&lt;/span&gt;]][[Localization#cite note-7|&lt;span class=&quot;mw-reflink-text&quot;&gt;[7]&lt;/span&gt;]][[Localization#cite note-7|&lt;span class=&quot;mw-reflink-text&quot;&gt;[7]&lt;/span&gt;]]
* Total Online Population (TOP)
* Share of TOP
* World Online Wallet (WOW)
* Share of WOW
One example of a market ready to break deeper into is the language-rich population of India.  Hindi and English are co-official languages of India.  Hindi, spoken more in the northern part of the country, has speakers totaling about 20% of the population.  In the southern part of the country, people who don’t speak Hindi will instead communicate in English or their local language.  English, at over 125 million speakers, is generally the language of India’s elite and since colonial times has been the language of government, education, technology, media, and science.  However, the Indian Constitution guarantees all Indian citizens the right to express themselves to any government agency in their own tongue, and individual states have the right to adopt any regional language as a language of state government and education.  No one single language is spoken across the subcontinent, or even within one state.  

India is home to more than one billion people and over 1,500 mother languages and, additionally, several hundred dialects.  In 2001, census data showed that 29 of these languages are spoken by over one million citizens each, and 60 of the total languages are spoken by over 100,000 citizens each.  The Indian government only uses 23 of these languages officially in settings such as government, hospitals, and business.  

This tells us that there are millions of Indian citizens, who speak neither English, Hindi or the other 21 official languages, whom multinational business have not been able to reach.  

People all over the world are hungry to have access to the internet and instant communication in the language they feel most secure in.  With the reach of technology, such as smart phones, into more rural areas, for example, there is a much higher potential to close the gap between international companies and millions of new potential clients.  Samsung and a handful of other companies have already begun making mobile devices that support 22 regional Indian languages.  Localizing websites, mobile devices, and apps into more Indian languages will open the door to generating more profit in India’s untapped markets.     

===='''&lt;big&gt;Legal considerations&lt;/big&gt;'''====

===== European Union – medical device information =====
The medical device information on the product label and instructions for use must be available in the national language(s) of the final user. Refer to [http://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX%3A31993L0042 European Union Council Directive 93/42/EEC, Article 4(4).]

===== French language laws (Canada, France) =====
The [[Wikipedia:Charter of the French Language|Charter of the French Language]], also known as Bill 101, is a 1977 law in the province of Quebec in Canada that defines French as the only official language of Quebec and frames fundamental language rights of all Quebecois. The provincial government body responsible for enforcing the Charter is the [[Wikipedia:Office québécois de la langue française|Office québécois de la langue française]] (OQLF). The law stipulates that product labels, their instructions, manuals and warranty certificates as well as public signs, posters and commercial advertising must be in French. If a sign is bilingual or if separate signs are used for different languages, the French text must be predominant (e.g. the French text is twice as big as the other language and/or there are twice as many signs in French). The Charter also regulates the use of the French language in business and commerce. For example, software used by employees must be available in French, unless no French version exists. Similarly, on September 10, 2007, the OQLF and the [[Wikipedia:Entertainment Software Association of Canada|Entertainment Software Association of Canada]] announced a new [https://www.oqlf.gouv.qc.ca/francisation/consommateurs/secteur/jeux_video/details_entente.pdf agreement] regarding the distribution of video games in the province of Quebec:&lt;br&gt;
* 	Since Sept. 10, 2007, the packaging and instructions of any new video game sold in Quebec must be in French.
* 	Since Oct. 1&lt;sup&gt;st&lt;/sup&gt;, 2007, any new computer software must be available in French if a French version exists elsewhere in the world.
* 	Since April 1&lt;sup&gt;st&lt;/sup&gt;, 2009, any new generation console video game (Microsoft Xbox 360, Nintendo Wii, Nintendo DS, Sony PlayStation 3, Sony PSP and any newer model) must be available in French if a French version exists elsewhere in the world.
* 	If the French and English versions are available separately, any retailer wanting to sell or rent the English version must also offer the French version.
* 	If no French version exists, the English version may be sold only if the packaging and instructions are in French.
&lt;br&gt;
The [[Wikipedia:Toubon Law|Toubon law]] of 1994 is a French law mandating the use of the French language in several areas, among them official government publications, advertisements, commercial contracts, government-financed schools or the work place. Since it stipulates that &quot;any document that contains obligations for the employee or provisions whose knowledge is necessary for the performance of one's work must be written in French&quot;, software developed outside of France must have its user interface and instruction manuals translated into French.

=====Turkish consumer protection law=====

Consumer Protection Law No. 6502 regulates sales to consumers over the internet and other digital platforms and defines the rules of advertisement to protect consumers. The Regulation for Distance Contracts also aims to protect consumer rights in e-commerce transactions.&lt;ref&gt;[http://uk.practicallaw.com/5-618-1186?q=&amp;qp=&amp;qo=&amp;qe= http://uk.practicallaw.com/5-618-1186]&lt;/ref&gt;

=====Simplied Chinese language regulations (Mainland China)=====

Organizations of People’s Republic of China, such as Translators Association of China (TAC) and Standardization Administration of China (SAC), are responsible for establishing uniform standards for language services. Belows are major regulations that have been guiding the translation and localization industry: 

* Standardization Administration of the People's Republic of China, (2016). ''ZYF 001-2016 Quality Evaluations Code for Localization Translation and DTP''. Beijing: Standards Press of China

* Standardization Administration of the People's Republic of China. (2005). ''GB/T 19682—2005 Target Text Quality Requirements for Translation Services''. Beijing: Standards Press of China.

* Translators Association of China. (2016). ''Localization for Beginners''. Beijing: Standards Press of China.

* Translators Association of China. (2016). ''2017-2021 China Language Service Industry Development Plan''. Beijing: Standards Press of China.

* General Administration of Quality Supervision, Inspection and Quarantine of the People's Republic of China. (2008). ''GB/T 19363.1—2008 Specification for Translation Service Part 1: Translation''. Beijing: Standards Press of China.

* General Administration of Quality Supervision, Inspection and Quarantine of the People's Republic of China. (2006). ''GB/T 19363.2—2006 Specification for Translation Service Part 2: Interpretation''. Beijing: Standards Press of China.

* General Administration of Quality Supervision, Inspection and Quarantine of the People's Republic of China. (2005). ''GB/T 17532-2005 Terminology Work--Computer Applications—Vocabulary''. Beijing: Standards Press of China.

* General Administration of Quality Supervision, Inspection and Quarantine of the People's Republic of China. (2011). ''GB/T 15834—2011 General Rules for Punctuation''. Beijing: Standards Press of China.


=====Language Access in The United States=====

The United States is made up of an extremely diverse population. Although the official language of the country is English, some of its immigrant population knows little to no English. This makes it harder for this population to access services. Due to this fact, in 2000 President Bill Clinton signed the Executive Order 13166, “Improving Access to Services for Persons with Limited English Proficiency.&quot; The Executive Order states: “…requires Federal agencies to examine the services they provide, identify any need for services to those with limited English proficiency (LEP), and develop and implement a system to provide those services so LEP persons can have meaningful access to them.” Furthermore, the Executive Order also requires that any recipient of federal funding provide access to their limited English proficiency people.
Due to this Executive Order, the need for translators and interpreters increased in order to adhere to this mandate especially in government, health and education services. These organizations could focus their translations and interpretations on the population of LEP they serve. According to the Census Bureau reports, data collected from 2009 to 2013, 350 different languages are spoken at home in the U.S. The 3 most spoken languages are Spanish, Chinese (Cantonese, Mandarin, other varieties) and French. For more information regarding the Executive Order 13166, you can visit: https://www.justice.gov/crt/executive-order-13166. For more information regarding the language information from the U.S Census Bureau, you can visit: https://www.census.gov/newsroom/press-releases/2015/cb15-185.html.

====&lt;big&gt;'''Data Localization'''&lt;/big&gt;====

Data localization refers to the set of laws enacted by a state or country that requires foreign companies to store citizens’ data within its borders. This means that data of the specific nation’s citizens has to be collected, processed, and stored inside the country, before being transferred internationally, and transferred only after meeting local privacy or data protection laws. Such regulations impact email communication, personal records, and social media services.
 
Data localization derives from the concept of data sovereignty which requires that records about a nation's citizens or residents follow its personal or financial data processing laws, however, data localization goes a step further and requires that initial collection, processing, and storage of data occur first within the national boundaries of the particular country enacting the law. 
 
For example, Russia, China, Indonesia, and others have enacted economy-wide localization policies that require data to be stored on servers within their respective borders, while other countries, such as Australia, Germany, South Korea, and Venezuela, have enacted industry-specific laws that require certain financial, health and medical information, online publishing, and telecommunications data collected from their citizens to be stored on local servers.&lt;ref&gt;https://iapp.org/news/a/is-the-gdpr-a-data-localization&lt;/ref&gt; 

In terms of localizing an internet-based product and/or service, data localization is a key factor to consider when drafting a localization strategy. Localizing into a country with data localization policies will imply larger IT investment and stringent security measures for data related to business operations.


'''Data Localization Policies Around the World'''
 
Currently, there are at least 34 different countries with data localization policies, with China featuring a dozen of them, plus major countries, such as Russia, Indonesia, and Vietnam.

To see a list of data localization measures around the world, see the Technology Industry Council’s Snapshot of [https://www.itic.org/public-policy/SnapshotofDataLocalizationMeasures1-19-2017.pdf Data Localization Measures]&lt;ref&gt;https://www.itic.org/policy/forced-localization/data-localization &lt;/ref&gt;
 
The aforementioned document captures most of the world’s data-localization policies. The entries with icons show where countries have enacted and implemented data localization policies targeting specific types of data. Other entries cover cases where countries have proposed, but not enacted, data localization policies or provide context for data-related policies, such as in the European Union. The list shows that data localization comes in many forms: while some countries enact blanket bans on data transfers, many are sector specific, and others target specific processes or services. One of the basic problems for companies complying with data localization laws is the difficulty in determining which categories of data need to be locally stored and which can be moved abroad.&lt;ref&gt;https://itif.org/publications/2017/05/01/cross-border-data-flows-where-are-barriers-and-what-do-they-cost &lt;/ref&gt;


'''Future of Data Localization'''

For the detractors of data localization, adding restrictions on how and where data is stored or transferred, poses a fundamental threat to the free flow of information across borders and the maintenance of global supply chains. As cross-border trade increasingly moves towards e-commerce and relies on the use of internet technologies such as cloud computing and big data, data localization policies pose a major threat to the economy and businesses’ bottom line. In addition, privacy and security suffer as companies are forced to store data in a way that is not the most efficient or effective and in most cases data security results affected, which is often the officially stated purpose of this type of measure.

The reality is that data localization laws are here to stay. As companies invest in compliance and governments without these laws see the short-term benefits that accrue to the localizing government in the form of increased access to data and a boost to the local economy, more nations may want to get in the localization game.&lt;ref&gt;https://www.americanbar.org/content/dam/aba/publications/antitrust_magazine/anti_fall2017_cohen.authcheckdam.pdf&lt;/ref&gt;


==Localization Economics==
===Terms and Concepts===

*Localization ROI

Localization ROI, or ''return on investment'' refers to the calculation of the benefits or outcome gained as a result of spending money or allocating resources. For instance, it can mean the money earned back in sales resulting from the money a company has invested in a localization program.  The return can also refer to increased brand awareness, expanded market share, growth in foreign visitor traffic, etc.  Corporate executives often use ROI as a key indicator of global value for their firm, and localization managers would often use ROI to demonstrate the business value of localization. &lt;ref&gt;DePalma, Donald A. et Hills, Mimi.[http://www.commonsenseadvisory.com/portals/_default/knowledgebase/articleimages/100428_r_roi_preview.pdf &quot;Localization Returns on Investment: Quantifying the Value of Localization in High-Tech&quot;], April 2010, p.1&lt;/ref&gt;.

The dynamics of market development plays an important role in localization ROI.  As a company progresses from market entry to market expansion and maturity, the localization ROI is likely to pick up.  The more mature a product in one country, the higher return on localization investment is expected to be.  For instance, if a product has been released in Japan for six years, and consistently available in updated, localized versions for four years, the ROI for localizing the next Japanese release is likely to increase.  One reason is that the by leveraging the Translation Memory (TM) after a first release, the efforts and cost of localization will reduce; another reason is that the sales channel, brand awareness, and installed base have been established in the target market already.  Therefore, one could use separate benchmarks for different market stage. &lt;ref&gt;Benjamin, B. Sargent.[https://geoworkz.com/uploadedFiles/Documentations/ROI_of_Software_Localization_en-US.pdf &quot;Calculating ROI in Software Localization&quot;, Software Business Magazine], July 2002, p.2&lt;/ref&gt;.

*e-GDP
*Economic significance of a language
*Politically-driven localization
*Localization based on humanitarian grounds

Localization of a product or services driven by the wish to improve the quality of life of people in a less developed economy rather than to pursue economic benefit. Even simple access to translated information has a positive impact on health and could prevent deaths.&lt;ref&gt;DePalma, Donald A. [http://dig.multilingual.com/2016Index-2017RD/offline/download.pdf &quot;Making a business case for localization when there’s little or no business to be had&quot;] [https://multilingual.com/ &quot;MultiLingual&quot;], January 2017, p.32&lt;/ref&gt;

*'''Profit Margin (LSP Only)'''

One of the key economic indicators that LSPs measure is the profit margin of a project. The profit margin is defined as the net sales less the cost of goods sold (COGS) divided by net sales. &lt;ref&gt;https://www.investopedia.com/ask/answers/031815/what-formula-calculating-profit-margins.asp&lt;/ref&gt; The net sales is the total revenue generated from the project less any allowances or discounts. &lt;ref&gt;https://www.accountingtools.com/articles/2017/5/12/net-sales&lt;/ref&gt; The COGS is the cost of external labor directly used to create the service. &lt;ref&gt;https://www.investopedia.com/terms/c/cogs.asp&lt;/ref&gt; For LSPs the COGS would represent all fees paid to external vendors who worked on the project which could include: translators, editors/reviewers, desktop publishers, quality assurance testing, voice over artists, video editors, etc. Profit margin is typically calculated on a project by project basis. Project Management applications may calculate profit margin at the inception of a project when vendor purchase orders are created against the quote. If additional vendor purchase orders are required during the life of the project then the profit margin will be reduced unless the LSP issues a change order to the client. An LSP may have a target profit margin per client depending on the nature of the work. For example higher volume clients that represent a larger percentage of net sales for the LSP and request large projects with high word counts may have a lower target profit margin per project than lower volume clients that request smaller projects less frequently. Volume discounts can either be initiated by the LSP or requested by the client. 

*'''Operating Profit Margin (LSP Only)'''

The Operating Profit Margin is defined as Operating Earnings divided by Revenue. &lt;ref&gt;https://www.investopedia.com/terms/o/operatingmargin.asp&lt;/ref&gt; Operating earnings is defined as Net Sales less COGS less General &amp; Administrative Costs. &lt;ref&gt;https://www.investopedia.com/terms/g/general-and-administrative-expenses.asp&lt;/ref&gt; For the sake of simplicity let’s define General &amp; Administrative costs as LSP Employee wages for the purpose of this article. While calculating Operating Profit Margin on a company-wide level is straightforward, calculating this metric on a per project level is challenging as it requires the accurate measurement of LSP employee(s) time on the project. In lieu of tracking internal project time, some LSPs may apply a flat Project Management fee per project to offset internal project cost. The problem with this approach is that if internal time is not measured on the project then it cannot be known to what extent the PM fee covers internal cost. It raises the question, did the PM fee on the project cover, exceed or fall short of the time the LSP employee(s) spent on the project? Some Project Management applications like [https://www.xtrf.eu XTRF] allow the LSP employee(s) to input their time on each project. The problem with this approach is that the LSP employee is required to manually track their time on each project which can be difficult when juggling multiple projects on a daily basis. By measuring LSP Employee time on a per project level, LSP Management will have a clearer picture of the Operating Profit margin per project. This metric can answer questions like: Did we work efficiently on that project? Why or why not?

==Localization==
'''Pioneers of Machine Translation'''

Franco-Armenian '''Georges Artsouni''' conducted some of the first experiments with machine translation. In 1933 he designed a storage mechanism out of paper, with which for any word the equivalent in another language could be found and which thus could be used as a bilingual dictionary. A patent was filed for this device, and apparently in 1937 a prototype was presented.

Russian '''Petr Smirnov-Troyanskii''' applied for a patent in 1933. His mechanism used a bilingual dictionary and a method to correlate grammatical rules in different languages. The translation process was divided into three phases: transformation of the source text into a logical form based on the source language; transformation of this logical form into a second logical form based on the target language; and transformation of this second logical form into a text in the target language.

Englishman '''[https://en.wikipedia.org/wiki/Andrew_Donald_Booth Andrew Donald Booth]''' (1918–2009) was a crystallographer but researched the mechanization of a bilingual dictionary at Birkbeck College (London), for which he was funded in 1947 by the Rockefeller Foundation. He also helped develop mechanical calculators.

Englishman '''[https://en.wikipedia.org/wiki/Richard_Hook_Richens Richard Hook Richens]''' (1919–1984) was a botanist at Cambridge but conducted research on machine translation. In 1956 he invented the first semantic network for computers, which served a pivot language for machine translation.

American '''[https://en.wikipedia.org/wiki/Warren_Weaver Warren Weaver]''' (1894–1978) was a mathematician and is often referred to as the father of machine translation. He regarded Russian as a code “in some strange symbols” that just needs to be decoded. In 1947 he presented a series of essays on machine translation, a memorandum, entitled simply “Translation,” in which he made four basic assumptions to overcome a simplistic word-by-word approach: 1) the translation must be performed within context, 2) there is a logical component in the language, 3) cryptographic methods are possibly applicable and 4) there may be linguistic universals.

===Localization by type===
We usually distinguish between software (SW) and user assistance (UA) localization (see [[Localization/UA]]). These two deliverable types are further defined below.
As the creation process and the workflows of both deliverables are becoming more and more connected, we see the boundaries between UA and SW become blurred in many areas.
Many localization areas, processes and tools can meanwhile be applied for both UA and SW.

====[[/SW/]]====
[[Localization/SW|'''Software (SW) localization''']] is the process of adopting software to meet the language, cultural, and other requirements of a  specific target market.  When the software is localized effectively, the end-user will experience a seamless and native feel of the product.  In the past, software is released annually or semi-annually, but in today’s world, it is required to be released as quickly as it can with all language simultaneously.  

'''1. Tasks''' &lt;br&gt;

Common localization tasks:

- MT &lt;br&gt;
- AT &lt;br&gt;
- Terms &lt;br&gt;
- Dictionary &lt;br&gt;
- Verification &lt;br&gt;
- File Parser &lt;br&gt;
- Commenting &lt;br&gt;
- String Status &lt;br&gt;
- Review/Approval &lt;br&gt;
- DTP &lt;br&gt;

To increase productivity and consistency, and to work collaboratively with stakeholders, [https://en.wikipedia.org/wiki/Computer-assisted_translation CAT tools] and [https://en.wikipedia.org/wiki/Translation_management_system TMS] are used as tools for localization tasks.

'''2. Issues''' &lt;br&gt;

Common localizability issues:

- Hardcoded text  &lt;br&gt;
- Overlocalization  &lt;br&gt;
- String dependencies &lt;br&gt;
- Resource constraints &lt;br&gt;
- Strings concatenation &lt;br&gt;
- Usage of variables &lt;br&gt;
- UI layout &lt;br&gt;

Hardcoded text is the source language text that appears in the UI.  It can be avoided by code review or [https://en.wikipedia.org/wiki/Pseudolocalization Pseudo Localization].  On the other hand, Overtranslation is to translate the text that should remain in its original language.  For example, overtranslating path names and directories can lead to some of the product not functioning.  String dependencies, Resource constraints, and String concatenation can lead to the product not working properly and can be avoided by product design.  UI layout can cause the translated text to be too long (i.e. German) and cause a truncation.

====[[/UA/]]====
[[Localization/UA|UA localization]] refers to the translation and adaptation of the content that accompanies a particular program or application. This can include printed materials (in-the-box instructions), but most commonly refers to internet-based user help files, API documentation, etc.&lt;ref&gt;https://docs.microsoft.com/en-us/globalization/localization/content-localization&lt;/ref&gt;. The reasons for localizing UA include meeting legal requirements, reducing customer support requests, and providing a detailed documentation of a program's functionality for advanced users.

====Pre-handoff====
Typically, [[Localization/UA|UA localization]] only begins after the software itself (i.e. the user interface) has been localized. This is to ensure that references to UI elements in the documentation match with the names of those elements in the actual interface. Additionally, it is helpful to include illustrative screenshots in the localized UA (just as you would in the development version), so a localized build should ideally be available so that locale-specific screenshots can be inserted into the localized UA.

Before translation begins, the translator should ideally receive a termbase, style guide, and TM(s) containing legacy translations from past iterations of the project (if applicable)(see 4.7). UA is typically stored in a CMS as files in a markup language like  .xml ([[w:Extensible Markup Language|Extensible Markup Language]]) or .dita ([[w:Darwin Information Typing Architecture|Darwin Information Typing Architecture]] and organized by locale. Source language documents that have changed since the previous update are gathered together and packaged as a dual-language .xliff ([[w:XLIFF|XML localization Interface File Format]]) to be handed off to the translator along with the rest of the localization kit (see 4.10). Recyclable content from past .xliff versions and/or .tmx files (w:Translation memories in TMX format|Translation memories in TMX format]]) is also typically leveraged before the kit is handed off.

=====UA localization process=====
[[Localization/UA|UA localization]] is performed in a Translation Environment Tool (also known as a CAT, or Computer Assisted Translation tool) (see 4.12). With these tools, the translator is better able to maintain stylistic and terminological consistency with previous versions of the UA. It is particularly important to make sure that all terms are consistent and up-to-date during the translation process, so the translator may additionally want to use a term extraction tool before starting the actual translation in order to clarify any ambiguities ahead of time. As the translator works through the text, they can leverage &quot;fuzzy matches&quot; (i.e. text segments that partially match previously translated content) in order to ensure consistency and speed up the localization process.

=====Post-handoff=====
When the translator has finished processing the UA text, they perform QA checks in their CAT tool, approve the segments they translated, and hand back the completed .xliff to the PM or loc engineer. Once the files are checked over, the locale-specific .xml files can then be committed in the CMS and the updated, localized UA can be published.

===Localization operations: Models===
====In-House====
For the In-House model, the localization process is handled within the company by employees (as opposed to an LSP or individual contractors) from start to finish. Advantages include speed of information transfer (no bottlenecks) and better communication between the content writers, developers and translators. Disadvantages include a possible increase in overhead and lack of scalability. &lt;ref&gt;https://www.welocalize.com/assessing-in-house-outsourced-localization-models/&lt;/ref&gt;

====Outsourcing====
In the outsourcing model, the localization processes are outsourced to a third party in their entirety. Small and middle-sized companies might be the ones who have the greatest interest in this model, especially if they have no prior experience in localization and its practices. For them, outsourcing localization to a third party means being able to cut the costs of tools, education, hiring localization experts and translators, licensing and training which otherwise might override the costs of localization itself. The right vendor will be able to ensure better control and quality of the final product because of the availability of resources. A more detailed description of pros and cons of this model can be found at: [https://www.globalme.net/blog/to-outsource-or-not-to-outsource-localization-weighing-the-pros-and-cons. Pros and cons] However, the outsourcing company should assign the role of a subject matter expert (SME) to one of their employees who will be a point of contact for the vendor. &lt;ref&gt;https://www.globalme.net/blog/to-outsource-or-not-to-outsource-localization-weighing-the-pros-and-cons.&lt;/ref&gt;

====Hybrid in-house/outsourcing====
This model supports localization through a combination of in-house resources and third party outsourcing. In this model you can make use of internal resources to perform pre-localization tasks (e.g., term mining/translation to build/update a term database for the third party translator) and to serve as subject matter experts (SMEs) for both the subject matter. While a 100% in-house model has overhead and scalability constraints, this combination model can allow you to scale to support increased scope while retaining a smaller pool of in-house resources for specialized tasks (terminology, style guides, linguistic QA) and to address high priority/short time-line projects.

====Community Localization====
Community Localization is the act to taking job traditionally performed by professional translators and outsourcing it to a preexisting community of partners, end users, and volunteers. This may sometimes be confused with collaborative localization, which is the act of assigning translation to a team of translators using an online translation platform with centralized and shared translation memory to speed up translation by using internet-based translation technology. 

If confidentiality is essential, for example in the case of a new product release, community translation is not a good solution. It is not possible and reasonable to expect community members to adhere to a non-disclosure agreement. In this case, professional translation or, if possible, in-house translation is the way to go.

The linguistic quality of community translated content will not equal that of content translated by professionals, although meaning typically will be translated correctly if the community is well-matched with the content. Quality can be increased by using glossaries developed in-house or by professional translators, using peer review and a mechanism to flag totally inappropriate translation, and implementing a separate review phase in the workflow carried out by in-house specialists, professional translators, or a very experienced subset of the community.

There are differences in which languages happens to be successful at doing community translation. Some smaller languages are dying to help you translation, so don’t overlook anyone. Being able to access a lot of these smaller pockets of users quickly can be an effective strategy for some. 

An important feature of a successful community localization program is the quality of its moderation team. The best moderators are not those who provided the best translations, but those who voted up the best translation. Moderators’ important job is to actively find “broken windows” in the community to repair—things such as putting out grammar wars, organizing translatathons, glossary term discussions, etc. As a moderator, you have to act as a control and monitoring tool for the health of each community, making sure it has what t needs to be active and productive. 

===== Major Challenges with Community Localization =====
# Finding communities—Most examples of community localization involve communities that were already involved with the organization ways other than translation: end users, partners or in-house personnel, or volunteer members. Creating end user or partner communities from scratch requires substantial work and support from experienced consultants. It is also possible to enlist help through an open call to translator marketplaces such as Mechanical Turk, Craig’s List, or oDesk. However, when using such an open call to translation marketplaces, it will be necessary to pay the translators unless the translation is for a charity or other non-profit organization with a perceived substantial social benefit. 
# Matching the content with the communities—Community members are most often not linguists; instead, they are bilinguals with specific domain knowledge. The selected community needs to have both the capacity and the ability (domain knowledge) to translate the content. For some content, such as sales and marketing materials for a commercial enterprise, it will be very difficult to find communities with the ability to translate the content and the motivation to do so. 
# Aligning community objectives and organization objectives—Most of the community management effort will go toward motivating the communities. Aligning the goals of the community with those of the organization seeking to use community translation is critical to the success of community translation. If there is no alignment, communities will falter or, worse, the effort will be perceived as exploitation by the organization. Community localization is not a means to get free translation for the organization’s content. Attempts by an organization to replace its translation service providers and professional translator with free community translation may have quality problems, and in some cases may fail and be criticized. Often when using semi-professional translators through one of the translation marketplaces, it becomes a trade-off between linguistic quality and cost.
# Identifying project management controls—Any project manager involved with community translation will wonder how to control deadlines, confidentiality, and quality. Control over deadlines requires a community translation platform that provides a means to set up deadlines and to report progress on a granular level. If missing a deadline becomes likely, the organization can then switch to professional translators.

===== Common Misconceptions about Community Translation =====
# Quality will suffer—In reality, the same pitfalls that apply to working with vendors with translations, also apply to working with community localization. Translations should be done in dialog with the initial creators of the content to ensure its meaning is properly interpreted.
# The speed at which translations can be completed are not able to be set—In reality, having a good moderation program and keeping a good enough pace is possible by steering users to content with the most priority.
# Community localization is cheaper than hiring professional translator—In reality, successful community localization programs costs are even or larger than contracting with a LSP, because salaries, servers, etc. can result in big monthly fees you have to pay even when you do not have a new language or new features to launch.

====Crowdsourcing====

In brief, [[crowdsourcing]] is when an individual, group, or company publishes the user interface strings of their website or product so that anyone with  Internet access can help translate/localize the material. Since 2006, crowdsourcing translation and localization has become extremely popular. Some of the most popular websites and products available today were translated through crowdsourcing, including [[w:Facebook|Facebook]], [[Twitter]], [[w:LinkedIn|LinkedIn]], [[Minecraft]], [[w:Khan Academy|Khan Academy]], and [[w:TED|TED]]. The participants range anywhere from five to [https://www.quora.com/What-is-the-most-successful-translation-crowdsourcing-project-and-why%20number%20of%20participants 450 thousand].

* [[Wikipedia:Crowdsourcing as Human-Machine Translation|Advantages]]

Crowdsourcing is efficient for several reasons:

# '''Little to no linguistic limitations''' — With crowdsourcing, the amount of languages for which a product can be translated/localized is only limited by the demographic of the users. This is especially beneficial for a product that is already popular world-wide.
# '''Near-immediate results''' — Because of the vast amount of people who typically participate in crowdsource translation/localization, results often come back almost instantaneously, depending on the size of the source text and amount of translation proofreading that is required.
# '''Financially efficient''' — One of the more obvious and perhaps greatest benefits of using crowdsourcing is that the low-cost, low-maintenance nature of building (or implementing) a crowdsourcing platform makes it the cheapest option for a company to translated hundreds or thousands of strings.

* [[Wikipedia:Crowdsourcing as Human-Machine Translation|Challenges]]
Despite all the advantages, there are some challenges that should be considered:

#'''Technological limitations''' — People who are not internet or technology-savvy, and even those who don't have convenient access to the internet contribute very little to crowdsourcing. Because of this, some important languages or dialects can be left out from the results. Companies also need to consider the differences that time-zones can play in the release translated materials.
# '''Variable Quality''' — If efforts in coordinating the quality control of submitted translations aren't taken very seriously, then the hobbyist translators who most often participate in crowdsourcing may end up harming the product's quality with their unprofessionalism.
# '''Motivation''' — Because crowdsourcing is done by volunteers for free, keeping the translators/localizers motivated is extremely important. Many companies inspire their volunteers through by gamifying the process and even offering rewards to top, or even all contributors. 
# '''Control''' — Managing a group of hundreds or even thousands can be very difficult. The organization of the crowdsourcing platform and its users needs to be carefully considered and executed.


===== Challenges of Localizing into African Languages ===== 
# An absence of linguist and cultural equivalencies- Many speakers of indigenous African languages also use European languages such as English, French etc. This has therefore lead many foreign terms especially in relation to technology to lack equivalents in the native tongues which are rarely used in technological contexts. New vocabulary  therefore does not develop for such words in the indigenous languages and most end up just using loanwords. 
# Inadequate communication infrastructure makes if difficult to find and communicate dependably with language experts which prolongs the localization process. It also makes it difficult for translators of indigenous languages to network with each other.
# Inadequate resources- Since secondary languages are spoken in most areas in Africa, there is a lack of written resources for indigenous languages such as dictionaries and term-bases. This makes it difficult to accurately localize into these languages.  
# Insufficient goodwill to maintain indigenous languages-Since the field of localization is relatively new and most countries have a secondary languages any way, not a lot of emphasis or resources are channeled towards training translators by neither the government nor educational institutions. This limits the capacity to localize into indigenous languages even for companies that are willing to do so.             

===In-Country Review Process: General Review Guidelines (LSPs)===
The primary goal of in-country reviews (ICRs) is to ensure that original content has been translated accurately and according to the requirements of the requester. As such, the ICR process represents a fundamental quality assurance milestone to produce high-quality and consistent product information across all target languages. To achieve this essential quality goal, client reviewers must be native speakers of the respective target language and be familiar with the subject matter as well as product. Equally important, the translation must meet the tone, style, and nuances of the specific target locale to appeal to the regional target audience where appropriate. 
In addition, ICRs provide valuable feedback for establishing and maintaining company-specific terminology that would otherwise not get formally captured and documented. The feedback also enables LSPs to maintain up-to-date terminology glossaries and translation memories as client requirements change. This in turn has a direct impact on the quality and consistency of translations. Likewise, up-to-date and complete translation memories and glossaries improve time to market and reduce overall cost by allowing greater reuse of translation assets for new or revised information.
The ICR process should not involve a conceptual review (validation) of the original information (source content). Any conceptual review must occur before the actual ICR, typically during the creation process of the original content (source content). Thus, the ICR is not designed to validate original content, which typically includes legal, regulatory, compliance, and marketing reviews. This means that in-country reviewers should focus their attention on translation and preferred-terminology issues.
In fact, changing the content in the target languages can bear a risk for clients because of potential off-label use. Assigned reviewers should therefore not change, remove, or add content in the target language if the meaning deviates from the original content.
In addition, the in-country review is not a copy-editing task. That is, reviewers should avoid introducing preferential terminology and rewriting translated content. Preferential changes lead to unnecessary delays and additional effort as well as cost. Preferential changes should be limited and only be introduced if such preferred terminology is clearly defined to allow consistent translations from project to project.

In summary, the main objectives of the ICR process are:
* Perform a linguistic verification of translation accuracy.
* Assess the overall quality and consistency of translations.
* Satisfy translation requirements and expectations set by requester.
* Meet the tone, style, and nuances appropriate for the regional locale and target audience (e.g., consumer vs. professional).
* Provide feedback for establishing and maintaining up-to-date and complete translation assets, including translation memories and company-specific terminology.

===Localization projects: General workflows===
===Pre-translation engineering work===
In this stage, the loc team will review the UI elements and strings trying to identify possible issues that could happen during the translation process (i.e. hard-coded strings, concatenation, text expansion, etc.) As part of this reviewing process, loc team needs to extract the strings from the source files and run a pseudo-localization test. This will help to identify possible bugs in usability and functionality. Once defined that the project is ready for localization, it's time to provide context for the linguist. To do so, loc team will make comments on the segments and UI elements, listing not translatable items and defining key terms like acronyms, names, product names, titles or other specific terminology. The next step is to import the source files to a CAT tool to find out how much of the translated strings are already available in the Translation Memory. With that, the team will have an idea of the word count for this project and how much it would cost to translate. Then, the team will prepare a translation request indicating the scope of the project, the timeline, target languages, additional context information and send out the source files. Once the Project Manager on the vendor side receives the translation request, (s)he will do the preparation work and deliver the files to the translators or linguists. Then, finally the translation process will begin.

===Pre-translation QA work===
====Pseudo-Localization====
Pseudo-localization is considered part of the internationalization testing process, and is a way to simulate language characteristics while maintaining the readability of the UI, during the design or development phase.
No linguistic skills are required to test with pseudo-localization and developers and testers can use it to detect and correct a host of i18n/l10n issues, earlier in the development and testing phases for new features.
By moving the i18n/l10n bugs detection and correction earlier upper stream we significantly impact development time and cost savings for localization. 
Pseudo localization works by transforming the resource strings in a way that simulates the characteristics of foreign languages and at the same time the transformation preserves the readability of the UI and messages. It involves localizing your product into an artificial language that includes target language characters but is still readable by your testers.This is ideally done using an automated or semi-automated process. Here are some common language metrics for Pseudoloc.
* French, Spanish, Portuguese, Italian, Arabic, Hebrew and Polish text can expand between 15% and 30%.
* German and Dutch text can expand 35% or more.
* Chinese, Japanese or Korean text can contract 30% to 55%, but some of these languages don't use spaces and that can also cause text expansion.
There are various pseudo localization patterns and tools out there. Android and iOS platforms have added platform level support for pseudo localization features for developers. There are also Web browser extensions to support pseudo localization. These platforms are using the open source Google pseudo localization tool1.
Detectable Issues and Best Practices
Pseudo-localization makes it possible to perform the following quality checks during localization-readiness testing:					 					
* Validation of the completeness and usability of the Localization Kit (files and documentation).	
* Validation that the pseudo-localized software builds successfully.	
* Validation that target language characters display correctly.				 
* Validation that screen text strings are not concatenated from fragments.	
* Validation that screen layout accommodates expanded localized strings.
* Validation that non-localizable software resources are identified and documented.
Guidelines for pseudo-localization:
* Simulate the localization process (documented in the Localization Kit) as closely and completely as possible: pseudo-localize text and graphics, change fonts, date formats, etc. 
* Simulate the localizer’s environment as closely as possible. Perform the pseudo-localization on a “clean” machine, not on a development machine. 
* Include target-language characters in the pseudo-localized strings. 
* Choose target language characters that are most likely to be problematic. (The Generic Internationalization / Localization Issues list below provides some examples.) 
* Make string boundaries (beginning and end) obvious so string concatenation will be apparent during testing. 
* Increase the length of pseudo-localized strings to simulate what often happens during translation. 
* Insert target language characters at the beginning of strings, at the end of strings, and around string separators such as tabs and newlines.This makes it easy to distinguish localizable strings from non-localizable strings during testing. 
* Re-order the arguments in at least a sampling of formatted messages, and test that these messages then appear correctly. 
* During testing, you may discover software resources that, in fact, must remain as-is for the software to function correctly (hopefully these are not visible to the user). As you discover them, be sure to identify these strings, preferably using comments in the resource files, or in the Localization Kit documentation. 
Take the example of Google pseudo localization patterns, it contains the following features to achieve specific purposes:
{| class=&quot;wikitable&quot;
|-
! Transformation !! Purpose !! Dev Best Practices !! Correct Behavior
|-
| Added [ and ] to indicate the start and end of the string. || To detect:
1) String concatenation issues.
2) String truncation. 
|| Use complete sentence, with runtime argument placeholder if needed:
This title can only be downloaded 1 more time before {date}.
 || [Ţĥîš ţîţļé çåñ öñļý ƀé ðöŵñļöåðéð ① ɱöŕé ţîɱé ƀéƒöŕé {date}· one two three four five six]
|-
| Character replacement with letters outside of ASCII and/or Latin1 range || To Detect
1) Character Encoding Issues.
2) Font and Display Issues.
 || 1) Use UTF-8 as the storing and display encoding and use UTF-16 as the encoding during data transition.
2) Use the proper font and right font size for the best visual on devices.
 || Characters should be displayed correctly, should not have any tofu squares or question marks. Should not have vertical clipping or overlapping. 
|-
| String length expansion (usually by 30%) || Detect horizontal truncation or overlapping issues for world’s languages. || Design and develop with language string length expansion in mind. Allow longer string to wrap instead of being truncated. When line wraps, allow enough vertical space in between lines. || Strings should not be truncated or overlap with other UI elements.
|-
| Indicators &gt;&gt; and &lt;&lt; around value passed by runtime || To give a visual hint that string inside &gt;&gt; and &lt;&lt; comes from runtime value. || Make sure the source of the runtime argument is also localized if needs be. || Value inside &gt;&gt; and &lt;&lt; should contain cultural appropriate string as well.
|-
| Special Right-To-Left simulations || Detect RTL layout issues and Bidi issues || Make sure to:
1. Set layout to RTL UI
2. Set paragraph direction to rtl
 || Should not have layout or Bidi Issues.
|}

Pseudo Localization Available
Android 
https://androidbycode.wordpress.com/2015/04/19/pseudo-localization-testing-in-android/

iOS Devices
https://developer.apple.com/library/content/documentation/MacOSX/Conceptual/BPInternational/TestingYourInternationalApp/TestingYourInternationalApp.html

Websites
https://developer.apple.com/library/content/documentation/MacOSX/Conceptual/BPInternational/TestingYourInternationalApp/TestingYourInternationalApp.html

Google
https://code.google.com/archive/p/pseudolocalization-tool/downloads
											
Pseudo-localization is most valuable when your product has not been localized before. It is also important when localizing to a language that is unlike any currently supported language (for example, the first time localizing for a language that uses multibyte characters).As your product matures (from an internationalization / local- ization perspective) you will probably scale back your use of pseudo-localization.						
					 				
References
http://blog.globalizationpartners.com/what-is-pseudo-localization.aspx
https://www.sajan.com/pseudo-localization-101-localizability-testing-for-software-and-websites/ 
https://en.wikipedia.org/wiki/Pseudolocalization 

For more see Wikipedia article on [[Wikipedia:Pseudolocalization|Pseudolocalization]]

===Pre-translation language work===
====Style guides====
Every language has specific linguistic and grammatical rules.

In addition to grammatical and linguistic rules per language, style guides can include universal guidelines about how you would like certain items to be addressed in your documents such as: 1) what the tone of language should be on marketing documents versus technical documents; 2) how to format items like UI terms, dates, footnotes that may appear in localized content; 3) what fonts can be used.

Some companies publicly provide style guides:
* [https://www.microsoft.com/en-us/language/styleguides Microsoft Style Guides]
* [https://www.facebook.com/translations/guide/?cmsid=742494062440220 Facebook Language Style Guides]

====Terminology work====
Acronyms, synonyms, homonyms, abbreviations and product-specific terminology are frustrating puzzles that translators often need to decipher. Without the proper resources, simply trying to understand the appropriate definitions of these sort of terms can become a difficult and time-consuming task that, despite a large amount of effort, can still result in misunderstandings and mistranslations. Terminology management is the process of selecting, defining, organizing, storing and maintaining product terms, or designators.&lt;ref&gt;https://en.wikipedia.org/wiki/Terminology&lt;/ref&gt; With effective terminology management, accurate and efficient translations can be achieved.

A terminology database, or a termbase, is a central repository which stores and manages the chosen designators for both source and target languages. A termbase is an organized and flexible way of collecting and managing designators. It is very useful to share the termbase with everyone engaged in the localization project, as well as those that are creating source files to be localized. Typically, the termbase can be provided either by the client company or created by the LSP.

When selecting designators to add to the termbase, it is important to truly evaluate which terms will be beneficial to store and manage. If termbases are too large or too small, contain too much information or not enough, there is the risk of the termbase being impractical or unhelpful. When selecting terms, there are a number of things worth considering. Two examples would be –
* Occurrence &amp; Distribution: If a term appears throughout multiple projects and/or is a high-frequency term, it may be worth including this in the termbase so to assure consistent translations.
* Ambiguity &amp; Uncertainty: If a term’s usage is not clear, or it encapsulates a difficult concept, it may be worth including this in the termbase so to assure accurate translations.

A company’s termbase should be consistently maintained, as source terminology may be removed, added or adjusted throughout the product lifecycle. Similarly, since target terminology may change during the localization cycle, the list may need updates during a localization project.

Terminological candidates can be extracted from existing corpus by a variety of methods depending on the content. Users can potentially utilize Word and Excel, or they can use an assortment of tools which automatically scan content and extract terminology candidates.&lt;ref&gt;https://en.wikipedia.org/wiki/Terminology_extraction&lt;/ref&gt; While automatic extraction tools are expedient, simply relying on these methods may result in the accidental exclusion of designators that may be have been selected via a manual selection process.

==== Punctuation Style guide ====
The marks, such as full stop, comma, and brackets, used in writing to separate sentences and their elements and to clarify meaning. Punctuation style guide is usually included in translation style guides.

{| class=&quot;wikitable&quot;
|
|English
|Russian
|French  (France)
|Italian
|German
|Spanish
|Portuguese  (Portugal)
|Japanese
|Chinese  Simplified
|Chinese  Traditional (Taiwan)
|Korean
|Arabic
|-
|Cases?
|Yes
|Yes
|Yes
|Yes
|Yes
|Yes
|Yes
|No
|No
|No
|No
|No
|-
|Quotation marks
|
|
|
|
|
|
|
|
|
|
|
|
|-
| - Primary
|“TEXT”
|«TEXT»
|« TEXT »
|&quot;TEXT&quot;
|„TEXT“
|“TEXT”
|“TEXT”
|「TEXT」
|“TEXT”
|「TEXT」
|“TEXT”
|&quot;TEXT&quot;
|-
| - Nested
|‘TEXT’
|„TEXT“
|&quot;TEXT&quot;
|'TEXT'
|‚TEXT‘
|‘TEXT’
|‘TEXT’
|『TEXT』
|‘TEXT’
|『TEXT』
|‘TEXT’
|n/a
|-
|Parenthesis
|(TEXT)
|(TEXT)
|(TEXT)
|(TEXT)
|(TEXT)
|(TEXT)
|(TEXT)
|（TEXT）
|（TEXT）
|（TEXT）
|(TEXT)
|(TEXT)
|-
|Question mark
|TEXT?
|TEXT?
|TEXT ?
|TEXT?
|TEXT?
|¿TEXT?
|TEXT?
|TEXT？
|TEXT？
|TEXT？
|TEXT?
|TEXT؟
|-
|Exclamation mark
|TEXT!
|TEXT!
|TEXT !
|TEXT!
|TEXT!
|¡TEXT!
|TEXT!
|TEXT！
|TEXT！
|TEXT！
|TEXT!
|TEXT!
|-
|Colon
|TEXT:
|TEXT:
|TEXT :
|TEXT:
|TEXT:
|TEXT:
|TEXT:
| - TEXT：
- 14:00
| - TEXT：
- 14:00
| - TEXT：
- 14:00
|TEXT:
|TEXT:
|-
|Semicolon
|TEXT;
|TEXT;
|TEXT ;
|TEXT;
|TEXT;
|TEXT;
|TEXT;
|TEXT；
|TEXT；
|TEXT；
|TEXT;
|TEXT؛
|-
|Period
|TEXT.
|TEXT.
|TEXT.
|TEXT.
|TEXT.
|TEXT.
|TEXT.
|TEXT。
|TEXT。
|TEXT。
|TEXT.
|TEXT.
|-
|Comma
|TEXT,
|TEXT,
|TEXT,
|TEXT,
|TEXT,
|TEXT,
|TEXT,
|TEXT、
| - TEXT、
- TEXT，
| - TEXT、
- TEXT，
|TEXT,
|،TEXT
|-
|Apostrophe
|TEXT’s
|TEXT’s
|TEXT’s
|TEXT's
|TEXT’s
|TEXT’s
|TEXT's
|TEXT’s
|TEXT’s
|TEXT’s
|n/a
|n/a
|-
|Percent
|100 %
|100 %
|100 %
|100%
|100 %
|100%
|100%
|100%
|100%
|100%
|100%
|100%
|-
|Decimal separator
|Period
|Comma
|Comma
|Comma
|Comma
|Comma
|Comma
|Period
|Period
|Period
|Period
|Period
|-
|
|10.54
|10,54
|10,54
|10,54
|10,54
|10,54
|10,54
|10.54
|10.54
|10.54
|10.54
|10.54
|-
|Thousand separator
|Comma
|Non-breaking space
|Non-breaking space
|Period
|Period
|Period
|Period
|Comma
|Comma
|Comma
|Comma
|None
|-
|
|100,540
|100 540
|100 540
|100.540
|100.540
|100.540
|100.540
|100,540
|100,540
|100,540
|100,540
|100540
|-
|
|In 1987 my wife, Nancy, was pleading with me to send out my  resume and get a “real” job. She wasn’t too convinced that my business idea  of creating graphics on my brand new MacPlus 512k personal computer would  ever take off.
|В большинстве случаев единственное, что необходимо для активации  продукта, — это идентификатор установки, который создается самой программой.
|« Depuis sa création, l'une des missions essentielles du  ministère de la Culture est de rendre accessibles au plus grand nombre le  patrimoine architectural et artistique ainsi que les oeuvres de création  contemporaine.
|Ravenna è città d'arte e cultura con una grande eredità di  monumenti e di edifici religiosi decorati con mosaici così unici che sono  stati dichiarati patrimonio dell'umanità.
|Unterschleißheim, 13. Januar 2011. Im Rahmen einer Ausschreibung  vergibt Microsoft Deutschland bis zu 200.000 Euro an ein gemeinnütziges  Projekt, das Jugendlichen mit innovativen Angeboten beim Aufbau wichtiger  eSkills hilft.
|Microsoft anunció que ha comenzado a migrar algunas cuentas de  Hotmail al nuevo servicio que cuenta, entre otras nuevas funcionalidades, con  una capacidad de almacenamiento de 5 GB.
|Estou aqui — Sou mente, informação viva. Expando o meu alcance—  o robô em Io acorda e obedece. Elevo o meu alcance— satélites transmitem a  minha alma até aos astros.
|お客様が私たちのソフトウェアを使ってビジネス上の課題に対しての解決策を見出し、新たな局面につながるアイディアを展開し、最も重要なことに意識を向けられるようにすること。これが、私たちの日々の仕事に対する意欲と原動力の源なのです。
|会议内容：云计算是当今 IT 产业快速发展的推动力和重要机会，本次会议讨论云计算如何帮助中小企业快速提高 IT  能力，以及如何帮助他们优化内部资源，提高竞争力，并在经济发展中占得先机。
|微軟全球服務與技術支援組織是微軟與客戶、合作夥伴之間溝通的橋樑，同時也是微軟創新的泉源，致力於協助客戶採用適合的技術與產品，加速客戶在雲端技術上的佈署，並藉由客戶的回饋，提供產品精進的方向，以提昇客戶服務經驗的品質及顧客滿意度。
|비즈니스와 기술의 경계가 사라지고 클라우드 컴퓨팅이 대세로 자리잡은 현 상황 속에서, 세상을 움직이는 기술의 변화는  개발자와 IT 전문가에게는 새로운 기회의 장을 의미한다.
|استخدم كلمات سهلة ومباشرة. جٌب أن كٌون الأسلوب  التحر رٌي مبسطاً وواضحاً وصح حٌاً. استخدم أكثر الكلمات بساطة ودقة ف نفس  الوقت، مثل كلمة &quot;أ ضٌاً&quot;
بدلا من &quot;بالإضافة إلى&quot;. تجنب استخدام اللهجات العام ةٌ ح ثٌ إنها  لا تلائم هذا المجال وهذا النوع من الكتابة بالإضافة إلى صعوبة فهمها من قبل  نطاق عرضٌ
من الأشخاص.
|}

===[[/Translation/]]===

===[[/Localization Vendors/]]===
Localization Vendors, or Language Service Providers (LSPs), first began appearing in the 1980s when industries such as automotive and medical saw the need to translate their content. It took several years for processes and tools to be developed to make localization work easier. When the world wide web began in 1991, advances in standardized processes and tools developed more quickly.

Today, there are two main models for localization vendors: being a multi-language vendor (MLV), or being a single-language vendor (SLV). Each kind of vendor can work directly with a client. Often though, a client will work with a MLV, who may have internal translation resources, contract with SLVs, freelance translators, or other MLVs.
While some Localization Vendors specialize in certain areas, such as translation for the Life Sciences, most often they translate into a variety of vertical markets.
Translation is not the only service that Localization Vendors can supply. Their services can also include:
* Machine translation
* Translation memory creation and/or management
* Terminology management: Glossaries, Style Guides, Do Not Translate lists, Term mining
* Localization engineering
* Software testing
* Desktop publishing
* Website localization
* Translation review/QA
* Interpreting
* Audio voiceover recordings
* Transcription
* Transcreation
* eLearning and MultiMedia
* Subtitling

Localization Vendors often have tools like client portals or some proprietary version of a translation management system (TMS) that can automate tasks like generating quotes and moving files from one party in a workflow to the next.

Localization Vendors are often certified to various ISO (International Organization for Standardization) standards to ensure quality processes and practices are in place. Depending on what your organization’s requirements are, a LSP’s certifications are more or less important.

=== [[/Localization Vendors/|Selecting the right Localization Vendor]] ===
Many organizations make use of LSPs (Language Service Provider) to source their translations. Employing translators could be an expensive exercise and is not always feasible. 

There are some steps that needs to be followed to not only select a vendor, but to select the right vendor that will meet your project requirements.

'''&lt;u&gt;These are the steps to follow:&lt;/u&gt;'''
# '''Internal requirements collection:'''
#* What domain experience should the vendor have e.g. medical, gaming, law, etc.?
#* What's your target languages?
#* Should the vendor have an ISO 9000 certificate?
#* Do you need them to use your CAT tool or do you want to use theirs?
#* Which services do you require; translation, glossary creation, LQA (Localization Quality Assurance), etc.
#* Estimated work volume.
# '''Request For Information'''
#* Select a few vendors and do a formal request for information. 
#* You want information such as their supported languages list, domain experience, rates, SLA (Service License Agreement) etc.
# '''Request For Proposal'''
#* Select two or more vendors that meets the project's requirements and request them to submit a formal business proposal .
# '''Review the proposals'''
#* When reviewing you'll take into consideration their rates, location, experience, supported file formats and SLAs.
#* Select two vendors at a minimum.
# '''Submitting a Test Project'''
#* You want to ensure upfront that their quality is of the utmost best. Finding out in the middle of a project that the translation quality is poor can have a huge effect on the project's budget.
#* Submit a small test project of your product to each of the vendors .
#* After completion of these projects, have the opposite vendor rate the quality of the translations on a LQA CAT tools such as XTM's LQA phase.
# '''Review the Test Projects Quality Rating'''
#* Review each of the projects' results individually
#* Should one of the vendors have performed very poorly, submit the report to them for evaluation.
# '''Select your Vendor'''
#* Based on the quality rating, cost, location, etc. differences between the vendors select the most appropriate vendor for your project.
#* Sign the MSA (Master Service Agreement) &amp; NDA (Non Disclosure Agreement), if required, with the selected vendor. 
This will ensure you pick a vendor not only based on the vendor's costs and turnaround time, but quality as well.

===[[/Localization Kit/]]===
The localization kit provides materials pertinent to the localization project. This is edited and published by the project owner, i.e. either the client or a representative of the client. The kit provides information to address the needs of all stakeholders involved in the project (translators, engineers, subject matter experts, agencies) to ensure successful execution, collaboration, and delivery of the final product. The LocKit is therefore essentially a set of tools, resources, and instructions necessary for all team members to produce the localized version of a product, whether it be software, websites or marketing material. The kit encompasses the resources, scope, and schedule of the product. 

The kit typically includes:
* Localization instructions
* Style guides or brand guidelines
* Translation memory
* Glossaries/term bases
* Staging information for online testing
* Tools and instructions
* Project timeframe
* Contact information for stakeholders
* Files to be localized

For a more detailed explanation of the file types that may be included in a localization kit: http://globalvis.com/2010/02/the-ideal-localization-kit/.

===[[/Localization Industry Standards/]]===

Localization industry standards permit the efficient sharing of translation data and improved workflow among translators, vendors, and other team members. The main benefit of standards is interoperability, which means that more collaboration is possible and data can be used with different tools and different versions of software.

The key localization industry standards include XLIFF, TMX, TBX, and SRX.

===[[/CAT Tools/]]===
[[Wikipedia:Computer-assisted translation|Computer-assisted_translation]]


CAT (Computer-Assisted Translation) Tools are special software programs that allow translators to translate documents and text at a faster, more efficient rate and with accuracy.  The specific function of a CAT Tool is to segment text so that it can be translated in parts.  There are various forms of CAT Tools such as:
                    SDL Trados
                    Cafetran
                    WordFast
                    Matecat
                    OmegaT
                    memoQ (formerly Kilgray)
                    Maxprograms
The file formats supported by CAT Tools include the following:
*  Microsoft Word (.doc, .docx)
*  Microsoft Excel (.xls, .xlsx)
*  Microsoft PowerPoint (.ppt, .pptx)
*  QuarkXPress
*  Adobe InDesign
*  Adobe Framemaker
*  Adobe Pagemaker
*  HTML (.htm, .html)
*  RESX (.resx)
*  XML (.xml)
*  XLIFF (.xliff)
*  JSON(.json) 

Benefits of using this tool:
 Allows collaboration among groups of translators who can share Translation Memories to ensure the same sentences are never translated twice.  A database of terminology is also stored for their benefit.  In turn, this results in improved productivity and consistency across translations.  There are also benefits for the client since it decreases their budget and ultimately saves time.

Disadvantages:
 Like all automated programs, these tools do result in difficulties or errors which are usually due to insufficient knowledge on the part of the user since it takes time to learn the intricacies of these various associated programs.

How it works:
First, the CAT Tool(s) will take any given text and parse it into segments of text to be translated.  There will be a side by side comparison of the segmented text (original and what has already been translated).

===[[/Machine Translation/]]===
Machine translation is the process of using artificial intelligence (AI) to automatically translate content from one language (the source) to another (the target) without any human input.&lt;ref&gt;{{Cite web|url=https://www.memsource.com/machine-translation/|title=Machine Translation (MT): Everything You Need to Know|website=Memsource website|language=en|access-date=2021-07-26}}&lt;/ref&gt;

[[Wikipedia:Machine translation|Wikipedia Article on Machine Translation]]

'''&lt;big&gt;Benefits Machine Translation in Human Translation Workflow&lt;/big&gt;'''

When being used with a computer assisted translation tool, a well-trained machine translation engine can rapidly handle repetitive tasks, so that human linguists can focus on the very difficult sentences that machine translation fails to handle properly, and can conduct quality assurance on the machine translation output. In effect, a well-trained machine translation engine is performing like a junior linguist who handle many simple and tedious tasks, and the human linguist is the senior linguist who performs the quality assurance and handle the more difficult contents. The result is that the human linguist can have much higher productivity and stay engaged on more challenging and interest tasks. In order to reach full potential, a language service provider should be willing to invest in well-trained machine translation engines, preferably ones that are specially trained for separate clients, locale, brands, and domains.


'''&lt;big&gt;Weaknesses in Machine Translation&lt;/big&gt;'''

Common issues that come with machine translations include nonsensical grammar, a lack of accuracy, and sometimes text even being left untranslated. Most of what goes wrong with machine translation stems from machines having no way of knowing the context of the source unless they have received some kind of training. This can especially be true in the case of creative content. If, for example, they are translating text from a fantasy video game, they have no way of knowing that themselves, so the end result could come out completely inaccurate and unrelated to the source. Since they are unaware of what the context of the content is, it is also impossible for them to know for what purpose or audience their translation is being done. Because of this, they can create mistranslations reflecting a tone-deafness, such as not knowing if it should use terms from industrial, medical, or geopolitical fields, etc. &lt;ref&gt;{{cite book |last=Mandelin |first=Clyde |author-link= |date=November 2017 |title=Press Start to Translate |url=https://www.fangamer.com/products/press-start-to-translate-legends-of-localization-book |publisher=Fangamer |page=26-28 |isbn=978-1-945908-86-6}}
&lt;/ref&gt;

===History===
===Rule-based Machine Translation===
Rule-based Machine Translation (RBMT) is a type of machine translation in which a source is translated into a target language through linguistic rules encoded by a language expert. In other words, this method of machine translation links the structure of the given input sentence with the output sentence. While regulating such linguistic knowledge poses a higher cost, more control over the system output exists. In addition, RBMT can be leveraged to enhance other methods of machine translation.

Originating in the 1970s, RBMT branched out into a few subcategories: Direct Machine Translation, Transfer-based Machine Translation, and Interlingual Machine Translation. Each variation prompts linguists to write rules in different ways (i.e. rules for each word, rules for syntax, rules for linguistic singularity). 

'''Advantages of RBMT'''&lt;br&gt;
* No quality ceiling. Each error can be corrected with a targeted rule, even if the trigger case is extremely rare. This is in contrast to statistical systems where infrequent forms will be washed away by default.&lt;br&gt;
* Because of the nature of RBMT, it possible to create translation systems for languages that have no texts in common, or even no digitized data at all.

'''Disadvantages of RBMT'''&lt;br&gt;
* There is a lack of really detailed dictionaries and building one from scratch is very expensive.&lt;br&gt;
* Certain linguistic information needs to be configured manually which can be time consuming.&lt;br&gt;
* Changes, such as adding new rules or extending the lexicon, can be very costly and the results often do not pay off. 

====RBMT Workflow====
# Target language lexicons and grammar rules are formalized by a linguist.
# Software parses text to allow the system to analyze sentences in the source language. 
# The system translates the source into the target language based on the encoded linguistic knowledge.

The initial phase requires a large time investment at a small cost to ensure higher quality translations. Translation quality improves as the linguistic knowledge increases over time. Overall, this method typically entails a hefty investment of time and resources which is the reason RBMT is rarely utilized in the modern era of translation. 

The following is an example of how RBMT works:&lt;br&gt;

''A boy reads a book.'' The source is English and the Target is French. The following requirements are necessary in order to produce a minimal translation: A dictionary that correlates a French word with each English word; Rules of English sentence structures and Rules of French sentence structure. The final necessary aspect is a set of rules defining how one relates one structure to the other.&lt;br&gt;

# Determine part of speech of each source word: a = indef.article; boy = noun; reads = verb; a = indef.article; book = noun&lt;br&gt;
# Determine syntactic information about the verb &quot;to read&quot;: read – Present simple, 3rd Person Singular, Active Voice &quot;reads&quot;
# Parse the source sentence: (NP a book) = the object of read
# Translate into French with matching categories: a (indefinite article) =&gt; un (indefinite article); boy (noun) =&gt; garçon (noun); read (verb) =&gt; lire (verb); a (indefinite article) =&gt; un (indefinite article); book (noun) =&gt; livre (noun)
# Map the translated terms into the appropriate form: A boy reads a book. =&gt; Un garçon lit un livre.

===Example-based Machine Translation (EBMT)===
In 1984 Makoto Nagao from Kyoto University suggested using already existing translations to translate texts.

===Statistical Machine Translation===
Statistical Machine Translation (SMT) is a type of machine translation that requires bilingual corpora, which are large and structured text data used for statistical analysis and hypothesis testing. Although SMT needs a large amount of text data, new language pairs can be added quickly and at a very low cost. There are different types of SMT, word-based, phrase-based, syntax-based, and hierarchical phrase-based. The phrase-based translation, which translates whole sequences of words, is the most commonly used today. 

To find the most likely translation, SMT takes three basic probabilities into account. 
* P(e) - a priori probability. The chance that ''e'' (for example, English) happens. It is the chance that a person at a certain time will use the expression instead of saying something else.
* P(f | e) - conditional probability. The chance that upon seeing ''e'', a translator will produce ''f'' (for example, French). 
* P(e,f) - joint probability. The chance of ''e'' and ''f'' both happening. 

All these probabilities are between zero and one. &lt;br&gt;

In other words, we are seeking the ''e'' (target language) that maximizes P(f | e) when given ''f'' (source language). To find the maximized probability, we can use the expression below:
 
&lt;math&gt;argmax  P(e | f)  =  argmax  P(e) * P(f | e)&lt;/math&gt;

SMT depends heavily on corpora. The more advanced a parallel corpus is, the better the translation SMT can provide. Although SMT is widely adopted today, such as Google Translator, and Microsoft Translator, the fluency of the translation still remains a challenge. In addition, creating and training corpus to optimize SMT is also a big subject for SMT.

References: &lt;br&gt;
[http://www.isi.edu/natural-language/mt/wkbk.rtf Statistical MT Handbook] by Kevin Knight&lt;br&gt;
[https://en.wikipedia.org/wiki/Statistical_machine_translation Statistical Machine Translation] Wikipedia.org

===Phrase-based Machine Translation===

===Neural Machine Translation===
Neural Machine Translation (NMT) is an approach &lt;ref&gt;Jason Brownlee, Ph.D. &quot;Encoder-Decoder Recurrent Neural Network Models for Neural Machine Translation&quot;. https://machinelearningmastery.com/encoder-decoder-recurrent-neural-network-models-neural-machine-translation/&lt;/ref&gt;of machine translation which uses artificial neural network to predict the sequence of the source sentences and translate them to the target languages. Unlike traditional machine translations which use multiple models for translation, NMT is an end to end system that only requires one large neural network. &lt;ref&gt;Jason Brownlee. &quot;A Gentle Introduction to Neural Machine Translation&quot;. https://machinelearningmastery.com/introduction-neural-machine-translation/&lt;/ref&gt;

A common model in NMT is encoder-decoder model. In this model, the encoder provides an internal representation of the input sentence&lt;ref&gt;Philipp Koehn. &quot;Statistical Machine Translation Draft of Chapter 13: Neural Machine Translation Philipp Koehn&quot;. https://arxiv.org/pdf/1709.07809.pdf.&lt;/ref&gt; by reading it word by word. The decoder uses this internal representation to output words until the end of sequence token was reached&lt;ref&gt;Jason Brownlee, Ph.D. &quot;Encoder-Decoder Recurrent Neural Network Models for Neural Machine Translation&quot;. https://machinelearningmastery.com/encoder-decoder-recurrent-neural-network-models-neural-machine-translation/&lt;/ref&gt;. Because of this model supported by neural network, NMT is able to translate the entire context of the source sentence, rather than just words in it.

The advantage of NMT is its strong ability to learn and analyze, which usually leads to more accurate and fluent translation. Some disadvantages of NMT includes relatively slower translation speed (especially when the source sentence is long) and higher translation cost.

===Zero-Shot Translation===

Zero-Shot Translation is a translation between language that system has never seen before.&lt;ref&gt;{{Cite web
|url=http://ai.googleblog.com/2016/11/zero-shot-translation-with-googles.html
|title=Zero-Shot Translation with Google’s Multilingual Neural Machine Translation System
|website=Google AI Blog
|language=en
|access-date=2019-03-20
}}&lt;/ref&gt; Zero-Shot Translation is a NMT with a join system for all languages which allows connections for all languages. By doing so, the system will be able to directly translates one language to another even it has never been tough or trained before. &lt;ref&gt;{{Cite journal
|date=2019-01-24
|title=Google Neural Machine Translation
|url=https://en.wikipedia.org/w/index.php?title=Google_Neural_Machine_Translation&amp;oldid=879951080
|journal=Wikipedia
|language=en
}}&lt;/ref&gt;

For example, if translation of A⇄C is needed, a SMT will translate from A⇄B, then it will translates from B⇄C as the system has never trained A⇄C translation. However, a machine is trained with A⇄B and B⇄C, which a system shares its parameter to translate between these four different language pairs.  Zero-Shot Translation will allow direct translation of A⇄C using the parameters and be able to generate reasonale A⇄C translation even though it has never been taught to do so.&lt;ref&gt;{{Cite web
|url=http://ai.googleblog.com/2016/11/zero-shot-translation-with-googles.html
|title=Zero-Shot Translation with Google’s Multilingual Neural Machine Translation System
|website=Google AI Blog
|language=en
|access-date=2019-03-20
}}&lt;/ref&gt;

Google has announced [[wikipedia:Google_Neural_Machine_Translation#Zero-shot_translation|Google Neural Machine Translation]], which is a NMT develop by Google and it will be able to handle Zero-Shot Translation.

===Translation Management Systems===
Translation Management Systems (TMS) aka Globalization Management Systems (GMS) &lt;br&gt;
[[Wikipedia:Globalization management system|Globalization Management Systems]]

Prominent examples are:
* SDL WorldServer
* Plunet
* Wordbee
* TMS Maestro
* Across Language Server
* XTRF
* XTM International
* MultiTrans
* memoQ Adriatic

===Content Management Systems===

A [[Wikipedia: Content management system|content management system]] (CMS) is a software application or set of related programs that are used to create and manage digital content. CMSes are typically used for enterprise content management (ECM) and web content management (WCM). An ECM facilitates collaboration in the workplace by integrating document management, digital asset management and records retention functionalities, and providing end users with role-based access to the organization's digital assets. A WCM facilitates collaborative authoring for websites. ECM software often includes a WCM publishing functionality, but ECM webpages typically remain behind the organization's firewall.  

Both enterprise content management and web content management systems have two components: a content management application (CMA) and a content delivery application (CDA). The CMA is a graphical user interface (GUI) that allows the user to control the creation, modification and removal of content from a website without needing to know anything about HTML.  The CDA component provides the back-end services that support management and delivery of the content once it has been created in the CMA.

Features CMSes can vary amongst the various CMS offerings, but the core functions are often considered to be indexing, search and retrieval, format management, revision control and publishing.

* Intuitive indexing, search and retrieval features index all data for easy access through search functions and allow users to search by attributes such as publication dates, keywords or author.
* Format management facilitates turn scanned paper documents and legacy electronic documents into HTML or PDF documents.
* Revision features allow content to be updated and edited after initial publication. Revision control also tracks any changes made to files by individuals.
* Publishing functionality allows individuals to use a template or a set of templates approved by the organization, as well as wizards and other tools to create or modify content.

A CMS may also provide tools for one-to-one marketing. 
One-to-one marketing is the ability of a website to tailor its content and advertising to a user's specific characteristics using information provided by the user or gathered by the site -- for instance, a particular user's page sequence pattern. For example, if the user visited a search engine and searched for digital camera, the advertising banners would feature businesses that sell digital cameras instead of businesses that sell garden products.

Other popular features of CMSes include:
* SEO-friendly URLs
* Integrated and online help, including discussion boards
* Group-based permission systems
* Full template support and customizable templates
* Easy wizard-based install and versioning procedures
* Admin panel with multiple language support
* Content hierarchy with unlimited depth and size
* Minimal server requirements
* Integrated file managers
* Integrated audit logs

There is almost no limit to the factors that must be considered before an organization decides to invest in a CMS. There are a few basic functionalities to always look for, such as an easy-to-use editor interface  and intelligent search capabilities. However, for some organizations, the software they use depends on certain requirements. For example, consider the organization's size and geographic dispersion. The CMS administrator must know how many people will be utilizing the application, whether the CMS will require multilanguage support and what size support team will be needed to maintain operations. It's also important to consider the level of control both administrators and end users will have when using the CMS. The diversity of the electronic data forms used within an organization must also be considered. All types of digital content should be indexed easily.

CMS software vendors:
* SharePoint 
* Documentum 
* M-Files 
* Joomla 
* WordPress 
* DNN 
* Oracle 
* WebCenter 
* Pulse 
* CMS 
* TERMINALFOUR 
* OpenText 
* Backdrop CMS 
http://searchcontentmanagement.techtarget.com/definition/content-management-system-CMS

===Workflow-enabling tools===
* Handoff systems
* Cloud translation systems

===UI adjustments (Software)===
* Resizing work, re-layout

===UA adjustments (Content)===
* Types, specifics

===Post-translation engineering===
====Software====
====Help content====
===[[/Quality Assurance/]]===
'''Quality Assurance Process'''

Quality Assurance is the evaluation process performed by testers to verify that the program is working as intended.  During this process the Testing teams will typically be assigned specific aspects of the program to focus on, assessing if it functions as intended.  Should the tester run into a bug, they will then write up a document describing what issues the bug is causing to the program and how it differs from the intended process.  After giving this brief description, the tester will include the step by step process of how they caused the bug to occur, and how often they were able to reliably cause the bug.  Typically this document will have a video or screenshot attached to it, to further show how to cause the issue, as well as a reference to the build of the program the bug was found on. Lastly, the tester will mark it with a severity typically ranging from 1 to 5, with one representing the program crashing when the bug occurs and five representing a bug that could be dealt with at a later date.  After which point the bug will be sent along to Bug Triage for review and assignment. Once the bug has been assessed and fixed, it is the job of the tester to regress the bug, going back through the program and performing the steps to reproduce it.  Checking to make sure that the fix worked and the bug is not longer an issue.
 

'''Linguistic quality assurance (LQA)'''

LQA is the term used to identify the quality evaluation process used to assess the localization/translation quality of a project against predefined standards. It usually comes with a quality score assigned to a translation using a set of criteria and a set of error categories.
After giving a score to all the different evaluations, one can easily find out whether a certain translation meets the quality standards that have been previously defined.

===[[/Bug Management/]]===
'''•	Bug Triage'''

Bug triage is the process where each bug is analyzed in order to determine the root cause of a bug, as well as the action or decision to take according to the bug severity.

This process has the advantage of reducing costs of fixing the bugs if carried out at the right time.
Different teams might sit together and discuss bug triage to evaluate the impact of a bug and effort required to fix it, based on release dates. 

In some cases, bug fixes are also postponed for upcoming releases based on their severity and priority.
We can say that there are three main stages of a bug triage process:

-	Bug Review

-	Bug Assessment

-	Bug Assignment


'''Bug review'''

In this stage we look at the bugs that have been raised, those that are fixed, and those that are resolved, and we analyze them.

'''Bug Assessment'''

In this phase we assess the status of a bug, to understand if it’s a real bug that needs to be fixed, and in that case, who should be the person/team responsible for its fix.

'''Bug Assignment'''

At this stage of the process, we assign bugs to the correct team in order for them to provide a fix.

===[[/Working in the localization industry/]]===
*Linguists

Linguists may work independently as freelancers or be employed by a language service provider (LSP) or client company. They include interpreters, translators, editors and proofreaders. Translators translate texts from source language to target language in a timely manner. They must know how to work with various tools and technologies that support the translation process, such as translation memory, translation workflow and other computer-aided translation (CAT) tools. Interpreters translate spoken language. Interpreting can be simultaneous or consecutive. Editors and proofreaders check translations for mistakes and consistency of terminology, and generally refine the translation ensuring that the text no longer reads as a translation, but as if it was originally written in the target language.

Linguists must possess an aptitude for language and global cultures in their specialization. Sensitivity to nuance and contextual meaning is important. Strong communication skills, attention to detail and precision are a must in translation work.&lt;ref name=&quot;spacinsky&quot;&gt;Spacinsky, Denise. [http://www.multilingual.com/article/201312-25.pdf &quot;Careers in Localization&quot;], ''[[MultiLingual]]'', December, 2013.&lt;/ref&gt;{{rp|25}}

*Localization quality assurance (QA) professionals

Localization QA professionals can be employed by an LSP or client company. They must have an exceptional attention to detail, systematic approach to working in a unified fashion and strong technical expertise.

*Terminologists

Terminologists are professionals who study, create, and use terminology, especially in professional translation project management. A terminologist may facilitate the writing, editing, and translation process by researching and locating information that may assist linguists and other language services professionals produce high-quality translations. Terminologists ensure accuracy, consistency, and appropriateness of term usage.

*Internationalization engineers

Internationalization engineer is responsible for having all technology products developed in a way that facilitates and considers localization and translation processes and requirements. These individuals work closely with developers on a code level to make sure that everything that affects the success of localization (date and time formats, Unicode compliance, font compatibility, design for text expansion etc.) be addressed in advance at the beginning of development. Skills that successful internationalization engineers must possess include a solid understanding of software and technology product development, coding and various technical development languages, and      the ability to identify fags for internationalization issues. They need to have a strong comfort level working with technical engineers in software, technology development and localization engineering. Clear communication and the ability to teach and inform peer groups and management of this area of expertise is important.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|26}}

*Localization engineers

A localization engineer works directly with any product, document, website or device that requires translation. At an LSP, localization engineers will be responsible for many things. They assess files for quoting localization and translation work. They dictate how files for localization be received by the client company. They take in files, process them, work with translation and localization tools, and help execute all necessary preparation of the files for translation. When files are translated, localization engineers recompile the files in any development format or system for reintegration into the final localized product. They work with localization QA to verify and fix errors. And they collaborate with client development and localization teams as necessary. Sometimes a localization engineer may be responsible for internationalization.

At a client company, localization engineers work as an integrated member of a development team to ensure that localization happens seamlessly. They alert the development teams of necessary localization requirements, receive files and special instructions on development and get to know the product that is being developed inside and out. They may work with an LSP company and their engineering team to answer questions and facilitate the technical aspect of the overall process.

Localization engineers must have an exceptionally high knowledge of development technologies that they are working with and how they fit in the localization process. They must be able to integrate various localization and translation tools such as translation memory (TM), translation workflow tools and other CAT tools.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|26}} 

*Solutions architects

This is a higher level technology professional who works with development teams, clients and sales people in an LSP to craft complex solutions for localization. Solutions architects must have technical competence and strong communication skills, be able to give presentations to decision makers and be a go-to person to solve challenging technical puzzles. To be able to assess and recommend the best path forward to a client, solutions architects must possess a solid understanding of software and technology product development, no matter the client and what they are building, and a firm understanding of the localization process at that particular LSP.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|27}}

*Localization strategists

This is a higher level technology professional who works in a client company and defines a localization strategy for a product. A strategist is tasked with looking for the newest language technologies, finding ways to
optimize the translation or localization process, and creating vendor and pricing strategies that create efficient and effective vendor and LSP relationships with the company. They are generally tasked with making everything in the translation or localization process go faster, cheaper and better, year over year.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|29}}

*Technical managers

A technical manager handles a technical team consisting of localization engineers, internationalization engineers, localization QA professionals and solutions architects. This person ensures that all requirements for localization are met by assigning teams, resources, budget and expertise to any given project at any given time.

At a client company, technical managers may be responsible for several development departments, with localization as part of it. They work to support that everything related to localization success is in place and available for the teams to achieve their goals.

Technical managers at an LSP will run the entire technical department of localization engineers, internationalization engineers, localization QA professionals and solutions architects to perform all technical functions to
support client assignments. They focus on budget, resourcing and time allocations to ensure the success of their teams. Important skill sets of the technical manger include solid people management expertise coupled with technical expertise. A technical manager only has credibility from a technical team if he or she has actually been an engineer in the past and has a strong knowledge of the complexities of technology.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|27}}

*Executives

An executive is anyone who holds a high level management position at an LSP, or who holds any C-level position (CEO, COO or other) and has overarching responsibility for management of a language company. In the language industry, an executive must be comfortable working across cultures and in a global context. He or she must have expertise in professional business and technical services. Executives must know just enough about the language industry to be credible, but possess all executive leadership skills to pay attention to the bottom line and financial profitability. They must know how to optimize investment in technology, innovation, resources
and people to do everything that their business requires. Strong skills in presenting, motivating and representing an organization publicly are essential.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|27}}

*Operations managers

An operations manager may also be referred to as department manager, production manager or group manager. The operations manager is responsible for a team of specialists and professionals to get work completed on time, on budget and with excellent quality. An operations manager requires general people management and development skills, must know how to recruit and retain talent, take ownership of budgets and other administrative  responsibilities and keep work flowing throughout an organization. These people assign resources, approve timelines and work with executive teams to ensure that all work gets done as promised to partners or clients.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|28}}

*Project managers

Project managers are in charge of the execution of all the different projects that require translation or localization. They understand what needs to be translated or localized, organize the appropriate vendor and internal resources, and also create a schedule, timeline and associated budget. They work along the way to be sure everything is delivered on time and on budget. They track and resolve issues, work with developers and various departments to be sure that everything they are responsible for works out as planned. They usually report to an operations manager. A project manager needs to have excellent communication skills and the ability to work with people ranging from those in management to linguists to engineers to clients and others. Organizational skill, managing complexity and being able to keep track of several moving parts at once are essential. Financial budgeting
skills are required, as well as the ability to negotiate and persuade people to do what is needed.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|29}}

*Sales executives

A sales executive, on the other hand, is responsible for finding clients for a company and bringing in revenue. Sales executive positions require excellent communication skills, possess the ability to identify new business opportunities, make contact with decision makers, demonstrate the abilities of the company or service organization they represent and land business. A big part of a sales position is being consistently proactive to continually generate new business and form relationships. Resiliency, focus and natural motivation are required here. A sales executive in the language industry would do best enhancing his or her skills in selling technical professional services. There is a strong focus on “relationship” selling, which means that sales executives must learn how to get to know their clients, what their client challenges and needs are, and what the solutions are.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|29}}

*Procurement managers

A procurement manager is a client side position, and is responsible for services agreements between the company and its language service providers. A procurement manager only exists at large companies. A procurement manager must have excellent negotiation skills, be able to craft detailed pricing strategies and form legal agreements with legal professionals. They will likely deal with the [[Wikipedia:Request for proposal|request for proposal]] and [[Wikipedia:Request for quotation|request for quotation process]], billing, pricing and terms negotiation.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|30}}

*Vendor managers

A vendor manager is the person at an LSP who forms relationships with third party partners, like linguists and contractor organizations. A vendor manager is responsible for sourcing and recruiting various professionals and specialists, testing and qualifying these vendor resources, and maintaining up-to-date contact records with these vendor individuals or companies in order to call on them when their skills are required. A vendor manager is
akin to a human resources recruiter, but with a specialization.&lt;ref name=&quot;spacinsky&quot;/&gt;{{rp|30}}

*Volunteers

For individuals wanting to start their career or learn more about the localization/translation industry and its processes, volunteering is a great place to start. There are many places on the web to start volunteering as a translator/localizer, video subtitler, QA analyst, etc. Some places include TED Conferences, Mozilla, Facebook, Rosetta Foundation, and so on. Volunteering is not only a great way to get one's foot into the industry, but also get a chance to work and collaborate with other localization-related roles such as project managers and other linguists.

===Multimedia Localization===
[[Wikipedia:Multimedia translation|Multimedia translation]] also sometimes referred to as Audiovisual translation, is a specialized branch of translation which deals with the transfer of multimodal and multimedial texts into another language and/or culture and which implies the use of a multimedia electronic system in the translation or in the transmission process.&lt;ref&gt;{{Cite journal
|date=2019-03-30
|title=Multimedia Translation
|url=https://en.wikipedia.org/wiki/Multimedia_translation
|journal=Wikipedia
|language=en
}}&lt;/ref&gt;

'''Basic principles of Subtitling:'''

There are technical and cultural aspects which must be adhered to in Subtitling. Here are a few basic principles to good subtitling:&lt;ref&gt; https://engagemedia.org/help/best-practices-for-online-subtitling/&lt;/ref&gt; &lt;ref&gt;https://www.esist.org/wp-content/uploads/2016/06/Code-of-Good-Subtitling-Practice.PDF.pdf&lt;/ref&gt;

'''Not a literal translation''' - In subtitles there is only a limited number of characters per subtitles (usually 36-42 characters). The subtitler should have a good knowledge in the art of summarizing, to give the most concise and accurate translation and interpretation or adaptation of the original text into the target language in the fewest words possible.

'''Translation of humor''' -Translation of humor is always difficult as jokes that are hilarious in English may mean nothing in the target language. Same applies to puns or proverbs. In such instances, the translator needs to be creative, find something similar in the target language that will render the original sense and contribute towards understanding the message and also the plot.

'''On-screen Text''' – On-screen text, all important written information in the images such as names of establishments, road signs, billboards etc. that stay on-screen and are significant to the plot should be translated and incorporated wherever possible.

'''Grammar and Spelling''' - Use correct spellings and tenses for verbs along with the agreement of Subject with the verb. 

'''Punctuation''' - Punctuation to be used according to language rules. There should not be any space after text and before punctuation marks. 

'''Numbers''' - Numbers are written using numerals. When a sentence starts with a number, letters are used instead of numerals.

'''Lines''' - Never use more than two lines otherwise the subtitle would look too crowded and distracting. For an extended monologue, just use more subtitle frames.

'''Characters per second''' - The number of characters per seconds is important for the comfort of the viewers reading speed. The adult programs have 22 characters per second and children program have 18 characters per second.

'''Characters per line''' - There are 42 characters per line. 

'''Fonts''' - Font color is either white or yellow. Bold and Underline is not permitted in Subtitling.

'''Hyphenation''' - The dialogue between two onscreen speakers is separated using hyphen ‘–’ .

'''Ellipses''' - Ellipses are used to indicate pause or an abrupt interruption, not when a sentence is split between two continuous subtitles. 

'''Italics''' - Description of the scene, relevant sounds, singing or music are put in Italics within [square brackets].

'''Line break''' - Line division is particularly important to how subtitles look on screen and most importantly the speed of reading and comprehension. Do not break a line between pronouns and verbs, articles and their nouns, a person’s full name, conjunctions, prepositions, verbal phrases, idioms, expressions and abbreviations. 

====Commom issues and Challenges with Subtitling====
Audiovisual Translation (or “AVT”) scholars have conducted subtitling studies focused on audience attention or engagement.&lt;ref&gt;Díaz Cintas, Jorge and Aline Remael. (2007). ''[[Audiovisual Translation: Subtitling]]''. P.45-54; 80-99; 172-180.&lt;/ref&gt;
&lt;ref&gt;Szarkowska,  Agnieszka. (2018). [https://avt.ils.uw.edu.pl/files/2018/07/SURE_Project_Report.pdf &quot;Report on the results of the SURE Project study on subtitle speeds and segmentation&quot;] ''[[Report on the results of the SURE Project study on subtitle speeds and segmentation]]''. London.&lt;/ref&gt; By using methods like eye tracking they can make recommendations on the optimal length of time to display the subtitle on screen, text segmentation (line breaking), subtitle shape, reading speed, etc. The goal of these studies is to allow viewers to follow the text in the subtitles, comfortably, and to understand the information conveyed. Appropriate subtitle speed and segmentation allow viewers to follow the text in the subtitles with ease yet to have enough time to take in the on-screen action. If subtitle speed is too fast and segmentation does not adhere to linguistic rules, viewers may find it difficult to follow and understand the information contained in the subtitles. Even a translation considered grammatically perfect, with the most accurate terminology, could be considered useless if your viewer can’t read it.  Having this in mind, here are the main challenges an audiovisual translator faces daily:

* Time and space constraints (reading speed)
The subtitle must be displayed on the screen during the time it is appropriate. The audience should have enough time to read the text, and the text should not cover more space than necessary on the screen.
Reading speed varies according to the audience (children, adults, level of education, to name a few). So, the decision about how many characters to display per second is relative to your viewing public.

* Inter-semiotic translation
The audiovisual translators are not only translating text from one language to another. They are converting spoken words into written form, and must consider congruence with all the other visual signs such as gestures, expressions, and images hitting the audience at the same time. That is why the ability to render full meaning with concise text, while respecting its context, is so important. Information must be prioritized to convey the right message and avoid dissonance.

* Shot changes
The subtitles should follow the audio but also respect what is happening visually. For example, when there is a shot change and the camera shifts away from the speaker, you risk your subtitles being left hanging. Any such glitch will affect the viewer and break their immersion in the visual experience.

* Tech-savvy
With this type of translation, there is a constant need to deal with technical aspects. It is common to have audio or video format problems, and the audiovisual translators need to know how to convert files and adhere to technical specifications presented by the client or inherent in the product you need to deliver. Does the client want you to provide the subtitles in .srt, .sub, .ttml, .xml…? Do they want you to embed the subtitles to the video? Is the subtitle time-coded to the correct frame rate? Many such questions can arise.


Finally, it is imperative to have in mind that in this type of translation the public will be exposed to the source language throughout the viewing experience. The greater their knowledge of the source language, the more likely they are to compare the original words spoken with your translation. You have to be prepared to educate your client on the constraints described above and how you will need to adapt your translation to navigate them.

=== Video Game Localization ===
[[Wikipedia:Video game localization|'''Video games localization''']] is the adaptation process of video game software and hardware performed before its introduction to a particular country or region. This process may include ''translation of text'', ''new audio'', ''modifying storyline/characters'', ''changing art'', ''creating manuals and appropriate packing'', and even ''adapting hardware'' to fulfill market standards, linguistic, cultural, and legal needs, among others. Aside from optimizing profits, the ultimate goal of video game localization is to replicate the original source experience (e.g. English, Korean, Japanese, etc.) in an equally enjoyable experience that caters to the end user's cultural context&lt;ref&gt;https://en.wikipedia.org/wiki/Video_game_localization&lt;/ref&gt;.
          
====Localization Kit====
To localize a video game –like any other software- a '''localization kit''' is necessary. This kit will include resources that translators may need to localize all video game content and related materials. It is vital for the translators to understand the product to be localized, workflow, their respective roles and tasks.

=====Tool Kit=====
* ''Localization manual'' - may include word count for all text and audio, special instructions, details, tools, formats, and graphics, among other details. 
* ''Text'' - both in-game text and text used in supporting materials outside the game, as well as a glossary
* ''Dubbing materials'' (if applicable) - list of characters and dubbing actors, dubbing text, and audio file samples 
* ''Graphics'' - interface, textures, and fonts 
* ''Tools'' - toolkit for localization and version compilations

====Translation Flow====

An organized and clear '''translation flow''' is vital for a successful content translation and eventual localization. This flow can vary, but often has usually six steps: ''review'', ''translation'', ''proofreading'', ''creative rewriting'', ''debugging/testing'' and ''delivery''.
*'''Review''' the original files and determine what work is necessary, e.g. worldview, target demographic and region, file structure, tags and variables, character limits, line breaks (editable/un-editable), dialogues, etc.   
*'''Translation''' starts using a translation tool and database or translation memory to keep consistency with vocabulary and phrasing. 
*'''Proofreading''' by an editor to keep consistency of language and tone, correct mistranslations or missing content, character limits, etc. 
*'''Creative rewriting''' is necessary to adjust a character's tone, speech and personality according to the target locale. 
*'''Debugging and testing''' will report and fix any line break/position issue, truncation, broken strings, typos, etc.
*'''Delivery''' is the last step of process when files are delivered in MS Word/Excel/PowerPoint, HC TraTool, SDL Passolo/Trados/WorldServer, XTM, or other compatible format&lt;ref&gt;https://www.honyakuctren.com/topics/pdf/GameLocalizationPamphlet.pdf&lt;/ref&gt;. 

====Common Issues and Challenges in Video Games Localization====

=====Hard-coded Strings=====
Follow best string wrapping practices that fit internationalization standards. When extracting text from the source code, make it into the resource file. Save one source file for each of game’s locales.

=====Contextual Information=====
The localization project manager or person responsible for the localization should provide contextual information or answer any query regarding the project.
 
=====Gamers as Translators=====
Translators need be to be native speakers, preferably active gamers who are familiar with the game's genre. 

=====On-Device Testing=====
Pseudo-localization testing, in which you replace the textual elements is a common method. A simpler and more cost-effective is on-device localization testing, which has the benefit of letting gauge the overall quality of the localization and not just glitches. Also, set text space as autofit with the text, which prevents some of these common UI issues. 

=====Culturalization=====
Games are often story-driven or very creative in language, and can also be laden with puns and cultural references. Depending on the setting of the game, it might involve knowledge from history, technology, and many more varied fields of study. Since the range of contexts can be humongous, in getting the &quot;gist&quot; out of the source text, one should be pun-sensitive and good at researching. For game-related concepts, game-savvy native-speaker translators are the best cultural advisers!    

Another side of the issue is cultural taboos. Gestures, certain practices, political and religious topics that are appropriate in one culture may be offensive in another.     

=====Translation Management=====
Centralize translation management with a [[Wikipedia:Globalization management system|TMS]] (Translation Management System) to organize translations and reuse them. 

=====Timing=====
Think about localization from the start. Wrap strings at an early stage of development and have them ready for localization or tweak the coding style to meet international standards.&lt;ref&gt;http://www.oneskyapp.com/blog/game-localization-mistakes/&lt;/ref&gt;

=====Turnaround=====
Localization is often the last step in the production of a game, and if there is delay in the production process, it is likely to compress time for localization. After games are released, to ensure their presence in the market, games are getting updated more frequently than ever before. For games that are available worldwide, it is crucial to simultaneously ship the translation, in order deploy the updates in local markets. To constantly deliver high-quality translation in a short amount of time, there should be a well-designed agile workflow to send the source text to localization and then back to the game.

=====Example of a Common Issue in Video Game Localization=====

Video game localization involves languages with little to no similarities in their rules. One common issue is the difference in the [[User Interfaces|User Interface]] (UI) that translators have to consider. The gaming experience must be intuitive regardless of the language the user chooses to play, especially in most text intensive games genres such as in [[wikipedia:Massively_multiplayer_online_role-playing_game|Massive Multiplayer Online Role Playing Games]] (MMORPG). 
* The following is an example of localizing the user interface from Korean to Brazilian Portuguese in a MMORPG user menu.
{| class=&quot;wikitable&quot;
|+UI Character Limit in Game Menu
!English (US)
!Brazilian Portuguese
!Korean
!Maximum Allowed
|-
|Exit
|Desconectar
|나가기
|5 characters
|-
|Battlefield
|Campo de Batalha
|전장
|12 characters
|-
|Pet
|Animal de Estimação
|펫
|5 characters
|}
Note that all of the three words for &quot;Exit&quot;, &quot;Battlefield&quot;, and &quot;Pet&quot; for Brazilian Portuguese are longer than the allowed character limit. This issue is commonly resolved by:
# Changing the translated word without altering the original meaning. (e.g. the use of the word &quot;Mascote&quot; instead of &quot;Animal de Estimação&quot; for &quot;Pet&quot; maintains the original meaning in Korean).
# Requesting a larger text field from the designer/developer. (e.g. the word &quot;Campo de Batalha&quot; cannot be replaced because it is a major feature in the game and Brazilian Portuguese does not offer any replaceable word).
Although these words are simple to automate through translation tools, translators have to separate certain UI texts into exclusive strings due to the text limitations. Usually the Debugging and Testing steps resolve UI related issues, however, the fixes should not be overwritten by new automated translation data.

==== Determining what to Localize ====
Video Game Localization teams are no different than other teams in the industry, and thus, are equally interested in expanding their product's presence to include other territories. In order to justify the investment there are certain aspects that L10n teams will consider. The most determining aspect will be the financial viability of localizing a given game into a given locale. Once this is decided, the other main concern will be the level of localization that the game is going to go through.

1.    Considering the financial viability of localization -- Localizing which games into which languages

Localization teams, and more specifically publishers, will determine which games to localize into which languages based on the potential financial success of the localization. In order to determine this, the publisher will consider the amount of money, time, and resources put into the localization against the potential return on the investment (or ROI). To know the potential ROI, the publisher will order a profit and loss statement (P&amp;L) for the localization of a specific game and a specific language. If the statement determines that the numbers for the potential sales are higher than the numbers of development, localization, and marketing costs combined, then the localization project for that specific game and that specific locale can move forward.

Ideally, localization teams want to simultaneously ship (sim-ship) the localization with the source version of the video game, so the marketing strategy happens at the same time, has more impact, and thus generates more sales. Although sim-ship is the ideal scenario, it does not always happen. In pre-production some locales are not accounted for in localization, or there is simply not a big enough budget to localize a game into, let us say, East Asian languages. However, once the game has shipped and the ROI is higher than expected, there may be room for other locales down the road. In this case, the team is going to have to adjust to the added difficulty of having to localize a game that has already been released. 

2.    The Level of Localization

It is widely known that users prefer to interact with products that are in their own languages. Similarly, gamers prefer games that create the illusion that were designed specifically for their language, culture, and territory. From project to project, however, the level of localization may vary. The level of localization refers to how much of a game is localized and how much is left in the source language. The following are the different levels of game localization:

*     No Localization: Neither game or package are localized. The source version is distributed globally.

*     Packaging and Manual Localization or “Box and Docs” Localization: Only the packaging and the manual of the game are localized. The game itself remains in its original state.

*     Partial Localization: The game text and the packaging are localized, and the voice lines are subtitled. 

*     Full Localization: The game is localized entirely and voice lines are dubbed and subtitled. Full localization may contain partially localized content. That is, the fully localized version may have certain terminology/names or culturally-related images kept from the source version if the team determines that the target locale will prefer them (especially true of non sim-ship localized game versions).&lt;ref&gt;Heather M. Chandler &amp; Stephanie O. Deming, ''The Game Localization Handbook'' (2012). Jones and Barlett Learning, 2nd ed.&lt;/ref&gt; 

====&quot;Games as a Service&quot; Localization====
The &quot;Games as a Service&quot; (or GaaS) model, which has become more common with the rise of mobile gaming, changes the localization process for video games significantly. What was formerly an industry ruled by products that were considered complete after shipment has evolved into one where software updates and downloadable content are the norm. Here are some ways that localization for GaaS differs from traditional video game localization:

* '''Beta Releases''' - Many games, especially those played online, are made available in a beta build for players to experience before the game's official release. During this time, the game developer will collect feedback from the players on many aspects of the game, including its localization into the player's various native locales.
* '''Continuous Updates''' - Games as a Service may receive continuous updates for years following their initial release to keep players interested. This means that all of the new in-game events and content must be localized, as well as corresponding promotional marketing materials. This can include all types of localization, including recording new voice lines, translating new scripts, fixing issues, and even adapting new game modes and functions.
* '''Turnaround''' - Turnaround for GaaS can be especially quick, even as short as 24 hours, given that there can be daily updates. The amount of content for each drop may be smaller in these cases.
* '''First-Time User Experience''' - First-Time User Experience (or FTUE) is of vital importance in GaaS, many of which use free-to-play or free-to-start models. In order to make the game profitable, the first few moments of gameplay must entice the player to keep playing, and so localization of those first few moments is given extra importance as a result.
* '''Maintaining Tone''' - To make the players' experience the best it can be for the entire life of a game, it is important that the tone of the writing be kept as consistent as possible. Retaining translators and proofreaders helps with this task.
* '''Gamer Feedback''' - Throughout the life of a game, the players will likely give feedback. Though all feedback is subjective, analyzing and reacting to feedback on localization can make a difference in how players perceive the game, and as a result, how much time and money they spend playing.

====[[/Localization in Massive Multiplayer Online Role Playing Games/]]====

=== Localization as a communication process ===

We define localization as the linguistic and cultural adaptation of digital content to the requirements and the locale of a foreign market. It is a process of adjusting software for a specific region or specific languages by adapting local components and translating text. The professional practice of localization is now very important in different industries, such as technology, medical and pharmaceutical. This practice is also getting bigger, now, some companies want to expand their products around the world, and they understand that they need to consider localization efforts, they need to include it in their business plans. Yes, now we can see more and more companies from different industries adding localization practices on their side. But, localization is much more than adapting, translating, codes or flows, localization, is a communication process. Now, let´s try to understand what communication is. Communication, unlike localization, is much older. Communication is as old as humanity. Communication is a natural process and a complex term to define. The communication professionals define communication as the process of sending information, this process, which also could be a cycle, has these components: the sender, the message, the channel, the receiver and feedback, this simple and complex process is how we can understand how communication works. Everyone communicates something all the time, the conversation that the people had this morning with their families or co-workers was part of a communication process, the email that the employees of a company got this morning was part of a communication process. 

When is the communication process considered successful? The answer is also hard to find, but we can say that a success in communication is when the sender gets a reaction from the receiver. We can understand this when a seller achieves a sale, or a marketing campaign increases the sales of a product, or when a candidate wins an election from the votes of a group of people. All of these examples don’t mean that the pure act of sharing information is the key, but one thing we can say, in all these examples the way the sender sent the message to the receiver was an important element for achieving the goal of the seller, the campaign and the candidate. 

Communication professionals say that before creating a message, or defining the channel, one of the most important elements is to know and understand the receiver, the ones who are going to get the message, because the more the sender knows the receiver the more the receiver will understand what the sender wants to say. And here is when we can talk about localization. What is the final goal of localization efforts? Probably, one of the answers is to make one product accessible to more people around the world, for example, localization can make it so that more people in different countries can use Microsoft Office, or play a video game, or watch a movie, or just understand the side effects of a pill. Here, is when the localization process becomes a communication process, and the localization practice, the editors, linguistics and translators become communication professionals, they must understand the local market and they can define the way a message must sound. They are not going to write the narrative or the story of a movie or video game, they, based on their local knowledge and their linguistic background, will find the right word for communicating the same meaning as the one written in the original version. Understanding how important is to know our public for a successfully adaptation of a text is as important as other components in this such an interesting processional practice of localization. 

=== Marketing Localization === 
Producing marketing content from one distinct local for another by adapting, language, text, font, images, &amp; cultural taste to be appealing &amp; relevant to that audience. Expanding and hitting the international market is key to a successful business.
All the standard marketing rules apply to sell a product but when you attempt to sell the product internationally there may need to be some changes made.  
The existing product information often can not just be translated into another language and sold. The information may make no sense, be humorous, or be offensive in another location.  
Culturalization plays a big part in adapting a product to be appealing. Language, Imagery, color, nationality/origin, religion, slang, sex, all mean different things in different cultures. Some existing advertisements simply cannot be adapted &amp; must be &quot;re-skinned&quot; or &quot;re-branded&quot; to work in other places.  


Tips for successful Marketing Localization

1. Differenciate localization from translation
Translation can be for a wide audience that is native in the target language they are translating into however when performing marketing localization, a translator caters to a more specific audience. For example, localization can be done in Canadian French or Brazilian Portuguese instead of standard French and Portuguese. Localization means formatting numbers, dates, and other culture-specific aspects accrding to the requirements of the target language.

2. Research potential markets
Market research is an integral part of developing a business and developing a marketing campaign. The research will identify which markets you can explore and which languages will be used for localization. What do you need to know about potential markets?  Explore as much information as possible. Also, consider surveying the target audience. The survey will help understand what their market lacks and how your product could be useful to them. Add social channnels provide marketers with valuable social data that can be used when doing research on potential markets. Check WEN analytics and social media data.

3. Hire local talent
Hiring a local translator who is a native speaker of the target language is necessary to fit your business to the target culture.

4. Introduce localized social and web pages.
Localizing social media pages is essential in implementing marketing campaigns. You can introduce your product to the new audience and communicate with them directly. Web site localization is an absolute necessity if you plan on introducing your product to foreign audience.

5. local marketing placement
Product placement is less popular compare to social media marketing and digital marketing strategies. It is expensive strategy to implement but brings great results when it comes to entering a new market. We need to coorporate with movie directors or TV show producers to get your product in their creations.

6. Work with local influencers
Influencer marketing powerful tool to enter a new market. If you plan to explore new market, working with the influencers who are native to them will bring you many benefits.

7. Follow local Laws &amp; regulations
It's important to  consider what regulations exist around advertising including text, imagery and video since these vary immensely by region and country. 

==Language-specific Topics==
===French===
===German===
===Italian===
===Japanese===
'''Localization and Kinsoku Shori (In Japanese: 禁則処理)'''

'''''What is Kinsoku Shori?'''''

Kinsoku Shori are word wrapping rules that apply specifically to the Japanese language. Similar rules also apply to other East Asian languages such as Chinese and Korean.

Here are some examples of characters that cannot be placed at the start of a line:

Small characters such as ッ, ャ, ョ.

Punctuations such as 。、

Closing brackets such as },  」, )

To see the full example, please visit: https://en.wikipedia.org/wiki/Line_breaking_rules_in_East_Asian_languages

Many word processing software products have built in features to control line breaking so that an incorrect character does not come at the start of a line. The characters which cannot be separated will remain together. Examples of such software are Adobe InDesign and  Microsoft Word.

 
'''''Why is this important to localization?'''''

The Japanese language becomes hard to read if those characters appear at the start of line, or are separated on two lines. Also, for marketing headers or other highly visible text, incorrect line breaks are considered to be a sign of unprofessional design work.

While some word processing and desktop publishing software products automatically do Kinsoku Shori. But, it is often overlooked during web page internationalization and localization.  It is not a simple process because each browser behaves differently. Maintaining Kinsoku Shori in various screen sizes, across multiple devices is not easy.  There are ways to take care of Kinsoku Shori using Cascading Style Sheets (CSS).

Currently, layout errors caused by line breaks or a lack of Kinsoku Shori are fixed manually. For example, a linguistic QA tester logs a bug, then the developer fixes it as needed. It is not possible to apply Kinsoku Shori to the entire web page manually. Therefore, lower visibility text is often left as it is.

 
'''Reference:'''

https://en.wikipedia.org/wiki/Line_breaking_rules_in_East_Asian_languages

https://ja.wikipedia.org/wiki/%E7%A6%81%E5%89%87%E5%87%A6%E7%90%86

https://w3c.github.io/i18n-tests/results/line-breaks-jazh

===Spanish===
===[[/Appendix/]]===

===[[/Resources/]]===
[http://www.science.co.il/Language/Locale-codes.php The list of locales].

[http://xpo6.com/list-of-english-stop-words/ The list of English stop words].

===[[/Glossary/]]===

'''Translation Glossary of Terms''' &lt;ref&gt;{{Cite web
|url=https://atlasls.com/translation-glossary-terms/
|title=Translation Glossary of Terms
|language=en
|accessdate=2019-02-25
}}&lt;/ref&gt;

The following list is composed of the most common terms used in interpretation or translation. Understanding all the jargon of interpretation or translation is vital when it comes to building relationships personally or professionally.

'''A'''

'''Adaptation''' — The process of converting information into an appropriate format for the target language and culture.&lt;br&gt;
'''Algorithm''' — “TM” applications employ matching algorithm(s) to retrieve similar target language strings, flagging differences.&lt;br&gt;
'''Alignment''' — Alignment is the task of defining translation correspondences between source and target texts.&lt;br&gt;
'''Alignment Tool''' — Application that automatically pairs versions of the same text in the source and target languages in a table. Also called bi-text tool.&lt;br&gt;
'''Ambiguity''' — Situation in which the intended meaning of a phrase is unclear and must be verified – usually with the source text author – in order for translation to proceed.&lt;br&gt;
'''Antonym''' — Antonyms are opposites words, that reside in an inherently incompatible binary relationship, e.g. In the pairs – male:female; long:short; up:down; and precede:follow.&lt;br&gt;
'''Arabic Numerals''' — Set of ten numerals (0,1,2,3,4,5,6,7,8,9) that comprise the most commonly used symbolic representation of numbers throughout the world.&lt;br&gt;
'''Artificial Intelligence''' — Branch of computer science devoted to creating intelligent machines that produced the first efforts toward machine translation.&lt;br&gt;
'''Attribute''' — A property defined and applied to a Translation Memory units/segment to help sequence retrieval. Attributes are also those fields that define and qualify term bases.&lt;br&gt;
'''Automatic Retrieval''' — When a translator moves through a document, TM’s are automatically searched and displayed. (Server based).&lt;br&gt;
'''Automatic Substitution''' — Exact matches come up in translating new versions of a document.&lt;br&gt;
'''Automatic Translation''' — Machine-based translation process not subject to input by a human translator.&lt;br&gt;

'''B'''

'''Back Translation''' — Process of translating a previously translated text back into its source language.&lt;br&gt;
'''Bidirectional''' — Script that normally reads from right to left but contains some exceptions in which other characters, like numerals, read from left to right. Hebrew and Arabic are examples of bidirectional languages.&lt;br&gt;

'''C'''

'''CAT (Tools)''' — Computer-assisted translation (tools) – The process by which a human translator uses computer software to facilitate translation.&lt;br&gt;
'''Common Sense Advisory''' — Market research agency providing data to operationalize, benchmark, optimize, and innovate industry best practices in translation, localization and associated industries.&lt;br&gt;
'''Character Set''' — Collection of symbols or characters that correspond to textual information in a language or language group.&lt;br&gt;
'''Cognate''' — In linguistics, cognates are words that have a common etymological origin. An example of cognates within the same language would be English shirt and skirt.&lt;br&gt;
'''Compilation''' — The activities required to check, process and output to one or multiple target formats in a single source publishing environment (e.g. Robohelp).&lt;br&gt;
'''Collaborative Translation''' — Emerging approach to translation in which companies use the elements of crowdsourcing in a controlled environment for working on large corporate projects in short periods of time.&lt;br&gt;
'''Concatenation''' — Procedure of linking multiple files or messages together as a single document, often to facilitate processes such as search and replacement, term list extraction, collocation finding, and repetition rate establishment.&lt;br&gt;
'''Concordance''' — This feature allows translators to select one or more words in the source segment and the system retrieves segment pairs that match the search criteria.&lt;br&gt;
'''Consistency''' — Measure of how often a term or phrase is rendered the same way into the target language.&lt;br&gt;
'''Context''' — Information outside of the actual text that is essential for complete comprehension.&lt;br&gt;
'''Controlled Vocabulary''' — Standardized terms and phrases that constitute a system’s vocabulary.&lt;br&gt;
'''Controlled Language''' — Language in which grammar, vocabulary and syntax are restricted. In order to reduce ambiguity and complexity and to make the source language easier to understand by native and non-native speakers and easier to translate with machine and human translation.&lt;br&gt;
'''Country Code''' — Abbreviation of two or three characters to signify a country or dependent area. ISO 3166 specifies country codes, such as “AL” for Albania and “CZ” for the Czech Republic. There are also country codes for telephone numbers, such as +1 for the U.S. and Can&lt;br&gt;
'''CMS''' — (Content Management System) Tool that stores, organizes, maintains, and retrieves data.&lt;br&gt;
'''Crowdsourcing''' — The practice of obtaining needed services, ideas, or content by soliciting contributions from a large group of people and especially from the online community rather than from traditional employees or suppliers&lt;br&gt;
'''CT3''' — Abbreviation for community, crowdsourced, and collaborative translation.&lt;br&gt;
'''Cultural Adaptation''' — Adjustment of a translation to conform with the target culture.&lt;br&gt;
'''Cultural Assessment''' — Examination of an individual’s or group’s cultural preferences through comparative analyses.&lt;br&gt;
'''Culturally-Sensitive Translation''' — Translation that takes into account cultural differences.&lt;br&gt;

'''D'''

'''DBE''' — Abbreviation for double-byte enabled.&lt;br&gt;
'''Desktop Publishing''' — Applications like FrameMaker, PageMaker, and QuarkXPress to prepare documentation for publication.&lt;br&gt;
'''Dialect''' — Variety of a language spoken by members of a particular locale and characterized by a unique vocabulary, grammar and pronunciation.&lt;br&gt;
'''DITA''' — XML-Based architecture for authoring, producing and delivering technical information.&lt;br&gt;
'''DNT''' — Abbreviation for do not translate. List of such phrases and words include brand names and trademarks.&lt;br&gt;
'''Domain''' — The area of knowledge communicated within a text, translation, or corpus.&lt;br&gt;
'''DTD''' — Document type definition. Description of how content should be structured, providing rules for tags and characteristics, to enable programs to more easily process and store the document. Commonly abbreviated DTD.&lt;br&gt;
'''DTP''': Desk Top Publishing — It’s about using specific software to combine and rearrange text and images and creating digital files.&lt;br&gt;
'''Double-Byte Enabled''' — Quality of an application or program that supports double-byte languages. Commonly abbreviated DBE.&lt;br&gt;
'''Double-Byte Language''' — Language - such as Chinese, Korean, and Japanese – that requires two bytes (16 bits) to represent each character precisely.&lt;br&gt;
'''Dubbing''' — Recording or replacement of voices commonly used in motion pictures and videos for which the recorded voices do not belong to the original actors or speakers and are in a different language.&lt;br&gt;
'''Dynamic Content''' — Data produced in response to changeable, unfixed and retrieved from a database through user requests.&lt;br&gt;

'''E'''

'''Eastern Arabic Numerals''' — Set of symbols used to represent numbers in combination with the Arabic alphabet in various countries, including Afghanistan, Egypt, Iran, Pakistan, Sudan, and also parts of India. Also called Arabic Eastern Numerals.&lt;br&gt;
'''Editing''' — Editing – Second level of review in the traditional TEP process.&lt;br&gt;
'''Encoding Scheme''' — System that assigns a numeric value to each character, in order to convert the character set to an automated form for transmitting and maintaining information.&lt;br&gt;
'''Exact Match''' — Exact matches (during translation memory analysis) appear when the match between the current source segment and the stored one has been a character by character match. When translating a sentence, an exact match means the same sentence has been translated before. Exact matches also referred to as 100% matches.&lt;br&gt;
'''Extended Characters''' — Characters that exceed the ASCII character range of seven bits, such as characters with diacritical marks or non-Roman characters.&lt;br&gt;
'''eXtensible markup language (XML)''' — Metadata language used to describe other markup languages. Commonly abbreviated XML.&lt;br&gt;

'''F'''

'''False Friends''' — False friends are pairs of words or phrases in two languages or dialects (or letters in two alphabets) that look or sound similar, but differ in meaning.&lt;br&gt;
'''FIGS''' — Abbreviation for French, Italian, German and Spanish.&lt;br&gt;
'''Functional Testing''' — Reviewing software applications and programs to ensure that the localization process does not change the software or impair its functions or on-screen content display.&lt;br&gt;
'''Fuzzy Match''' — Indication that words or sentences are partially – but not exactly – matched to previous translations. When the match (during Translation Memory analysis) has not been exact, it is a fuzzy match. Some systems assign percentages to these kinds of matches, in which case a fuzzy match is greater than 0% and less than 100%. Those figures are not comparable across systems unless the method of scoring is specified.&lt;br&gt;
'''Fuzzy Logic''' — When exact matches cannot be found, Fuzzy Logic creates near matches in text, to translation memory terms.&lt;br&gt;

'''G'''

'''GILT''' — Acronym for globalization, internationalization, localization, and translation.&lt;br&gt;
'''GIM''' — Abbreviation for global information management.&lt;br&gt;
'''Gist Translation''' — Use of human or machine translation to create a rough translation of the source text that allows the reader to understand the essence of the text.&lt;br&gt;
'''Globalization (G11N)''' — The process by which regional economies, societies, and also cultures have become integrated through a global network of political ideas through communication, transportation, and trade.&lt;br&gt;
'''Glocal''' — Combination of the words ‘global’ and ‘local,’ used to describe products or services intended for international markets and have been customized for different languages, countries, and cultures.&lt;br&gt;
'''Glossary''' — A glossary, also known as an idioticon, vocabulary, or clavis, is an alphabetical list of terms in a particular domain of knowledge with the definitions for those terms.&lt;br&gt;
'''GMX''' — GILT Metrics. GILT stands for (Globalization, Internationalization, Localization, and Translation). The GILT Metrics standard comprises three parts: GMX-V for volume metrics, GMX-C for complexity metrics and GMX-Q for quality metrics.&lt;br&gt;

'''H'''

'''Homonym''' —  A homonym is one of a group of words that share the same spelling and the same pronunciation but have different meanings.&lt;br&gt;

'''I'''

'''In Context Exact (ICE) Match or Guaranteed Match''' — An ICE match is an exact match that occurs in exactly the same context, that is, the same location in a paragraph.&lt;br&gt;
'''In-Country Review''' — The evaluation of a translated text by an individual who resides within the country where the target text will be used.&lt;br&gt;
'''Internationalization (I18N)''' — Internationalization is the planning and preparation stages for a product that is built by design to support global markets.&lt;br&gt;
'''Interpretation''' — Process of rendering oral spoken or signed communication from one language to another, or the output that results from this process.&lt;br&gt;

'''L'''

'''Language''' — System of signed, spoken, or written communication.&lt;br&gt;
'''Language Tags and Codes''' — Language codes are closely related to the localizing process. They indicate the locales involved in the translation and adaptation of the product.&lt;br&gt;
'''Language Combination''' — Group of active and passive languages used by an interpreter/translator.&lt;br&gt;
'''Language Kit''' — Add-on feature. This feature permits a keyboard to produce character sets for a given language.&lt;br&gt;
'''Language Pair''' — Languages in which a translator or interpreter/translator can provide services.&lt;br&gt;
'''Language Services Provider (LSP)''' — An organization or business that supplies language services, such as translation, localization, or interpretation. Commonly abbreviated LSP&lt;br&gt;
'''Leverage''' — The practice of reusing previously translated terms and phrases in new translations. Also, the rank which evaluates how much of the previously translated text can be reused.&lt;br&gt;
'''Linguistic Parsing''' — The base form reduction is used to prepare lists of words and a text for automatic retrieval of terms from a term bank. On the other hand, syntactic parsing may be used to extract multi-word terms or phraseology from a source text. So parsing is used to normalize word order variation of phraseology, this is which words can form a phrase.&lt;br&gt;
'''Literal Translation''' — Translation that closely follows the phrasing, order as well as sentence construction of the source text.&lt;br&gt;
'''LISA''' — Localization Industry Standards Association.&lt;br&gt;
'''LISA QA Model''' — A metric for the evaluation of translation quality developed by the Localization Industry Standards Association.&lt;br&gt;
'''Localization (L10N)''' — Process of adapting or modifying a product, service, or website for a given language, culture or region.&lt;br&gt;
'''Localization Engineering''' — Software engineering carried out to support localization. Activities include internationalization, bug fixing, functionality testing, dialog box resizing, help compilation, as well as other software-related activities. Most LSPs charge for these services by the hour.&lt;br&gt;
'''Localization Tool''' — Application that assists with the translation and adaptation required for localization.&lt;br&gt;

'''M'''

'''Machine Translation (also known as automated translation)''' — Translation carried out exclusively by a machine. Commonly abbreviated MT.&lt;br&gt;
'''Machine Translation Plus Translation Memory''' — workflow and technology process in which terms not found in translation memory are automatically sent to the machine translation software for translation.&lt;br&gt;
'''Markup Language''' — The language that uses annotations to indicate how text should be formatted.&lt;br&gt;
'''Match''' — that words or sentences are matched – either partially or fully – to previous translations.&lt;br&gt;
'''Meaning-for-meaning translation''' — Translation for which the words used in both languages may not be exact equivalents, but the meaning is the same.&lt;br&gt;
'''Mega-Language''' — of the ten most important languages on the web, including Chinese, Dutch, French, German, Italian, Japanese, Korean, Portuguese, Russian, and Spanish.&lt;br&gt;
'''Metadata''' — Information that describes data.&lt;br&gt;
'''Mirroring''' — Process of adjusting the layout of a software or a website to be aligned to the right to serve the needs of Bidirectional Languages that are read from right-to-left.&lt;br&gt;
'''Morpheme''' — unit of meaning in a language.&lt;br&gt;
'''Mother Tongue''' — Native as well as first learned language of an individual.&lt;br&gt;
'''MT''' — Abbreviation for machine translation.&lt;br&gt;
'''Multi-Byte Character Set''' — Character set in which the number of bytes per character varies. Abbreviated MBCS.&lt;br&gt;
'''Multi-Byte Language''' — Language that requires the use of a multi-byte character set.&lt;br&gt;
'''Multiculturalization''' — Process by which the linguistic and cultural diversity among a group of people increases.&lt;br&gt;
'''Multi-Language Vendor (MLV)''' — Language service provider that offers services in multiple language pairs. Abbreviated MLV.&lt;br&gt;
'''Multilingual Workflow''' — Automation of business processes related to the development of multilingual products by managing multilingual content, usually through a translation management system, machine translation, and also translation memory.&lt;br&gt;
'''Multinationalization''' — Process of expanding an organization’s presence into multiple nations. Commonly abbreviated M18N.&lt;br&gt;
'''MultiTerm''' — The SDL Trados terminology tool. Latest version SDL MultiTerm 2009 as well as SDL MultiTerm Server 2009.&lt;br&gt;

'''N'''

'''Native Language''' — First language that a human learns naturally, usually since childhood.&lt;br&gt;
'''Networking (TM Server)''' — When networking during the translation it is possible to translate a text efficiently together with a group of translators.&lt;br&gt;
'''Neural machine translation (NMT)'''&lt;ref&gt;{{Cite web
|url=https://en.wikipedia.org/wiki/Neural_machine_translation
|title=Neural machine translation
|language=en
|accessdate=2019-02-25
}}&lt;/ref&gt; - is an approach to machine translation that uses a large artificial neural network to predict the likelihood of a sequence of words, typically modeling entire sentences in a single integrated model.&lt;br&gt;
'''Neutral Spanish (also Universal Spanish)''' — Spanish that is mutually intelligible by speakers from various parts of the Spanish-speaking world and is not immediately identifiable with any single regional variety of the language. No standards exist for defining neutral Spanish.&lt;br&gt;
'''Next-Wave Language''' — One of the languages of growing importance on the web.&lt;br&gt;

'''O'''

'''OLIF''' — This stands for open lexicon interchange format.&lt;br&gt;
'''Ontology''' — Description of the relationships between concepts, objects, and other entities within a given field.&lt;br&gt;

'''P'''

'''Plain English''' — Method of writing English that employs a clear and simple style, usually for the purpose of improving readability. Among its features are using only active verbs (no passive voices) and making sure that each word has only one meaning.&lt;br&gt;
'''PM''' — Abbreviation for “project manager.” Individual who carries out management and coordination tasks for a given translation project. Commonly abbreviated PM.&lt;br&gt;
'''PPW''' — Abbreviation for price per word.&lt;br&gt;
'''Post-Editing''' — Process by which one or more humans review, edit, and improve the quality of machine translation output.&lt;br&gt;
'''Project Manager''' — Individual who carries out management and coordination tasks for a given translation project. Commonly abbreviated PM.&lt;br&gt;
'''Pre-Editing''' — Process by which a text is edited prior to translation in order to clarify ambiguous terms and increase translatability.&lt;br&gt;
'''Pre-Translation''' — Phase of the translation process in which documents are prepared for conversion into another language. This usually includes an automated analysis against translation memories. so that previously translated text is inserted in a file, therefore avoiding rework and associated costs.&lt;br&gt;
'''Project Setup''' — Translation preprocessing steps include tasks such as glossary and style guide preparation, project planning, file preparation, content familiarization, and training.&lt;br&gt;
'''Proofreading''' - Practice of checking a translated text to identify and correct spelling, grammar, syntax, and coherency and integrity errors, (usually carried out by a second linguist or translator. – not necessarily. Proofreading can be done by editors with no second language.&lt;br&gt;
'''Pseudo-Localization''' — The process of faking translation of software or web applications before starting to localize the product for real. It is used to verify that the user interface is capable of containing the translated strings (length) and to discover possible internationalization issues.&lt;br&gt;
'''Pseudo-Translation''' — A procedure which simulates how a translated document will look after translation and how much extra DTP or other work will be required before actual translation is done. This can help in setting the appropriate timelines of projects.&lt;br&gt;

'''Q'''

'''QA''' — Abbreviation for quality assurance. Process designed to ensure translation quality. Specific processes followed with the purpose of minimizing errors.&lt;br&gt;
'''QC''' — Abbreviation for quality control.&lt;br&gt;
'''QI''' — Abbreviation for quality improvement. Quality improvement Process designed to ensure translation quality, in which the overall goal is to enhance performance.&lt;br&gt;
'''Quality Assurance''' — Process designed to ensure translation quality. Specific processes with the purpose of minimizing errors.&lt;br&gt;
'''Quality Control''' — Process designed to ensure translation quality, in which the target text is reviewed with the purpose of catching errors.&lt;br&gt;
'''Quality Improvement''' — Quality improvement Process designed to ensure translation quality, in which the overall goal is to enhance performance.&lt;br&gt;

'''R'''

'''RBMT''' — Abbreviation for rules-based machine translation.&lt;br&gt;
'''Register''' — Measure of formality of language dependent upon the tone, terminology, as well as grammar implemented.&lt;br&gt;
'''Repetition''' — Sentence or phrase that is repeated in the source text, often referred to a Translation Memory analysis.&lt;br&gt;
'''Rich Media Content''' — Synonymous for interactive multimedia. A broad range of interactive digital media that exhibit dynamic motion, taking advantage of enhanced sensory features such as video, audio and animation.&lt;br&gt;
'''ROI''' — Return on Investment. The performance measure that evaluates the efficiency of an investment.&lt;br&gt;
'''Roman Numerals''' — System of numerals that evolved from the system used in classical Rome, often used for purposes such as numbering pages in introductions or prefaces.&lt;br&gt;

'''S'''

'''SAE J2450''' — A metric for the evaluation of translation quality, originally developed for the automotive sector. The metric comprises error categorization and severity.&lt;br&gt;
'''SDK''' — Abbreviation for software development kit.&lt;br&gt;
'''Segment''' — Sentence or phrase that is separated from the rest of a text based on language construction rules such as punctuation.&lt;br&gt;
'''Segmentation''' — Its purpose is to choose the most useful translation units. Segmentation is a type of parsing. It is done monolingually using superficial parsing and alignment is based on segmentation.&lt;br&gt;
'''Simplified Chinese''' — Contemporary written Chinese language used in mainland China and Singapore.&lt;br&gt;
'''SimShip''' — Simultaneous shipment. Abbreviation for simultaneous shipment.&lt;br&gt;
'''Single-Byte Character Set''' — Character set in which a single 8-bit byte represents a character.&lt;br&gt;
'''Single sourcing (Single Source Publishing)''' —  Single sourcing or single source publishing – Process of producing a document in one format and automatically translating or publishing it into multiple formats.&lt;br&gt;
'''SMT''' — Abbreviation for statistical machine translation.&lt;br&gt;
'''Software Development Kit''' — Documentation and source code that facilitate the process of developing programs that interface with a given product. Commonly abbreviated SDK.&lt;br&gt;
'''Software Engineering''' — Process of translating and adapting computer software from one language and culture into another. Also referred to as localization engineering.&lt;br&gt;
'''Source Code''' — Code that is compiled to develop a program.&lt;br&gt;
'''Source Count''' — Number of words in a text to be translated. The count of words in the document.&lt;br&gt;
'''Source File''' — File that contains the source document in its original form, as opposed to a generated file, and is also required for localization processes.&lt;br&gt;
'''Source Language''' — Language of the text that to be translated. The language.&lt;br&gt;
'''Source Text''' — Text that needs translation.&lt;br&gt;
'''Source Text Analysis''' — Analysis of the source text prior to translation that provides a better idea of the difficulty of the translation.&lt;br&gt;
'''SRX''' — Segmentation Rules eXchange (SRX). Intended to enhance the TMX standard so that translation memory data that is exchanged between applications can be used more effectively. The ability to specify the segmentation rules that were used in the previous translation may increase the leveraging that can be achieved.&lt;br&gt;
'''Segmentation Rules eXchange (SRX)''' — The vendor-neutral standard for describing how translation and other language-processing tools segment text for processing.&lt;br&gt;
'''Standard Line''' — Measure of the usual number of keystrokes per line in a certain text, which varies per country, and consists on average of 50 to 60 characters; commonly used for translation projects that are priced on a per line basis.&lt;br&gt;
'''Statistical Machine Translation''' — Generation solutions that take a probability-based approach to translation through computational analysis of data, treating data as character strings, determining patterns, and also leveraging regularities. Commonly abbreviated SMT.&lt;br&gt;
'''Style Guide''' — Document that describes the correct grammar, punctuation, spelling, style and numeric formats to ensure consistency and quality in a translated text.&lt;br&gt;
'''Style Sheet''' — Document or template that describes the structure as well as format of a document, with instructions regarding fonts, page size, spacing, margins, paragraph styles and tag markups to ensure consistency and quality in a translated text.&lt;br&gt;
'''Subtitles (also Captioning)''' — Subtitles are textual versions of the dialog in films and television programs. They usually display at the bottom of the screen. They can either a written form of the original language or a translation.&lt;br&gt;
'''Synonym''' — Different words with almost identical or similar meanings, e.g. Student as well as pupil.&lt;br&gt;
'''Syntax''' — The study of structure and elements that form grammatical sentences.&lt;br&gt;

'''T'''

'''Tagging''' — Marking content in a document with information about its content.&lt;br&gt;
'''Target Audience''' — Group of people who receive the information rendered by the interpreter in the target language.&lt;br&gt;
'''Target Language''' — This is the language that a text is translated.&lt;br&gt;
'''TBX''' — Abbreviation for term base eXchange. XML standard for exchanging terminological data.&lt;br&gt;
'''Technical Translation''' — Translation of technical texts, such as user or maintenance manuals, catalogs, and data sheets.&lt;br&gt;
'''TEP''' — Edit – Proofread Process.&lt;br&gt;
'''Term''' — Word, phrase, symbol or formula that describes or designates a particular concept.&lt;br&gt;
'''Term Extraction (also term harvesting)''' — Selecting terms in a text and placing them in a terminology database for analysis at a later time.&lt;br&gt;
'''Terminology''' — Collection of terms.&lt;br&gt;
'''Terminology Analysis''' — Process carried out prior to translation in order to analyze the vocabulary within a text. In addition, to analyze its meaning within the given context, often for the purpose of creating specialized dictionaries within specific fields.&lt;br&gt;
'''Terminology Database''' — Electronic repository of terms and associated data.&lt;br&gt;
'''Term Extraction''' — It can have as input a previous dictionary. Moreover, when extracting unknown terms, it can use parsing based on text statistics. Uses to estimate the amount of work involved in a translation job. This is very useful for planning and scheduling the work. Translation statistics usually count the words and estimate the amount of repetition in the text.&lt;br&gt;
'''Termbase''' — Termbase is a database containing terminology and related information. Most termbases are multilingual and contain terminology data in a range of different languages.&lt;br&gt;
'''Termbase Definition and the Structure of Entries — Termbase entries are structured in the following way:'''
* '''Entry Level''' — Contains system fields and any descriptive fields that apply to the entry as a whole.&lt;br&gt;
* '''Index Level''' — Contains index fields with terms as content and any descriptive fields that apply to all terms in a given language.&lt;br&gt;
* '''Term Level''' — Contains any descriptive fields that apply to a given term.&lt;br&gt;
The termbase definition for a given termbase specifies the number and type of fields that a termbase entry may contain and the entry structure that entries must conform to. The entry structure specifies:
* The number and type of fields that may exist at each level in the entry.
* The hierarchical structure of fields within each level; fields nested or not.&lt;br&gt;
'''Termbase Fields''' — The different types of field are as follows:
* '''Index fields''' —  Contain the terms for each entry. Each index corresponds to one of the termbase languages.
* '''Descriptive fields''' —  Contain descriptive information about the entry or language as a whole, or about the individual terms. Each descriptive field has a defined data type. Types of data include text, picklist, number, date, Boolean and multimedia file.
* '''Entry class field''' — Specifies the entry class to which the entry belongs.
* '''System fields''' —  Created and maintained by the system. These fields store tracking information for the entry as a whole or for individual fields. System fields in MultiTerm include the Entry number field and the set of four history fields. The Entry Number field automatically assigns to each entry at entry level; for more information about history fields, see below.
* '''History fields''' —  MultiTerm uses a set of four history fields: Created on, Created by, Modified on and Modified by. History fields automatically assigns to each entry at entry level, and also to each index at the index level. For all other fields in the termbase, history fields are optional. The require commissioning in the Termbase Wizard. Once assigned, history fields are created and maintained by the system.
* '''Term Link''' — Term Link (formerly TBX Link) is an XML namespace-based notation that enables specific identified terms within an XML document to be linked to an external XML termbase, including those in TBX – TermBase eXchange (TBX) format. The purpose of the Term Link specification is to provide a rigorous notation for linking embedded terms in an XML document to their entries in an external termbase. Term Link is not yet an official standard, and its contents and format may change prior to official adoption.&lt;br&gt;
'''Text Memory''' — The basis of the proposed Lisa OSCAR xml:tm standard. Text memory comprises author memory and also translation memory.&lt;br&gt;
'''TBX — TermBase eXchange.''' This LISA standard revised and republished as ISO 30042. It allows for the interchange of terminology data including detailed lexical information.&lt;br&gt;
'''Terminology''' — Terminology is the study of terms and their use.&lt;br&gt;
'''Terminology Management''' — Quality translation relies on the correct use of specialized terms.&lt;br&gt;
'''Textual Parsing''' — It is very important to recognize punctuation in order to distinguish for example the end of sentence from abbreviation. Thus, mark-up is a kind of pre-editing.&lt;br&gt;
'''Term Extraction Tools''' — for extracting text automatically from text to create a termbase. Tools include SDL MultiTerm Extract 2009.&lt;br&gt;
'''Term Base eXchange''' — XML standard for exchanging terminological data. Commonly abbreviated TBX.&lt;br&gt;
'''Terminology Management''' —  Use of computer software to manage translation resources, create terminology databases for translation projects, and improve productivity and consistency.&lt;br&gt;
'''Terminology Management Tool''' — Computer application. Facilitates terminology management.&lt;br&gt;
'''Terminology Manager''' — Software application that facilitates the process of translation. This is done so, by interacting with a terminology database.&lt;br&gt;
'''Terminology Software''' — Data processing tool that allows one to create, edit as well as consult text or electronic dictionaries.&lt;br&gt;
'''Text Expansion''' — Process that often occurs during translation in which the total number of characters in the target text exceeds that of the source text.&lt;br&gt;
'''Text Extraction''' — The process of placing the text from a source file into a word processing file. This is for the use by a linguist.&lt;br&gt;
'''Text Style''' — Characteristics of terminology, style and sentence formation within a given text.&lt;br&gt;
'''TMX''' — Abbreviation for translation memory eXchange. Translation Memory eXchange (TMX) is a standard that enables the interchange of translation memories between translation suppliers.&lt;br&gt;
'''Traditional Chinese''' — Original Chinese ideographic character set used in Taiwan, Hong Kong, Macau and also some Chinese communities who have not adopted the simplified characters used in the People’s Republic of China.&lt;br&gt;
'''Transcreation''' — When new content is developed or adapted for a given target audience instead of merely translating existing material. It may include copywriting, image selection, font changes, as well as other transformations that tailor the message to the recipient.&lt;br&gt;
'''Transcription''' — Process of converting oral utterances into written form.&lt;br&gt;
'''Translatability''' — Degree to which a text is rendered into another language.&lt;br&gt;
'''Translate-Edit-Proof''' — Most common set of steps used for linguistic quality assurance in translation production processes. Commonly abbreviated TEP.&lt;br&gt;
'''Translation''' — Process of rendering written communication from one language into another, or the output that results from this process.&lt;br&gt;
'''Translation Capacity''' — Average number of characters, words, lines, or pages that a professional translator can translate. This is done within a given time frame, such as a day, week, or month.&lt;br&gt;
'''Translation Kit (also Localization Kit)''' — set of files and instructions given to an LSP by a client. The purpose of a translation kit is to provide LSPs with expectations. The subject matter as well as target audience, files and format needing translation, delivery expectations, special considerations and instructions.&lt;br&gt;
'''Translation Management''' — The management of the translation workflow, often including the content assets also.&lt;br&gt;
'''Translation Management System (also TMS)''' — Program that manages translation as well as localization cycles, coordinates projects with source content management, and centralizes translation databases, glossaries, and additional information relevant to the translation process. Commonly abbreviated TMS.&lt;br&gt;
'''Translation Memory''' — Translated text segments stored in a database. A translation memory is a system which scans a source text and tries to match strings (a sentence or part thereof) against a database of paired source and target language strings with the aim of reusing previously translated materials.&lt;br&gt;
'''Translation Memory eXchange (also TMX)''' — Standard for converting translation memories from one format to another. Commonly abbreviated TMX.&lt;br&gt;
'''Translation Memory Plus Machine Translation''' — A workflow as well as technology process. Terms not found in translation memory, automatically sent to the machine translation software for translation. The results are then fed back into the translation memory. Commonly abbreviated TMT.&lt;br&gt;
'''Translation Memory System''' — Computer-aided translation tool that offers translation suggestions from translation memory.&lt;br&gt;
'''Translation Portal''' — Web-based service that enables translation agencies, freelance translators, and customers to contact one another. This is ideal for not just contact, but also to exchange services.&lt;br&gt;
'''Translation Unit''' — This is the segment of text treated as a single unit of meaning.&lt;br&gt;
'''Transliteration''' — Process of converting words from a source text or audio file into a written text that facilitates pronunciation of the words.&lt;br&gt;
'''TM''' — Translation Memory, see Translation Memory.&lt;br&gt;
'''Trados''' — SDL Trados is a leading Translation Memory Editor used in translation. Latest versions SDL Trados Studio 2009 and SDL Trados TM Server.&lt;br&gt;

'''U'''

'''Unicode''' — 16-bit character set that is capable of encoding the characters of the world’s major language scripts.&lt;br&gt;
'''Unicode Standard''' — Industry encoding standard that allows computers to represent and also manipulate text in most of the world’s writing systems.&lt;br&gt;
'''Updating TM''' — A new translation updated to a TM after the translator accepts it. As always in updating a database, there is the question what to do with the previous contents of the database. A “TM” is modifiable by changing or deleting entries in the TM. Some systems allow translators to save multiple translations of the same source segment.&lt;br&gt;
'''UTF-16, UTF-32, UTF-8''' — UTF-16 – Abbreviation for 16-bit Unicode transformation format. UTF-32 – Abbreviation for 32-bit Unicode transformation format. UTF-8 -Abbreviation for 8-bit Unicode transformation format.&lt;br&gt;
'''UTX''' — Universal Terminology eXchange (UTX). A format standard specifically designed for user dictionaries of machine translation. Also used for general, human-readable glossaries. The purpose of UTX is to accelerate dictionary sharing and reuse by its extremely simple and practical specification.&lt;br&gt;

'''V'''

'''Voice-Over''' — Technique in which a disembodied voice narrates a film, documentary, or other visual media.&lt;br&gt;

'''W'''

'''Word Count''' — The total number of words in a text. Typically used to price translation projects.&lt;br&gt;
'''Word Delimiter''' — Character, such as a ‘space’ or ‘carriage return,’ that marks a distinction between words in a text.&lt;br&gt;
'''Workflow Management''' — Computer or web-based applications used to direct translation and also localization work processes.&lt;br&gt;

'''X'''

'''XLIFF''' — XML Localisation Interchange File Format. XLIFF provides a single interchange file format understood by any localization provider. This is the preferred way of exchanging data in XML format in the translation industry.&lt;br&gt;
'''XML''' — Abbreviation for eXtensible markup language. Metadata language used to describe other markup languages. Commonly abbreviated XML.&lt;br&gt;
'''XML Text Memory (xml:tm)''' — xml:tm (XML-based Text Memory) is the vendor-neutral open XML standard for embedding text memory directly within an XML document using XML namespace syntax.&lt;br&gt;

===[https://www.shaip.com/offerings/speech-data-catalog/ To be allocated]===

== References ==
&lt;references responsive=&quot;&quot; /&gt;[https://www.giggso.com/model-life-cycle-engine Model Life Cycle Engine]
* {{Cite news
|url=https://www.daytranslations.com/blog/potential-language-localization-india/
|title=The Potential and Benefits of Language Localization in India
|date=2016-11-18
|work=Day Translations Blog
|access-date=2018-03-04
|language=en-US
}}
* {{Cite news
|url=https://www.daytranslations.com/blog/2016/09/closer-look-indias-languages-7831/
|title=A Closer Look at India’s Languages
|date=2016-09-15
|work=Day Translations Blog
|access-date=2018-03-04
|language=en-US
}}
 
[[Category:Localization Strategies]]</text>
      <sha1>hsq8vfxq8wlgy7zlnyk4x7ltexg88r0</sha1>
    </revision>
  </page>
  <page>
    <title>Haskell programming in plain view</title>
    <ns>0</ns>
    <id>203942</id>
    <revision>
      <id>2807207</id>
      <parentid>2806813</parentid>
      <timestamp>2026-05-01T09:47:11Z</timestamp>
      <contributor>
        <username>Young1lim</username>
        <id>21186</id>
      </contributor>
      <comment>/* Lambda Calculus */</comment>
      <origin>2807207</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="6273" sha1="azj7hxzeqistdzhq4hqbcengxc50vlq" xml:space="preserve">
==Introduction==
* Overview I ([[Media:HSKL.Overview.1.A.20160806.pdf |pdf]])
* Overview II ([[Media:HSKL.Overview.2.A.20160926.pdf |pdf]])
* Overview III ([[Media:HSKL.Overview.3.A.20161011.pdf |pdf]])
* Overview IV ([[Media:HSKL.Overview.4.A.20161104.pdf |pdf]])
* Overview V ([[Media:HSKL.Overview.5.A.20161108.pdf |pdf]])
&lt;/br&gt;

==Applications==
* Sudoku Background ([[Media:Sudoku.Background.0.A.20161108.pdf |pdf]])
* Bird's Implementation 
:- Specification ([[Media:Sudoku.1Bird.1.A.Spec.20170425.pdf |pdf]])
:- Rules ([[Media:Sudoku.1Bird.2.A.Rule.20170201.pdf |pdf]])
:- Pruning ([[Media:Sudoku.1Bird.3.A.Pruning.20170211.pdf |pdf]])
:- Expanding ([[Media:Sudoku.1Bird.4.A.Expand.20170506.pdf |pdf]])

&lt;/br&gt;

==Using GHCi==
* Getting started ([[Media:GHCi.Start.1.A.20170605.pdf |pdf]])
&lt;/br&gt;

==Using Libraries==
* Library ([[Media:Library.1.A.20170605.pdf |pdf]])
&lt;/br&gt;
&lt;/br&gt;


==Types==
* Constructors ([[Media:Background.1.A.Constructor.20180904.pdf |pdf]])
* TypeClasses ([[Media:Background.1.B.TypeClass.20180904.pdf |pdf]])
* Types ([[Media:MP3.1A.Mut.Type.20200721.pdf |pdf]])
* Primitive Types ([[Media:MP3.1B.Mut.PrimType.20200611.pdf |pdf]])
* Polymorphic Types ([[Media:MP3.1C.Mut.Polymorphic.20201212.pdf |pdf]])

==Functions==
* Functions ([[Media:Background.1.C.Function.20180712.pdf |pdf]])
* Operators ([[Media:Background.1.E.Operator.20180707.pdf |pdf]])
* Continuation Passing Style ([[Media:MP3.1D.Mut.Continuation.20220110.pdf |pdf]])

==Expressions==
* Expressions I ([[Media:Background.1.D.Expression.20180707.pdf |pdf]])
* Expressions II ([[Media:MP3.1E.Mut.Expression.20220628.pdf |pdf]])
* Non-terminating Expressions ([[Media:MP3.1F.Mut.Non-terminating.20220616.pdf |pdf]])
&lt;/br&gt;
&lt;/br&gt;

==Lambda Calculus==
* Lambda Calculus - informal description ([[Media:LCal.1A.informal.20220831.pdf |pdf]])
* Lambda Calculus - Formal definition ([[Media:LCal.2A.formal.20221015.pdf |pdf]])
* Expression Reduction ([[Media:LCal.3A.reduction.20220920.pdf |pdf]])
* Normal Forms ([[Media:LCal.4A.Normal.20220903.pdf |pdf]])
* Encoding Datatypes 
:- Church Numerals ([[Media:LCal.5A.Numeral.20230627.pdf |pdf]])
:- Church Booleans ([[Media:LCal.6A.Boolean.20230815.pdf |pdf]])
:- Functions ([[Media:LCal.7A.Function.20231230.pdf |pdf]])
:- Combinators ([[Media:LCal.8A.Combinator.20241202.pdf |pdf]])
:- Recursions ([[Media:LCal.9A.Recursion.20260429.pdf |A]], [[Media:LCal.9B.Recursion.20260330.pdf |B]])
&lt;/br&gt;
&lt;/br&gt;

==Function Oriented Typeclasses== 
=== Functors ===
* Functor Overview ([[Media:Functor.1.A.Overview.20180802.pdf |pdf]])
* Function Functor ([[Media:Functor.2.A.Function.20180804.pdf |pdf]])
* Functor Lifting ([[Media:Functor.2.B.Lifting.20180721.pdf |pdf]])

=== Applicatives ===
* Applicatives Overview ([[Media:Applicative.3.A.Overview.20180606.pdf |pdf]])
* Applicatives Methods ([[Media:Applicative.3.B.Method.20180519.pdf |pdf]])
* Function Applicative ([[Media:Applicative.3.A.Function.20180804.pdf |pdf]])
* Applicatives Sequencing ([[Media:Applicative.3.C.Sequencing.20180606.pdf |pdf]])

=== Monads I : Background ===
* Side Effects ([[Media:Monad.P1.1A.SideEffect.20190316.pdf |pdf]])
* Monad Overview ([[Media:Monad.P1.2A.Overview.20190308.pdf |pdf]])
* Monadic Operations ([[Media:Monad.P1.3A.Operations.20190308.pdf |pdf]])
* Maybe Monad ([[Media:Monad.P1.4A.Maybe.201900606.pdf |pdf]])
* IO Actions ([[Media:Monad.P1.5A.IOAction.20190606.pdf |pdf]])
* Several Monad Types ([[Media:Monad.P1.6A.Types.20191016.pdf |pdf]])

=== Monads II : State Transformer Monads ===
* State Transformer 
: - State Transformer Basics ([[Media:MP2.1A.STrans.Basic.20191002.pdf |pdf]])
: - State Transformer Generic Monad ([[Media:MP2.1B.STrans.Generic.20191002.pdf |pdf]])
: - State Transformer Monads ([[Media:MP2.1C.STrans.Monad.20191022.pdf |pdf]])

* State Monad 
: - State Monad Basics ([[Media:MP2.2A.State.Basic.20190706.pdf |pdf]])
: - State Monad Methods ([[Media:MP2.2B.State.Method.20190706.pdf |pdf]]) 
: - State Monad Examples ([[Media:MP2.2C.State.Example.20190706.pdf |pdf]])

=== Monads III : Mutable State Monads ===
* Mutability Background 
: - Inhabitedness ([[Media:MP3.1F.Mut.Inhabited.20220319.pdf |pdf]])
: - Existential Types ([[Media:MP3.1E.Mut.Existential.20220128.pdf |pdf]])
: - forall Keyword ([[Media:MP3.1E.Mut.forall.20210316.pdf |pdf]])
: - Mutability and Strictness ([[Media:MP3.1C.Mut.Strictness.20200613.pdf |pdf]])
: - Strict and Lazy Packages ([[Media:MP3.1D.Mut.Package.20200620.pdf |pdf]])

* Mutable Objects
: - Mutable Variables ([[Media:MP3.1B.Mut.Variable.20200224.pdf |pdf]])
: - Mutable Data Structures  ([[Media:MP3.1D.Mut.DataStruct.20191226.pdf |pdf]])

* IO Monad 
: - IO Monad Basics ([[Media:MP3.2A.IO.Basic.20191019.pdf |pdf]])
: - IO Monad Methods ([[Media:MP3.2B.IO.Method.20191022.pdf |pdf]])  
: - IORef Mutable Variable ([[Media:MP3.2C.IO.IORef.20191019.pdf |pdf]])  

* ST Monad 
: - ST Monad Basics ([[Media:MP3.3A.ST.Basic.20191031.pdf |pdf]])
: - ST Monad Methods ([[Media:MP3.3B.ST.Method.20191023.pdf |pdf]])
: - STRef Mutable Variable ([[Media:MP3.3C.ST.STRef.20191023.pdf |pdf]])

=== Monads IV : Reader and Writer Monads ===
* Function Monad ([[Media:Monad.10.A.Function.20180806.pdf |pdf]])
* Monad Transformer ([[Media:Monad.3.I.Transformer.20180727.pdf |pdf]])
* MonadState Class
:: - State &amp; StateT Monads ([[Media:Monad.9.A.MonadState.Monad.20180920.pdf |pdf]])
:: - MonadReader Class ([[Media:Monad.9.B.MonadState.Class.20180920.pdf |pdf]])
* MonadReader Class
:: - Reader &amp; ReaderT Monads ([[Media:Monad.11.A.Reader.20180821.pdf |pdf]])
:: - MonadReader Class ([[Media:Monad.12.A.MonadReader.20180821.pdf |pdf]])
* Control Monad ([[Media:Monad.9.A.Control.20180908.pdf |pdf]])

=== Monoid ===
* Monoids ([[Media:Monoid.4.A.20180508.pdf |pdf]])

=== Arrow ===
* Arrows ([[Media:Arrow.1.A.20190504.pdf |pdf]])
&lt;/br&gt;

==Polymorphism==
* Polymorphism Overview ([[Media:Poly.1.A.20180220.pdf |pdf]])
&lt;/br&gt;

==Concurrent Haskell ==
&lt;/br&gt;


go to [ [[Electrical_%26_Computer_Engineering_Studies]] ]

==External links==
* [http://learnyouahaskell.com/introduction Learn you Haskell]
* [http://book.realworldhaskell.org/read/ Real World Haskell]
* [http://www.scs.stanford.edu/14sp-cs240h/slides/ Standford Class Material]


[[Category:Haskell|programming in plain view]]</text>
      <sha1>azj7hxzeqistdzhq4hqbcengxc50vlq</sha1>
    </revision>
    <revision>
      <id>2807209</id>
      <parentid>2807207</parentid>
      <timestamp>2026-05-01T09:48:27Z</timestamp>
      <contributor>
        <username>Young1lim</username>
        <id>21186</id>
      </contributor>
      <comment>/* Lambda Calculus */</comment>
      <origin>2807209</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="6273" sha1="9ystbq4oygjznltr93bp6k25o9763uf" xml:space="preserve">
==Introduction==
* Overview I ([[Media:HSKL.Overview.1.A.20160806.pdf |pdf]])
* Overview II ([[Media:HSKL.Overview.2.A.20160926.pdf |pdf]])
* Overview III ([[Media:HSKL.Overview.3.A.20161011.pdf |pdf]])
* Overview IV ([[Media:HSKL.Overview.4.A.20161104.pdf |pdf]])
* Overview V ([[Media:HSKL.Overview.5.A.20161108.pdf |pdf]])
&lt;/br&gt;

==Applications==
* Sudoku Background ([[Media:Sudoku.Background.0.A.20161108.pdf |pdf]])
* Bird's Implementation 
:- Specification ([[Media:Sudoku.1Bird.1.A.Spec.20170425.pdf |pdf]])
:- Rules ([[Media:Sudoku.1Bird.2.A.Rule.20170201.pdf |pdf]])
:- Pruning ([[Media:Sudoku.1Bird.3.A.Pruning.20170211.pdf |pdf]])
:- Expanding ([[Media:Sudoku.1Bird.4.A.Expand.20170506.pdf |pdf]])

&lt;/br&gt;

==Using GHCi==
* Getting started ([[Media:GHCi.Start.1.A.20170605.pdf |pdf]])
&lt;/br&gt;

==Using Libraries==
* Library ([[Media:Library.1.A.20170605.pdf |pdf]])
&lt;/br&gt;
&lt;/br&gt;


==Types==
* Constructors ([[Media:Background.1.A.Constructor.20180904.pdf |pdf]])
* TypeClasses ([[Media:Background.1.B.TypeClass.20180904.pdf |pdf]])
* Types ([[Media:MP3.1A.Mut.Type.20200721.pdf |pdf]])
* Primitive Types ([[Media:MP3.1B.Mut.PrimType.20200611.pdf |pdf]])
* Polymorphic Types ([[Media:MP3.1C.Mut.Polymorphic.20201212.pdf |pdf]])

==Functions==
* Functions ([[Media:Background.1.C.Function.20180712.pdf |pdf]])
* Operators ([[Media:Background.1.E.Operator.20180707.pdf |pdf]])
* Continuation Passing Style ([[Media:MP3.1D.Mut.Continuation.20220110.pdf |pdf]])

==Expressions==
* Expressions I ([[Media:Background.1.D.Expression.20180707.pdf |pdf]])
* Expressions II ([[Media:MP3.1E.Mut.Expression.20220628.pdf |pdf]])
* Non-terminating Expressions ([[Media:MP3.1F.Mut.Non-terminating.20220616.pdf |pdf]])
&lt;/br&gt;
&lt;/br&gt;

==Lambda Calculus==
* Lambda Calculus - informal description ([[Media:LCal.1A.informal.20220831.pdf |pdf]])
* Lambda Calculus - Formal definition ([[Media:LCal.2A.formal.20221015.pdf |pdf]])
* Expression Reduction ([[Media:LCal.3A.reduction.20220920.pdf |pdf]])
* Normal Forms ([[Media:LCal.4A.Normal.20220903.pdf |pdf]])
* Encoding Datatypes 
:- Church Numerals ([[Media:LCal.5A.Numeral.20230627.pdf |pdf]])
:- Church Booleans ([[Media:LCal.6A.Boolean.20230815.pdf |pdf]])
:- Functions ([[Media:LCal.7A.Function.20231230.pdf |pdf]])
:- Combinators ([[Media:LCal.8A.Combinator.20241202.pdf |pdf]])
:- Recursions ([[Media:LCal.9A.Recursion.20260430.pdf |A]], [[Media:LCal.9B.Recursion.20260330.pdf |B]])
&lt;/br&gt;
&lt;/br&gt;

==Function Oriented Typeclasses== 
=== Functors ===
* Functor Overview ([[Media:Functor.1.A.Overview.20180802.pdf |pdf]])
* Function Functor ([[Media:Functor.2.A.Function.20180804.pdf |pdf]])
* Functor Lifting ([[Media:Functor.2.B.Lifting.20180721.pdf |pdf]])

=== Applicatives ===
* Applicatives Overview ([[Media:Applicative.3.A.Overview.20180606.pdf |pdf]])
* Applicatives Methods ([[Media:Applicative.3.B.Method.20180519.pdf |pdf]])
* Function Applicative ([[Media:Applicative.3.A.Function.20180804.pdf |pdf]])
* Applicatives Sequencing ([[Media:Applicative.3.C.Sequencing.20180606.pdf |pdf]])

=== Monads I : Background ===
* Side Effects ([[Media:Monad.P1.1A.SideEffect.20190316.pdf |pdf]])
* Monad Overview ([[Media:Monad.P1.2A.Overview.20190308.pdf |pdf]])
* Monadic Operations ([[Media:Monad.P1.3A.Operations.20190308.pdf |pdf]])
* Maybe Monad ([[Media:Monad.P1.4A.Maybe.201900606.pdf |pdf]])
* IO Actions ([[Media:Monad.P1.5A.IOAction.20190606.pdf |pdf]])
* Several Monad Types ([[Media:Monad.P1.6A.Types.20191016.pdf |pdf]])

=== Monads II : State Transformer Monads ===
* State Transformer 
: - State Transformer Basics ([[Media:MP2.1A.STrans.Basic.20191002.pdf |pdf]])
: - State Transformer Generic Monad ([[Media:MP2.1B.STrans.Generic.20191002.pdf |pdf]])
: - State Transformer Monads ([[Media:MP2.1C.STrans.Monad.20191022.pdf |pdf]])

* State Monad 
: - State Monad Basics ([[Media:MP2.2A.State.Basic.20190706.pdf |pdf]])
: - State Monad Methods ([[Media:MP2.2B.State.Method.20190706.pdf |pdf]]) 
: - State Monad Examples ([[Media:MP2.2C.State.Example.20190706.pdf |pdf]])

=== Monads III : Mutable State Monads ===
* Mutability Background 
: - Inhabitedness ([[Media:MP3.1F.Mut.Inhabited.20220319.pdf |pdf]])
: - Existential Types ([[Media:MP3.1E.Mut.Existential.20220128.pdf |pdf]])
: - forall Keyword ([[Media:MP3.1E.Mut.forall.20210316.pdf |pdf]])
: - Mutability and Strictness ([[Media:MP3.1C.Mut.Strictness.20200613.pdf |pdf]])
: - Strict and Lazy Packages ([[Media:MP3.1D.Mut.Package.20200620.pdf |pdf]])

* Mutable Objects
: - Mutable Variables ([[Media:MP3.1B.Mut.Variable.20200224.pdf |pdf]])
: - Mutable Data Structures  ([[Media:MP3.1D.Mut.DataStruct.20191226.pdf |pdf]])

* IO Monad 
: - IO Monad Basics ([[Media:MP3.2A.IO.Basic.20191019.pdf |pdf]])
: - IO Monad Methods ([[Media:MP3.2B.IO.Method.20191022.pdf |pdf]])  
: - IORef Mutable Variable ([[Media:MP3.2C.IO.IORef.20191019.pdf |pdf]])  

* ST Monad 
: - ST Monad Basics ([[Media:MP3.3A.ST.Basic.20191031.pdf |pdf]])
: - ST Monad Methods ([[Media:MP3.3B.ST.Method.20191023.pdf |pdf]])
: - STRef Mutable Variable ([[Media:MP3.3C.ST.STRef.20191023.pdf |pdf]])

=== Monads IV : Reader and Writer Monads ===
* Function Monad ([[Media:Monad.10.A.Function.20180806.pdf |pdf]])
* Monad Transformer ([[Media:Monad.3.I.Transformer.20180727.pdf |pdf]])
* MonadState Class
:: - State &amp; StateT Monads ([[Media:Monad.9.A.MonadState.Monad.20180920.pdf |pdf]])
:: - MonadReader Class ([[Media:Monad.9.B.MonadState.Class.20180920.pdf |pdf]])
* MonadReader Class
:: - Reader &amp; ReaderT Monads ([[Media:Monad.11.A.Reader.20180821.pdf |pdf]])
:: - MonadReader Class ([[Media:Monad.12.A.MonadReader.20180821.pdf |pdf]])
* Control Monad ([[Media:Monad.9.A.Control.20180908.pdf |pdf]])

=== Monoid ===
* Monoids ([[Media:Monoid.4.A.20180508.pdf |pdf]])

=== Arrow ===
* Arrows ([[Media:Arrow.1.A.20190504.pdf |pdf]])
&lt;/br&gt;

==Polymorphism==
* Polymorphism Overview ([[Media:Poly.1.A.20180220.pdf |pdf]])
&lt;/br&gt;

==Concurrent Haskell ==
&lt;/br&gt;


go to [ [[Electrical_%26_Computer_Engineering_Studies]] ]

==External links==
* [http://learnyouahaskell.com/introduction Learn you Haskell]
* [http://book.realworldhaskell.org/read/ Real World Haskell]
* [http://www.scs.stanford.edu/14sp-cs240h/slides/ Standford Class Material]


[[Category:Haskell|programming in plain view]]</text>
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  <page>
    <title>User:Jason M. C., Han</title>
    <ns>2</ns>
    <id>210088</id>
    <revision>
      <id>2807115</id>
      <parentid>2783275</parentid>
      <timestamp>2026-04-30T14:39:04Z</timestamp>
      <contributor>
        <username>Jason M. C., Han</username>
        <id>2696291</id>
      </contributor>
      <comment>/* As a Postmodernist-trinity learner */ Added academic level</comment>
      <origin>2807115</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="283394" sha1="aaijp5nt8v1uaq9eapoyv9l8mt04q92" xml:space="preserve">[[File:Jason M. C., Han.jpg|thumbnail]]
[[File:Our baby Munson is coming across the new year 2026.jpg|thumb|Jason &amp; Cynthia's Baby (Jixun Han and Yang Gao) - Munson is coming across his new year 2026!]]
On the date 9th of July, Jason M. C., Han (Academic name, Chinese name is Jixun, Han)and Cynthia's new baby was born. Now, he is coming across his first new year's day of 2026.He is the new hope of this Chinese academic family.
'''Voices in Song having been trained companying with piano keyboard since childhood (keeping all technique possibilities of every times in growth)'''
[[File:Always on my heart (An English-language song, sung by myself adapted into men's voices).wav|thumb|This song &lt;Always on my heart&gt;  is one English-language song made by Chinese person originally for ladies. However, I changed it into men's voices covering all parts in my growing times which I can do. Thanks for listening to my voices![[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:16, 31 December 2024 (UTC)]] 
[[File:Jason M. C., Han and his 3 persons' family.jpg|thumb|Piano &amp; Musical Jason M. C., Han and his 3 persons' family, after new baby was born. Still, they fell in love of piano &amp; music, and feel like to teach and learn piano &amp; music generation after generation. ]]


Dear Wiki-friends: 

In the Postmodern era, academy will have returned back (regressed) to the Life with the humanity
for nourishing itself and continuously contributing to the sustainability of our globalized worlds, 
on its multiple-dimensions levels. 
I believed in this developing tendency occurring in our future.

[[File:Wedding Ceremony.jpeg|thumb|Post-modernist Piano Teacher Jason M. C.,Han comes to the next life stage luckily marrying a pretty girl named Cynthia Gao who is a kind-hearted and soft-tender lady in Dalian, China.They falled in love with each other very much. On the date of wedding ceremony - June 4th of 2022, a Piano pupil named Meng Meng played the Wedding Ceremony March and another student named Xuan played The Wedding Ceremony in the Dream for us, as the accompanyment of music background. That's the participate-observation of angels for wedding. Thanks. Let us give our best wishes of a new life and the recovery of our world 2023！
It's the picture of wedding gown for witness. ～～～～]]

== As a Postmodernist-trinity learner == 

who have been post-graduating on Master's from Newcastle University - one global citizens' university 
'''(Introduction: https://en.wikipedia.org/wiki/Newcastle_University)''' 
and binary living &amp; travelling in my mixed Postmodernist 'channel' 
{It is a symbolized philosophical root (as a flexible portfolio with each part integrated tightly) summarizing the properties from Postmodernist City-theory (City-Machines), the Holy Trinity Spirituality with forgiveness in Post-theology and the Materialized Universal Laws discovered by Post-Marxism} 
between my home town Dalian
 '''(https://en.wikipedia.org/wiki/Dalian)'''
and another beautiful postmodern city - Newcastle 
'''(https://en.wikipedia.org/wiki/Newcastle_upon_Tyne)''',
I am working for the freedom and the equality of knowledge with innovation 
shared by all the universal citizens in every corner of our earth. 
This point has meet Wiki Group's fundamental purpose of development. 
Therefore, I have chosen here to test my own knowledge and discuss educational topics with others through special 'channels' implicitly or explicitly, 
collect and create new knowledge for our next generations, 
and company with peers to produce the effectiveness of the learning and teaching.

== As a Postgraduate-ed piano teacher == 
[[File:Piano Lecture of Dalian Library (Music) delivered by Jason (Jixun) on October 13th, 2024.jpg|thumb|Piano Lecture of Dalian Library (Music) Delivered by Jason (Jixun), Han and His Piano Pupils Team Associated by Family members and Library workers]]
[[File:Music-Moving Dalian Piano Active Joined by Jason M. C., Han (playing).jpg|thumb|Music-Moving Dalian Piano Activity (charity) was Joined by Wikiversity Jason M. C. （Jixun), Han (playing) at the subway station of Zhongshan Square, who  is a member of Dalian Piano-Expertized Association, which was pictured by his wife - Cynthia, Gao. Subway Charity of Piano Donation &amp; Activity is a good way for piano pupils' Growth and public piano-eduction, especially in China. Let us support it, thanks!]]

[[File:Crossing Year 2019-2020 Classical Piano Concert.jpeg|thumb| The Self-situation holding Crossing Year 2019-2020 Classical Piano Concert in local library]]
[[File:The beautiful views of Scotti-highlands (Teaching demonstration - video; Jason, Han).webm|thumb| The teaching demonstration of one important melody in Crossing Year 2019－2020 Classical Piano Concert in local library- 'The beautiful views of Scotti-highlands' (Video)]]
Teaching musical knowledge and diverse musical techniques and schools for children and young teenagers, especially being good at studying, learning, researching and teaching impressionist music, such as Sir Claude Debussy's:
Wikipedia introduction of Sir Claude Debussy: https://en.wikipedia.org/wiki/Claude_Debussy#Late_works
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism_in_music

He thought impressionism in music should have already been transformed to be Post-impressionism as some scholars had also believed.
Wikipedia introduction of Post-impressionism: https://en.wikipedia.org/wiki/Post-Impressionism

But this judgement, if being heard standing more loudly, still needs to be tested in musical life and practices by Time.
He thought: if impressionism in music would be developed much vividly and expressively with more musicianship, it should make the post-regression and post-communications back to its root, as 'postmodernism in painting' across subjects and across sensory organs. How the techniques and skills of both can be compared with and shifted by - from the directly visualized senses to some meaningful auditory ones, and how masters in this field would use their musical techniques and notation-knowledge to explicitly express life-impressions in minds. Supported by new technologies and cognitive sciences, there are plenty tasks which need us to take. 
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism
Therefore, hoping more and more enthusiasts of music can learn, research and learn this school from France, from Europe and from some fork-expressions all around the worlds.

Let us leave a developing zone, here ...[Sir Chopin's musical style may content a big love of his own country, the indoor-limitation of behaviors, the sickness-depression from tuberculosis(desire of health but cannot get),
the un-expressive love to his life-partners, and the gentleman thinking-wandering supported by brilliant fingering skills… It's a complex from young...[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:59, 13 August 2021 (UTC) []
But, here and now, please try to relax yourselves - enjoying life impressions (with music's helps).

Experiments of Self-built Learning Resource Portal for guiding the training of impressionist piano techniques:

'''Neo up-picking of '''old memory''': The impressions of Sir Chopin's advanced techniques-training, accompanying with my pasted young-teenager life'''

[[File:Chopin in memory classroom good.ogg|thumb|Chopin in memory classroom - good edition after many attempts]]
('''Self-reflexivity and Comments collected and referenced from the original Wikimedia Comments' file - [https://commons.wikimedia.org/wiki/File:Chopin_in_memory_classroom_good.ogg]''': 
English: It's said: in each heart of every pianist, piano educator, piano teacher, piano dreamer, learner, and enthusiast, there should be a place for Chopin and a melodic theme wandering, dancing and rotating deeply in mind, which is twining around roof of house making you ignore the tastes of cuisines three days without attention (referenced from Confucius' dialogue when encountering amazing music) . 
It should summarize dreams after excellent techniques, unrestrained fashion, gentle expression, noble personality and patriotic heroism, especially standardized for a piano-boy's societal development. 
Oh, Jason, maybe currently, it is a little bit far from your (my) life and age, but you (I) still keep one own piece companying with you (me) for tens more years, which involves lots of fragments of educational experiences, free shares with peers, private or public performances and happy memories, etc. Then, I put it into my philosophy, with a deep impressionism of Chopin growing, blooming, and never-aging in the spirituality and musicality world. (Indeed, Chopin's techniques are far from impressionism and turning to another approach - &quot;Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.&quot;, and One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity - as his writing in Projet de méthode. But, while you are (I am) taking postmodernist impressions to see them accompanying with your tens more years' life participant-observations - oh, and your rough hands, limited energy and shorten time cannot be compared with yesterdays', they fuzzed to be one deep impression of Chopin in your memories with details unclear but heart true. I don't really know how to put it in my postmodernist educational journal. Is it neo-expressionism or neo-classicalism... but not really - so complicated??? Is it my emotional expression...??? ...but techniques trained used to be advanced, then currently, 'Improvisation stands at the centre of Chopin's creative processes' has almost been released in my classroom performance. Therefore, firstly, by releasing here and waiting further considerations, it's still made from a common named Jason, as the respect and remembrance of Sir Chopin and his post-memories in past .) Deeply in my mind, it's not great as Revolutionary, some flowery mazurkas, and Great Waltzes(I also enjoy listening to and exercising them very much), but a small piece learnt from my teacher and my mother and performing for my peers and family members (also requiring advanced techniques in middle tenth-dancing, rhythm-keeping, fioritura-singing, romantics-reasoning) - light, pure, joyful and bright - as a flowing spring. With it, I enjoyed some beautiful life moments, and passed by lots of examinations, and life-tasks, like a happy (used) waterfall. Yes, it is almost named as Trinity-Form
G-flat major Waltz)
Further Wikipedia introductive Reading-list: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]; [https://en.wikipedia.org/wiki/Waltzes_(Chopin)]

===  Post-Piano tutorial progresses from Jason's learners - in honour of Sir Chopin leaving in Prior-memories ===
In the reasonable line of piano family education before and after, I used to be suggested by my tutor and mum: Jason, in the future, you'd better to seek a period felt in some energetic situations, in which you can dedicate yourself in training advanced techniques of your hand in terms of Frédéric François Chopin's Waltzes, especially some from the collection of Grande valse brillante(Wikipedia introduction: [https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin)]). However, it was two dozens more years pasted by that I haven't sought out a right period in which I was full of energy. I thought I should feel the regret.
Thanksgivings! I am a family piano tutor that what my lost 'dreaming stars' I could pick up for my 'kids' in their right stages &amp; progresses, through some educational approaches, such as notation-analysis, background information-introductions,video-observation and fingering &amp; handshape &amp; sound-effect researches... Therefore, prior 'lost' was transforming to be post-benefits, in which the magical powers of education and music were coherently threaded as a whole representing my small happiness of 'inheritance' (Oh, I wasn't dying as Chopin's complaint about doctors' analysis ''Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die '' in December 1839, after his beautiful France Romantics and an England Tour recorded in some works, as what our F major Waltz had recorded. &lt;ref&gt;'George Sand Part' from https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin) &lt;/ref&gt;. That's my lucky. Therefore, here, 'inheritance's' external scope was enlarged to mean 'some beautiful techniques was sustainably passed by, carefully stored and neo-developed in my learner's mind and fingers supported by educational power.) Oh, it was a lovely girl young teenager (around 13rd year old), about whose educational stories, I had a prior talk in my languages, my post-reports of Sir Debussy's classrooms in Children's Corner. Here, you might feel time was a little bit disorder - 'before or after', but from multiple-channels, they were threaded in a pearl chain of subjective initiative where they should have been in. There, prior lost would be re-picked up and recovered in Post-time; though a little bit idealist, kids' dreams could be warmly post-embraced and post-raised up, no matter too small - we will have wished them: 'never fall... never'.
Though still some 'fails' and LIVE recording facilities in tutorial room weren't quite good, let us try to appreciate her edition and think of how many endeavors in terms of each technique-point were behind it:
[[File:MM Good classroom F major 1838 Grande valse brillante.ogg|thumb|Waltzes, Op. 34  No. 3 (Chopin) in Grande valse brillante in F major, player: Xuemeng, Hu (kid's name in children's cornder: Meng Meng). Comments, please refer to the original file in Wikimedia Commons]]

=== Portals for Postmodernist Research Preparations  ===
'''Piano Etudes as poems -'''
* [[Portal: Piano Etudes as Poems | Piano Etudes as Poems]]
'''Spanish music with impressionist elements -'''
* [[Portal:Maloguena dream|Maloguena dream]]
'''Impressionism in China -'''
* [[Portal: Impressionist Visualizations (for musical imaginations) and some Sound files | Impressionist Visualizations (for musical imaginations) and some Sound files]]
'''Sonatinas from Kids' corner near heaven -'''
* [[Portal: Sonatinas from Kids' corner near heaven | Sonatinas from Kids' corner near heaven]]
'''Green Sleeves (Impressionist Visualization) -'''
* [[Portal: Green Sleeves (Impressionist Visualization) | Green Sleeves (Impressionist Visualization)]]
'''Blues &amp; Jazz learnt for fun and a fast brain -'''
* [[Portal: Blues &amp; Jazz learnt for fun and a fast brain | Blues &amp; Jazz learnt for fun and a fast brain]]
'''Mozart's Genius Techniques in Kids' Eyes -'''
* [[Portal: Mozart's Genius Techniques in Kids' Eye | Mozart's Genius Techniques in Kids' Eyes]]
'''Special interest - Musicality from Chinese Literature and translations'''
* [[Portal:Chinese literature |Chinese literature]]
'''Oceanic Musicality from Outdoor-Sport - Winter Swimming prepared from Daily Long-distant Swimming'''
* [[Portal:Winter Swimming prepared from Daily Long-distant Swimming |Winter Swimming prepared from Daily Long-distant Swimming]]
'''Piano-kids' Corner from classroom and virtually online'''
* [[Portal:Piano-kids' Corner from classroom and virtually online |Piano-kids' Corner from classroom and virtually online]]
'''Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training'''
* [[Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training|Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training]]
'''Vienna School's Aesthetics - Photography for Musicality Cultivation (Piano Exercises)'''
* [[Portal: Aesthetics from Vienna School (Musicality) | Aesthetics from Vienna School (Musicality)]]

=== Wiki-Documentary collection and Practical exploration of piano techniques in Impressionism on the level of Globalization ===

==== Ideology and Critical thinking from Jason's  Wikiversity-perspective ====

===== Root - Ontology and epistemology =====  
World began from the streaming tendencies as its chaos background, then many twinkling-switching impression-points open their realized-or-not eyes to see out some mainly logical themes (procedures and faithes) upon the atmosphere background. That's the impressionism of universal. Now, we came here and time...
Under the World-Era background of postmodernism, for the purpose of entirely recovering the Impressionism techniques of piano, we need to dig a channel with binary materialist supports from both Internet+ collections and daily Educational accumulations. Yes, we can imaginatively stand on words and phrases online or on paper as virtual materials, then collect them; and, we can also vividly consider educational impressions from piano-practices as spiritual materials, then pickup. Afterwards, mixing and integrating those all through engineering-analysis approaches dialectically, we will began to wander throughout more landscapes and watch more beauties internally this channel, for dreaming after pure musicality and reasonability. Furthermore, this channel, supported by some advanced techniques, will be twinkling the brighten 'stars', outside the 'winders' set upon the waving tides of colourful background, ornamentally but also thematically. Then, imagery purity upon 'Holly snow land' would be jerry-liked, gravitationally, self-reflexively - either  mechanics or even anti-mechanics - constructed out and solidified in, which is deeply carved in Debussy ''Doctors'' eyes but also from globalized Children's Corners (Creative places) around all the worlds. Indeed, about impressions, in my view-horizon, peoples in globalization have already made multiple fragmental fork-explorations, through diverse fork instruments and expressive approaches. Therefore, there would be a paragraph collecting what we can know as some folk treasures. Yes, Impressions, somehow, can be fragmentally distributed from consciousness to unconsciousness of races-diversity especially in Collective Unconsciousness (About this term, depending on Time and Energy's limitation, I found a piece of Wikipedia-introduction, about which we can make a Reading List and collect further pieces of informationhttps://en.wikipedia.org/wiki/Collective_unconscious). But, in my (DWL)Dream's Wandering Legend world, we needed to remember the first leader who has systematically summarized them as a school which has been influencing the field - Music, should be the France in Europe.  This paragraph, collected from Wikipedia - Impressionism (art movement) below, can give a proof of what I have mentioned above: 
'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.' &lt;ref&gt;&lt;div class=&quot;references-small&quot;&gt;Wikipedia (2016) Wiki-entry 'Impressionism' Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Impressionism. Accessed: 4th, December, 2016&lt;/div&gt;&lt;/ref&gt; 
In other aspect, from my practical learning, operations, teaching and participant-observations, Impressionism in piano techniques is dialectically contradictive field, even its contradiction in existing itself is also a contradiction, with some internal or inter-schools' debates. On one side, you need to take care about detailed techniques-carving upon materialized life-walls of Times-spaces-crossed channels you are in; on the other side, generalizing those all, you also need to outline a fantastically existing and dramatically varying universe with supports from spiritual impressions bridging multiple channels from others.

==== Recordings of various Methodological explorations  ====

===== &lt;big&gt;Post-prelude&lt;/big&gt;  =====
You knew, Epistemology, in clearly understanding Ontology of musical impressionism in postmodernist channel, isn't a one-time and easy-going procedure. You will have to give out your proposals, and test them from daily practices and documentary reviews. Sometimes, you find it could have made no function, and had to restart a new approach; and sometimes, you would take a new state by summarizing all the impressions of the past together; and sometimes, you might never want to return back again. Then, in Marxist theory, it would be compared with a spring with its channel rotating upwards, and you are going alongside it. Sometimes, you will have found you almost returned back to the original point. Don't be fear, my friends, indeed depending on your accumulations in the past, you have already been in the upstairs of your Epistemology, causing your contributions of your commons' knowledge and your practices in daily life can be compared with solidified material blocks having already been constructed into historical building and left for all, will give the foundations for your actions and will never be forgotten by historical reasonability ('Universal Lord' - personally thought: it should also possibly be recognized by Hegel' 'Spirit'). 
(More professional materials and about how this recognition can be gotten out, we can review Wikipedia introductions for further learning - Key words: 'Marxist philosophy', 'Marxism' (Epistemology) and 'Post-Marxism')   
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Marxism', 'Marxist philosophy', 'Post-Marxism' Searched from ''Wikipedia'' ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Marxist_philosophy; https://en.wikipedia.org/wiki/Post-Marxism; https://en.wikipedia.org/wiki/Marxism. Accessed: 23rd, December, 2016 &lt;/ref&gt;  
Therefore, in these explorations, various different methodological approaches have been applied, or summarized applied growing from root, and with some digital materials, formations-shaping ways, words-modifying ways and thinking ways critically created or collected from Wiki-family.

===== ''' Educational prelude of Post- English Suites subcategorized under &amp; as Post-prelude ''' =====

God didn't give me the giftedness of composition, but to creatively learn, to reasonably teach and to improvably perform. What my approach was still basic binary post-Marxist practices with critical thinking in and from classroom. I thought I needed to add one prelude in this channel, as a complex in remembrance of a life style I used to own in the past, but for future. It was called 'Post-prelude', caused by the reason: in my life process, it has already gotten 'post-', then to be made into considerations, as things' changing fast towards a time-hooking. It isn't a perfect edition, but in my own hands. I thought, I should have the confidence: alongside time's on-going, one day a well-performed piece will be produced out, beautifully re-appearing colourful imageries in my dream. Therefore, it was also an opening case with developing zone, towards future.
In this time and space, I would like to report some small findings for education 
(Before this small research, I reviewed some pieces of information from English Suites - https://en.wikipedia.org/wiki/English_Suites_(Bach) and some Chinese Grading-test teaching videos, I found the division of its structure were quite useful in daily teaching and learning practices; but furthermore, we can try to reason it much clearer):
1. This 'six parts' suite indeed wove each two as a holistic logic of the modelled pattern, or sometimes across each signal part’s ‘terminating cross' to another middle peak-turn as one pattern.
(like 0.00 - 1.10 minutes, it can be called a holistic logic (Theme-Development-Counterpoint-Small Break-Cannon &amp; dialogue - Weaving body - Terminating code); like in 1.59 minute, it ran to the peak but immediately turn back to repeat the pattern' variation - a hidden new beginning which is usually ignored. We can make it still as in a whole pattern; and after 3:2 'ornamentations', around 3.10, a rush threaded from left hand's motives to right hand's totally began a code repeating ideas of the beginning theme.) 
Afterwards, this suite will be logically and creatively divided into 3 or 4 paragraphs, which would be better for classroom-practices (with the same pattern). Meanwhile, 'one connecting 2 or more' idea of the real suite would be fulfilled, which better realizes English Culture, not only about music, but living custom. We can review an explanation of 'Suite' from Cambridge online dictionary 'a set of connected rooms, especially in a hotel'; yes, so did dance;
2. Each terminating code would be performed out a small 'rit.' as for middle break (rest), or 'curtain call'. I think, this point is also reflected out culture and customs; 
3. In texture, our keyboard touching techniques need to reflect Baroque Counterpoint's requirements', and clearly identify its relationships and differences with another definition 'polyphony'. 

'''Homework Requirements (Self-explorations):'''

(1) Regarding with this point, we can firstly review its reading lists in Counterpoint and polyphony (Wikipedia introduction: [https://en.wikipedia.org/wiki/Counterpoint] and [https://en.wikipedia.org/wiki/Polyphony]);
(2) Then, Please view 'Two-factors analysis' research approach mentioned in its Talk page ([https://en.wikipedia.org/wiki/Talk:Counterpoint#Suggestion]) and other talks there, for the identification of some related definitions, and existing problems in this field;
(3) Try to collect and structuralize all 'Counterpoint' parts of our English Suites from its manuscript, and try to collect and analyse some textures of its polyphonic sessions (especially some difficult fugue parts);
(4) Try to realize requirements of (3) point on your piano through recording sound files or video files. Please pay more attentions to their rhythm, dynamics(especially the loudness of some independent melodic lines) and musicality (in Neo-expressions, such as sentence breaths and emotional changes)
(Answers will be researched out sometime in the future. Then, we can have a check and further discussions.)
4. Gracefulness would be 'tasted' out from natural inspirations &amp; impressions of Baroque architecture, gotten in some childhood or young teenager dreams of your own life. . &lt;ref&gt;Wikipedia(2017). Wiki-entry '''Baroque architecture'''. Creative Commons Attribution-ShareAlike License. Available in: https://en.wikipedia.org/wiki/Baroque_architecture. Accessed: September 6th, 2017&lt;/ref&gt;,  Here, an example was re-picked up in my memory sea was Sir Bach's 14th 2-parts Invention. Friends, we can try to make some senses: 
[[File:Bach Invention 2P 14th.ogg|thumb|Bach Invention 2P 14th]][[File:Invention 2P 14th Sostenuto.ogg|thumb|Invention 2P 14th (Special sound effects in sostenuto pedal and jade beats)]]
5. Smart and skilful treatments of ornamentation should be applied as from colours of Neo-classicism and Neo-expressionism; 
6. Variations of Dynamics should meet Neo-emotional expressions in dancing movements.

===== &lt;small&gt;Postmodern Impressionist Explorations of Baroque Techniques:&lt;/small&gt; =====

'''Debate 1st - Highlighted 7th point: Baroque staccato fingers-technique in piano, for simulating Harpsichord's sound style '''

Since the time of my childhood learning with my teacher from a skillful piano family, she has taught me:
the treatment of Baroque staccato in piano field needs to be specially trained. It shouldn't be played as jumping too much and too heavy but naturally, gently, half-attachment and with some originally beautiful manners of European noble fashion , especially about grouping semiquavers without slurs set upon. Some composers' works, in that period, were highlighted, including some from Domenico Scarlatti's 555 keyboard sonatas (Wiki-introduction: https://en.wikipedia.org/wiki/Domenico_Scarlatti)and some from Johann Sebastian Bach's inventions, suites and fugues ( https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) etc. Yes, they are what pieces piano players encountered so frequently and left deep impression of Baroque music in memory at the primary time. 
In that time, I didn't quite understand why I needed to train my fingers with this keyboard-touching fashion, but merely following and carefully exercising time after time. 
Alongside my growth, my further learning requirements and my own face-to-face tutorial needs for my children (students) in studio, I began to explore and reason it much clearer. 

'''Inherences from Harpsichord Era:'''

* Through documentary reviews, I found the primary reason rooted not in piano' physics structure, but harpsichord's (Wiki-introduction: https://en.wikipedia.org/wiki/Harpsichord). We knew piano was, in certain degree, developed from Harpsichord. There were three reasons can explain why this piano fingers' technique training imitating Harpsichord's structure-oriented sound-effects would be made this fashion (above): Firstly, as in our wiki-article: 'The vertical motion of the jack is then stopped by the jackrail (also called the upper rail), which is covered with soft felt to muffle the impact' - this point made notes played out from Harpsichord hard to be linked together, as the application of piano's fingering legato by 'walking fingers one-attaching tightly following another's raising; Harpsichord's sound-louder facilities - 'the sound-louder box' surrounded by soundboard, upper belly rail, lower belly rail, tail and bottom are usually smaller than modernist piano's; meanwhile, pedals haven't been summarized and developed so advanced as what piano's. 
* However, accompanying with people's make-up style, dressing fashion, postures of performance in solo community and further count-fashion etc., harpsichord's sound-effect became a symbolized remembrance of some Golden times in past and their personality and temperaments. 
* Piano was developed from harpsichord, and some compositions can be played on both. This sustainability gave piano the ability to imitate harpsichord, simulate its beauties and pick up some manners of techniques representing golden fashions, especially in Baroque and Renaissance keyboard music. The treatment of Baroque staccato is one important technique of them. 
* Compared with harpsichord, piano could be of much sensitivity and flexibility in dealing with keyboard-touching and varying relevant sound-effects. That's the timbre difference, which cannot be overcome by changes from structure. But, special training of hands with manners and customs, seen as literacies, would be better for Neo-expressions and New-classicism; meanwhile, can be seen as nowadays' post-modernist constructive regression for Baroque Channel.

'''''Requirements:''''' 

(1)fingers of hand need to be naturally dropped by wrists one by one; (2) when touching keyboard, fingers need to stand upon and attach each for a very tiny 'later' time (a little bit lazy) - not too fast or yet jumping heavily; then, naturally pick up it through a coherent force (motion) vertically upwards, which is given still by wrists; (3)repeatedly shifting this sequence to the next finger; (4) please be gentle and relax in playing, and highlight some grouped heads of phrases. If there were some grouping ornamentations depending on these staccatos, please be more careful, smartly and softly, but with centralized weights upon bigger staccatos, rather than 'small notes'; (5) It's better to appreciate pictures, architectures, pieces of music and life scenes in Baroque era (Yes, Wikimedia commons can give us some associations); then, bring these imaginations into your mind alongside your performances' processing, naturally, gently and finely.)

'''''Practical sound effects:'''''

Regarding with the application of those memories, discussions and requirements of Baroque Staccato above into our Pre-prelude - English Suites, its possible research-effects in sounds, and especially the dance personality in Suites suggested from Gigue(British jig) (Wikipedia introduction: https://en.wikipedia.org/wiki/Gigue), we can get some enlightenments by exploring 8th 2-parts invention in Bach's preparation-works. I have taken a sample for demonstration (it could be bettered in future). 
[[File:G Major - 10th 2-parts Invention, Bach.ogg|thumb|This Invention (No. 10) - G Major 2-parts, happily dancing and existing from my memory of childhood, has woven out my primary love of Baroque custom. Though it applied total Baroque Staccato and long-sentence ornamentations to express a joyful fashion of Baroque Dance (British jig) - Gigue in piano instrumentation, you couldn't feel quite boring and tired, but be willing to move on and on, round and round, until the end of a Golden Era. Alongside your behaviours, holly lights were reasonably shining around the area your dancing steps traced out where an imagination Baroque Suite room of yourself appeared (even only for you single). It was quite right that the decorations of this Baroque Suite room were following principles and patterns of Baroque Era - Canon, Counterpoint, Polyphony, Woven body, dance rhyme and ornamentation...; but still, it left some great developing zones for your own 'inventions'. You see, long-sentence ornamentations can be waving tide by tide; and your body languages can also be designed out a life style of people living there while you were dancing your fingers upon keyboard... Though compared with the natural gracefulness in Invention 14th, 10th was a little bit weak in the praying of immortal spirituality ; it gave a festival celebration of true joyfulness' back-returning and your down-calming mood to hold them in mortal complexes - such as companying your family all day, and tasting an afternoon tea with them in the fall suggested from Grandma's Bible classroom, or something else... But, dear kids and young teenagers, you knew, Baroque staccato - your natural &amp; relaxing wrists, fast-dancing fingering but still with very good &amp; controllable manners, pearls-liked staccato note-quality, sentences' breaths and those highlighted rhyme-heads still need many years' training and your dedicated enthusiasm. You can put it in your piano courses and try to better it, alongside your growth.]]

'''''In addition:'''''

Some students asked me &lt;big&gt;'''the relationship between Baroque architecture and Baroque dance, and how they were reflected out from piano instrumentation in music'''&lt;/big&gt;: oh, it was a hard question that: (Firstly, we can make a first impression of the complication of Baroque architecture (textures) in music through this piece- it`s only a standard texture with 3 parts in Invention, but so layered-out, foundationally-made, musical heads-leading and well-structured in system: [[File:3 Parts Invention 8th- from Sir Bach.ogg|thumb|3 Parts Invention 8th- from Sir Bach]])We would reason out that - a group of people got a fashion of one era (ideas) from their souls that they have the willing to express. They might choose some easiest ways and nearest ways - representing their own ideas through the movements of their bodies - such as singing out from mouth, or dancing out by body languages... We can call them 'first-stage - the self-mirroring of landing reasonability'. (how those ideas can be landed in minds is another story that someday we can discuss) Then, after the atmosphere of fashion by one group or multiple-groups were built up, they would separate the self-mirrored and self-expressed aesthetics-sense from their own operations - they own bodies, and re-projecting those to their performances in reality - such as logically recorded in notation for instruments, or engineering in architectural designs &amp; patterns. Afterwards, human beings' 'aesthetics-self' were separated into two: one were flowing or solidified 'outside', maintained and dying by time; and the other - they own 'self' can be liberated out and repeatedly appreciate &amp; modify &amp; create 'outside' beauties with new curiosities and some renewable minds, which can be passed by generations after generations.

===== Editing - '''Debate 2nd - Highlighted 8th point: Exploring Baroque fingers-techniques of Ornamentation in piano - An introduction of Internal-systematic researching approach ''' =====

'''Background-Knowledge Introduction:'''

In the discussion of Ornamentation treatment, there were many debates, about which main stances were originally centralized into the waving direction from its first note and its rhythmic ranges of other notes. Regarding with its treatments, Baroque traditions VS. Scenery self-expressions of composer gave two opposite sides with some moderate approaches ranging upon its 'scaling variable'. In my philosophy (methodological part), I cannot make a direct and absolute cut for confirming something is right and many others are... indeed, there were really no black-white answer. Somehow, this treatment can be seen as players' personal literacies according to their music educational background - yes, their preferences.  But, in some scenes or to certain reasonability, we can analyse one treatment's possibilities in system and try to make some senses of its aesthetics appreciation.  
Firstly, in order to make senses of ornamentation (trill.)'s different versions, let us set our English Suite aside, and listen to two different versions from Fugue's voice (one of the most complicated contrapuntal forms ): 
The first version of d minor fugue (please see below) is a very nice and sound-effected fugue in Sir Bach's &lt;The Well-Tempered Clavier&gt;. In this version,  pianist Kimiko Ishizaka's softened keyboard-touching techniques are enjoyable to my ears and her flexibility of ornamentation (trill. ) performance is also brilliant, reflecting her higher controllability of fingering and forces, in my views. About the ornamentation, like piece (0.05-0,06), we can hear she has applied traditional understanding of Baroque Ornamentation, which sights 17-18 centuries' Baroque composers as a whole group and makes their grouping expression of fashion as a theory deducting  and guiding the treatment in d minor fugue. Then, we found: the signalized trilling G (big note) was played from its above note A and made a wave - AGAGAGAG-A. This expression is an absolute and simplified version simulating harpsichord's sound effect. Many pianists, when dealing with composers' works in that era, usually generalized this version for simplification and popularization.
* Kimiko Ishizaka's Version:
['''(Wikipedia introduction: https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg )''']
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' ''The Well-Tempered Clavier'', 'd minor fugue' '''In''' Session 'Audio of Book I' '''From''' 'Recordings', Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg. Accessed: 2nd, May, 2017&lt;/ref&gt;

There are also many other versions, among which what I has applied is from an educational approach - from my country's national grading test for advanced level. From my analysis and thinking reasoning, in this version, trilling note G's dominant property, as the main note, has been emphasised by a first semiquaver beat of itself. Then, the trill. took the above note as the second note to wave out a twice vibration between A and G. Finally, it took a rotating opposite and returned to the main note. It was heard like: G-AGAG-FG -A. Yes, this pattern is with more flowering pattern, and somehow complicated and difficult to gain. Someone would not feel like to learn. But, from analysis, we can find it filled two gaps between the main note, its rotating below, and its linked next note, which made the transitions much natural, according to palm's growth. Meanwhile, the Main property has been highlighted. Another point is: you can hear the shade of traditional version (Kimiko's Top-downwards) from the second semiquaver beat. 
* Jason's Teaching version:
[[File:D minor Fugue Bach - Expressnist edition.ogg|thumb|In my depth of mental sea (Mainly about the education of piano), a piece of Fugue is lying there. Yep, it's 'd minor Fugue' in Sir Johann Sebastian Bach's 'The Well-Tempered Clavier' (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Though about the performances of its ornamentation, there are many debates in terms of what fashions Bach's preferences were and whether they were only in certain exact scenes which Bach preferred to make some styles to some exact groups. About this topic, 'western side' and 'eastern side' almost have quite differential ideas - someone prefer Era's fashion as being generalized upon all Baroque composers, then applied to some works of Bach (Top-downwards trill.); while, someone prefer the explanation that it can be seen as Bach's individual fashion in some scenes to individual groups. I think: if the resurrection can be made, Sir Bach would also confuse about why he had performed them as so and how he had thought them out... But, the love of playing Bach's has never changed for many centuries among piano boys and girls. I found some music-score dictionary attributed it to players' personal literacies. I thought somehow it was also reasonable...Therefore, in this version, I played it according to a teaching textbook in a national grading - an moderated and coordinating style, but with techniques and strengths what I preferred. In other aspect, if you ask me: 'Hi, naughty Jason, what's your impression of this piece?', I would say: ' Under my educational background, it was like a piece of sorrow mind's self-expression &amp; self-reflexivity - multiple-thinking dimensions have been threaded together in a very complicated (thick and vertical) texture emotionally and beautifully'. Oh, maybe I am a boy wandering in the middle between binary cultures, then, would carrying this feeling... I don't know... But, in psychologist views, after hearing it or playing it deeply, absolutely, they will say: 'Jason, it can be compared with our psychological consult (treatment), in which - firstly, we were leaded into a dialoging theme (B1-B8); then, 'climbing up a mountain' to collect pathway-principles (fragmental indications) among a huge, maze-like and complicated forest of life (with multiple layers and events) (B9-B20); taking much deeper expression of every mood-chain, their composition and totally ranges under a huge emotion-atmosphere (some whispers, then, life complains, deep reasoning &amp; threading, and even loudly cries would happen during this procedure) (B21-B39); Back-returning to original theme, and then, getting the Release of the extra metal power (B40-B44; especially, it contents a final solution to D major block-root which made it bright and got out of life maze). I enjoyed this music trip in education, though still some lacks in techniques were there waiting my further enhancements, such as a forgotten of B29's trill, - sorry, in that Live Space, I felt a little bit tried. But, I wanted to entirely express my experience of it. It's said: Fugue was one of most complicated  contrapuntal forms (Counterpoint) in engineering approach, which needed some very careful trainings of both thinking and hands' techniques. (Wikipedia introductions: https://en.wikipedia.org/wiki/Counterpoint;  https://en.wikipedia.org/wiki/Fugue).  Yes, thanks, Sir Bach... But, in commons' mind, what the most benefit from its appreciation, I thought, should be 'getting a total mind-Release from multiple mood-chains, and enjoying a final peaceful emotion after reasoning our own sufferings during these several years']]
&lt;ref&gt;MingSun, Zhou. Eds (translated; 2007) 'd minor Fugue' '''In''' The Well-Tempered Clavier, The Works-Collection for National Grading Tests. Beijing: The Press for Commons' Fine Art. {{ISBN|9787802400429}}&lt;/ref&gt;
Therefore, as common learners, I think we can follow at least two versions to make our hands-trainings depending on our preferences and background-understandings of sir Bach and that Golden Baroque Era. We can also postmodernist &amp; explicitly express and attribute those emotional chains hidden behind its surface, which Bach's music wanted to tell us. It's another story, about which we can make some discussions through a review of Jason's English self-reflexivity in this Link [https://commons.wikimedia.org/wiki/File:D_minor_Fugue_Bach_-_Expressnist_edition.ogg] from Wikimedia Commons 

'''In-systematic  Analysis for Our English Suites'''
After a very careful mind-identification and detailed introduction of Ornamentation(trill.), we almost got some senses, afterwards, let us get back English Suites and reason out a possibility of its ornamentation (trill.) treatment inside its music manuscript(transcript). Meanwhile, a type of inductive researching approach - In-systematic Analysis (evidences-collections from signal notes-phenomena, theory-forming, practical application into specific situations) could be understood for reasoning, practice and self-style's cultivation.
In brief, most ornamentation (trill.) ways and techniques in this G Minor English Suites (under flat B major system) have already been clarified and signed above ornamentation signals(tr.). Even, in the peak part ' Interaction-F- Ornamentation (B161-B172)' (Please see 'Structuralism-analysis' below ) of Royal Suite B, our Sir Bach has almost designed a total and clear demonstration of his Baroque fashion and idealist thoughts regarding with the ornamentation fashion in his age.
Please see the referenced music manuscript (transcript) Sample 1st (B62-B63) below:
[[File:Sample 1st from English Suites' Ornamentation (trill.).jpg|thumb|Sample 1st from English Suites' Ornamentation (trill.)]]
In order to emphasis his idea, in some reversed Ornamentations (trill.) (down-waving oppositely), he also gave a head-link and some very careful demonstrations, such as Sample 2nd (B22) below:
[[File:Sample 2nd from English Suites' Ornamentation (trill.).jpg|thumb|Sample 2nd from English Suites' Ornamentation (trill.)]]
Notation-following them, we can research out Sir Bach's basic ideas and principles in the Ornamentation (trill.) treatment of this piece:
1. It was made into semiquaver triplet (three divided and averaged notes) per quaver time;
2. In the first quaver time, it should be played a throughout chain from the downstairs note, threading the main note and up-rising to its upstairs note, like the trill. Flat B: it should be A- Flat B -C first;
3. Then, in the next quaver time, it should wave between main note and it's upstairs, like still the trill. Flat B: it should be Flat B - C -Flat B;
4. Following the 3rd point, if trills was continuing, we need to range another triplet wave and thread it to the next, like still the trill. Flat B: it should be C- Flat B -C;
5. But if a downward line was drawn - the Reversed signal (as Sample 1st for B22), we need to make a quadruplet regression (playing 4 divided and averaged demisemiquaver notes) downward and return to the main note, like in Sample 2nd G - it should be A - G - Sharp F - G;
6. If there was accidental Sharp or Flat, or recovery signal set under the middle of Ornamentation (trill.), it was usually made towards the downstairs note, such as Recovered A in Simple 1st and Sharp F in Simple 2nd.

In my opinion, after those principles reasoned and gained in our hands, when a targeted problem occurred, as what Target shown below, we can make a reasoning application of what we could know but Sir Bach didn't notice us:
[[File:Target from English Suites' Ornamentation (trill.).jpg|thumb|Target from English Suites' Ornamentation (trill.)]]
It should be: G - A - Flat B in the first quaver time and A - Flat B - A in the second semiquaver time (yes, we can make a little bit acceleration to show our fingering flexibility). 

I thought after this In-systematic analysis, we somehow could be near Sir Bach's reasonability in music. Why I call this researching way In-systematic analysis: We knew some golden, traditional, brilliant and perfect Baroque edition, such as pianist Martha Goldstein's harpsichord referenced in our Wikipedia article of English Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/English_Suites_(Bach)]). Indeed, I like it very much, especially when hearing the brilliant keyboard-touching techniques and it's traditional Top-Down deductive Ornamentation (trill.) treatment. But how can we make some reasonable possibility by collecting internal evidences, forming a theory, then applying into some unknown problems? May it be Sir Bach would have thought it like this and implicitly hidden behind the tradition... I thought Neo-expressionism and Neo-classicalism would pick up it. 
Here, some experts would criticism me: Naughty boy Jason, what you mentioned are as so, but it didn't realize it into your classroom recording beside; oppositely, you played the third way - Main rising &amp; waving( A- Flat B - A - Flat B; then, tail A - G  G)     
Yes, I am sorry. Firstly, I had tried many times, but my hands-techniques didn't allow me to add another heading upstairs note (Oh, I am thirty year old. Every time thinking of it, I am a little bit sad and would rather get back to my sixteenth - maybe mother would say: Naughty Jason, even getting back that age, you really haven't fulfilled or dare to yourself in piano; That's quite right I am paying for my lost, but I would try more exercises); Secondly, it's about another story of its simplification. About the second point - its simplification, my stance is: Sir Bach almost wanted it a first raise and wave from the main note for reflecting main note's dominate properties in this Ornamentation (trill.). This point is my idea which would be different from tradition and could be criticised and argued. I think In-systematic analysis above is much stronger than this one. All of them are from the love and respect of Sir Bach's engineering world of music and his so brilliant English expression. Thanks! 

 '''&lt;big&gt;Homework and Exercises (Advanced and Research level)&lt;/big&gt;''' 

* '''&lt;big&gt;Requirements and instructions: (Please see the fourth photograph set besides)&lt;/big&gt;'''
[[File:ES Homework and exercises.jpg|thumb|
Requirements and instructions:
1. Please ignore some bad looks of my characteristics-writing and just focus on the manuscript (sorry, my paper-writing of characteristics and letters were really ugly, in my view. I attributed it to my lazy attitude. Oh, my mother usually told me: Jason, you need to write in good shapes, when facing your peers and students. But, I usually find an excuse: sorry, my energy and time didn't allow me... Peers and kids, don't follow this brother's example. You see, it was like animals' footprints or ghosts' signatures); 
2. Please try to apply knowledge of ISRA (In-systematic Researching Approach ) in self-researching out a possible neo-edition of Ornamentation (trill.) of this piece - how to play and explain in both music and language;
3. Please try to record your own sample after self-reasoning and analysis (Be brave)]]

* '''&lt;big&gt;Sound answer:&lt;/big&gt;'''
[[File:ES answer for HE.ogg]]

* '''&lt;big&gt;Explanations:&lt;/big&gt;''' 
Following our discussions of this approach until now and here, advanced learners (including small Jason) have already gotten the abilities in researching out a possible answer of this unspecified ornamentation (trill.).
let me tell its designs and why I made it like:
1. The first semiquaver rest played by left hand needs to match a very fast demisemiquaver triplet downstairs- upward trill. of right hand which was made throughout the main note - Recovered B and sounded like A- Recovered B - C. About this design, we have already known Sir Bach's implicit willing of 'triplet trill.' - first one in up-going tendency. Yes, you can also make a total '3:2' to cover left hand's semiquaver beats; but afterwards, you will find upstairs C would be repeated 3 times and hand's smart feeling was lost. Therefore, I gave a first demisemiquaver triplet to cover left hand's first semiquaver rest;
2. In the second semiquaver note of left hand, the second demisemiquaver triplet (Recovered B - C - Recovered B) was given to cover it. Then, the third principle above - 'Upstairs' shaking' has been targeted. 
3. Originally, palm's growth (growing with fingers in each order) has been applied as one considerable factor impacting fingering designs; and, it was naturally progressed to the following C without any gap.
Congratulation to your good learn! After training your hands for a period and taking the following highlighted 7th point, MO Version set besides can be made out with much smarter hands for the soul of English Suites. But, if you prefer to keep this technique stably heard, lasting for much longer time and your fingering much smarter &amp; fluent, another self-training of it with engineering approach in daily exercises is quite necessary. Students in advanced level can try to search more evidences from this suites of Sir Bach's or other Suites.


'''Highlighted 9th point - Educational self-reflexivity: Natural Impression of its (Prelude in the third English Suites) Horizontal structure ranged upon Time &amp; Space, according to English Language - 'Suites' ''' 
Programmatic formation is the impression I usually brought with when listening and performing the sampled Prelude in 3rd English Suites. In our common's history, usually, the procedure of programmatic formation, presented regularly, periodically, frequently and reasonably, can associate us deepen some unstable subjective impressions, fashion behaviours, popular languages and societal customs into aesthetics and culture, and fix them for lasting longer. Some evolutionists would dislike this impression, for its usual representation of　conservatism which could block the development of new productivity. But, after certain evolutions or in some post-periods, it is also going to function in accepting, fixing, saving and sustaining 'Evolution-fruits' (Thinking twinkling). In Baroque Era, I thought Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/Suite_(music)]) played this role through 'suits-liked' structuralism. Here, the scope of Suites' definition - its enlargement and development also taught us more about how to deal with its structure-organization and composition-management: from the description of '''Room Suites''' occupying real Times &amp; Spaces, to the description of '''Dance Suites''' summarizing similar behaviours and body languages into symbolized rhythm, till its transformations into 'musical composition for instruments', fresh fashions and expressive expectances have been auditory recorded, as in Programmatic formation alongside civilizational regression and up-picking of golden personalities. Yes, it was 'Dance Suites, was commons' weekend dancing in Suites-liked ball-room, and was also Royal Suites (cells-liked rooms being nested throughout one after another) separating different music paragraphs but with a coherently endless joyfulness for life and future... 'Therefore, when we attempt to perfectly realize this teaching procedure, some abstracted 'Royal Suites' and their impressionist 'souls', rather than several 'small connected rooms', can be carefully analysed out, with details fuzzed, but impressions kept, suggesting where course-designs, exercises-presentations, assessments-achievements should begin with. In the '''''Structuralism-analysis''''' below, semicolon divided a small room (suite) or a series of dancing motions threaded in the sequence; but usually, a real 'Royal Suite', in spiritual impression, contents a thematic small suite (or room) and one or several supplemental small rooms (suites) . Their patterns are forming Suites' basic operations, with customs and matters turning back to 17 century Baroque Era. Therefore, in each repeated small suite, furthermore enlarged to be the whole '3 Royal suites' one by one in sequence, we must keep the basic and frequently re-appeared behaviours, dynamics, expressions and customs regularly, as if following certain predictable principle of stylized and progressive model, for showing the understandings of reasons why in certain pace and interval some techniques would be applied there and what respects of traditional thinking pattern they would show for. In other words, from thinking patterns to hands' techniques, body languages and customs expressions, we should model our daily trainings and exercise to be predictable and fixed. Only based on this engineering approach and seeing structuralism as functions' carrier, Neo-expressionism can get its foundation and make more colourful creations and impressions of a golden age above that. Owing to this ideology, I gave a structuralism-analysis of this piece as following:

'''''Structuralism-analysis''''' (represented by English Letters - full connected Prelude-suites (6 into 3) seen as 1 up-taking 2 small rooms - Royal suite [https://en.wikipedia.org/wiki/Presidential_suite]) :

'''''Royal Suite A:'''''
A (B1-B7) B (B8-B15) C (B16-B21) D1 (B22-B27) E (B28-B32) Middle-Stop;

Interaction-F (B33-B46) Counter-B1 (B47-B54) Counter-B2 (B55-B62)
Code-E (B63-B65)

'''''Royal Suite B:'''''
A (B67-B73) B (B74-B81) C1 (B82-B87) D2 (B88-B95) E (B96-B98) Middle-Stop;
Interaction-F (B99-B111) A (B112-B115) B (B116-B122) Simplified E (B123-B124) Middle-Stop;
Interaction-F (B125-B138) Counter-B1 (B139-B148) Counter-B2 (B149-B156) Misplaced E (B157-BB160) Middle-Stop;
Interaction-F- Ornamentation (B161-B172) Developed C2 (B173-179) 

Transiting D (B180-183)

'''''Royal Suite C - Code:'''''
A (B184-B187) B (B188-B195) C (B196-B201) D1 (B202-B207) E (B208-B213) Termination 


I think these standards created and collected from our information bank would motivate a better draft in its sustainability towards FUTURE.

&lt;big&gt;'''First Draft of English Suites: (For normal Performance; See besides)'''&lt;/big&gt;

[[File:English Suite No. 3 in G minor (Modern piano) First Draft for Education.ogg|thumb|
'''2nd Draft:'''
Briefly say - it's with much fluent sound-effects and strong rhythm,  suitably as a fast dancing suite, in which postmodernism picks up vivid colours from Neo-expressionism to see Neo-classicism's unexpressed, down-pressed, and deep-controllable emotions, then tries to explicit them in dynamics and expressive techniques.
A movie - Pride &amp; Prejudice (2005 film) (Wikipedia introduction: https://en.wikipedia.org/wiki/Pride_%26_Prejudice_(2005_film) ), with beautiful scenes of Baroque-dancing ball-suites, gave many inspirations to this version. Hopefully, it will be heard having met more postmodernist targets, as a Post-prelude. And hopefully, we can enjoy it. Better version can be researched out in future. 

'''1st draft:''' 
To be honest, this draft isn't mature and (far away from) satisfactory in piano performance, according to my dreaming standards. I was hoping it could be in Neo-expressionism (https://en.wikipedia.org/wiki/Neo-expressionism) and Neo-classicism (https://en.wikipedia.org/wiki/Neoclassicism), for reappearing rich colours, continuously varying emotional changes abstracted from formal manners and Royal dance-structuralized movements &amp; scenes in a past Golden time, but through commons' hands. However, in this draft, for the reasons of short-time exercising and practices, I can only push out some basic ideas of Neo-expressions, such as highlighted theme-line with heads, layers and ornamentations etc. 
No matter how, about this draft as a new beginning for my love (I really enjoyed to play it and appreciate its imageries) , I need to give my thanks to some pieces of information provided from Wikipedia - English Suites (https://en.wikipedia.org/wiki/English_Suites_(Bach) ),  Baroque Music (https://en.wikipedia.org/wiki/Baroque_music), and Martha Goldstein's harpsichord Edition; and some inspirations from my and my children's daily classroom-practices.
Hopefully, in a short time, a better draft would come out; and hopefully, more commons would enjoy to share their reasonable works through daily practices on this platform; and hopefully, piano keyboard in this century would create more beautiful 'colours', like thousands flowers' blooming - of richness and vitality.
]]

&lt;big&gt;'''MO Version  ( Besides, for professional performance with more tastes of Baroque Golden Era; Compared with 'First Draft...', this version with the 'Modified Ornamentations' was made according to 9 points disscussed above):'''&lt;/big&gt;

[[File:English Suites MO.ogg|thumb| Jason's Neo-classicism and Neo-expressionism: 'you are standing here, and watching the golden fashion there, with impressions being summarized for our current willing' . 
Emotional complex in words 'when standing here, and watching Sir Bach's 'there-standing' to see a great England (or UK) and its peoples' life fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a Long and Unknown Miss. We (Sir, I and learners...) were all not there... in that time and space... but still... musicality in system can teach us... See more, please turn to its main page in Wikimedia Commons]]

===== '''&lt;big&gt; Creative Homework and Exercises (Advanced and Research level):&lt;/big&gt;''' =====
'''1. Student's Performance as the main teaching &amp; learning result of piano:'''
[[File:English Suites No.3 Prelude Xue Meng Hu.ogg|thumb|Teaching Result for English Suites No. 3 Prelude from Wikiversity to the real practices - Meng Meng's performance a week before examination]]
'''Comments:''' The Connections have all been threaded together with fluent but gentle manners from English traditions, from which brilliant social Ball-liked Dance-suites for commons have been described in the world of imagination. Baroque Ornamentations, in her very smart and slim hands, have been performance greatly when hearing. Main skills were trained good, but skills of some parts beyond her age - around 14 years old would need to be trained frequently, afterwards. 'Fast wasn't too hurry and rough but with down-calmed breathes in rhythm' would needed to be understood well in the future. All in all, Meng Meng has already shown her fashion creatively in this English suites with some differences from the original teaching through her skillful hands. More experiences and knowledge of performance in different scenes were needed for her development. 

'''2. learnt Suites Formation in ...(oh my lord, Jazz &amp; Blues):''' 
'''''Royal Suite A:'''''
A + B (As a 'Supplemental A'; Regarding with samples, you can see the portal: Blues &amp; Jazz learnt for fun and a fast brain above)

+

'''''Royal Suite B:'''''
a Variation C (The 2nd chorus made according to A)

'''(Notice: In this homework, we can participant-observe the functions of Suites thinking in different musical fashions)'''

===== &lt;big&gt;Postmodernist Impressionism - Special Researching approach for music researching in instrumental techniques, which needs to be highlighted&lt;/big&gt; ===== 

In my opinion, we title it: Impressionism '''in music or the field of piano techniques; but originally, painting should be the most visualized expression''', of which I thought, if comparisons and contrasts between this root and other instrumental expressions can be made for further researching and exploring, more deep impressions of this field would be abstracted out as for creative findings. In other simple words, what ''''Painting techniques'''' to describe imageries (Session impressionism techniques of Wikipedia introduction -  [https://en.wikipedia.org/wiki/Impressionism])，such as generalized large-brocks colours-brushing, simultaneous contrast, symbolized meanings borrowed from 'natural lights', spirit's floating directly upon 'rough surface' etc. ,  have been highlighted and some similarities and differentiations with instrumental expressions are of the essential importance in my approach. I thought: when it comes to language descriptions (it's hard), much more detailed Interpretivism　and reasoning would better the situation. Watching throughout them by using 'a pair of glasses', we can see more 'drawing pathways' from piano and musical expressions. And, our channels would be more vividly 'with some intervals of blocked clouds being pressed out and holly lights beautifully sun-shining down through clouds to warm souls'.

===== New Educational Researching formation and some pieces of works-analysis （Techniques collected from the learning of Wiki-operations and sections are set beside the texts） =====

===== * '''''Moonlight is the real moonlight, but being vividly and thoughtfully heard when shining upon the sea and beach of not only the reality but also the poetic imagination:''''' ===== 

[[ File:Moonlight - Clair de Lune (As the rememberance of Sir Debussy.ogg|thumb|Moonlight - Clair de Lune (As the rememberance of Sir Debussy ]]
'''Description of Moonlight's Historical Tree (Editions in Times):''' 
Time would have been changing, always; and, things would have been being fizzed quite unclear, already. Closing my eyes, consciousness integrating with some symbolized unconscious imageries may only transform them to be some deep but easy-broken fragmental impressions (even a breezing sound) in my memories and further left in an area of mind-sea there, about what the experiences of keyboard-touching for this melody and some fantasy landscapes of Sir Debussy's Moonlight, reminding there to be mixed without  clear boundaries for distinguishes, and as a fantasy trinity of spirituality (missing), vitality (growing) and sustainability (blooming). 
Self-comments for third draft:
Then, the third draft came out. Yes, it must still be carrying some faulted details, thereby wasn't perfectly heard. However, 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' - this sentence somehow provided the meanings for its survive as one of commons' impressionism, as what small Jason's. When fragments of memory began to be fading, mixed, rolling up news, rippling out light recycles and interacting fatally orbiting routine, a natural impression was still there - growing vividly, as the root with visual boundaries between itself and universal darkness unclear, reminding some memorialized fuzzes there, thunders-wandering, lights-shaking and energies-spreading, with imaginational elements as the supplemental building materials. Therefore, it was still keeping a far distance from my artistic dream on the other bank of life river. However, in this draft, loves and emotional changes from commons 'life have already been attempted in a better situation (than before).
Analysis with some researched evidences: 
But in my heart... the enthusiasm in trying to understand what Sir Debussy has seen and been willing to express - the imageries on the beach of Poolesville (1915, summer) or other beaches in his past, during his tours in the First World War, has never faded its colours. Oh, the time of dreaming it is from my childhood. 
I am dreaming that he had been wandering alongside one beach and left feet kissed by waves from a mix of moonlight-waving, its projective tides-waving and sound-waving reflected. His mind was then flying throughout the darkness, with breezes as wings and lights as shoes, then sliding upon the surface of sea, directly to the clouds surrounding moon. But before, he had been trapped into a deep confusion about why sound-effects of piano has lost its colours in the world wars and how to awake people's fingers and techniques to recover scores' beauties. That's why in this version, in 'Tempo rubato' - the second mind-presenting part, the ideology represented by root-chords has been expressed so deep and so exploratory. Debussy was like a poet, struggling with heart-conflicts of idealist dream and the reality, to travel to the most peaceful and holly 'En animant' Peak session and pray for what moonlight's gentle-caressing would get away human beings' unstable and dangerous minds, and get back original beauties of the seaside shined by silver-moonlights. 'Deep but light' - yes, two sides of this contradiction, in master's composition, have been unified together, as if forces-mechanism has been oppositely turned back and steaming in a quite magic situation. Yes, he has gotten it freely there - the dreaming silver moonlight-a flower blooming on the other bank.  
Hoping: this draft would be better than before and it could be seen as a Christmas gift to my own heart and to some volunteering members in Wiki-family. Let us create more new senses for peaceful situations of the worlds in the coming 2017!
&lt;translate&gt;On n'est jamais mieux servi que par soi-m^eme.
Cherchons nos doigtes!&lt;/translate&gt;
'If you want to make things better, please depend on yourselves. Let us find our giftedness in more exercises for overcoming some difficulties in fingering (techniques)'

'''Small References for one historical facts and some words mentioned:'''
 Wikipedia (2016) '''Wiki-entry''' 'Claude Debussy' from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. Accessed: 20th, December, 2016
Claude Debussy (1916) eds. (9th) 'Preface' and 'Brief Introduction' of '12 piano melodies for techniques-exercising'. G. Henle Verlag, Munchen (Debussy Douze Etudes): People's Press of China (Bejing). {{ISBN|978-7-103-01632-9}}

Though it was a debate about whether or not the research of Impressionism techniques is needed in dealing with Debussy's Clair De Lune. Maybe, it was a little bit like a fierce argument. However, the respecting and pursing of Sir Debussy and his fine art 'natural dreamland' are truly there, according to the Wikiversity edition above and the comparison edition - https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg . Sir Debussy's 'Musical Imagery paintings' are surely about landscape-beauties of naturalism and people's subjective interactions (mainly the 'Impressions': longer accumulations&amp;re-treatments of perceptions for many years though 'Sensory Touchings' but also with memories and artist imagination), under this whole environment or 'Scenes&amp; tendency'... This point has been confirmed from many researching schools, currently.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 23:03, 24 October 2019 (UTC) Meanwhile, some artist 'touching' techniques in terms of playing Debussy's can be felt out from this debate. Wishing children or young teenagers would make some senses!

===== 'Never-ending &amp; Super-time' Homework for 'Forever Piano-kids': =====
Please make some Contrasts and Comparisons between Sir Debussy's Moonlight and Sir Beethoven's Super-time Metal-Rocking 'Moonlight Sonata 3rd Movement', after getting both fashions (Thanks to technology, you can simply watch Beethoven's fashion): 
[[File:3rd movement of Sonata 'Moonlight' Rocking Video JMC, Han (Jason).webm|thumb|3rd movement of Sonata 'Moonlight'_Sir Beethoven's metal-rock_Performed by JMC, Han (Jason)]]
 '''A reference''' of several sentences from Jason's (mine) Openlearn platform of Open University could give us some '''suggestions''' in Contrast &amp; Comparisons:
'Beethoven's music was postmodernism or to say Super-modernism and abstractionism that moonlights were like many fast-racing silver-knives penetrating Beethoven's painful realistic experiences (own unfair fate) and his never-reached idealist love, somewhere in an extremely-expressing Romanticism-Dreamland.' (Course Review of 'An introduction to music research' in Open University, 2018)
'''Homework Answer in Beethoven's side'''
About Debussy, in my page, there are many in depth and impressionism... 
Regarding With Beethoven in Postmodernism, a possible homework answer (sound) was here, right after a local library presentation: [[File:Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven.ogg|thumb|Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven]] [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:52, 29 April 2019 (UTC)
'''Key words explanations, self-learning ways and further readings''': 
Postmodernism -https://en.wikipedia.org/wiki/Postmodernism;
Abstractionism: https://en.wikipedia.org/wiki/Abstractionism;Romanticism: https://en.wikipedia.org/wiki/Romanticism; 

Beethoven's personal life and love: https://en.wikipedia.org/wiki/Giulietta_Guicciardi; 
Printed manuscripts: No. 9 Symphony - 'Ode To Joy'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 1st No. 9th in d Finle.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie No. 9th in d]], and 'No. 5 Fate'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 2nd No. 5th in c.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - No. 5th Fate]]
'''(Reading by following a DVD of Beethoven symphonies collection carefully)'''

===== &lt;big&gt;* '''''Children are doctors for adults, as the reason that they can create some most advanced techniques than your imaginations, but with the purpose only for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, heaven is near:'''''&lt;/big&gt; ===== 

Idealist dreams - the engineering realization of 'Chou Chou's playing techniques' and imaginary impressions through behaviourist language-descriptions:
(To be honest, it’s not to say I can get these behaviourist targets in practices; but, as in educational perspectives of Wikiversity, we need to set some idealist targets for understanding what are Debussy's impressions, how they were formed by expressive techniques, how to guide our learn-tendencies, practical operations and how to better the situations in which new sound-effects' out-coming would be possible. Depending on my educational research background, it was like a 'check list' for planning practices.)  

'''B1 till the head of B3:'''

(Letter B means the bar of a 5-staff-transcript. What is 5-staff-transcript? we can review the historical knowledge about how 5-staves-transcript has been formed in a long history (It wasn't always a 5-staff, but originally developed from people's willing of coding sound), and about which, our Wikipedia introduction (https://en.wikipedia.org/wiki/Staff_(music)),and some online courses-platforms from academy, such as fields about notation-reading in Future Learn and Music Theory in Open Learn etc., have already made some very clear and detailed introductions):
If you let me describe what imagery impression (or life scene) I have seen and what keyboard-touching feeling I have gotten from this musical phrase, I would like to compare it with a game of children's - Stone-skipping. I guess: maybe Chou Chou has gotten the principles of it. (Information from Wikipedia introduction: https://en.wikipedia.org/wiki/Stone_skipping)
But, you may ask me why and how I extracted this imagery impression. Furthermore, What types of hands-techniques have been applied here?

* Mechanism analysis of forces applied from practices:

It was a pitches-rise of right hand with grouping motifs in modelling running of four-quavers - as the united tiny motif. Forces, applied in dealing with every small motif, isn't in average, but with a centralization (fulcrum) set at each head of these small motifs. Meanwhile, other three are supported by these fulcrums, and slipping the whole hand to each next, as for forming the impressionist background layer in the bottom. Therefore, when playing the other three, your fingers need to touch out the depth, as half degree of these keys to form background sound-effect. Rather than, your '3rd, 4th and 5th' fingers, when making keyboard-touching of these grouping heads of motifs, need to fulfil the whole keys and are like these force-fulcrums, to support left hand's 'slipping' to higher places entirely. After hearing, you will find these grouping heads in a queue (with notes in shape and forces in physics) have been highlighted, as twinkling 'lights' in variations. And, your hand is rotated to rise and slip from point to point, by making keyboard-touching with the touching of water-surface.   

'''Documentary comparisons:''' 

'''Notes:'''   

'...The stone generates lift in the same manner as a flying disc, by pushing water down as it moves across the water at an angle. Surface tension has very little to do with it. The stone's rotation acts to stabilize it against the torque of lift being applied to the back...'&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone Skipping' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping. Accessed: 23rd, December, 2016&lt;/ref&gt;
'''Comments''': That's quite right about rotation acts upon fulcrums - every time being for hands' slipping through surface-touching of water. Yes, keyboard, in Debussy's works, touching keyboard can be compared with touching of the surface of water or a mix among water, lights and clouds, which we can discussed in the talk of Wikipedia. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Children's Corner', 'Talk: Children's Corner' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Children%27s_Corner. Accessed: 23nd, December, 2016&lt;/ref&gt; Furthermore, by a little bit critique, I think the surface tension of water as the background, should also associate with stone's (Supporting fingers') 'slipping', and give the counterforce-supports to other fingers. In this case, water striders' actions for moving on the surface of water can give us further enlightenments (It's because of touching, then rotation is enhanced by counterforce on the surface; and water's tension (expending a little bit extra) is functioning for the entirely movement to the next). &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone skipping’, ‘Surface tension', and 'Water striders' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping, https://en.wikipedia.org/wiki/Surface_tension, and https://en.wikipedia.org/wiki/Gerridae. Accessed: 23nd, December, 2016&lt;/ref&gt; Following above, where is the beginning force? Oh, don't forget the whole head - an octave chord (C2- C3) divided by a depending ornament upon main C3, which is like a throwing force motivating the whole imagery impression.
For brief, here, one of Chou Chou's little games, as from the very beginning, has been vividly described standing upon paper - stone skipping. You can feel the functions of one hand' fingers (right) have been separated into two with centralized fulcrums set on one of your 3rd, 4th and 5th fingers and others as for background, among which forces were transmitted for the whole's slipping. Then, energies, as impressionist paints' applications, have been managed with twinkling light natural emphasised and background half-touched 'Grays and dark tones are produced by mixing complementary colours’. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 23nd, December, 2016&lt;/ref&gt; Oh, don't forget to give A beginning bang transmitting force from the left hand to the right hand. It's a throwing one for all. Following all these techniques above, one piece of technique carrying its sub-properties have been unified together as a whole. 

'''B3-B6 - The directions of forces-application (fulcrums) -  fingers-wiping (Upwards) or forces-pressing(downwards) VS. the relationships between twinkling heads (in the groups of 4 semi-quaver notes which can be compared with 'leading stars') and their dispersal background recycling round by round:'''

* The direction of forces-application (fulcrums) -  fingers-wiping (Upwards):

In this piece, Chou Chou and her father have almost jumped into the lake-liked water-surface which they were playing Stone-skipping, but fantastically mirrored and reflected out upon sky into another impressionist scenery like what this painting showed - The Starry Night. Wikipedia introduction:' https://en.wikipedia.org/wiki/The_Starry_Night' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'The Starry Night' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/The_Starry_Night. Accessed: 29nd, December, 2016&lt;/ref&gt; 
But, you would ask me: Why did I state this vision that Chou Chou and her father's journal had been travelling there, and how did Debussy describe it through instrumental techniques? 
My own vision is: Though there were many debates about The starry Night's expressionistic symbolizations (in my mind, impressionism's extreme side would go to expressionism) - about its galaxy-origin, woman's painful birth-procedure, or religious relations, by simplifying them deeply and only picking up one most useful element interpreting our case which my mind-touching for it can get from the past, I would say: in this night-sky, stars were always magically twinkling as only ornamentations, holistically impressing the whole impression of the universe in dark into our memory and locations-statically heart-beating(moving)in certain interactively-shaking rhythm, which can be compared with numberless eyes shining in the sky - blinking and blinking with the vitality. In this time, Chou Chou, associated by Debussy Clause's advanced instrumental techniques, has lighten these eyes in the sky for us to appreciate impressionist beauties. 
Yes, Scientific approach has already told us: stars' astronomical twinkling is caused by the reason that multiple layers of atmosphere have refracted lights' getting through-in - which were travelling for multiple times &amp; spaces then arriving here on our earth - especially when even a small breath's occurring would change our seeing-angles in atmospheric medium.&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Twinkling' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Twinkling. Accessed: 29nd, December, 2016&lt;/ref&gt; However, when this impression was recorded into the world of subjective imaginations without helps of any machine and only depending on our own willing, it somehow transformed to be every single painting-stroke's pixel-vibration which was also relatively vibrating our mind. By threading numberless 'eyes-vibrations' together, we knew the on-going of its theme - to appreciate the peaceful Glory and the dreamful Harmony presented by the creator, which Chou Chou was angelically singing out. Then, how did Debussy express it in sound-effect world? 
By bearing imagery-impressions of visualization obtained from The Starry Night in mind and by making the deep simplification, we can know two sides of this comparison - from its origin to its target - are all about energy-vibrations - light's vibration → sound's vibration. 
Following it, this hands' technique, landing in the instrument of piano, isn't so difficult as we imagined that Debussy has highlighted several main quaver semi-staccatos as heads of 4-notes-semiquaver groups with each quaver rest followed: (Indeed, this technique has been repeatedly applied in the following part, but sometimes functioning variously, with the main point rooted as this.)
When playing the treble part, the forces-directions of 3rd, 4th and 5th fingers (head-beating) and the rest ones are quite different. The head-beating ones need to create one type of sound-effect as the note-vibrating and eye-blinking, by slipping and wiping backwards (semi-staccato) upon keyboard's water-surface (it's a little bit like making the rolling-jumping alongside its force-orbit.) By matching it with left hand's opposite fingering wave-approach &amp; associating accompaniment and pedal's breathily smoothness(intervals), the soul was described out summarizing the spirituality of all 'eyes-twinkling'. We can know, in this systematic mechanism, several mains can represent the tendency of all. This double lines (Mainly in higher part of right hand, but associated by left hand) are weaving together as the framework of The Starry Night and for 'giving texture to the painting'. In this case, the technique of painting - Impasto applied in impressionism (Wikipedia introduction: https://en.wikipedia.org/wiki/Impasto) can somehow make interpretations cross fields; while further, in terms of what impressionist effects reflected out from the field music and piano, I prefer a scientific explanation fulfilling its abstracted mechanism of stars-twinkling - 'Diffuse reflection' (Wikipedia introduction: https://en.wikipedia.org/wiki/Diffuse_reflection), which we can try to make more senses in the future.

* The directions of forces-application (fulcrums) -  forces-pressing(downwards):

If things what Chou Chou and her father wanted to idealist express which are understandably required musicians' hands-performances only have reached there as what paragraphs above have been shown, this story cannot be called a legend journal and an advanced impressionist description.
In the second half tightly followed, force-direction of grouping head-beats have suddenly turned oppositely downwards. It was almost that Chou Chou wanted to press a sequence of lights-vibrating bubbles which are mirroring the twinkling eyes in our Starry Night into a deep place under our water-surface-liked keyboard. Oh, this effect is that she collected them into one big accumulated bubble under our memory sea. We can find: the direction of fingers (3rd, 4th and 5th) has been totally changed - to press notes down smoothly with the full value of a crotchet attaching with others upon keyboard and standing there. At the same time, other fingers have been meanwhile playing the role of background-making - fuzzy without clear details of sound-effects, but as the totally floating impression-streams, wave after wave. In this case, energies have been accumulated by two hands as a whole, then waiting for a further breaking-out tide. Here, we can feel how fineness Debussy has designed the applications of forces and their textures into his works. He can even totally reverse forces mechanics in the immediacy. But, when it came to us - the players and appreciators, we need to train the controllability of our hands, the distinguish-abilities of our ears and attempt to express it better and more vividly. That's the job of continuous learning throughout life, which we can dream after and practise. Every time, a little bit more progress would make me feel happy and smile - just because the distance between dream's realization and my position has been shortening. 

* The demonstration of the dispersal background (the rest 3 semi-quaver notes attaching with their 'leading stars' in front) recycling round by round and their relationship with quaver heads:

Final part of this session, I want to say something extra about impressionist background. Indeed, this is really a charitable and contributive job. It wasn't the 'blooming followers' but 'volunteering grasses' for setting 'head-beatings' off more vividly. However, special keyboard-touching technique is also required that we need to make more preparations. Sometimes, the depths of 1/2, 3/4 or 1/4　are required alongside the changes of dynamics and vibrations of 'eyes-blinking'. Preparing for it can be compared with 'Colours are applied side-by-side with as little mixing as possible' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 29nd, December, 2016&lt;/ref&gt;, which is for describing the degree what a fineness it is. But, finally, the purpose of all our background-preparations are only for auditors' self-ignorance of its 'much more details', their willing of 'singing-out' the vivid framework in multiple-layers' texture, their possible appreciation of the impressionist theme with the supports from background atmosphere, their self-summarization upon some fragments of impressionism and further integrations with their own experiences, and their participant-observation of an entirely dispersed and fantastically floating universe emerging from own hearts and from the windows of our own channels. Hopefully, it would be of the understandability.     

'''B7 - 10: Classical Dynamics system VS. Anti-classical expressions: Master's requirements for some techniques of imaginational impressions (magical fictions)'''

* B7: Classical Energy-tide and its expression in Dynamics 

In the normal situations, music was compared with the floating water (or certain imagery joining basic elements from liquid, clouds or lights). It is because that they have the similar mechanical system (In music, we call it Dynamics system). The very simple impression, when we are watching them, is like the waving tide carrying energy (twinkling in visual system, or vibrating in sound system). In other words, it can be called 'energy-tide'. It is said floating matters, rather than solidified ones, are good at expressing energy's changes during the time tide is coming, as what music, liquid, and clouds have shown. About their expressions, 'forces' pressed down from outside into their mechanisms can work and motivate the whole phenomenon's varying. Accepted into subjective senses through sensory organs, the total impression without much clear details will motivate our mental energy and deeply push our emotional 'tide' wave by wave. This is the normal situation, as what the oceanic tide on our earth are motivated by the gravitational forces in spaces. (interacted by earth' core, moon and sun) &lt;ref&gt;Wikipedia (2016)''the section 'Forces' of 'Physics''', '''Wiki-entry''' 'Tide' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Tide. Accessed: 1st, January, 2016&lt;/ref&gt; 
In nature, the highest point of liquid's movements is usually where the application of the extreme force, to show the internal energy's centralization and externalization. We can call that point the energy-peak. In order to get it, there should be a continuous rising of forces' level for climbing to it, and a continuous decreasing of forces' level for landing back to the originally quiet surface. That is the procedure of energy-tide's coming and passing-by. Because of the dramatic energy-changing and energy-moving inside, huge forces are usually expressed out with the huge and apparent powers (to objects). In order to get this sense, we can review a piece of material from Wikipedia - 2010 Mentawai earthquake and tsunami (Wikipedia introduction:　https://en.wikipedia.org/wiki/2010_Mentawai_earthquake_and_tsunami )
In music and sound-effects field, it was also working, but by fulfilling the performance of dynamics with hands (piano). Usually, the highest note (mouth), as B7's middle E, is also the peak of energy-tide. Besides it, we can find two same wings - a 'crescendo' impressionist scale and a 'decrescendo' scale being continuously produced and attached upon each side. By analogy, from formations to content, we can know it belongs to the family of 'energy-tide'. This one should be a significant peak-run, because of its lowest beginning and ending were the same at 'pp'. Then, through two hands' (fingers) tightly matching and dramatically climbing up and landing back, the natural impression of powerful tide has been realized beautifully, which Chou Chou must understand how to play it from heaven onto the ocean. 

* B8: Anti-classical Energy-tide in Dynamics and its realization by hands' controllability

As what we have discussed above, B7 is designed in classical mechanics system - higher pitches' rising alongside natural forces' impotence  more deeply, which can be compared with tide-energy's passing by. However, in my heart, if things are merely arriving there, it cannot be called the application of advanced techniques. Afterwards, Doctor Chou Chou has played another fantastical game from heaven. She totally pressed down tidy's peaking tendency into one channel under musical sea, and let it go in a regular way, without indications floated up to the surface and being seen clearly. On the surface, what impression we have obtained is a winds-calming and waves-peaceful sea-face with light smiles. Originally, B8's quiet and 'normal' scene should be from people's 'normal' expects; but, nature taught us 'envelope-liked climbing to the peak then falling down to the ground, alongside dynamics' 'attack (dramatically increasing) and release (dramatically decreasing)', is energy's systematically spreading out and needs much heavier forces' pressing down then departing away continuously, which are required from our fingers' controllability and for re-appearing natural imagery. This impression is summarized by people's empirical interpretations from Second law of thermodynamics, about which we can review much learning details from Wikipedia and its reading list (Wikipedia introduction: [[Second law of thermodynamics]]　　　　　　　　　　　https://en.wikipedia.org/wiki/Second_law_of_thermodynamics). Therefore, we can say this case was an expressive contradiction - 'pretended normal is truly anti-normal' and 'classical naturally births anti-classical'. Doctor Chou Chou must understand it quite well. Even further, thinking about: in which case, forces would lose their weights and energy would be anti-naturally pressed down in certain channels of our universe. Yes, if we want to theoretically reason it much clearly, around one year, we still need to go back to gravitation, but in a very different field - sound effect (Indeed, through the analysis of what sound sent here, we can make the judgements of what types of materials, endeavours and forces originally applied in the beginning - sound sources through engineering approach - to build subjective connections through training our sensory organs of body.) - ears and fingers' 'anti-gravity' need to be frequently trained for the expression with the accuracy. I am sorry to say: in my second draft, beauties of this bar haven't been expressed perfectly. Then, if in energy-signal's ending part - sound effect and for perfect controllability (Tiny single note's accumulation), it would be the term 'gravitational waves'. In my opinion, it isn't to say, our hands (arms and fingers) need to be so advanced - 'creating a black hole', but to say they need to make some very simple anti-gravitational moves, in terms of which the entire effect is seen as normal, but under the surface, forces applied are somehow anti-normal. To be honest, Chou Chou's doctorial expressions with this style, in ''Children's Corner'', are ranged upon many places. It is one magically artist description of certain '''symbolized imagery''' representing the relationship between natural phenomenon and their controllable gravity, energy-impacts, 'energy-escapes', and energy-simulations of, from or for gravitational waves; then, by joining them above all together, we need to explore: in what types of situation, gravitational reversibility (or as some interval stages of waving) would happen. (Wikipedia introductions: [[Gravity]] https://en.wikipedia.org/wiki/Gravity;  https://en.wikipedia.org/wiki/Gravitational_wave)
All in all, B8 and some like it needs to make some anti-normal endeavours to control your hands' nature and realize a quiet and peaceful sea-face, directly after energy-tide's passing by in B7. (About further explanation, we can review more pieces of information from the Comment of File History in Wikimedia Commons (Third Edition - 16:10, 15 January 2017), but the true music was wrongly placed at the position in which fourth edition should take (16:27, 15 January 2017). I am sorry. 
( Wikimedia Files-storing: https://commons.wikimedia.org/w/index.php?title=File%3AImpressionist_Data_for_technique_analysis_-_Doctor_Gradus_ad_Parnassum.ogg )

* The mechanism of B9 and B10 (motif) is designed as to follow B7-B8's impressionist fashion, too

'''B11-B12: A simulation of the release of a sequence of bubbles (rising up) from underwater and to the surface '''

* Impressionist description:

Tightly following the anti-gravitationally down-pressed Bar B10, another advanced technique has been magically produced out, which can be heard by us in revealing Chou Chou's extraordinary doctoral imagination and her transcendentalist operations. This technique is regarding with a natural phenomenon - Bubbles' rising up in water.
Let me make a careful explanation: After a great amount of classical forces have been anti-gravitationally pressed down for recovering a peaceful 'sea-surface', we knew, in order to overcome jelly-liked Times &amp; Spaces' multiple- limitations, a hidden 'black hole' has been set in the centre of our 'hands' with a channel sending (escaping) the extra energy to the 'parallel universe'. It can be compared with the situation of being fixed in the depth of ocean, as a Aladdin's lamp sealing the damageable power of an 'energy-monster' in. However, in the other side - the white hole (or being mirrored in a occasion which would be compared with what Chou Chou has magically done - to release the huge power of a tide( or a tsunami)), Times &amp; Spaces' jelly-liked holding-back function has played the role of shaping its escaping routine into a wave-like up-rising channel, in which the whole energy has been divided into small pieces by Times &amp; Spaces, as gases in bubbles, staged flowing up at intervals (in rhythm). We can review some pieces of information about the changes of a sequence of bubbles' speeds in the procedure of flowing up, the reason why they can go but remain intact, and the equation for counting their pulsations (in rhythm) in our Wikipedia introduction: https://en.wikipedia.org/wiki/Bubble_(physics). Indeed, my explanation of this imagery impression is: the energy wants to escape in a very fast speed but cannot, because of Times &amp; Spaces' anti-forces in holding it back through changing angles of its pathway (deeply say: it is a result of interactive fighting between each other), which can also be compared with the situation Chou Chou's small hands are plugging bubble-liked energy-pieces back to the original mouth. I think this is also from one of the reasons why gravitational waves are 'heard' like waves - energy is staged divided and held back at staged as bubbles carrying gases to flow up under the pressure of fighting against Times &amp; Spaces. From this case, we can see how many pieces of knowledge doctoral Chou Chou in the heaven with her father have already known, especially understood their abstractions and applications in keyboard's practices and our fingers' descriptions, with their creative imagination.

* Fingers' realisation:

In this case, two hands of us need to be tightly matching together in order to behave as one hand. This procedure is made through one hand's tightly following with the other. We can hear 4 notes each in one group, as a small unit across two hands, which are forming a staged bubble-projection in the waving pathway; then there are four bubble-projections upon Times &amp; Spaces. From the bottom to the surface, it's the left hand which gives the power to motivate the whole mechanism' working in the fingering; then, the right hand is following after, but exploring further high-ways and leading the waving angles' changes. In other words, it's the right hand leading out the shape of waving pathway upon keyboard and guiding their progress to further step. It's better to play out an acceleration of our impressionist arpeggio alongside the cresc. of loudness, for simulating out the situation in which bubble-pulsation in rise requires. The final 'sf' and its dying out, alongside the procedure of the semibreve' standing upon a full time value of one bar, is an entire peak, as if rushing up to the surface of 'sea water', and bombing out there with full energy' release influencing in a large scope and lasting for long time. 

Thanks for this case, through reviewing which we can know how beautiful and what a magical world in Dr. Chou Chou's eyes in Children' Corner. On purpose or not on purpose, that's a problem. I think: just because of Chou Chou's childish ignorance of this complicate problem and totally behaving the full-hearted dedication of herself into creating universal beauties, (just for playing it happily, or being even without any thought of how and why to make them out) currently, through many times' excising and techniques-reasoning, we can find our hands' improvement, and the impressionist wandering to the purity after frequently trainings.  

'''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)'''

After travelling alongside a sequence of bubbles rising-up till being above sea-surface (B11-B12), we can find the forces' application realized by transformed staccatos has turned to a fresh field: how could us make the joyfulness through surface motions? Oh, smart Chou Chou's music-spirituality has chosen an amazing activity -playing a surface-chasing with her lovely pet - Exocoetidae (Flying fish). 

* Flying fish's flying mechanism:

In order to understand how Chou Chou can play so happily, but without self-ignorance of our own hands abilities. We can make this thinking: for making things clear, through accurate notation-reading, we need to get back to Flying fish's biophysics mechanism: 

In identifying Wikipedia introduction's words recordings of Flying fish' flight mechanism, we can know all flying fish's body parts - 'muscles, connective tissues, and ligaments in a fish’s skeleton; totally generalized: the vertebral column and cranium' - have been threaded internally by Neural arches, as a 'strong bow'. The shrinking of this 'strong bow', by accepting a signal from brain-linked Neural arches, would suddenly produce a strong force directly beating upon sea-surface with the direction back-forward. As a respond, the counter-force given by water surface would shoot up this streamlined fish - threaded all body parts - into air, with light swings overcoming resistances. In this procedure, tail fins (as grouped staccato-heads) play the direct back-forward motivation; meanwhile, higher-placed fish wings (as mind-borne huge slurs) play the function as gliding this movement from the beginning accelerations. Depending on this mechanism, Chou Chou's lovely pet - Exocoetidae (Flying fish) can realize its bird-flight. Indeed, small 'tides' surrounding its flight trace are like being wheeled, with back-forward streams counter-pushing fish's shooting, which are also projecting body parts' out shapes. In order to keep in air for longer time, middle re-forcing as another strong standing-point is needed during this interval flight, by its 'strong bow' with tail fins touching the surface. That's the whole flight which my recognition can get. About further researches and information, we can review Wikipedia introduction.https://en.wikipedia.org/wiki/Flying_fish . &lt;ref&gt;Wikipedia (2017)''the section 'Distribution and description' of 'Flying fish''', '''Wiki-entry''' 'Flying fish' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Flying_fish. Accessed: 13rd, February, 2017&lt;/ref&gt;

* Fingers' realisation:

1. In B13 - B21, you can hear left hand's staccato-heads back-forwarded wheeling and leading another linked 3 notes distributed upon right hand of each group plays each small shooting flight;
(Yes, the direction of left hand's staccato-head threaded with the wheeling 3 notes of right hand need to be played back forward and wheeling, as pedaling water's surface stream by stream. Then, flying fish, supported by courter-forces, can fly to the front air.)

2. Each 'slur' set upon these staccato groups should be seen as mind-borne 'wing fins' for keeping in air longer time and farther distance;

3. In each second bar covered by slurs, there are dynamics peaks between two wings - a crescendo signal and a decrescendo signal, supported by a 'post-' foot pedaling, counter-shooting flying fish's middle re-flight and re-acceleration for being kept in air longer time;(B14 and B16)

4. Oh, what a giftedness you can hear that Chou Chou sets several tenuto quaver heads distinguished with staccato ones to later their time values for more sturdier standings counter-reflected upon water surface. (Each second and fourth notes of B17 and B19).
It's like: in this lovely chasing, naughty Chou Chou suddenly rides upon flying fish, or grasps its' tail fins for delaying its time, and making some fun things. You can also hear 'hairpins' of dynamics - sudden softer signal, accompanied by posted right pedals tried to enhance this effect for the real joyfulness. (But, the effect still needs to be improved in future);

5. Finally, in this session, 'In Peu Retenu' makes a back-drawn and continuing 'slow motion' of flying fish's flight, which can be seen as the sprint stage of this race. There should be a back-drawn force slowing down the whole Times &amp; Spaces, which can be compared with the transformation of all these cases above to be a 'slingshot' - flying fish's 'strong bow' , being later down, but for a fresh beginning in NEXT 'a tempo'.


'''B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwards for enjoying a beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together '''

[[File:Educational sample for demonstrating techniques of B22-32 (Sir Debussy's Children Corner - Doctor).ogg|thumb|This is a small piece of educational sample for the demonstration of piano techniques, belonging to the session 'B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwardsfor enjoyinga beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together ' of one journal article researching Sir Debussy's Children's Corner - Doctor. As one techniques-sample, it's tempo was expressively slowed down a little bit, but oppositely reflected out more emotional changes when watching impressions of binary system's progressing under background of CMB (Unbalanced balance surrounding hidden gravitational axis - turning round and turning back - waving by waving). Meanwhile, you can also hear the parts of deep self-reasoning and down-falling towards clouds. I thought basic principles of impressionism, according to Sir Debussy's notation-transcript, had been kept. Better edition based on classroom background, will be researched out for commons' free shares and usages .]]

Tightly following the end of last session, we can see flying fish's 'strong bow' (a rit. &amp; a recovering force applied for another new beginning) has been magically transformed to be a Slingshot (Wikipedia introduction: https://en.wikipedia.org/wiki/Slingshot) in Chou Chou's hands directly shooting up the melodic theme into a holly snow-land. In my opinion, this session can be called the second peak and pure exploration of heavenly snow-land.
Why can we say it is the second peak? We can find this session's preparative functions for the other top trip in the later part, in which more achievements of landscapes-appreciations have been succeeded by our Dr. Chou Chou. Therefore, this one is the first 'attempt'.
How can Chou Chou achieve it? I thought this session can be divided into 4 sub-steps (stages) carrying functional meanings. About their titles, I can conclude them as: 
Thematic variation in small fingering changes latterly with shooting forces-tendency rocketed-upwards, 
Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling, 
Holly purification and self-reasoning in an angelically crystal universe full of brighten galaxies, 
Falling back to a earth cloud with Bass-thunders and Sun-lights' penetrations providing senses of light's warmth.  

&lt;small&gt;'''B22-B23: Thematic variation through small fingering changes (B23) with shooting forces-tendency rocketed-upwards'''&lt;/small&gt;

To be honest, this model, as each beginning of three sessions (B1-B2, B22-B23, B45-B46), wasn't unfamiliar by us. It's like every beginning part of children race, with an acceleration of fingers' running to rise pitches to treble part and prepare for further adventures. However, this part is special with a distinguishable variation in B23. In B23, left hand played a guiding function with expanding fingering pathway to climb up mountains and leading 4-notes grouped right hand to a further sky. Meanwhile, it was carefully designed according to Orbital eccentricity (Wikipedia introduction:[https://en.wikipedia.org/wiki/Orbital_eccentricity ]) , expressed through forces' increasing in dynamics-changing. You knew, under the background of gravity, if one object wants to improve its height to a far distant, it must recover its tempo to a continuing faster rate, in overcoming air fictions. During this procedure, its acceleration associates the transformation of kinetic energy to be gravitational energy; meanwhile, changing r (radius), collected as its height representing for gravitational energy's increasing, can be seen as vertical indicator (towards core)meaning the 'embracement' of further 'landscapes' in curvature horizon. Therefore, in my vision, four root-notes (intervals: third, fourth, third, fourth, finally towards sunny E in C major) played by right hand, with a expanding sense, gave the guides as ''Orbital eccentricity'' for rock's flying into further sky and realm. About them, We can give a self-range of its dynamics (4 levels) of pitches' rising, fingers-forces' inputting, loudness' increasing, to realize this effect. Here, a very naturally designed fingering pathway, as 'sky climbing-ladder', is of the importance, which Sir Debussy has referenced Mozart's 'nose-application' to give us some suggestions. ''''Natural' means that its design can follow the direction of accelerating tendency and hand's expanding pathway.''' In a fuzzing view, four root-notes are 'staring positions' of the curvature orbit leading a small-waving impression-belt orbiting to our higher snow-land in the space above clouds.

&lt;small&gt;'''B24-B26: Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling'''&lt;/small&gt;

What would happen further and what will us see tightly after last accelerated session? 
You can feel a pure universally holly snow-land have been formed (travelled to, or discovered) with amazingly astronomical phenomena magically existing summarizing different impressions of 'landscapes'. 
1. Binary stars system (yes, we can compare situations of two hands here with Spectroscopic binaries and a beginning of energy's integration. ) in piano expression and its hands' realization: from B24, left hand's leading energy has been totally released out that it flies by and orbits right hand in certain significant rhythm of position-occurrences. The observation of interactive 'Algol B orbits Algol A' in relative Wikipedia page gave me some inspirations of this situation. Here, through melodic analysis through our own hands, we can guess this stage in binary stars system's history - earlier time can be seen as still in a higher, enough and fulfilled energy level. However, the range of two sides are in one specially orbiting balance, with a ''equally-ranged'' merging tendency between each other - they cannot die out each other by gravitational attraction, but with energy system as a whole one including a major axis. Thereby, they were orbiting with each other in a special rhythm with one (indeed, it's interactive two) forcedly drawn by from one down-slowing peak to the other up-fasting peak. Indeed, it wasn't made out by 'left hand' only, but an interactive two sides with one accelerated merging into the other from one peak, then sliding out to the other peak; and the other influenced as energy-waving or even shape-penetrated floating small　Nebulas (impressionist background; about the effect, please see Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) It's really a beautiful universal phenomenon in higher energy level.   
   
&lt;small&gt;'''Fingering realization:'''&lt;/small&gt;

Signature 'l.h.' of left hand associates us to realize it. Depending on the acceleration, natural inertia and higher level energy-atmosphere pushed through B23,  We can see that left hand was making the frequently travelling (penetrating) throughout right hand's waving rage, in a distance about one octave; and about each wave (divided into two turned penetrations), two peaks from highest to lowest have been clearly twinkling out by left hand, as two crystal pearls hung by tenuto and a intervallic middle-shifting staccato (and both sharp C in the middle peak of B25, as a special tenuto-ing staccato). Meanwhile, dynamics range are naturally pushed though up and down with mouth as the middle main axis. In other words, let us divide this paragraph into points and see what basic standards here: 

1. As in one binary star system, the timbres of both hands need to be heard as if only in one hand without any differentiations, especially when left hand was travelling to treble part to fulfill a back-turning peak ;
2. However, tenuto semibreve and minim bass root-notes (in B24 it was a minor third effect - CE, and in B25 it was a single E) also need to create a whole impressionism atmosphere of bars, with time value being fulfilled enough. It's for the distinguishability of a stable higher energy level, contrasting to the accelerating part before. Oh, I knew maybe it was heard in crazy contradiction; But, indeed, on certain degree, they were dialectically unified together, as one for driving out this system, but when left hand was through out, the other back-turning peak for drawing back (braking) the energy of binary system. Then, they were keeping on going in balance;
3. Tempo in bass part (first half of B24 and B25)needs to make a accelerating accumulation (continuing faster) of force for driving the whole system to higher energy level. But, when left hand was across right higher to touch treble peak, a down-slowing and harder (continuing to slower) sense needs to be expressed out for braking and drawing back in binary stars system ( worked by eccentricity);
4. Following points 2nd and 3rd, a oppositely rotated middle axis will have been interactively revealed out with a Sharp C impressionism twinkling beautiful lights on the mirrored sky 'ceiling'. Oh, Debussy has totally anti-gravitationally (but also relatively in gravitational attraction's influences) reversed the axis in Bass part, which can be seen as a challenge of classical physics mechanism requiring more of hands' self-controllability;
5. However, there is also a contrast between B24's middle main axis and B25's that one is a staccato, but the other is a semi-staccato. How could us see this differentiation? I thought it should be one type of natural transformation from binary stars system to Eclipsing binary. Yes, alongside time's on-going, they are near and their energies merging into one whole that staccato's brightness evolving to be down-pressing root-notes and joining the group with B and Sharp A in scale. In other words, two peaks on each side have been integrated as only one notion and all in bass root with significant impressions pressed out;
6. Dears, what about our right hand? Caused by higher energy's stretching power and the other planet's frequent penetrations, it lost its star-shape and was generalized as energy Nebula (still, Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) fuzzing a tiding impressionism background waving by waving.
7. Here, How can us thread all those above coherently and harmonically? sustain pedal of piano has played a very important role in creating a crystallized Reverberation effect representing for a holly, peaceful and pure  energy-environment (Snow-land) with various sub-level touching-effects according to time,  to support the realization of techniques, about which we can pre-review some pieces of information from Wikipedia introductions. (Sustain Pedal -[https://en.wikipedia.org/wiki/Sustain_pedal] and Reverberation - [https://en.wikipedia.org/wiki/Reverberation]). Yes, indeed it should be heard as being pushed from nature and according to energy's being upon Times &amp; Spaces ; but, when we try to realize them in the cooperation of feet and hands, the idealist effects are not easy that we need to research more about their interactions.
Here, some peers and students would ask me - Jason, how could us press out good sound effects of piano pedaling to support impressionist expressions of hands, in the realization of imageries we had described above? 
That's a quite great but very hard question in piano that different schools have gotten different ideas, and some have concluded out several theoretical systems. Here, we can try to reflect out and summarize some of my small practical experiences and some appreciations of different pianists in educational approaches, according to notation-reading and practical performance effects. From the view of impressionism and Neo-expressionism in piano, just leave a brief sentence: please bear in mind, natural breathing in rhythm according to slurs and dynamics is quite important. In postmodernist impressionism for commons, we mainly support Post-set (later a little bit time, compared with notes' finger down-pressing) pedalling pathways for Education Research. In other session, we can make careful and reasonable self-reflexivity from tens years' exercising, some information-collections from documentary materials, and some comments of effects from classroom recordings. 
(Leaving a developing zone)

&lt;small&gt;'''B27-B30: Deep self-reasoning and self-exploring when gaining impressionism of a infinite CMB Universe'''&lt;/small&gt;

Till now, after running after binary star system and feeling about its special rotating rhythm caused by  gravity ( being with two peaks of orbit and a inclined middle axis; then, merging into a eclipsing binary star system), Chou Chou's sight was travelling to the deepest part of her universal horizon - maybe inflation with light's primary breaking-out, a delicious sweet &amp; hot particles-soup in dark, , or some far more unknowns... ; meanwhile, Dr. Chou Chou's subjective worlds was dropping into a special situation - self-reasoning, self-questioning and self-exploring.
How can me hear those? in B27, the upon-travelling left hand, associated with sustain Pedalling created a special sound-effect - slurred semi-staccatos were making twinkling 'eyes' breaking-through right hand's hot hydrogen recombination background; in a wide and profound space, they created later back-turned, slowly-decaying and longer-lasting reverberations, which are shaking as three supernova stars (Wikipedia introduction: https://en.wikipedia.org/wiki/Supernova ) hanging upon chaotic and after 'binary system's combination in sessions before. So beautiful vitality Chou Chou did, which also reminded  me the post-impressionist painting Starry Night [https://en.wikipedia.org/wiki/The_Starry_Night] mentioned before. It's also a question flowing from G, to Sharp F, till E in G major system (or its attached e minor tone), deeply and expressively asking human beings 'who am I (compared with the never-ended and long-lasting universe from big bang)? or what are (our) meanings (with a short life as so)?' That's quite right that Loevgren calls The Starry Night &quot;an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos&quot;, which revealed a little bit sorrow when the seventh of G major appeared (as if in minor e) directly asking universe our being's final meanings - to feed and light the unknown darkness? Chou Chou almost knew the answer that in next bars B28 and B29 two small slurs beneath two huge threading slurs made through left hand described two self-exploration and self-climbing - D, E and Sharp F (5th, 6th and 7th of e minor). We can hear the reasoning feet of the two repeated motifs have all been landing upon sharp F with the instability and uncertainty as universal fluctuation and left sound-effects energy-waving in vacuum. Those self-reasoning motifs were so deep from true heart, which are bravely expressing the dream of a truly peaceful heaven with imageries of freedom to appreciate symbolic 'landscapes' made by Creator. 

&lt;small&gt;'''B30-B32: Dramatically Channelling back through scale-fingering from deep universe to Snow-land built upon cloud-blocks of earth's atmosphere'''&lt;/small&gt; 
Final part of this session, in B30, all astronomical landscape-paintings ceilinged upon Chou Chou's Multiverse sky-roof have been summarized as a self-comfortable confirm for life and peace, with three semi-staccatos shining back the rising acceleration, and taking a downward tendency through a slur-breath - naturally and beautifully. Meanwhile, a smooth curvature line of dynamics -decrescendo, implicitly drawing out star fireworks' resting-pulse upon 4 dimensions, turned down the tempo of Chou Chou's whole universe and make her fall into a huge waterfall of energy, back to the original heaven. 
Yes, B31 is that waterfall with a continuing and dramatic dim. requiring two hands tightly matching together as a whole flow; by attracting all matters, it internally dug out a landing channel, to somewhere as Chou chou's willing to go. We can call it a wormhole, rather than black hole's leading towards another sky.(Wormhole - Wikipedia introduction: [https://en.wikipedia.org/wiki/Wormhole]) Though B31's waterfall of F major, Chou Chou got back to an assembly of cloudy blocks seemed heavy as castles, but floating upon our earth's atmosphere. 'Retenu' of B32  - down-slowing associated us realize this successful landing, which can be compared with a　parachute covering three slur-legato-ing pitches - D, E and C - longer-lasting (as up-hanging crotchets), associated by Bass's fluctuations in sound-effect, to keep parts' distinguishability in texture and　to simulate braking soft-land.


 '''B33-B44 :  Fairy Legend -  The 'Expressif' of natural spirits: 'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks; The pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then spreading all-directions - alongside impressionist arpeggio's climbing and above the upside landscapes of clouds-made heaven (B37-B40); Holly lights are shining and intervallic penetrating throughout the joints of cloudy blocks, as in a continuously weaving pattern to future (B41-B44)''' 

* 'Wormhole Door' was opened by drumming spring lightening '''(B33-B36)''', which is charged and expanding in the middle of cloudy blocks

In this part, the ''impressionist Arpeggio'' was expendably climbing to higher place through alternate applications of both hands, as if lightening was formed and wandering among clouds-layer. Why did I highlight the term 'impressionist Arpeggio'? 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto' - this impressionist technique (Wikipedia introduction: Section 'Impressionist Techniques' [https://en.wikipedia.org/wiki/Impressionism])taught us: not all notes need to represent properties of motives, but some grouped heads. They should be brighten than others with longer time-values and support the existing of certain textural parts, right as ''Short, thick strokes of paint''. Meanwhile, other notes would be touched much softer without too many attentions, quite as 'improvisational  details' streaming out an expanding tendency slowly tearing out 'clouds-background' from middle. You can hear: from Bass flatten B to long notes middle D, till treble D, a solidified cloudy structure was built upon sky involving 'impressionist point-pixels', for leaving 'essence of the subject' - yes, the soul. Then, lightening streams were climbing alongside this frame with details half-touched unclear, but spiritual powers accumulated and pushed to higher level. If only in this case, we cannot state Chou Chou's piano techniques are advanced. I can remember: in previous sections, we have discussed the anti-gravitational characteristics of Debussy's compositions- down-pressed peak forces with higher-energy vibrating, such as the comparison between B7, B9 and B8, B10. Here, still, this requirement of hands' controllability has been mentioned again, with two hairpin left-opened decrescendos and a middle piu (more)painted on. Therefore, a significant energy was down-pressed, finally being fuzzed to be a broken chordal impression left in atmosphere. Among cloudy blocks, it can be a vacuum, created and lasting for a small interval. Tightly beneath it, please see charged lightening streams rolled struck ground through bass-part's switches between flatten B and flatten E. Here, longer-lasted, pearl-rolled and charge-vibrating 5 notes (B35-B36) with special reverberations in sound effects, perfectly express lightning's expanding and strength when being down-pressed into certain channel Cloud-to-ground (CG). In order to make better understandings of this case, we can review some pieces of information, in analogy of lightning. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Lightning]) 
Those notes can also be understood as Chou Chou's lightning-strikes knocking at the door (on the other side of wormhole) for opening a fresh heavenly realm upon clouds. 
* The weaved pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then was spreading all-directions - alongside impressionist arpeggios' climbing and above the upside landscapes of clouds-made heaven '''(B37-B40)'''

It's hard to describe this session, titled with an emotional signal of 'Animez un peu' (continuing to be lovely and vivid). 
Technique-requirements:
1. Still, the right hand was simulating a cloud-weaved tree's growth, branches-climbing and area-expanding by following 'impressionist arpeggios'. It's a slow but enjoyable procedure, with the depths of keyboard-touching increasing one by one, but very naturally. 
2. Accompanying with the first point, the warmth of atmosphere and the lights of sun were emerged out and hollowed throughout repeatedly, which are in the dislocated positions of aesthetics of clouds-tree shade. How could us understand it? Usually, in our minds, there are normal expectations that the most brighten lights should be shined upon peak-poles; then, warmth pushed by dynamics can be reflected out. However, in this case, the posted-pedalling diffused warms in the atmosphere and from bottom; meanwhile, 'l.h.' across the right hand to simulate the sunshine, holly over, and hollowing clouds-made tree-shade. Owned to the reason the hollowing points (Two major thirds of flatten G-flatten B) were out of our expectations, but set a little bit later compared with peaks of dynamics. They are weaved with the imbalance, but symbolized as beautiful surprises. Therefore, We can call it 'Dislocated aesthetics'. Indeed, in the history of aesthetics and covering some fantastical landscapes, there were many beauties seen as some amazing surprises, but placed wherever out of expectations (even wrongly enough). We got the sense - oh they are beautiful- mostly because of their deep impressions of the imbalance. We can call this imbalance - happiness. Oh, it's a symbolized and weaved pattern of happiness tree (clouds-made) growing upon our heads. Souls have almost been hollowed by warm streams of happiness.  
3. May it be, the weights of treble sky gave us many pressures; in order to control this situation, our left hand had  also traveled back to set a weight in middle part (tenuto  minuet long-third between flatten E and flatten G ); then, flying back to light the clouds-made heaven through another dislocated joint. 
We can make our imaginations through watching more visualized imageries and introductions from clouds and know more discussions of beauties' contents from aesthetics. (Wikipedia introductions: [https://en.wikipedia.org/wiki/Cloud]; [https://en.wikipedia.org/wiki/Aesthetics] )    

'''* Holly lights are totally shining and intervallic penetrating throughout the joints of cloud-liked block-made happiness tree, as in a continuously weaving pattern processing to the future(B41-B44)''' 

Techniques for this session have already been introduced, as above. Yes, among what we have learned before, many points were symbolized out by our thought experiments, including some elements from analysing and reasoning. Thereby, an omission can be left here. However, this part was also one of the most expressive, reasoning, fantastical, warm, holly, brighten and peaceful sections in the whole composition, requiring us to apply more engineering exercises, careful forces and fantastical musicality. Based on those fundamental trainings , we can fly our fingers with more enjoyably impressionist freedoms. Here, you can see: The right hand has expanded a long regression-analysed D-flatten arpeggio-chain (heard similarly in a Pentatonic scale) - stating from D Flat' Perfect Fourth and climbing across the sky-horizon to touch another peak-peal of this work. You can clearly hear its simulation of our universal expansion through dynamics-climbing, which can be compared with a transcendentalist push (prior designed from universal nature ) of both materials and spirits in logical pace (rhythm) to touch another 'brighten ring' (around black hole) or a hidden eye channeling black hole (seeing or attracting all brighten 'lights' there, then '''oppositely''' (felt) as a dark fallen eye from the singularity), with gravity's increasing (while hand was expanding upward) which brought Times &amp; Spaces' continuing  down-slown - yes, leaving some natural out-breaking holes for holly lights' shining down from worlds with high dimensions, which was relatively heard as the signaled peak 'Retenu' contenting full imaginations self-created and penetrating out (continuously rhythmic down-slowing for some deep expressions).

[Extra explanation: Scientific observations have already proofed us - when we would traveled a lot (climbed too much) throughout a sky with wormhole to a nearby neutron star, or somewhat a black hole, gravitational waves produced by them would twist our senses of Times &amp; Spaces, especially down-slowing and expanding them to certain unbelievable peak-points. I believed one day, manufactural time-controllability with powers drawn from them can be re-produced out; then some amazing senses , rather than terrible ones can be motivated by our consciousness when channeling them - some holly, reasonable, purified, joyful, amazing and heavenly senses would be motivated out (on the other bank of our trip), as a naturalist regression threading all fragmental memory pieces of our life in a chain. And, we can finally make them meaningful, as the appreciation of Sir Debussy's Doctor in children's corner. Therefore, I still believe it's a 'up-picking' of  flowers blooming from childhood by a huge &amp; unconscious regression-analysis of our own life trip. Recommending one movie - Interstellar (Wikipedia introduction: https://en.wikipedia.org/wiki/Interstellar_(film)) , which is among my top list, especially its virtualized final-part of black hole's gravitational senses, though still some rough points which Joseph's subjective regression alongside gravity's increasing in dark hole was towards his own mental history rather than earth or solar system's entire history &amp; meanings, and further I didn't think book-liked square-dimensions hidden behind his daughter's bookshelf would be his own life or all people's regression points as universal truth ; but currently, lots of reasonable imageries from this movie have been reasonably created out and visualized out, which both met scientific purposes of Space-exploration, theological humanity - loving and respecting commons' life blessed by Lord even ending from black hole, and also in little Jason's journal, would motivate our musicality (imagination field) for more romantic understandings, some neo-expressions and a generalized impressionist-coding of Universal Epic in Sir Debussy's eyes. In my eyes, as Joseph's bookshelf, about Sir Debussy, if predictable and after his own Event Horizon [https://en.wikipedia.org/wiki/Event_horizon], his universe and subjective regression point across Times &amp; Spaces would be going toward the mutual music-impressions keyboard-touched in diverse works between his dreams and landscapes with beloved Chou Chou's landscapes heavenly upon innocent children's universal corner.] 

Therefore, as seen above, it's also a gravitational regression of universe, but not easy for our own hand's training about the case whether or nor we can make the expanding of right hand's climbing-liked Arpeggio and finally light the senses of most peak in Times &amp; Spaces' Retenu and the shinned depth of singularity in dynamics (to get the solution of general relativity Equation in gravitational waves),  was going to depend on our own levels and endeavours in hands-exercising. 
Please see: when peak - the '''flatten A''' was totally reached and lighten on 'ceiling', a sky was opened above all clouds-made landscapes and holly lights are peacefully shinning upon all corners of our earth. We can know our endeavors were worthy.  Chou Chou's childish &amp; innocent smile-face with good wishes for future appeared there, warming all people's heart and make them powerful and joyful. Facing so significant an universal impressionist painting there from kid's eyes, don't forget put an element of ''''France Romantic'''' gently &amp; relaxable wandering upon those curiously&amp;unusual universal observations: you knew, so small we were when facing... but we can reason ourselves to much 'deeper places', then, our emotion would be comforted &amp; released from this procedure experienced -joining the reasoning and self-expression together from something in emotion - not clearly known but felt...'''romantically and peacefully'''.  Though our hands were still rough (in my mind), let us take more idealist imaginations (how things and hands-techniques would reasonably be like) to make more tastes of this session and our own endeavors - sweet, sweaty, but worthy ... I thought it would be the educational purpose of music.

'''Tempo I: The awakening of pasted memories through thematic repetition but twinkling elements from new accumulations ('''B45 - B54''')'''

After travelling into a brighten ring with 'a dark fallen eye in singularity', we can find it contents a summery of most beautiful impressionist landscapes in a only note of '''flatten A''' decorated upon Sky ceiling, the unconsciousness of Sir Debussy with his beloved Chou Chou has almost gotten back to the past - their  'Original dreaming heart (willing)' (B1-B10). Yes, the review of your 'Original Dreaming Heart' is very important as a reference to correct the navigational direction, pick up 'lost flowers (imageries)' from its morning, accumulate more energies and make further adventures in this trip. You knew, the boundaries of a dream somehow content original powers rooting from your unconsciousness and linking to universal nature fatal designed already, thereby, is called transcendentalism. Awareness or unawareness, you are following its channel to be somewhere, with some people, and doing somewhat. Sometimes, you would lose yourself alongside complication's increasing. But like 'Mustard Seeds which have already been grown around you', only your down-bowing for picking up your originally true heart and cherish it again, you can travel to your peaceful heaven. '''(The Parable of the Sower and the Parable of the Mustard Seed and the Yeast,  ch 1-43, MATTHEW 13).''' I thought it's the reason why Sir Debussy has made this repetition in later middle part. Till now, the power of our hands has been increased and the techniques have been brilliant which would give us more confidences to face new situations. Let us go! 
In piano performance, usually, when a repetition occurs, we need to make different expressions in Dynamics, though techniques would be out of the similarity. It's for keep the diversity of music. One approach for this point is to research tiny differences from new piano scores (though some of them are either modified, or hard to find or later-posted by others) which content different experiences and impressions rather than Sir Debussy's own impressionism. The other approach is from natural root to self-construct, depending on your freedom of reasoning, musicality and universal participant-observation. I would like to remind several changes appeared with differentiation in this piece:
1. The whole dynamics background has been totally reduced from 'p' to 'pp', which means less forces would be applied here; meanwhile, oppositely, the scope of dynamics was enlarged in which much space can be left for Neo-expression of impressionism . Indeed, I would rather to compare it with a '''hanging valley''' above higher altitudes and cloud-blocks (Wikipedia introduction: [https://en.wikipedia.org/wiki/Valley]), air atmosphere became thinner represented by 'pp', but the whole height was improved . In the other view, why did I apply 'Hanging valley' to describe this repetition? Don't forget we have already climb a peak of this expanding tree with a signature - 'Renenu belt' leading to a Black (unknown) inside-Fallen Eye channeling to another beautiful &amp; infinite happiness universe. In this time, from the nature of a dream after beautiful landscapes, let us climb another peak within the events-horizon more symbolized beauties were hidden there. In other view, it's also a rest of our hands' energy and an accumulation of new energy, after so depth the forces we have applied for climbing that brighten happiness tree above clouds. A fast light-review of Originally True heart, as a reference set beside, might help us find the 'solution' and open 'another sky'.
2. Compared with B3-B6's twinkling-head stars under The Impressionist background of Starry Night and various keyboard-touching techniques for supporting fingers' fluent arrangement, it's a very small difference that the scope of (crescendo-decrescendo-formed) (date-core-liked) dynamics-progression has been enlarged until  two Bars' covering (B49-B50), rather than before - only occurred in half bar of B5. How could us explain this change? Dramatic change was transformed to be a leisurely emotional expression. Following it, more energies can be accumulated and more tastes of musical beauties hanging and dropping under the Starry Night would be slowly reflected out. It's still for the preparation of another Peak-climbing alongside the Cloud-blocking, Snowland-upon, happiness-tree upward-expanding channel to the universal purification and reasonability, which can also be seen as the heaven Debussy picked up for his Chou Chou in musical patterns.
3. Bass change: 'Small depending note' attached to Octave C which was forming a progressive chord has been transformed as a octave block-chord - G; then, slurred Perfect fifth (Deep C - G2)mirrored from this change(B45-B46). I think it was an evolution, which makes the distinguishes between before and current. It can also be seen as a proof of 'Hanging Valley' above higher altitude joining two peaks in transition.

After these accumulations, fast reviews, small modifications and new expressions on 'Hanging Valley' above clouds and under The Starry Night, another shooting trip will be going to soon begin...

 '''B55-B56: Expanding Heaven-Ladder out-breaking the other branch channeling wormhole which was created by fantastical materials borrowed from old story - bubbles (rising up) throughout the underwater of atmosphere (developed from B11) '''

By notation-reading, we can find this bubbles' on-going channel is developed from B11 (bubbles-rising), but differentiating in length (Time interval: one → two bars), 
tiny note-differences in recycling pattern
{This time, in each　tracking pattern (Originally, basic unit-recycling was wheeled by a bottom-top movement - each time, the next note will be the first: E- Recovered B-E-Sharp G → Recovered B-E-Sharp G-B  →  E-Sharp G-B-E, Sharp G-B-E-Sharp G), B was raised to be C, Sharp G to be flatten A and a highlighted repetition occupying the middle intervallic linking two bars together ('Flatten A-C-E-Flatten A') was designed there to build a '''buffer platform''' curvedly twisting the whole tendency of this upwards on-going channel to be in another higher-rising branch.},
and accurate fingering locating
(You will feel that your fingering needs to make a very smart and exact change (rise) - especially the second finger of left hand - moving from B to C, for opening an expanding gap; and further, carry this gap inserting into woven pattern alongside two hands' tightly following in Arpeggio-playing way: E-C-E-flatten A → C-E-flatten A-C → E-flatten A-C-E→ flatten A-C-E → '''flatten A-C-E-flatten A → flatten A-C-E-flatten A''' ...).
From directions, our right hand (like　navigator) needs to lead and match left hand' back-pushes (giving motivations like engine) to go higher places together. Somehow, when playing very fast, they were together siding out a pathway up and down. In turns of two hands, a wave-pattern with gravitational expression has been woven out (I have mentioned it before in B11 - B12 session) as this channel's outside form. Then, 8 recycling bubbles (motives) were travelling throughout this channel one by one. 
when we try to recover its beauties, it's better to send a very small Exocoetidae (Flying fish) back-forwarded (reversed) force (about this term, please see the session - '''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)''' above) directly upon our 'buffer platform'. Oppositely, we (as in one bubble) will fly (being shoot) higher up onto a joyful, purified &amp; holly heaven land. During this procedure, special music background 'colours' (separated and) motivated from the frictions of this channeling movement made the whole space &amp; time shining amazing lights fantastically. Appreciating it, we can also imagine a surrounding atmosphere with crystal diffuse reflection (Wikipedia introduction: [https://en.wikipedia.org/wiki/Diffuse_reflection]) magically embracing our channel in the middle, which summarized spiritualties of landscapes' most beautiful elements and impressionist reflexed out of our 'channel windows'. I think, that's the magic power of impressionism, in which we can both detailed analyse its components &amp; techniques as a solidified foundation; and meanwhile, alongside its post-channels, special colours and lights, as souls without shapes, can be generalized and abstracted out what were wandering, spreading, occupying and surrounding the boundaries of specialist operations - lasting tasty in our mind for long time without disappearance. Yes, in childhood, we can also see special 'colours' from bubbles in air under sunshine. In order to support this impression, a dynamics 'cresc.' was dramatically set here, for simulating special lights &amp; colours' scattered transparence. Since happening in a higher hanging valley, this climb has been channeling to a true Peak situation - heavenly snow-land crystal-liked existing in Chou Chou and Sir Debussy's mutual memories, their imageries, their beautiful wishes, and their universal regression for future. Oh, it's also in Angelic Children's Corner. Therefore, in my opinion, '''Heaven Ladder''' is a good title for this channel.  

 '''B57-B64: Dualism to see Chou Chou's Universal Heaven-Slide travelling throughout landscapes for joyfulness - techniques VS imagination '''

[[File:Better demostration B55-64.ogg|thumb| Minutes 0.03-0.15 was B57-B64's demonstration]]

Dears, close your eyes, try to imagine which places were there - in your imageries-sea, as for the occurrence of the most joyful experiences? And, after your endeavors of climbing a '''hanging valley'''; and then, bubble-settled &amp; exocoetidae-shooting up to a long distant channel heavenly dropping to another true peak-land with crystal dreams scattering over purified snow-flowers fuzzing beauties of landscapes all around you past experiences , what are your heart then truly willing to see?  
Don't forget, Doctor Chou Chou was still unconsciously a child in her Children's Corner (may it be an lazy daydreaming afternoon lying on a rock watching heaven lights shining throughout gaps of forest, highly there...). Sir Debussy recognized this point and set a most beautiful &amp; infinite Children's Slide there - in the center of universe and back to the beginning - to the most imaginational first light, and the deep impression of the birth. (Wikipedia introduction: Slide in playground [https://en.wikipedia.org/wiki/Playground_slide]) Then, in Chou Chou's heaven, she can always operate her joyfulness by slide-travelling in which passing by universe &amp; mind landscapes 'besides and under her feet'. But what does this 'Children Slide' in her corner (playground) looked like? I think Dualism of 'piano techniques level in physics world' and ' the links of imaginational level' would help us:
* The identification of piano techniques applied here as the foundation simulating '''Children's Slide''':
Here, we can see 'slurs' grouping each four semiquavers in every beat of a 4 beats' bar, which range both left hand and right hand. Left hand played each tenuto of long note (crotchet) at the beginning of each group (note which needs to be played out enough or over a little bit time value), then being counted out 4 heads leading each group waving upwards till left hand, spreading by spreading. In a larger view, several huge slurs, linking each 8 heads in a breath,  are totally downwards going. They are forming 4 sentences with a smooth progress continuously landing to our earth. Then, post-set 4 pieces of pedalling are there alongside 4 sentences' down-landing, matching out two octaves' data-core liked interactions which apply forces in dynamics channels - each between a ‘Crescendo’ and a 'Decrescendo'. 
* The links of imagination
Then, a breathable heaven with crystal landscapes, supported by pedalling, as the fairy background twinkling and embracing Chou Chou's  Slide theme in the middle, which are formed out the impressionism orienting the history of universe. Chou Chou feels so happy sliding in this channel reviewing fast by-passed landscapes and her own consciousness experiences. Oh, I forget to say: it was also a rotating Slide while you were playing, the degrees of bending &amp; stretching of your fingers told you angles need to be changed periodically. Currently, I think, to some philosophical degrees, the mechanism of universe in particular Planck epoch era, or then spreading out here (Wikipedia introduction: Universe [https://en.wikipedia.org/wiki/Universe];[https://en.wikipedia.org/wiki/Planck_units#Cosmology]), can also be in a analogy of universal Children's Slide, set from a far beginning, down-landing out &amp; down-sliding towards us and this earth - then, till now and here. In brief, this time Chou Chou has really well-done a great universal climb, upwards to so top, fantastic and holly a place, then sliding downwards to us. The beautiful heavenly sound effects made us drunk in the appreciations and imaginations of unknown beauties deeply in universal heaven, which indeed are truly from children's nature - playing only from the curiosity and for the joyfulness.

===== Editing- '''B65-B70: Impressionist Texture - Main streams VS. Fuzzing background - After repeatedly sliding to 'double-turns' '''hanging valley''', Chou Chou found another 'New Toy' -  a vibrating '''Crystal Fountain''' emerging from gravitationally cloud-waves '''=====

Currently, we are going to enter into 'Coda' part of this Doctorial Suite of Children's Corner, melodically reported by  Chou Chou and his father from heaven. firstly, putting it aside, I would like say something extra. There used to be one discussion: what emotion should a 'Doctor' from Children's Corner be carrying? After having reviewed so many fields of knowledge bridging communications between western worlds and eastern worlds, and having travelled so far from 'Big bang' occurring from universe's beginning to 'Black hole' channeling to somewhere unknown parallel universal branch , or in other words, to the depth of his or her own mental unconsciousness part regressing back to those moments that astronaut and his or her symbolized 'daughter' can never make the departure with each other but being together facing happy and unhappy life-imageries in life, and then landing back to the 'solidified' impressionist background with dialectically fuzzing gravitationally-waving 'lights' twinkled from 'The Starry night'...; doctors' contributions have already achieved many what being dreamed for long - a 'crystal castle' built upon 'Mind-independent Snow-land' and colourful clouds, mapping new Era's beginning from Nations' Cartography generalizing 'New natural landscapes with vitalities' (yes, and some societal languages)up to the symbolizations of 'spirituality indications' for future (- Postmodernist Constructionism) (Wikipedia introduction: [https://en.wikipedia.org/wiki/Cartography]); or oppositely thinking, it seems that things still meant nothing or very few gains, after a systematic running of the whole universe - normally, beautifully and peacefully inherited from before, and future was sill continuing to 'there bank' rather than 'here lands' (- Postmodernist Deconstructionism) upon unsure foundations. 
What kind of a 'Coda' part would Sir Debussy and his beloved Chou Chou have writen for our 'Doctors' in 'Children's Corner'? Directly say, I think: so many fields of knowledge from human beings' worlds which were bombing in his or her mind that shouldn't make people from children's corner as a tool inserted into a evil machine or device, working merely for the hopes-losing operation of a negative future; but positively, as a back-returned discover, he or she need to see their 'original heart' and hear some 'harmonic voices' sung from the heavenly corner of children. In other words, the purified attitude of worlds' future, the curious eyes to discover universal beauties and the love of childishness &amp; innocence shouldn't die, but oppositely support the freedom of minds' wandering, expanding, and new links' construction, for harmonically embracing more people and more possibilities. More simplified, by 'returning to be a kid' and 'working only for pure play well in the future', we can keep the root of a young heart with the creativity. Yeah, it is the freedom of minds, and also the curiosity with the creativity - to see more, to solve more, to discover more and to appreciate more... shouldn't be killed. 

By carrying this impressionist emotion ( and make it a deep internalization of ourselves), we are able to appreciate Sir Debussy and Chou Chou's 'Coda' part:
Indeed, Chou Chou was so exciting about Coda's coming, which was firstly noticed from B67's score requirement -'Très animé' (very lively with full vitalities). Then, this exciting mood was also realized through the vertically in-textural matching with a impressionist thematic arpeggio-part (several bright channels were dug out up-through travelling from downstairs - bass &amp; middle parts) and the impressionist background of a accompaniment set putted upstairs (treble's small voices which were short waving &amp; fuzzing there, gave a overall gravitational atmosphere, for holding all expressions thereby beneath it). To my understandings, here Chou Chou's exciting mood came from her willing of an another fantastic performance carrying some brilliantly impressionist techniques about keyboard-touching. It was almost that She had frequently asked us: 'can you distinguish the main channel of thematic arpeggio from the twinkling background in impressionism? and, can you make it out?' Even here, in this case (B67 and B69) your two hands for both theme and background need to interactively &amp; commonly share with the same positions of keyboard and the same notes? Yes, even though it would happen, the distinguishable senses still need to be clearly made out for both audiences and your own heart, which was a quite hard job for our exercises. You can see: in this requirement, the long note - middle C needs to be kept and attached upon the keyboard, leaving a chain: G (crotchet)- A(quaver)- B (quaver) slur-liked  breathing the impressionist air upwards-waving after waving. But, the fact was that they were taking the same area of a piano with each movement set beside each other. Could it be possible, or possibly disordering each other's running order, especially when the same B reasoning from left hand's upwards tail-breath , but also reflected as a normal middle third beat of right hand (in a group shaped as being among a rest-composed 4-semiquavers group in the accompanying background ) , which tightly posted your hands' flexibility in a disordered situation, and furthermore, the longer-lasted middle C bass enhanced this situation to much worse. That's not the most difficult thing, but compared with it: in the next bar, several 'ʌ' signatures - Louder-Sharpening signatures  - emphasizing all heads of groups, were set there alongside an 'opening mouth' in dynamics, which continued her exciting dream to much wider horizons. Though heard good, it needed your fingers' keyboard-touching directions (left hand) be immediately rotated down... to be frequent pressed in the style of stronger 'Up-Down towards' patting of 'Perfect fifths', without even a moment of thinking.. Out of your hands' controllability, do you think so... do you have a willing of giving-up and being broken? Is there a feeling of you, after a long journey, being here with the total tiredness? Yes, but hi, my guys, don't give up, and hold it on for a little bit much time, situations would change better, and to a forever impression. We can say: this treatment was still in beautiful breathes, though hot and exciting. 

Then, a question came out: what was it really heard like - in those fantastic impressionist imageries? what I did analogize it was one of Chou Chou's heavenly toys - a crystal fountain set among multiple-dimensions of spaces &amp; times in our universe. Yes, it was also a symbolized expression of the gravitational system. We can review more historical recordings of fountain's functions in human beings' entertainment life and products-creation from this Wiki-article (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fountain]). I think: you hear, in minutes (1.52-2.00), the left hand's expression - frequently up-streaming main thematic chains - was like　main water-jets shot up frequently in its significant situations, which made the distinctions with other water in basin (impressionist background)clear and recognizable. Yes, they are made by the 'same material' as basin's water beneath, but differentially in stronger powerful forces - being shot up some up-raising streams in music motifs (Middle C as a root of water-jet in basin, with G-A-B style streams flying up towards the sky), which simulated a fountain's beautiful situations. Afterwards, we took a long-distant view, and then, would find  B68 and B70 tightly followed are in a much more macroscopic impression upon the rhythm of spaces &amp; times, for the purpose of summarizing 'Universal Fountain's' beauties. If you let me seek an astronomical phenomena representing the mechanism of this Chou Chou's 'new toy', I would still mention Supernova Shooting (jetting) as Chou Chou's fountain in our universe: (Wikipedia introduction: [https://en.wikipedia.org/wiki/Supernova]; [https://en.wikipedia.org/wiki/Supernova_remnant]). But if you want me make a much sweeter analogy from kids' nature, I would mention Chocolate Fountain with 'water-fall' surrounding - a favourite and enjoyable 'landscape' of my delicious foods. (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chocolate_fountain]). No matter the real fountain, universal fountain or chocolate fountain, I think Doctor Chou Chou's true purpose was for happily 'playing' out one innocent future with the freedom of creativity and new hopes. Let us respect her willing and the nature of a doctor in children's Corner.

Suddenly, you would have found: 'Jason, you haven't mentioned B65-B66!; and you haven't fulfilled yourself in this session!' 'Oh, dears, please forgive me that in the final part of this session would make a clear effect of the explanation, I thought...' To be honest, they were in a Spaces-Times vibrating treatment (with a half-bar's gravitational breath in normal slur-shape - a Louder-weakening signature, but the other as an anti-gravitational expression for 'water's' up-climbing and energy's accumulation )set as a motivating  mechanism inserted into the fundamental basin of our fountain. Seeking words, you will find a device-term 'Siphon' with a series of parts would give you better impressions about what Chou Chou's 'New Toy' was working like (Wikipedia introduction: [https://en.wikipedia.org/wiki/Siphon]). In order to overcome some anti-gravitational difficulties brought to your hands, you must keep them in very small shape and in very careful channels. Following it, music 'water' can pour up 'more pure than a soul', and many beautiful imageries can be created out upon Chou Chou's 'universal landscapes'. In shape, '› ‹' can also be compared with a butterfly, and a kid's pure soul was channeling in this pattern for 'flying higher' with joyfulness. After this supplemental illustration, I think things would be much clearer for the realization of piano techniques and musical appreciation.

===== 'Braking! Braking! A Consciousness-streaming': ''' Back-turned Braking from Peak force' application - in a doctor kid's post-regression  - as a 'black hole' travelling - with new 'big bang notes' up-waking people's minds '''=====

Finally, it's a real 'coda' part our journey will arrive in, about which Sir Debussy and his beloved little doctor Chou Chou in Children's corner were looking forwards to giving us a significant impression, as for the remembrance of 'each beautiful landscape' on the travelling of our journey, and the innocent childishness we were carrying in hearts together. I guess this pair of 'father-daughter-union' composers, from spiritual subject being to universal physics existing, must have discussed this case for long time: 'Father, what type of long-effecting impression we would leave to our learners - the listeners, the keyboard-realizers, further composers who were willing to take our approach, the notation-readers and some self-learners of piano...? By designing out a good coda-fashion?' Indeed, if we review transcripts of Debussy's works, normally, Sir Debussy turned to make two choices in coda parts - one was a romantic up-sliding way flying away our dream's disappearing alongside a fading of its vivid colours gently and pleased, like what 'a let-going spring' imagery 'islandic disappearing' (imagining, when our boat passed by an round island in mind desert-sea,...oh, it was with Arabic fountains, green plants, night birds...only in dream... and continuously...it was disappearing... that's quite right you got it!) from our horizon in Première Arabesque (Arabic Suite - Spring; it's another story in new life we will talk further...)and what Clair de Lune (Moonlight)showed - a silver channel fragmentary slivery upon the surface of a forgotten sea somewhere in our universe and strings of lute lighting it upon to heaven (More information, we can review from Wikipedia introduction: [https://en.wikipedia.org/wiki/Claude_Debussy]. I think, this time, two demonstrating samples can somehow meet some standards of my critical ears, but I would also try classroom samples from wikiversity and wikicommons' views, I thought... Oh, waiting time, it will have been another story in my life) ; and, the other type was a sudden and half-opened termination near postmodernism &amp; postimpressionism -leaving more imaginations to learners ourselves. In this case, Sir Debussy gave more respects to Chou Chou's own choice. She smiled joyfully with her eyes full of curiosities and probably said: ' Papa, I preferred a sudden stop leaving more imaginations to others' Somehow, from sound effects, it would also be compared with a 'childish mischief' with 'a Braking throughout a peak force', but then, knocking out a renewable 'universal door' big-banging a fresh vision of future'. 
Thinking till here, two questions emerged: It's the time to say goodbye, but how did they realize a universal braking in coda? And, what type of analogy can we make according to it?  

'''Techniques Description:'''
Firstly, let us present a participating-observation of its texture in B70-B71, then follow a talk about its techniques-training. Indeed, parts-formation of this piece was quite simple. Overall, it just contents a second-transformed major-triad ( C-E-G) with a range of Perfect fifth (G-C) separately covering your left hand (lower part) which can be seen as its main impressionist chain - heavier and stronger, but the rest part of major chord structure floating up a impressionist background waved by right hand- lighter and higher. For this, logically matching &amp; grouping two hands together as a whole was also the basic technique, with the leading heads (left) joining impressionist background (right) tightly presenting the equal intervallic pace on average. It gave us an aesthetic feeling of well-distributed texture in which harmonic 'Perfect fifths' were repeatedly measuring the keyboard throughout a C major triad impression, which motivated waves by waves (oh, dears, did you forget, waves would be from Chou Chou's new toy - our crystal fountain?). Then by multiple dimensions, it reverberates itself in spaces &amp; times - octave by octave (octave as a cycle), and curve by curve (down-falling). Be careful that 'Gs' here in perfect fifths (B71) were highlighted twice in  minims (long notes) with two 'Λs' (sharpen stronger in loudness) telling us which were heads. Then, parts (spaces) in texture (universe)were separated, with twinkling mind threaded to be pearl chains breezing out colourful energy-waves upon fuzzing materials of background.  But following again, B72's main chain was naughtily jumping up, as happier as Chou Chou's dancing with child's interests. Breaths realized by slurs linking texture together were also short-time jumping. Another possible explanation was that frictions from braking have sparking out dreaming flowers in short-time stopping, about whose story we could see in the following paragraph.  But, transformed from two ''hills'' landing (B71), here, in dynamics, impressionist background has been totally connected out a continuing ‘Crescendo’ - louder after louder.

'''Imageries forming:'''
Secondly, why do we make an analogy 'braking'? Article 'Brake' [https://en.wikipedia.org/wiki/Brake]in our Wikipedia introduction can teach us more about some similarities: After another 'Peak' strongly played through the first G of B71 - the first factor of braking - 'Peak force' has been targeted and accumulated from our fountain's shootings. Sentences like 'The peak force is often greater than the traction limit of the tires', and 'braking can cause a wheel skid' referenced, showed the similarities projected in Sir Debussy's work requiring hands' controllability for controlling 'significant force' in channel. Following this logics, what about those 'heading points' left hand has created out? I think they were like 'shoes' of 'frictional brakes', increasing touching-areas of 'wear surfaces' with 'the rotating drums' for stopping (or we can call it: 'the rotating waves of impressionism'); alongside, 'kinetic energy' has been converted into 'potential energy' memorized in our dynamics score - yes, hotter (louder) and hotter (louder). But, why was the frequency of those highlighted 'Λ heads' continuing faster and faster, from B71 to B72? Imagining a fast metro or light-way train was now coming facing your face on a station, it needs to prepare a braking even far in long distance... until its nearness, the 'inertia' makes out a huge destroyable influence out control of its released 'peak force' - yes, being transformed to the 'kinetic energy' in acceleration, with which 'angels' and 'evils' joined together . In this case, the frequency of 'braking heads' from repeatedly set 'Λ heads' heated the atmosphere dramatically by dramatically . Owing to this operation of 'stopping', much 'kinetic energy' has been transformed to the 'potential energy' and stored in our 'hands machine'. Then, in principles, it was hotter(louder) and hotter (louder). Practicing in reality, we can achieve this braking through our hands' controllability.  Oh, re-thinking about this design, we can know how great Dr. Chou Chou was - as a real physics expert but across multiple subjects. Meanwhile, associated by Sir Debussy, what a beautiful music universe with many imagery landscapes they have discovered for our learners. 

'''Larger our horizon:'''
Finally, a sudden standing has been made with 4 bars' long notes - 'B73, B74, B75 and B76' terminating everything right now. 'F-A: major third' matching 'C-E: major third' was solved to be a transformed major triad in key C(C-G-C-E). We can hear significant &amp; accumulated powers have been totally externalized and summarized (with a mischief joyfulness) to several 'block chords'. Meanwhile, dynamics got the highest level 'ff', long notes (chords) told us everything in terms of this work. In playing it, you will feel your fingers were almost broken by vibrational energy (Wikipedia introduction: W = W potential + W Kinetic  [https://en.wikipedia.org/wiki/Sound_energy]) owing to Resonance (Wikipedia introduction: [https://en.wikipedia.org/wiki/Resonance]) associated by Pedalling (Wikipedia introduction: [https://en.wikipedia.org/wiki/Piano_pedals]; here, it's better a Tremolo pedalling (shaking), about whose story we will discuss in future), after strongly standing on keyboard. This tail can also been seen as a projection summarizing all powers of the whole work. Don't forget the composition of '_' and 'Λ' taught us its special technique - enough time value of each note (and over a little bit) should be kept with a depth reflecting Sharpen senses (dynamics) of the loudness. From forearms, to wrists, till palms and then the edges of fingers, all forces need to be applied there for 'standing' strongly. The dramatic atmosphere created by our hands' controllability even made us out of breathing and 'sweating out rainy'. Taking a full-shot look, I still think it was in an analogy with the ending of our universe - Black hole's  'Gravitational singularity' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Black_hole]). You see, all gravitational laws materialized to be landscapes (notes) have been collapsed, concluded, and compressed into one dimension points-chain, as a stopping 'electrocardiogram'. Is it to say: everything has been talked over and the darkness is still our universe's final fate - no lights, no hopes and being in infinite silence again. If so, what were meanings of life, materials and our prosperous being? ... still to a quiet self-deconstruction... used to be stronger, but final nothing left...

'''Chou Chou's Doctored voice (awarded):'''
'No', Dr. Chou Chou gives us a strong answer in the final note - Big Bang C (Wikipedia introduction: [https://en.wikipedia.org/wiki/Big_Bang]) which will have bombed out everything again, as flowers blooming from 'Dark hole' flowerpot, ranging upon from one-dimension channel to two octaves and more. Yes, it is another branch (Post-Channel) of multiverse tree. Tightly following this note, our story will have been renewed and spread out, with new hope, good wish, lovely vitality, and bright lights penetrated from Imagination. Will it be another Impressionist Spring? It may... or other things...

Thanks to all!

Yours [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:11, 5 July 2017 (UTC)

[[File:Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg|thumb|Doctor Gradus ad Parnassum - Doctorial trainings in Children's Corner (5th draft - New, 3rd draft - preferred. About Each draft's comment, please see beside; About each draft in growth three, please see WIKIMEDIA COMMONS)]]
'''Supplemental Words: Comments for the Main Sound File 'Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg' created in WIKIMEDIA COMMONS and Impressionism analysed here'''

(''' Comments for the 5th draft:''': It is the fifth draft with three advantages, being heard better than before (Almost, I didn't want me so sensitive about certain performance-lacks, and till now, still I thought the third version was the best; but, I cannot stop to try better versions, as for love and respect to this work in this period.):
1. Binary Stars-system B24-B27 showed more unbalanced sound-fluctuations around its axis; tightly following this part, the fluency of Chou Chou's self-reasoning has been performed more naturally;
2. My willing of Fairy Legend in Cloudy heaven has been expanding (B33-B44), with more sounds-reverberations occurring in the bass of lightning door-knocking (left hand of B35-b36), much extending impressionist arpeggio-braches growing of happiness three and more bright lights penetrating joints cloud-blocks from higher peaks.     
3. More coherences and fluencies of the second universal travelling was kept (B55-B57).
Therefore, to me, I thought it has much more meanings of Education Research, which I would like to share)

(''' Comments for the 4th draft:''' This version is with a better and expressive B22-B32, as what demonstrated besides - much like being in impressionism)

('''Comments for the 3rd draft:''' Till now, this version was of the most fluentness I had played, but a little bit stable. I would like theme of impression much clearer and expressive. )

('''The analysis for the 2nd draft:''' You see, in this draft, naughty Chou Chou and his father are playing clouds and lights in the heaven and waiting for a happy Christmas, what they have done are creating imaginational impressions of sky. Then, we saw tools formed by clouds were sometimes like dogs, sometimes like boats, sometimes like drops and sometimes directly floating down like a spring. Oh, they are all only Chou Chou's games. Especially the minutes (from 0.48 to 1.18), she was attempting her best to push aside two pieces of blocked dark-clouds through her arms and let holly lights shine out by being floating directly upon our earth. She did get it (but I haven't really gotten it in my play). It was in the minutes (from 1.08 to 1.18). We can also hear her dances presented by his father hands-running in the heaven are so expressive being after an assemble of clouds-animals to the peak of mountains, which is in the minutes (from 1.33 to 1.50). Oh, finally, after so many adventures, a big bang was applied that our dream was awaken and our soul was taken back to the reality.
Then, we knew: it's only a dream Debussy and Chou Chou have played in our sleeping time. 
Indeed, I felt very sad to hear this sentence 'Claude-Emma was born on 30 October 1905 in Paris, and is described as a lively and friendly child who was adored by her father. She died of diphtheria on 14 July 1919, scarcely a year after her father's death.' Then, we can understand: so beautiful a musical world which is full of vivid landscapes there created by his father and for this only and small daughter. But, how can Chou Chou bear the fact that she needed to make the eternal departure on this earth with this lovely and magic father - on 14 July 1918. I thought it was why only a year after that she had also gone out of her single. Wikipedia Introduction: https://en.wikipedia.org/wiki/Children%27s_Corner 
I knew, in this draft, there are still many lacks far away from my artistic dream. However, in preparing for it, I learned more; and hopefully, it can be heard by you, than before.
Bringing it here is for thanking all the members of Wiki-family, who have been dedicated working for a whole year in different corners of our earth. In this case, we are trying to send Christmas gifts to Chou Chou and his father, for their contributions of human beings' musicality and imagination.)
'''Main Words'''
This version is a life rough data-collection for the exposition of  piano techniques. To be honest, the existing of it is in a little bit far distance from my art dream, but as in respects of Sir Debussy's impressionist universe. It is based on my current energy, time and ability. If possible, I would like to soon modify this draft to further better ones. In that dreaming pure 'snow-land', the paint-brush, transformed by hands and threaded by forces from mechanics and anti-mechanics, can magically draw lights, clouds, bubbles and steam to be the colourful Spaces &amp;Times of a mirrored universe. Then, Chou Chou can freely and naughtily play her games forever. If the final bang is a waking-up sound breaking Chou Chou's beautiful sleep. I would rather we never come back to the reality from this childish dream. If you would like to make better understandings of this melody, you can come to Wikipedia introduction[https://en.wikipedia.org/wiki/Children%27s_Corner].

==== Students' learning effects &amp; progresses from piano pedagogical reasonability (reasonableness): &quot;Kids' Performances in children's corner&quot;  ====

''Jason, why did you submit this edition, is it yours?'' No, no, this sound file was made by myself, but the content was from 'my kid's' learning progress' of Sir Debussy's 'Doctorial' in Children's corner. You knew, Sir Debussy has his own daughter; but till this year - my age of 30 year's old, I haven't gotten any. Therefore, in this period, I saw my students as my kids. Oh, it was by accident that I had recorded one piece of a little girl's exercises in classroom (around 13 or 14). Her name was Xue Meng, Hu and her 'little doctor' Live voicing in this place.
Oh, it was a long long story... Every time thinking was going here, I would be emotional and sensitive. As her piano family tutor (one traditional teaching way carrying a dream of piano fine art from commons), I have been watching her growth - almost from her 5 year's old. During this period, time has changed lots of things, including people's experiences, perspectives of value, willing, and some true hearts ; good or bad, but our dream of piano education and self-aesthetics (the appreciations of musical beauties) has never changed.  In my fragmental memories of consciousness stream, I can remember when I made the departure from 'my kids' for my dreaming educational rationality (I like 'reasonability' this world, because when you were reasoning, you can get the ability to be in pure logics and review world's beauties) in UK ( and Newcastle), she has never given up her self-practices of piano techniques, preparations for national grading tests in China and improve her literacies of music. There were also some times we felt hard to insist on going on, and some times her 'little uncle - Jason' might be so serious about her daily exercises and about himself... And, some times people surrounding us wouldn't quite understand why these guys were dreaming so hard... But, no matter what situations were there, still, she didn't give up; and I have been participant-observing and accompanying her growth in educational reasonability (reasonableness) of piano. 
'Jason, are you a big dream of your educational approach?' Yes, I don't want to deny it but ... not really... I used to say to her facing her family: 'little guy, one day I could teach world's most beautiful melodies of those Masters, and you could learn and get nutrition from them for your creative life fashion. You had the love of piano and a dreaming heart of perfection. That's your giftedness.' But, in that time, her family members told me: we had never thought she could play them... you knew, generations after generations, we had gotten food - fruits, and vegetables ... from our fields... we had been working for it... That's our fate... Just, some interests out of schooling, if she like, she can...
After getting back from UK (or to say, my mind has been alive bilingually through the internet; especially, thanks to my wiki-family, some online platforms of education), alongside the logics chain threaded in the section 2.3.2.9 of this page[https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han#.2A_Children_are_doctors_for_adults.2C_as_the_reason_that_they_can_create_some_most_advanced_techniques_than_your_imaginations.2C_but_with_the_purpose_only_for_happily_playing_their_games._I_guess:_Chou_Chou_must_know_it.2C_and_father_Debussy_also._Then.2C_heaven_is_near:], I began to tidy my minds and my daily practices of teaching and my theoretical modes from education researching.  After a year's time of grade 9th's preparation and her wonderful passing-through, we began to research Sir Debussy's this work - 'Doctor in children's corner'. 

'''Stages as:'''
1st Rough draft for primarily getting its shape;
2nd  Background knowledge collections for understanding Sir Debussy and his Chou Chou's life 
(this was a continuing process by myself that I mainly began from Wikipedia, and then made paper works regarding with it, and carefully observed its manuscripts);
3rd  Analysis of basic points and techniques requirements of its keyboard-touching;
4th  Critical weaving imaginations and impressions to be painting imageries wandering upon techniques;
5th, Collecting languages from both Chinese and English for binary classroom 
(There were several sessions totally in English and some key words of music theory &amp; background knowledge in English I had frequently presented to her, which I could say I made this procedure in binary languages. Though she was in primary level of English, I found music, especially our love of piano, had transformed to be a bridge across hearts' gap and brought us inspirations; Furthermore, I promised every impressionist imageries and scenes I had taught her, but simplified in languages of her age and her ways. Though still, it was very hard for her to understand, she took the challenge and achieve some points through her own sweats)
gave us powers.

'''Two weeks ago, she was able to make this edition from learning progress:''' 
Then, there were some conflictions in terms of whether or not I should submit it, which was from my own heart and experiences. I said to myself: Jason, be brave! What gift can you create for your 'little guy'? What did you own, nothing or something...?  What place, in your mind, is beautiful and pure for your piano education, after so many years' explorations, some dreams, some good memories and some sufferings...? Then, I thought here...My conflictions were also about some small mistakes, 'sliding notes'  &amp; 'breaks' without purpose, the incompletely expressed musicality and some ignored keyboard-touching ways caused by nervous moods made by her... which made her edition lose some 'natural landscapes', such as B26-B28's left hand, the emotional reasoning in B37-B44 and a peak sliding fault &amp; dynamics fall in B65-B66,B71.... And, they were also about ethics issues I wasn't an expert in. But, finally, considering educational reasonability, her long time love of piano, her giftedness, basic completion of key points and some impressionist sessions, and from inheritance (you can see there were small gaps between my first edition and hers' that it sounded like her piano tutor - mine. Her advantage was from a girl's slim hands), I thought I should send out my gift, and era should leave more developing zones &amp; opportunities to young generations' growth, no matter where they were and who there were...) Hopefully, she are able to achieve much more beautiful editions and cheers in her own future for our worlds, than her ' big comprehensive case carrier and a strange kindhearted uncle -  Tutor &amp; Learner (me).

'''One week before examination - a near-closing case of piano education:''' &quot;This classroom edition was recorded a week before her examination of Grade Test. Thinking of it, it's really a hard job for us having gone over a long period to get the basic knowledge of notation, to train hands-manners and necessary techniques of piano, to know some masters of piano and finally to understand Sir Debussy's impressionism and make some possible self-expressions... Before the examination, I wished to give her more confidences, thereby, recorded this edition - to let her know how powerful currently her hands were heard like and how good she could self-reason out her own 'Children's Corner'... Alongside hearing this edition, so many beautiful moments, hard times and imaginable scenes glanced over my brain, in which our growths (including my own - a piano tutor) were recorded sparking the vitality out. Were there still some small problems, Jason? Yes, to a critical tutor, I found it was a little bit later in her right hand when going through the 'Binary System' and the 'highlighted-shinning stars' on sky-celling were lighted by wrongly sliding out other notes a little bit (B24-B30). But I was very happy to hear that she tried her best to play out two 'Impressionism Butterflies' (B65-B66) and linked them to a beautiful Fountain (B67-B69) . Yes, the techniques-stability was enhanced. Thanks, Meng Meng! I used to think last edition was your best... but... this one was further better. Wish a beautiful spring holiday of your 2018, after the examination, will come to your heart and your life!&quot; (Jason M. C., Han in Wikimedia Commons, 2018)

Here and now, throughout a 'text-book writing' of Sir Debussy's Doctorial in Children's Corner,  a reviewing of work-analyses of some techniques-points, many times of fulfilled practicing in virtual and real classrooms, many time of cases-recording of both tutor (me) and student (Meng Meng) in sound-files with words-descriptions, currently, in the new spring holidays of 2018, this teaching procedure was nearly closed, as a final student's good effect was recorded before examination, and further she was going out of 'our children's corner' and to face her examination and her own future. What, I need to say: thanks to all! Thanks to 'being known - a nature of human beings'! And, thanks to this Era who gave a chance to this multiple-channeling teaching &amp; learning procedure of piano! Future... maybe still unknown, especially for this little girl... But, best wishes! 
[[User:Jason M. C., Han|Jason M. C., Han]] '' (Jason, M. C., Han, 2017)'' &lt;ref&gt;WIKIMEDIA COMMONS (2017) Wiki-entry 'Children's corner of Meng',  Searched from Wikipedia. ，Creative Commons Attribution-Share Alike 4.0 International license. Available at: https://commons.wikimedia.org/wiki/File:Children%27s_corner_of_Meng.ogg. Accessed: 10th, August, 2017&lt;/ref&gt;

[[File:Children's corner of Meng.ogg|thumb| Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons]]
===== '''Arabic Spring bloomed out from impressions of Children's Corner:''' =====
[[File:Claude Monet, Impression, soleil levant.jpg|thumb|Claude Monet, Impression, soleil levant]]
After having learned many techniques of Impressionism, Let us have a try of Sir Claude Debussy's another impressionist work - '1st Arabic Suite - Spring Garden' (DEUX ARABESQUES - 1st Melody).
Here, This paragraph below referenced from the description of my 'Wikimedia Commons' was a 'true-heart' dialogue, which can guide us the music imagination and impressions-forming: 

' I was dreaming of a morning awakening in Hanging Gardens of Babylon (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ). Then, gentle breathes of spring told me stories in my childhood painting sheets which has stood up  several imageries, including a bird-transformed angel-girl and Ali's virtual trip to gods' place for love... which were reminded unclear now... sorry. Oh, I can remember the time was when I opened an old book from my grandpa named One Thousand and One Nights (Wikipedia introduction: https://en.wikipedia.org/wiki/One_Thousand_and_One_Nights) that I can read words in my first time. But, in the following tens years of my life, it's heard that happiness and joyfulness in Islamic Garden，like tune sung away in sky by nightingales, left tears with the sadness becoming a dominate theme running throughout the darkness... Spring is the most beautiful one growing from one long-drought desert-area or 'heart'... people knew(Wikipedia introduction: nightingale - https://en.wikipedia.org/wiki/Common_nightingale;Islamic Garden - https://en.wikipedia.org/wiki/Islamic_garden) I have nearly forgotten how beautiful water 'fireworks' raised up by fountains were projected out green vitalities in sky upon desert and diverse mythical animals living there... Until one morning of later spring, I have been to carefully sight-read the manuscript of Sir Claude Debussy's  'DEUX ARABESQUES - 1st suite' (1888) in piano... I found romantic lines wandering upon impressionism background with nightingale's natural musicality of singing praying back a blooming spring have all been summarized in this 'song', which made it soon become one of my favorites... My father told me: Jason, after I heard it, I can feel the willing of expressing its civilization in freedom, as being recovering, but still, it's with a piece of 'unspoken' sadness... Oh, that's quite correct... I thought.Saying something lighter:Currently, it was a hot summer - though posted in a little bit later but 'hurry' time - I prepared it in only a couple of weeks, and some ideas cannot be fulfilled, when diving under seawater in my hometown and opening my eyes bigger, I still can feel the cool feeling attracted by blue jelly-liked bottom was quite like a spring waiting there - warm but not hot, peaceful and with pains... Just mentioning the feeling, I thought Jacques in the movie The Big Blue (currently, I have watched)  would carry the same complex. But, mine is in piano and life. (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Big_Blue ).Oh, sorry,  so far away, I just wanted to emphasis an element of 'Spring feeling' in this Arabic song (suite). Indeed, when I was in Newcastle, one morning, hearing words from a peer of Iraq (mine) praying on a piece of ground-carpet towards ' The right direction' in his heart, what can also give me a 'spring feeling'...So many words... let us listen to this suite with singing musicality... I would modify it with better techniques in short time...Thanks! '(Han, 2017) Coming back again under the sunshine and softly breezing winds in New Era Time, what I would like to further self-reflexive was:' Thanks to this Time, Hanging Garden was almost seen near my eyes with more blooming flowers... Maybe still some pities that my heart didn't reach too far as from a critical aesthete's eyes; but happiness, in the Babylon Garden of Imagination, as a plant would be growing to the Green Tree in a night of 2018 Lucky Dog's year, under which beautiful voices from a singer, or nightingale would freely wander up and totally relax you long-time ‘tighten nerve’... to welcome a mind wake-up in one 'cool' morning unknown with 'dew-drops', fountains, citruses, and special natural creatures... all in musicality...' (Han, 2018)


Here, I need to set two references, in terms of which one was 'Patrizia Prati's version' which I had heard many time for enlightenments and the other was the manuscript I sight-read for the credibility: 
1. Patrizia Prati's Version: &lt;ref&gt; Prati, P. (2016)''Français : Première Arabesque'', Claude Debussy (Wikipedia article):Creative Commons Attribution-ShareAlike License. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. (Accessed: 11th, July, 2017)&lt;/ref&gt;  
2. Manuscript for Credibility: &lt;ref&gt; Translated: Wang, J. Tang, C. (eds.) (2004) ‘1ère Arabesque - DEUX ARABESQUES’, The Collection of Debussy Piano Imageries, Beijing: People's Music Press.pp.5-9.{{ISBN|978-7-103-02765-3}}&lt;/ref&gt;

'''Self-reflexivity:''' I respected others' versions and appreciated them very much, especially from the reasonability of piano deals. But, if you asked me: Jason, what's your characteristics? Maybe... In brief, I am willing that it was: 'more colours with impressionism techniques reflected from daily life... such as 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' and 'The play of natural light (sound effects) is emphasized. Close attention is paid to the reflection of colours from object to object', etc; and ' my full of emotions have been expressed in ways of Neo-expressionism and Neo-classicalism'. Further more, after real practices in some life scenes out of classroom, I would suggested putting an element of ''''France Romantic'''' based on reviewing other cultures emerged from imagery notation would be an good idea. Please have a try, thanks!
[[File:Claude Debussy - 2nd Arabesque (JMC, Han).oga |thumb|1st Arabic Suite- Spring Garden(in 3rd version: Impressionism Singing - Main natural Lines&amp;Breathes from Sir Debussy)]]

3. '''Later time of spring-New Era''' , a colourful Butterfly is gently flying into your Hanging Gardens of Babylon -1st Arabic Suite (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ) , and taking  your imagination&amp;dream to a flowering life-mountain facing a farland sea...Watching some time of one section inside, you can also hear Monet's 'Quiet Morning' upon the sea...Alongside Butterfly's dance suite, Stories are beginning...Oh, listening... it's the legend of Butterfly in birds' song...

[[File:Claude Debussy - 2nd Arabic Suite (Arabesque) - Spring Butterfly, Performer JMC, Han.wav|thumb|2nd Arabic Suite- Spring Butterfly (Impressionism Singing -Main Natural Lines&amp;Breathes from Sir Debussy)]]

===== About the performance of Debussy works, piano Keyboard's touching pathways, techniques, and effects shown in Wikipedia need to meet some standards of impressionism, Sampling - Clair de Lune =====

https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg -
Though this edition has been studio-produced without some unnecessary noises, It wasn't from the nature of life, and with the reasonability of impressionism. Meanwhile, it carried some mistakes. Therefore, I don't think its notation-reading and Piano touching techniques have met impressionism's standards, such as the seconds (0.46-0.49 note F , and 0.53-0.54 note D) - two long-keeping notes absolutely being made the technique-mistakes by being divided into two single ones which deeply broke melodic harmony. Some other mistakes can also be found, such as (0.57-0.58 root chord Octave E; 2.34-2.35 high pitch C in the middle part, the lost expression of Calmato from Bar 43; The no distinguish of 'pp' and 'ppp' from Tempo I etc.)
Another perspective, from 1:39, the impressionism arpeggios produced by master Debussy, on the middle part by left hand, have been deeply broken into single notes' on-going; then, impressionism music's colour-fizzy impressions borrowed from its painting, which was reflected out by hands' skills have been totally ignored. Yes, every note was clear and run in beats, but impressionism disappeared and hands' abilities in controlling linking notes and running them in certain active speed hadn't been made the accompaniment with the whole theme's development. The very importance is the dynamic level of bass long-keeping notes in lowest part haven't been played with 'tender but highlighted forces' gently, which needed to give people some unconsciousness impressions as deep 'footprints of coming'.  (2.23 - 2.24) - from these seconds， high tide's 'En Animant' hasn't been performed well with the sparkling lights upon the higher pitches linked as in a whole logical line, then required to be tenderly pressed the force into keyboards; meanwhile, it and its following paragraph are also too quiet without deep thoughts and without the dynamics level as motivating to 'f' etc. Rather than only these sampled points I pointed out, indeed, there are also some many keys lost accessing to impressionism, which haven't been performed well.
Therefore, I need to say: I have to recover the original edition as both the respect of master Debussy and respect of fine artist' aesthetics. Though in last edition from wikiversity, some pink noises layer was existing. However, it was true both from life and from past experiences - then it was called deep impressions. Can life be pretended without noises? Impressionism is also. It cared about soul root's purity but fuzzed the details (on purposes as by special techniques) Meanwhile, last edition in Wikipedia has also respected Debussy' original notation-reading and soul-expressions. Meanwhile, player's emotional changes about his own past tens more years regarding with this work had all been applied by tightly participant-observing the universal logical line of Clair de Lune implicitly, just like some symbolizations produced impressionism, overall. Then, you can hear some struggling feelings and self-releasing being deeply hidden from the root, which was also participant-observing Debussy's historical life-line. 
If some better editions can be found, after panelled discussions, we can push further more. Meanwhile, I am continuously researching this field. If some communications focusing on melody itself rather than some unnecessary issue, I am very happy to give my talks. Furthermore, indeed, I was very touched by this player's bravery of playing Fine Art's Digital Literacies earlier, but some details need to be up-to-date and regressed back the Composer Debussy his own thoughts from his historical background and life themselves, as engineering giving beauties to commons. Here, we need to think more ... Thanks!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:05, 10 October 2016 (UTC)

'Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies,[43] and the forms are '''far more irregular and fragmented'''.[44] These chords that seemingly had no resolution were described by Debussy himself as '''&quot;floating chords&quot;,''' and were used to '''set tone and mood''' in many of his works. '''The whole tone scale''' dominates much of Debussy's late music.' (Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

These sentences referenced from Wikipedia was really good for understanding Debussy's piano techniques and Key-board touching skills, wish we can make more understandings. I think 'floating chords' are impressionism arpeggio; meanwhile, emotional depth have been explored, rather than a 'stable lake', but with dynamic levels and even 'hidden struggling of life', then, 'self-releasing finally'.

'Rudolph Reti points out the following features of Debussy's music, which &quot;established a new concept of tonality in European music&quot;:
Glittering passages and webs of figurations which distract from occasional absence of tonality;
Frequent use of parallel chords which are &quot;in essence not harmonies at all, but rather 'chordal melodies', enriched unisons&quot;, described by some writers as non-functional harmonies;
Bitonality, or at least bitonal chords;
Use of the whole-tone and pentatonic scale;
Unprepared modulations, &quot;without any harmonic bridge.&quot;'(Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

This part is really good, which reflected out the necessary that impressionism techniques and skills are needed in dealing with these composing habits and requirements from Debussy mentioned for our players. I think, the floating hands-skills, fizzing details and oppositely pushing out theme in Impressionism arpeggios, are really needed. They can be transformed to techniques we need to give ourselves some trainings.

=== Some theoritical constructions summerizing creative thinking skills, phylosiphical roots, psychological ideas and educational research skills, applied in piano field ===
 '''Button:　(See Besides)　'''　　　　　　　　　　　　　　　　　　　　　　　　　　[[File:LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS.pdf　|thumb|LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS]]
('''Post-comment:'''
After repeatedly exercising, after a procedure from clear division of each stage strictly to entirely usages by fuzzing boundaries with learners, finally, this approach will be naturally merging into teachers, teacher educators and learners' daily classroom-oriented operations. Bearing 6 stages always in mind to comprehensively think out practical solutions for problems ranging from simple ones to much complicated ones is always very important, which can help us clarify your thinking in piano and musical education.)

=== Piano Exercises (PE): Postmodern Piano Teacher's (Performance &amp; Keyboard-touching) Continuing Developmental Zone with a crystal heart as Kid's  ===
==== Improvisations for Future====
Main files: Please see the Portal 'Blues &amp; Jazz learnt for fun and a fast brain' in the Portal section above
==== Reorganizations &amp; Solo-rehearsals for Some 'unbelievable &amp; dreaming' melodies in Life-long 'Music-Journey' ====
Friends, Life journey is so long that many emotion-landscapes are going up and down. To be a Happiness Piano-teacher (Piano-teacher for dreaming and sharing the Happiness-land), we are always on the way... When beauties of a flower or a river are touching our heart, we preferred to make out (catch) them buy hands. Then... Have you heard annual Vienna New Year's Concert? From born time? Yes, in 2018, it's mostly like a fantastic Southland Rose, under Italian conductor's hands. But, in 2019, under Germany 'Big Bear' Composer's hands, it's like impressions of North-sea waves. 
So rich views, they were like, varying on the trip... However, there is a piece of waltz never faded, which? Yes, the Perfectionism Waltz - Blue Danube Waltz, flowing from Heaven-spring or from the pure harmonic part of your heart. In so long a life journey, I have been dreaming for many years..., but really hard for piano... The year 2019 told me: Jason, you can play some not all, even like a smaller collection; and remember Sir Chopin's suggestions - 'Very independent Waltz Fingering techniques and fioriture ornamentation'... Further back, in I a little girl student's teaching plan, I added a small task - 'having a try of Blue Danube' through a notation textbook - 'Brilliant Pearls on the Keyboard'. Now, in the End of May, I gave a reorganized &amp; re-integrated edition of piano, myself: 
[[File:Blue Denube in my heart.jpg|thumb| Piano life is like the travelling Blue Danube, let us see]]
[[File:Blue Danube (Exercise and variations-collections in piano) JMC, Han.ogg|thumb|Blue Danube Waltz in piano,  JMC, Han]]
Though many details were still rough in my ears (compared with some perfect editions), I never heard it played in solo-piano and what structure collected was much suitable for piano techniques-training: 

 '''Introduction (Andantino) - A. Waltz (Main) - B. Waltz (Development and Peak 1) - C. Waltz (Development and Relaxation 2) - Coda (Repetition and End)'''
Blue Danube Waltz is still dancing &amp; going on... 
This procedure taught me: '''For some beloved melodies beyond piano's ability, we can cut and pick up some sections not all, then reorganize them in a much suitable form for piano - introduction, development, coda.... ''' I will train myself further more...

=== Small breaks to relax yourself... in Neo-expressionism &amp; Neo-classic of Pop-piano ===
=== 2018 Spring-Echo - Dreamed Flowers-blooming, Cruise-ship trip to Sasebo in holidays and a Self-Doctorial public performance (5 days and 10 times) in 'Children's Corner' (mind-recognized and notations-above collected) Restaurant ===
* [[Portal: 2018 Spring-Echo trip to Sasebo and a Self-Doctorial travelling Performance  | 2018 Spring-Echo trip to Sasebo and a Self-Doctorial Travelling Performance]]

== The Postmodernist functions of tertiary education in Jason's views ==

In my mind, tertiary educational system need to benefit ordinary people's daily lives, and also can continuously absorb the nutrition from them for growing further. 
Imagining the coming of one beautiful day when waking up in the morning: 
all the aging people, middle age people, young adults, young teenagers and children -
no matter where you are living in, 
you will not feel hollowed emptily in mind with hopelessness.
Oppositely, 
through shuttling in your Postmodernist channels to accept the fresh knowledge freely (contracting with the global society digitally）, 
you can know what you are going to do, 
how you could realize your dreams by fulfilling your daily plans, 
and what contributions you will be making for the worlds.
Then, your life would be valuable with the blue hopes 
under the free sunshine of pure knowledge. 
This Postmodernist Regressing-situation should have already been predicted by a classical painting - 
The School of Athens 
'''(https://en.wikipedia.org/wiki/The_School_of_Athens).'''
 All the people internally can freely research their Life and knowledge in their own 'channels'.

At that time, every young person and child's giftedness (even very different from what we have already known) 
will not be ignored, forgiven, or blocked by the society
merely because of the limitations occurred from their special problems, their private difficulties and their disorders (mental or physical) which might be hard to tell others. 
The reason is that plenty universal citizens online would associate them to realize their dreams. 
I knew this vison is towards one huge project for all and somehow a little bit lonely way for me, 
however, I strongly believed in: if every person everyday attempt to travel one step friendly (even very small) for others, 
'tomorrows' will be the beautiful days for all!


== '''The daily collections of Jason's Postmodernist Language''' ==
=== Introduction of this part ===
In my mind, the pieces of fragmental consciousness and some unconscious roots have been inspiring your life-strategies and decisions. However, they are somehow emerging easily in your short-time memories and also broken easily.  How could us frequently collect them and contribute to our postmodernist civilization immediately. I think: collecting your daily internal and external language might be a good pathway.  

=== Contents ===

==== Some words from 2016 ====

1. Sciences &amp; Technologies can better the materialist standards of ordinary people's life; meanwhile, philosophy can give people the wisdom to self-reflexive their life standards for dreaming an idealist future; meanwhile, theology can keep their well-being situation be peacefully maintained. In postmodernist life, after constructing the channel threading the Trinity, I cannot see the conflicts, but the cooperation and negotiation. (7th/June/2016)

2. When navigating in the sea, the directions of sun somehow are depending on your own heart. Whether it is sunrise or sunset, you should ask yourselves(There used to be a philosophical debate about where is the centre of your worlds - heart or brain, about which we can search some information in Wiki-team's 'channels' online).
(7th/June/2016)

3. Children's eyes are prettily beautiful, which can bring holly peace and heavenly love into your mind. Watching them, touching the universal harmony and postmodernist imaginary-regressing to your own childhood; in what channel, I almost forgot some pieces of  unnecessariness, such as hates, boring issues and hostile emotions, and only leaved one pure dream in mind - being together with them to play, and play with smiles hung upon faces. In psychology, it was to say: people would pick up their childish in the later life as the intelligence's regression to be innocence as time's passing by. But, but, I'd rather picking it up in my middle ages, or even from my childhood itself. In that case, my postmodernist trip would not be painfully or singly enough, but with full of sunshine. Oh, good night, my worlds! hoping children in their channels including these generations and the next and the next after the next ones - would enjoy their peacefulness and joyfulness all the time. I will have been praying for all in this channel - mine, yours and theirs - time after time, until the numberless recycles upon.
(16th/September/2016)

4. Today, watching the autumn-leaves here - falling from the higher place to the ground greyly, my memory was also falling and falling to certain part named 'self-reflexivity', or 'mind-independent land' as in the past:
Three years before, I had been a very peaceful and ashamed boy, of whom, even made any arguments with others, the face will turn red. On those days, I just wanted to enjoy my own small joyfulness with my family. Currently, I saw he had been very foolish but innocent enough. Sometimes, when I was him, I enjoyed to watch beautiful moonlights, felt its silver love can be compared with Mother's dedications in my education year by year, or someone else who had would like to make the accompaniments with me in my small life-trip. I didn't know how to quarrel with each other, but just follow some ideas to make further thoughts. In that time, peers, relatives and family members all thought I was a good boy. 
Until one day, I began to gain more multiple-disciplinary knowledge, then critically thinking of my life across cultures and subjects. Then, I went abroad for multiple-views of life and academy for the purposes of getting 'bilingually and comparable views' as in philosophical education.   I found: what absolute pieces of knowledge, even language and number themselves, are somehow not enough absolute and peaceful as before. Yeah, someone taught me some keys; then, I thought I can train them very excellent even super-against someone's levels before, especially dialectics itself, depending on which I can make much more trips and see more beautiful views in my channels. I can also travel to more reasonable and purified 'places', somehow, than current, with the foundation only on a huge summery of multiple-subjects of knowledge. I can shift myself from here to there, from now to the future situations after being reasoning about the possible tendencies. But, this isn't my false, which made someone feel really not happy when I took my stances. They began to make various troubles for me, and I began to make various arguments, complaints and appeals with them, just because what I said and dreamed after had been really not wrong, but possibilities for future - even good visions; and, they didn't believe in what they had seen. Oh, I am researching thinking and education for many years in my ways and I am really not a foolish; but why didn't they give me an opportunity in totally expressing the views I thought in certain field, and even the possibilities for themselves? I did really don't know why - I thought it was because Lord Universal Infinite is fair enough that when he gave you somethings to see, he also covered your another eye as the repay. Every time after the argument with others (even I was successful or fall), I felt of the very tiredness and I was somehow a little bit 'dirty' than before. From heart to say: I feared to argue with others and really don't want to give anyone any troubles, I just wanted to enjoy my beauties - the beautiful music, beautiful scientific approaches - thinking and experimenting, and how others are emotional changing and intelligent progressing etc. But, facing the knowledge given freely from universal reasonbilities, I need to show my respects of their beauties, and I need to be more reasonable in thinking. No matter who you are, where you are from and what kind of authorities you conquered. We were all equally sitting on the balanced Scales of Truth freely. Oh, every time after the argument, firstly, I would feel - indeed there is no correct answer, but main tendencies for... but why your eyes were just focusing on my behaviours... what I would like is to tell the truths, but why you are so critiqued upon my ideas ... if you are travelling to my point between the pressures of two cultures, your thinking will not be better than me etc. - somewhat like shown above. I felt really painful, but I enjoyed pursuing the 'big look' of knowledge, its reasonability and purity themselves. However, if I didn't make out my voices, might be no one would know them, or being latter - they are all going to be separated into fragments in their own channels without caring about the connections between them. In other words, worlds objectively inputted in my eyes and my worlds subjectively reflected out in mirrored universe will not unified together. That's a terrible future. Indeed, what my purpose was very simple, for teaching and learning from each other freely. I want to be a good teacher educator whom, if in my later time, can give every suggestion according to someone who turned to me, with the creative zones I can see. Then, I am accumulating more every day and trying more every day.
Oh, I am praying, praying for that innocent Jason's coming back who, this time, is with multiple-subjects’ knowledge but also gentle, and peacefully as before. Oh Lord, we all have been making sins. Please forgive our sins! Let us all feel peaceful as before!

'' ''The Garden Eden:''{{'}}: Then the Lord God planted a garden in Eden, in the East, and there he put the man he had formed... In the middle of the garden stood the tree that gives life and the tree that gives knowledge of what is good and what is bad... '' {{'}}Adam and Eve Are Sent Out of the Garden{{'}} {{'}}So the Lord God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed{{'}}
&lt;ref&gt;Genesis 2: 8 - 10; Genesis 3: 22 - 23 &lt;/ref&gt;

5. Oh, dear. I am hoping this time my moonlight can last for longer time. Then, I am praying for peace. Oh, what is love? someone fell in love with a person, someone with a city and someone with a piece of music. Wishing this time, my dealing way is in good matters.

6. Fine arts need to respect some innovations from common's daily life. As the responds of Talk in Claude Debussy, I still need to point out: Wikipedia still needs to respect commons' so-many-years' training and love of one piece of music. If it was talking about music, we need to respect some facts and don't tell lies.

7. I have clearly shown out my stance' meanwhile, in order to respect others, I put my version in Talk. 
Talk place is for talking this subject with freedom. Even there, someones still want to break these basic recogitions and pricinples. For what? I don't know. If for money or some other ugly things, don't do it!

8. If appeals were too may and still without respects, appeals will be meanless

9. Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed his this impression to peoples all round the worlds. The very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:44, 17 October 2016 (UTC)

10. If there is no teachers and young teenagers researching music for many years and telling what they were seeing in this field with academic styles and in real or virtual classrooms, Musicians' beautiful flowers will lose their colours. Yes, we are Postmodernist commons online, and sometimes, our voices usually were ignored. Yes, maybe, we are not very professional (Indeed, I thought in one thing if you have interests and love, you can be keen on doing it for tens more years and even longer, that's enough good. Education researches and Psychologists told us, we, ourselves, can already be compared with experts.); and sometimes, we are not professional in using some professional technologies. However, we haven't lost ourselves and tried to dream after the beatiful heaven in our hearts all the time. That's what life's meanings existing in. Sometimes, we feared about unnecessary confliects' happening, owing to that we are peaceful. However, this didn't show that we were weak. Children and young teenagers, my Debussy' case told us: no matter when and how, we need to take some stances and insist on doing what we are dreaming. Behind you, there are your supporters - known or unknown. We need to give them our thanks and bravely face our life.

11. Protecting belongings, maintain yourself against cheating deals, and keeping value-reflecting-price business in China: (I didn't want to make this talk so explicit, just as a daily talk from a common Wiki-member. Then, in this case, I am very carefully to use languages, even my emotion is shaking with unhappiness. I don't want to hurt anyone and don't want anyone hurt my family.) 
Firstly, I love my country and feel good to be a common citizen. However, from long-time's participant-observations, somethings unhappy I still need to say: To be a kindhearted Chinese and don't feel tiredness about some unnecessary issues against some unfair deals are somehow two hard jobs, even only in life. From central TV channel, to local channels, to Internet digital world's channels, and to some newspapers, usually, notices were all written - Please taking care about your belongings, keeping a very clear mind when treating some deals, and trying your best to take a value-reflecting-price business, in China. Yes, 'in China', every time hearing this high-lightening, my heart always felt a little bit sorrowful, especially about 'cheating deals'. From my childhood, I used to feel strange 'why just Chinese was mentioned, why it was towards Chinese, why did we be mentioned shaping our behaviours when making some deals, even in daily life'; yes, if there weren't some unhappy things occurred before, this special 'notices' shouldn't be highlighted, even our own channels, for really protecting some honesty people's practical benefits. But I really have to say: it was a real fact. That's why Education and Daily Notices awaked us everyday. Indeed, 'price running around the true value' - this principle is what keeping things going well. Even being over or below in certain controllable situations, it shouldn't be so exaggerated too much - to over or below certain degree too much, such as 8 times or 10 times more. Meanwhile, it shouldn't be existing without getting the other side's (buyers) permissions, or finally just waiting 'the process of the cheating deal' having nearly been completed to the final step (buyers have wasted so much energy and time in this case), then presented out as excuse to set out the responsibilities. In those cases, they can all be called 'cheating deals'. 
'Stealing belongs' are what really cannot be accepted by the civilizations. In china, some people, especially some being-threated aging people and children have to become members of certain criminal groups. They were sent to some public places including transportation-tools , such as buses. In these public traffics, usually, it was very crowed and the distances among people couldn't be accepted by a humanised civilization. 'Too many people, and too crowed' and 'driver's attitude somehow was really bad' - Those are the real facts lasting for tens more years. Depending on these unmoral distances among different people, these thieves can naturally 'attach' to some persons' shoulders, elbows, waists and hands, which are somewhere your wallets, bags or satchels placed. Then, their hands will wander towards zippers. Even worse, someone would use knife to break your waists, in order to get your belongings. The ages gave them the 'hidden conditions' to make crimes and would become their excuses to set out the responsibilities. They would make the attempts to steal your belongs for many times. After your turning heads back and found their cases, if you are an adult and strong man or woman and pointed them out directly and would like to notice others' care-taking, they would make quarrels with you in the public places. They would draw moral powers to attack your notices directly, in order to 'hide' their crimes or dispersing your attentions; then, they can get out from their situations (Yes, somehow, they are aging people and you are younger.) If they haven't achieve the successes and you founded it, they can also 'slide' away, depending on their public misleading. Then, they could disappear in the crowed 'people sea', and would focus on the next; or get out from this bus for the next. Usually, they weren't working for their own benefits depending on their own willing; but behind, there should be some darkness groups, which has almost been a public secret. Their crimes, if small, can be forgiven by your mercy (Indeed, we really want to ignore them, but ...), which are also understood and grasped by these groups. Their health-care and education are really concerned by people, especially towards some children. &lt;small&gt;(Taking some samples from my own participant-observations: when I was a undergraduate student in Dalian, I used to encounter a child steeling my bag in the market when I was buying a piece of delicious Xinjiang cake (Really very delicious; thereby, I enjoyed to buy some). This is a fact that I have lost my ID card, all the belongings and the money; but today, this case repeatedly occurring upon me, after the time of ten years, when I was in a bus. This time, it was an aging woman that she attempted so many times towards my satchel, which made my attentions. I wasn't a fool, but somehow like a fool. Secretly struggling with her, I attempted 3 times to avoid bad things' happening, by twisting my satchel in front from aside. Then, she turned to the next- my mother, beside me. I turned my body to the other side to block her pathway, but it was unsuccessfully in get back her evil mind. I have to directly point out this unhappy fact to all, in public. What I wanted to do is just awaking people's care-taking of their own belongs in this crowed and unhappy bus. However, my mother wanted me to keep a secret. Why? she didn't know how many people in her groups are in that bus and she didn't know how to deal with some moral blames and misleading towards her son, if being trapped with this aging woman in this crowed bus for so long time (the distances among people have been over too much upon normal people's physics endurances.)   Yes, I can, and almost, I need to. In China, there is a traditionally thinking way - 'Keeping your own businesses without caring about others' issues, especially when this issue wasn't about your own matters, or, you or your family can avoid or escape from taking hurts, signally' - this one usually kept the right one who wanted to notice people in the 'mouth-closure' and let some 'unhappy issues' happened in public as the secret, time after time...)&lt;/small&gt; But taking a perspective from Education: if all the people in public kept what they encountered as secrets, what situations  will be like in the future. If letting aging people or child to steel belongs can be taught to our next generations from their parents or thief-teachers, what will happen in the mind of our next generations. What they think would be: I don't need to take any labours, just depending on cheating deals through some words-confusion skills or steeling belongings from others, then, in risks, somehow, we can get 8 or 10 times more values than before from others, or from nothing I have directly upon to all. In the other side, buyers or belongings-losers will immediately lost what they used to own without being honest treated or being merciful dealt, even in their own life. What-like will our next generations be made as?
Therefore, in my mind, in postmodernist globalized civilization, these are really several Red lines which were touching bottom of Education, and we need to tell children and young teenagers what are right or wrong; so that, I written this recording to bear somethings in mind.
(I make an apology about this language collection's quality is a little bit rough - the fluency is between bilingually oral and academy, because of the very unhappy emotional participant-observations during its completion and its instability with anger. Therefore, lots of details and several small events have been personally ignored, including　one opportunist price bid-up (10 times more)in street market and another half-weight-added relationship-selling without clarifying the quality and quantity of products. They all happened in my hometown, which made me feel really sad. If merely seeing it as one in my self-researches of life-language phenomenon for language-improvement  and taking it from educational perspective, my heart might not feel so painful. Hopefully, they can still be fragments without being threaded together; and hopefully, a night after, I can totally forget them. Yes, after watching child's face and hearing her melody-playing, my mind was calmed down. Okay, I would like to take it as one bad educational material in case for teaching good)
('''Suggestions:''' 
(1) To common people ourselves, in order to live, it's better to prepare a Anti-cheating-deal-protection Booklet by collecting various pieces of information from News online, TV channels and Newspaper. To be honest, there are too many pieces provided in China everyday. When watching them, you would feel evil and how can things be like those... Recently, I repeatedly heard some disorders in southern part of China have been grouped and organized to steal belongings. Oh, they are disorders with special needs. How can things be like those! Yes, we don't want to harm others, but we need to protect our own belongings.   
(2) systematical Market order and monitoring for commons' daily lives need to be re-constructed and standardized. I insisted the Value-to-price - this principle should be highlighted, even more over, it shouldn't be much than 8 to 10 times - over this dangerous red-line. 
(3) Materials-saving and re-cycling ideas in own-dream's realization, as only for, need be taught and learnt by more people, depending on which corruption situation would be reduced and unpractical bad emotions influencing commons' daily well-being would be modified.)

==== Words with annual renewable freshness for 2017====

12. Oh, I should feel much free talking something in Jason's Postmodernist Language Part. In my mind, sorry, maybe - my mind has been self-traveling to the future too far. Taking back a step, this one is still and always a holly place for my self-reasoning and self-purification in my own worlds.   
Firstly, Happy Spring Festival of Chinese Area and please enjoy the first day of a very merry Rooster Year - 2017! 


13. Then, today, following 11st point, I want to talk about another phenomenon experienced on Public bus, which I really don't want to mention but have to. How could I organize my languages more clearly like, after encountering this angry experience? I don't want and never want to tell lies, but certain basic trust &amp; honesty was still gotten lost about its diver. Things should go like those below:
Indeed, it hasn't been a current problem but somewhat lasting for long time since my family's returning to my hometown. Facing this problem, usually, it's my mum who over-stressed me too much -  pressing down may stance and don't want me to say out  my participant-observations. However, today, it is the first day of Rooster Year, everyone should apply polite attitude in dealing with and interactively treating each other, as the gift for a lucky year. My family's gift has gotten lost; and thereby, I don't want to give my gift to some individuals in my city. 
In China, as one part of public welfare, aging people, over the age of 60, have been enjoying a condition of public welfare - over 60, they can get half-discount tickets in public bus; and over 70, aging people can enjoy free tickets. You knew, behind the fast constructions of China, so many people have contributed all their life, all their youth time, all their family-working opportunities or all their family-volunteering contributions and all their patriotic health &amp; energy to each city they are living in; till now, they had to (not to say they are on purposes) be aging over 60 or over 70. Compared with what contributions they made to this country's development in their life and youth time, this welfare is really what they should get, as a balance of their value. In my big family, many people got to this life stage; and in my small family, my parents have all come into the opportunity of first stage - age 60  to age 70. (Wikipedia Introductions: https://en.wikipedia.org/wiki/Social_welfare_in_China) Towards people in this group, I found some divers' bad attitudes and behaviours had been really too cruel, need some criticisms, too inhumanity and lost their basic trusts (to commons) &amp; honesty (to their own working opportunities). 
From 1900s to 2000s, in my family, public bus used to be a main way for travelling outside, depending on the technologies. In order to suit this public tool, We have cultivated too many good habits (you knew, in some extreme overloading situations - sometimes, over too much being even without space for merely one person's two feet which was painfully enough carved in my memory that I didn't want to mention  since my childhood - treated with inhumanity and only for money.). Among them, one is very useful relatively linking to today's case - coins-checking: (1)Before getting onto public buses, my father usually checked each coin and arranged them to me and my mum one by one; (2)and evolving from it, to me, before it, I have been together with my mum in checking about money for many times, in order not to trouble divers and keep our good manners in public bus. However, including today's and another one several months ago and several other times' before, though I really saw my mother's five Jiao (half ticket-fee) had been inserted into tickets-selling machine, and before it, I had really self-checked or father--checked, or saw she herself carefully checked the money, to ensure the correct money having been counted out, and in order not to trouble divers or others, for all times (I dared to say so. We really don't want to be trapped in this case). But still, when it came to this weak and slim lady, many times she was tangled by drivers by impolite questioning how much being inserted for many times. Indeed, if just being questioned many times, this case is also of no matter. Every time, in that very narrowed and only feet-inserted space (today, the situation is better), I or my father will be together associating my mother to take explanations - at the beginning, it's very gentle. However, this time, after saying sentences one time, two times, and three times:' we can confirm that she has really put the right money', some individual drivers, like today's in 28, still used very rude manners, down-looking attitude (with somewhat can be called discriminations. I understood psychology and knew what types of actions reflecting thinking ways behind these actions they showed can be called discriminations after so many years' experiences), questioning and impolite pronunciations to treat this poor lady - my mother. If letting me to attribute the reason of his actions, I would say: in societal activities and trips outside, my mother usually didn't care about her appearance and usually being with normal or even non-good-looked and old-fashioned clothes. She was also an aging teacher dedicating all her energy and time into serving next generations, and really didn't want to pay more attentions to the fashion of her out-looks - she didn't care about it and somehow considering it to be a waste of time and would rather pay things on more useful fields for other family members, family constructions or students (Money she and my family made earned is really not easy). Some individual Chinese have a problem: usually, what they behaved aren't according to people's souls, minds, contributions and good manners with beauties, but somewhat outside appearances. To strong or rich people, some individuals didn't want to trouble too much (because of the reason that they are strong or rich or even being clothed as almost rich), but some persons weak or poor or even just being looked as in poor situations and someone who really want to follow principles to behave (they also reasoned it as because of their poor or weak situations that they have to follow, rather than from heart that they respect principles and universal reasonability), they turned to use bad attitudes (from the angles of their down-looking eyes, bad Chinese pronunciation and many times 'suspicious questions - as if thinking everyone is crime) which you can directly feel about. 
Every time, facing this situation, if I was there I would associate my mother to make things clear and if things weren't really caused by our faults, after many times' explanations made like today, I had to bravely stand out: Every coin should be paid for your own labours, if you thought your labours were valued lower than this money, depending on your 'gentle attitudes', you can enjoy it happily. I knew on the first day of Spring Festival you wouldn't feel happy to take your tasks in working. However, you had chosen it you also need to take the responsibilities. Without interests, working experiences would let you feel in hell. Meanwhile, this point is also not following society principles. if you thought it was a burden, you can abandon it without disturbing others' holiday joyfulness; other divers who love it can take as from their own interests. Did you forget the traditional Chinese customs of Spring Festival? They are aging people, do you have parents and did you treat them like this on Spring Festival? Did you treat other aging people like this who are clothed well? Did you want to send every your bad face as 'the gift' to passengers all the day? ... Did you lose your basic trust and honesty to your customers? Without them, how do you want to get others' back? If you didn't respect your own working, how could others respect yours'?
In Rooster Year's Spring Festival Gala (Wikipedia introduction: https://en.wikipedia.org/wiki/CCTV_New_Year%27s_Gala ), 
'basic societal trusts' deeply rooted in hearts (to our own workings, our family members, our guests, our customers, our friends and our relatives ) has just been mentioned as from Chinese people' moral tradition, about which commons want to send some pieces of the positive information and Chinese Civilization to the worlds. Then, in the first day of Rooster - daily life and around people, it was still lost on you. 
Further, lots of aging people, like my mother, facing this situation, usually tried to pressure down her own son or family members, which transformed outside troubles into family conflicts - this is also one traditional custom without the openness to the world. Why? I wanted to make some much careful explanations: facing it, on the way outside, aging people knew they were weak and didn't want to trouble others or trouble their own family members by being pouched or hated by others. They thought this way was a good solution to avoid something's happening. Therefore, if things they can endeavour, they will. Even my father wanted to insert another 5 Jiao to calm down this situation quietly. Indeed, it was wrongly enough. After being educated, we knew another 5 Jiao cannot get back a lost trust and cannot pay for the whole societal justice. More aging people - in this group - may still need to unfairly pay another one time, two times or even more for being in their weak. That isn't according to moral principles and Education. Even more, taking Christianity's view: God, as Provider, trusts in everyone with the equality for many times. And, the balancing procedure made has already started from everyone's young time, even the childhood, till now, and then. 

'''Enlightenments and Educational suggestions for future:'''
(Children and young teenagers, please don't follow this uncle's bad example. If at the beginning, the diver would smile firstly and say: ’Aunt, Happy Spring Festival! I am sorry but I am not sure about your inserted ticket-fee, please have a check. You knew, my job wasn't easy on holidays‘. And, after gotten the answer once, he would choose to trust in this aging aunt and others’ explanations, for keeping holiday joyfulness and following traditional customs of Spring Festival. How fine an end of this case would be! )

14. Following the 13rd point (transportation management), today, I would like to accumulate one piece as for Jason's language. Currently, the situation of transportation is really better than before - last year and even longer time for tens years. However, in this point, about some cases of round-cycling bus in certain zones , I still need to give a very brief summary (I don't want to be trapped in certain unhappy mood too much): (1) If one job, or life-task, or volunteering, or event, you don't like to do, or even without any interests in, please forgive yourselves and others by choose another one. If you can't choose it, please try to fall in love with it. Yet, please just don't cry out your boring words about your careers all the way on bus. It would trouble others' moods while hearing; (2)When talking about some passengers in weak groups, or some pedestrians (walkers), especially aging people and children, passing by zebra crossing, please be merciful! It's because that cars are everywhere - they are parking, but without caring about principles of transportation. Weak groups, even walked out one line, shouldn't need to pay (responsibilities) for the disordered situation of transportation (sometimes). It's also because that you also have parents and children; meanwhile you also have times to be a child or an aging people. (3) Bell, for bus, is very important, especially for round-cycling bus(if 'really' being set and not broken). If you cannot hear it, please have some attempts; but, if causing by continuous talks with another passenger about some other issues regardless with your jobs, please try to stop... lives of passengers on this bus have all be grasped in your hand... (4) Please bring a good attitude to serve people on your bus and forget their social classes and identities (especially in a country run by principles of Marxism &amp; named for commons and when you can't make sure others' situations - such as whether or not someone has already pressed button of bell, but you didn't hear) and take care of your application of oral language and face expressions - at least, it's your job. Only a gentle smile can solve a conflict, shouting can only get back further louder shouting with anger, but nothing else. (5) About meanings of round-cycling bus: In my store of educational knowledge of transportation, round-cycling bus is designed for motivating the economic development of certain areas - tours to appreciate landscapes, short-distance working demands, local visits, local businesses, relaxing leisure and holiday joyfulness etc. Indeed, at the beginning, there were very small regions importing this type of buses. Then, with the economic development and openness, round-cycling bus became popular and common in some economically developing zones. Rather than this type, two-destinations &amp; each-stop bus was in tradition and  always normal usages for crows of people's daily running, which stopped in every station with no bell being set(or being set, but never being used), but for long-distance travelling across one city, from one to the other, or from city center to countryside , whose problems I have also pointed out in 13rd. They have different functional purposes and should be distinguishable.(2021 views: I still feel sorry to see the situation of 3 routine bus in Golden Pebble Beach of Dalian hasn't change any as a true round-circle bus it has planed, and also the bad attitude of its diver I came aross and his language... It's said China's Cloud-data counting way of new technologies can solve it that people will check their card twice-one for the beginning and the other for the end. When being out of a circle, the end one check will report 2 times of price. We are waiting...for commons) [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:39, 5 October 2021 (UTC) We knew the worldwide famous city-tour bus is London bus, which has already been one symbol of the city and has developed a systemic mechanism for various purposes (Wikipedia introduction: https://en.wikipedia.org/wiki/Buses_in_London). Someone may argue: Jason, you are joking, how can small local bus routines be compared with London Bus and this system - so higher standards; and, we are in China with some different conditions, limitations, local habits of behaviours and cultural customs. Yes, that's quite right. But, I tell you the truth: a big and advanced system, such as 'London specification' to meet specific London requirements' (as a world-wide international city), was also developed from local demands. Just in solving practical problems, dividing functional differences with the distinguishability, storing good developing factors, serving people with more humanities and conveniences (you can see: 'All these buses conform to the Disability discrimination act, and can accept passengers in wheelchairs and other mobility impaired passengers'- how this system did serve people in weak groups that we have no need to mention aging people, women with babies, students, or others etc. ), it can get hundreds years' developments without doubts. Indeed, some reasonable solutions have already been seeded in commons' minds - very sample to say: facing bells of bus, the reasonability deeply in minds has already taught us how, where and when to use, which could be seen as the self-willing of being civilized, being reasonable, being following principles, and really enjoying good-qualified life of own purposes. Without needs to mention whether or not certain driver is able to talk with passengers all the way for boring words towards their own careers and weak groups even ignoring others' bells, here, we can get a brief conclusion across cultures: Don't like, won't do; If like, fulfilling in; if lacking, improving it; if bettering, keeping fine; if boring, forgiving in. 
oh, Jason's life task has no enough time and energy applied in this field; and to be honest, after that event, several weeks' participant-observations were better than before - I can feel: on one bus, air-conditioning was opened in cold days for commons; on one bus, a group of aging people can enjoy their travelling; on one bus, bell can work again, etc. Those are good-qualities, please keep on ... Education should trust people's abilities of self-awareness, self-learning, and self-discipline that we can better. Education can give suggestions from various researching pathways but cannot make decisions of anyone. That's what my learning taught me. I prefer to leave a developing zone here for future ...

Maybe, Public transportation has great relationships with commons' daily life and can give a direct impression of how a city is going on. That is why I had wasted a huge paragraph in talking about some principles as common knowledge in educational purpose. I really don't want to be trapped in this case and some troubles outside computer. However, the reasonability of Education (so long time) taught me I needed to do. Indeed, 'The daily collections of Jason's Postmodernist Language' - this session was designed for collections of language's beauties and creations. The original purpose of it is for the accumulation of good-qualified writing materials and educating languages, with philosophical ideas, fashions of musical aesthetics, fine arts, and bilingually cultural elements.  
I am hopping: as the bettering situations of transportation around my living place, my languages will make a post-regression back to original beauties; and my attentions would be drawn back to what fields I should be in. For it, everyday, I am praying everyday.

15. Strongly condemning the terrorist attack occurring in Houses of Parliament in London today - March 23rd 2017, and also any other terrorist attacks (including Paris', Brussels's and all countries in modern civilization), and abusive &amp; Coward's behaviours and hurts towards commons: 
Life and health are the rights, being blessed by lord and given to all the people equally, without the differences of races, genders, ages. Whoever, if hurting them, are commons' enemies and should be blamed; whatever behaviours, if attempting to damage them or succeeding in doing so, should sin so many and be punished.
Let us prayer for peace and commons' security; meanwhile, mourn those brothers and sisters died in terrorist attacks!

16. Sir Debussy's great contribution to impressionism rooted in his application of impressionism to express impressionist imageries generalized from 'Mind-landscapes' which have already been there - another romantic bank. In brief, we can conclude it as ''''Impressionism only for Impressionism''''.  The later impressionism is a generalized definition adding his willing-landscapes abstracted upon certain real natural landscapes in experiences, dreaming scenes, societal events together with family members &amp; relatives, and most importantly - some emotional joyfulness and love's Neo-expressions, which can be post-tasted for long...
17. Oh, I suddenly found: currently, on some good platforms I was in, about Educational research for music, I have gotten deep senses of Wiki-family' creative powers in various aspects, including documents, comments, self-medias, diaries, images... in life and for commons learners. Depending on them, I can solve many problems easily. It's just about me - my own habits' cultivation and from my experiences, regardless with any unnecessary issues. I need say: thanks, I can be a member.

18. 'May, 30th, 2017' - today, it is the traditional folk festival '端午节' in Great China Area (Normal Wikipedia introduction: [https://en.wikipedia.org/wiki/Dragon_Boat_Festival]), as the remembrance of Patriotism poet &amp; musician (Folk Songs) - Qu Yuan (Wikipedia introduction: [https://en.wikipedia.org/wiki/Qu_Yuan]). From academic perspective, how can we make some senses of this 'cultural signal maker', and how can western friends deeply understand this master and his festival? Two branches of orientations - Western culture and Eastern culture gave me a comparison, which can transcendentalist taught us somethings from their similar natures - probably as a universal communication. When Qu Yuan came into my mind, another Patriotism Poet &amp; Musician from Western world was usually emerging too - Frédéric Chopin (Wikipedia introduction: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]). If you ask me: how can I get this sense, I would firstly emphasize the appreciation of Qu yuan's great work - Li Sao (Wikipedia introduction: [https://en.wikipedia.org/wiki/Li_Sao]).After being heard (language with Chu Ci music), your will find the deep impression - the sadness, madness and anger motivated up directly floating above head - would be harmonic with another piano work of Frédéric Chopin - 'Étude Op. 10, No. 12 (so-called Revolutionary)' in each of their series (Wikipedia introduction: [https://en.wikipedia.org/wiki/File:Frederic_Chopin_-_Opus_10_-_Twelve_Grand_Etudes_-_c_minor.ogg]). Yes, they are under the similar emotional (personal) &amp; historical backgrounds and with the similar expressive mood-streams (even a little bit angry sometimes), for each of their own idealistic, peaceful, and dreaming countries but being going to die near-days, and for their deep loves of common peoples &amp; their lives, and were willing to save their nearly broken hearts from dangers and outside threats - yes, in their different eras, there would also have been suffering strong Terrorism attacks from outside (we can definite them as terrorism attacks, causing lots of innocent commons' lives were lost from anti-governments' powers rather than public's historical willing, which were all unblessed and unfair... especially some public harms and inhumanity they faced, from academy, would have already met the main characteristics of terrorism attacks) to damage local peoples' lives - so many people were killed from numberless wars... (Wikipedia introduction: [https://en.wikipedia.org/wiki/Terrorism]). Therefore, in commons' and so many generations' eyes following, they were heroes and their works can be called 'National works', and there should be some days annually ranged out from the respects. In another similarity, they all represented each different ideas from mother-tongue music traditions - 'their national characteristics' - Qu Yuan carried Chu Ci (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chu_Ci]) as the pattern for his artist innovation; while, Frédéric Chopin pushed Mazurek to the historical stage of world music; all for their loves of own countries. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Mazurka]) Therefore, they can all be called 'Poetic masters in both language and music'; just, Qu Yuan was quite near politician &amp; philosopher, but Chopin was quite near musician &amp; romanticist. 
Furthermore, I have found another historical similarity in materialism: in order to make the remembrances of them, generations all applied the symbolic objects standing for their bodies into custom and culture. This point was hard to be understood. Let me make it clear: In Duan Wu Festival (Dragon Boat Festival), people living in Great China Area usually ate Zongzi (Wikipedia Introduction: [https://en.wikipedia.org/wiki/Zongzi]) Do you know why it was done? After ' he committed suicide by wading into the Miluo River' - oh, he was so sad and angry about the death of his country, people was afraid of his body's destroy in the river by fish's bites. They researched out 'a traditional Chinese food made of glutinous rice stuffed with different fillings and wrapped in bamboo, reed, or other large flat leaves' (Wikipedia introduction: [https://en.wikipedia.org/wiki/Zongzi], 2017), which was made in the shape of body-liked diets, and if being thrown into the river, can attract fish's attentions away from Qu Yuan's body; thereby, his body can be alive and stored always in the river, as for the dependence of his spirit - to be a real river god. Oh, you can find it was also a romantic story merging into commons' customs for food and life. You knew, in traditional Chinese culture, if someone had made great contributions, commons would inductively research out one food of a festival in fairy legends, for deep respects and mind expressions. This was for their material's (body's ) immortal lasting. Very interesting, I found 'Chopin's death mask and a cast of his left hand' and 'Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin], 2017) were also represented people's loves, respects, and remembrances of their lives through carving, protecting or storing parts of their bodies. In some degrees, their lives and spirits were still existing in 'Mind-Independence worlds' of our civilizations through enjoyable festivals and customs, on paper and in music multiscript, and in patriotic expressions and poetic romanticism. 
Tonight of this festival, I was quietly sight-reading them - their minds upon words, and read out the same hot-beating heart, the independent judgement of societal bad &amp; good and universal reasonability, a good willing from our pasted academic masters and intelligences, and the interactive loves from commons in our common root of customs and cultures. Now, on this commercial and changing-lot earth, please try to keep them, for bettering human beings' future.

19. Taking a glance, 2017's hot summer has been arrived. Very happy, Round-channeling bus, I mentioned before, can be in a real cycle with so many landscapes; and some situations of transportation have also and almost modified. Take an example: Near my home, I can also see some endeavors (not being totally solved) have been applied, such as facilities (barriers and separated areas)for keeping emergency Exit throughout and cars' parking in order, though it is really a complicated system and the effect is waiting to be tested. The situation of crowed bus has also been modified in certain degree, by adding some seats from back-place (In this case, I can see some experiments have been applied in terms of whether seats should be added in front, in the middle or at back. Finally, almost being at back was a good way.) But, sometimes, it was still crowed, and choosing different ways would be a good choice. You knew, soooo many people. After reviewing most of my life in this period, I decided to make a Consciousness Stream for summarizing my fuzzing impressions and beauties in this period. Meanwhile, I would like to visualize them through my eyes and technologies. As a result: it came out in self-educational views -

'Where to begin this visualized journey? Where could I have myself extracted from various ends of a life thread-ball and wrote down something for a quite brilliant and rather graceful, but still with 'deepest blue dropping lightest grey' summer of my 2017? A monologue, or a self-dialogue with someone unknown in universe, or an implicit symbolization representing lots of life indications, or projections from two mirrors to numberless futures... should land to a super-ego behaviour that I made over my abilities:Pushing against the wall of a strong cable-bridge's Pier (Wikipedia introduction: https://en.wikipedia.org/wiki/Pier_(architecture); https://en.wikipedia.org/wiki/Cable_Bridge) just above water-ground in sea's middle,  water then was soon raising up to one to two buildings' height beyond your head, and a huge eddy (Wikipedia introduction: https://en.wikipedia.org/wiki/Eddy_(fluid_dynamics) ; you knew, Cable Bridge's pier, in sea, can be thought as  'large emergent rocks' presenting this fluid dynamics ), swirling water around you, was forming out.  It's several minutes that you lost yourself in it,  and just were watching light blue water under sunshine penetrating your soul, as if your tomb will be closed in a core lonely darkness out of sight-focus from this purified colour. (I cannot directly express this feeling in my photography portfolio, owing to no camera in my hands at that moment. But, the middle downstairs photo was made in another time when I was passing by that cable bridge and watching the far beach I was right swimming from... Combined with other water colours in this photography portfolio, we can try to make some senses ...)As in order, then, a hope of resurrection emerging from your mind and from the nature of your physics. Breaststroke,(Wikipedia introduction: https://en.wikipedia.org/wiki/Breaststroke), out of my unconsciousness, automatically pick me up from that dive depth. My mind began a argument about which gesture was better for Swift water rescue in Whitewater areas(Wikipedia introduction: https://en.wikipedia.org/wiki/Swift_water_rescue; https://en.wikipedia.org/wiki/Whitewater). Absolutely, my stance was on Breaststroke, because of my personal problems - my nature turned to this one freely and I didn't like so competitive swimming ways. Meanwhile, I thought self swift water rescue - this activity met my tendency that it needed people to keep themselves safe in water, rather than completive purposes. Furthermore, tell you a small secret of my self-training: It's two more years since I began to research some inputs of Tai chi thinking elements, such as self-making an energy ball through water, presenting a &quot;white crane spreading its wings&quot; in water, imitating with a 'merman's jumping', and walking out a 'octopus' wandering', rushing out a 'Tiger's mountain down-climbing'... into the modifications of traditional competitive ways, for self-rescuing and self-appreciations in life. I found 'frog's breaststroke' and 'whale's Backstroke' (It's another story that we can try to apply whale's 'arms-switching' , breathing rhythm and 'frog's up-wards legs' to transform backstroke. It has the possibilities to carry more nature elements. And, you can also make it in the similarity with personally moving a boating machine -in gyms- by arms, I thought) were much easier to be divided (elements), re-composed, transformed and reused by Tai Chi philosophy.By thinking of those special gestures, alongside Jason's automatic 'frog-kick', I was suddenly left into an imaginational world full of sea creatures from the deep sea beneath my face. You can see, a huge red-mouth-opening frog, a giant octopus and my aunt's eating-crab were externalized out of Jason's mind, appearing in the middle-up corner of this photography portfolio, as in the nightmare. Regarding with more documentary researches and discussions of Sea Monsters &amp; Hell, I has already presented in my comments of 'Chinese encyclopedias of Strange things'' in the analysing article of  'Dream Of the Red Chamber' (Portal: Chinese literature: https://en.wikiversity.org/wiki/Portal:Chinese_literature). Thinking of those, a deep fear got out from the bottom of my heart. I told myself: 'Jason, hurry up, move faster, get away from this area...'After swimming to the beach, I found I was born from water, to enjoy a presenting life on both virtualized and realized birthday, with my family members and friend. Under the blue sky, it's only your family members - your parents, your relatives... who will never give up you, and would like to hold some birthday parties for you; and by together, you can eat some feasts with. Thinking here, in my imaginational world, a whole seaside was bombed out by many Beach Tents and people's smiling faces. As if, they were all together celebrating my birthday. You can see: It was real that in the middle corner of this portfolio's left side, there were a celebrating scene composed by many beach tents throughout woods. 'Jason, please don't say those mad words to anyone else! It's dangerous on earth, rather than on Mars. there was no relationships between other people's holiday-happiness and your birthday party. You should understand. Yet, if you told it to anyone, you will be sent to Well-being Centre...'  Every time, mother would feel angry and cry out...  'But, this time, there should be some relationships between my birth and universe's collective joyfulness... Yet, how lonely we came to this earth...' Every time, I would argue words as so... finally, a quarrel or in silence, we made a choice together... ''Bingo...'  However, in this year, My small aunt and big uncle's visitations made my birthday hasn't been so boring. Eating self-helped Western Steaks in this birthday feast (Wikipedia introduction:https://en.wikipedia.org/wiki/Steak) was what event motivating my mood to a magic level. Yes, I had also eaten some traditional Sichuan Cuisines, as regularly on birthday. (Wikipedia introduction: https://en.wikipedia.org/wiki/Sichuan_cuisine)  . To be honest, in my Trinity Postmodernism philosophy, I really didn't know whether it carries some relationships - myself, with international conditions, or universal organizations - it's said China had imported many beef meats from America at that time. I meant it.'  'Don't say those mad words !' Mother's logics... Oh, okay, no matter how, as a common's lonely Educational Researcher, I felt happy to bury myself under those joyful noises surrounded by my family members and friend. At least, I was in a virtualized&amp; realized group, and couldn't never be given up by human beings...Following it, please pay more attentions to those blue mussels (Wikipedia introduction: https://en.wikipedia.org/wiki/Blue_mussel) besides my Cross Birthday picture on the left top. They were picked up from one of my swimming beach, which made me feel happy to see the ecological friendship with Nature, rather than merely in mouth tastes.  And then, on the right top corner of this photography portfolio, Jason has been dreaming himself into a blue outlook for future: currently, the Open Day of Sea Agriculture is coming. Many fishing boats in North Pacific Ocean were waiting to ship themselves out for seafood. As an educational observer, I was praying Lord in Nature would bless them good lucks!  Finally, a consciousness-streaming channel has broken out throughout the axis of this photography portfolio. It's a 'Ironman' composed by Metro &amp; Railway system dug out of this visualization, to a further brightness. It's also said it could be connected with City International Airport, directly from my home doorway, to anywhere on this earth... It would still need some time to re-adjust situations... But, before moving to Mars from this life... there will be still sometime that I can wait... wait for our relationships (even a little bit with the universe)  can be fixed, or wait someone's coming into my visualized &amp; realized LIFE... or wait for nothing but only waiting... IN  a WIKI-Consciousness Stream of a never-ended hot summer2017' 
'''(Notice: Words referenced from WIKIMEDIA COMMONS for Educational Purpose in Wikiversity)'''

20. About the attitude of kids' or young teenagers' piano-practices: This topic was also a hardly-talked and easily-ignored one with many arguments. In very brief and normally, piano-learning should be from a kid's nature, rather than being required by or being forced to by their parents. 'Nature' means: when hearing sounds, you feel happy rather than painful; when touching keyboard, your heart is comfortable, rather than worry; while some problems are existing, you have the willing to solve and don't want to easily give up; When it is a long period you haven't met it, you will miss piano very much; and when it comes to your responsibility, you should bravely take. And, this learn was as one of your own matters, regardless with fame, money, competition, relationship, or other unnecessary factors (About this point, I would like to say more: some people argued that playing piano should bring those unnecessary factors your mentioned, Jason. Yet, in a commercialism reality, without them, do you think still some people would like to play it? Friends, I tell you the truth: they should in a good order that the primary thing you play piano should be for your nature - your interest and love; then, others would follow you nature and as some beautiful supplements surrounding making your experiences much happier. Therefore, it's not to say I play piano for money, fame, relationship, competition...; then, I have to cultivate my interests and my love from nature... If making it of an inversion, you will find the procedure of piano-practices is rather painful and boring.) Some parents might argue that: Jason, how could we see whether or not our kids have this ''''nature'''' you mentioned? 
* Firstly, at very earlier time (maybe 1-3 years old; here, you can review some exact knowledge and timetable from infant perception, such as hearing; Wikipedia introduction: https://en.wikipedia.org/wiki/Developmental_psychology#Lifespan_development; but please don't make it so mechanized, and just see him or her, after hearing some pieces of significantly emotional music, can smile or feel unhappy, and his or her movements, sometimes, can make according to the rhythm, and even, when touching piano keyboard he or she can show the curiosity and interest for a lasting time of attention...) 
* Secondly, alongside his or her growth, you will find his or her games appearing more elements from music and keyboard-touching (3-5 years old). 
* Thirdly, when you have a try suggesting him or her to learn piano, he or she show great interests;
* And when it comes to some tasks of practices and even challenges teachers would give, they can stay besides piano to research and explore some possible solutions and show his or her endurance for a long time... Yes, no matter what situations results will be like, he or she can show the willing and the endurance upon time. Congratulation! Till now, he or she is a good piano learner. 
Some kids told me: little uncle Jason, I really '''love piano''' very much, even in one day I cannot be apart from thinking of it...But, my dear, what is the love of piano? please don't say 'love', just 'to like'. Just in thinking, without playing? 
In one week's interval, 
if you don't want to pay even more than one hour's time for training your hands flexibly according to some tasks' requirements; 
and if as from traditions of piano family-tutorials since Bach, Mozart, Beethoven, Chopin and Debussy's times, you even didn't want to take your responsibilities to pay the basic tutoring fee, didn't want to say anything clearly or later it for more than 5 times until the next time as if nothing has happened that you only need to pay the next 5 times, or make some plots on purpose to miss it in each time, such as forgetting recording notebook, writing on another sheet &amp; then losing it in next time,  as if fooling your tutor, until your tutors' endurance really cannot hold on it anymore 
(If you have some problems in the reality, please say things clearly to your tutors by seeking a secret time as you know or I know, and if helps I can give, based on my all-inclusive educational perspective, I must research out a solution. Indeed, just focusing on piano tasks, I added lots of extra time following each session for problems-solving and asking questions of your piano practices and showing out effective solutions, if needed... Therefore, please make your attentions just on knowledge and skills, and don't waste your wisdoms on how I can set out your responsibilities. If for money, making good usages of your tutor is better than wasting time to think of avoiding fees. Please thinking like that: if I can learn 2 sessions' content in only one session, show my giftedness out to my tutor and get senses of achievements from learning,  will I have save much money for my family? You knew, you tutor also needs to survive!); 
and right in tutorial, if you even didn't want to focus all your attentions on piano learnings, but thought of other things projected from your eyes-touching, and showed very lazy movements on some locations and very slow responses, but required by your tutor's instructions and guides;
how could you say you '''love piano'''? 
Oh, my dears, you knew, the interactions between you and your tutors, if being motivated out and sustaining well, are beneficial for both your learning and your teacher's teaching. If recycling well, it will also be very funny and constructive for your developments that some interesting games, activities, solo parties, realia-explorations, visualizations (painting together), language descriptions and even visitations to some landscapes can all be magically organized, which were what I continuously learnt from British Council. And, every piano teacher also has his or her own magic to make classroom funny, if he or she feels happy to teach. Without interactive motivations, without a interest, and even a small respect as to your classmate (Western world) or to your own parents (Eastern world), how can things be good for you?
By sending those words above to my field, what my purpose was for a good wish that someday we (tutors and kids) could really join together as peers to touch beauties of fine arts, without any unnecessary desires and only for a true heart from nature. Till then, you will find what a beautiful world piano in music will be...Thanks!


'''21. Case study in Appealing: From this page https://commons.wikimedia.org/wiki/User_talk:Jason_M._C.,_Han, which I used in Wikimedia Commons, we can see the list proved some individuals have plotted for long time (Yet, it cannot make out a so detailed list with many visualizations and sounds used in Wikiversity) to against formal and good purposes in educational views. Otherwise, it cannot be so detailed. But, those educational designs were made for more kids' learning of piano through their watching, listening and reading... I felt sad and confused very much. You knew, I had a dream that one day, if there were internet in any corner, our next generations can all enjoy equal rights to watch some beautiful learning materials and make some arrangements for teaching and learning. What I applied were my most beautiful languages in English and piano techniques since my 4 years old learning which I could write. I didn't want their disappearance, but I really disliked those people who, I don't know why, plotted to delete others' contributions...without caring about their reasons.It would be from nature... You knew, I even live on those materials and put all I can give from my life as action plans, life tests, participant-observations, and visualizations of Wiki-knowledges. If some individuals didn't understand some future learning styles, they can ask and discuss with me... But, why?  I really didn't know how to deal with this terrible issue. This place was a peaceful one I felt comfortable to appeal. Hopefully it will be fine...  Thanks'''

22. Case study in Appealing: https://commons.wikimedia.org/wiki/File:Globalized_impression_of_London.JPG
Sorry, I had to use this type of reference, owing to my ability influenced by emotion, currently. I didn't want to do somethings out of control. 
You knew, this type of Photography Portfolio has described my heart-road with poem-liked languages and translations to meet those requirements of postmodernist Fine art's teaching and learning in globalized visualization. (I tried my best to think out and make in learners' most familiar formations - Words and PPT)
Inductively say: in my eyes, it was so beautiful recording my travelling through that great city. Though I wasn't a famous person but a small common,  my eyes with curiosities about different cultures lighted my ways throughout that city to the higher gracefulness of its architecture. It was also like music spring flowing throughout my thinking and learning. And also, I applied most beautiful words I can think out in Chinese language to describe what happened in my minds. All energies and time I all applied into thinking those educational 'heart-road painting' and sometimes their reflections in music. But currently, it faced dangers that it might &amp; will be deleted (Sorry, in this condition, my languages heard would be broken functioned by emotional changes) I really didn't want its disappearance, as in one of my beautiful memorized trips. 
Similar situations would also happen in those pictures:
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:2017_Spring_Impression_-_Butterfly.pdf
https://commons.wikimedia.org/wiki/File:International_Cherry_Blossom_Festival_of_L%C3%BCshunkou_in_Dalian.JPG
https://commons.wikimedia.org/wiki/File:Metiral-way_in_Jason%27s_life.gif
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-1.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-8.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-7.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-5.jpg
Someone might say: Jason, they included some your individual or even private life fashions.
Yes, peers, they can be seen as one teaching &amp; learning way applying personal senses of life to participant-observe knowledge's applications in life practices and their variously expressive forms. By collecting all points of beauties, we can teach our learners in fine arts and ourselves how to appreciate landscapes and cultivate our own positive moods in lives. You knew, in our world, there was even no one historical event, great architecture, pieces of colourful music and paintings can get away from commons' personal endeavors of aesthetics (our senses). Sometimes, they were in pictures, sometimes they were in dynamics (a moving procedure with loudness and lightness), and sometimes, they were hidden behind. Without those, it seems salt is without salty and bodies without souls, especially in education. We need to teach someone somethings. It is better that we put ourselves in it, to feel and to think. Without them, how can we say we are teaching commons, as who we ourselves are? I think some people usually made me like a gun, and foolish (clever) me usually was used. But, please trust me, my heart was kind... Oh, so many words and... pains in memories. So tired... Hopefully, my explanations can make some people re-think of and understand those issues...
===== Editing -: Words for 2018 from Spring Festival =====
23. '''Processing a Spring Festival in Lucky Dog Year'''
* [[Portal: 2018 Spring Festival|To spend the Spring Festival of Lucky Dog Year]]
Comment: Now, to think...how great that spring festival was! Unless, who can expect the coming of COVID-19? Who can?

===== Editing -: Words for 2021 COVID-19 Recovery Time =====
24. No matter what type of piano Grade Tests, a pupil's ability should be matching with the grade level signed on the certificate he or she got...It records how much endurance he or she had paid on this interest, and the achievement he or she gained depending on his or her own endurance, rather than any other unnecessary or different ways...That's the meaning. I thought in COVID 19-Recovery time we should also emphasizes this point for the positive power and health of this field.

=== Supplements: ===

'''1. For the 10th case:'''
A small summary and Further talk of 10th case in Educational way:
Some standards were not made by only one person but from long-time daily educational practices, and then documentary summaried in Wikipedia. The root should be from commons. Therefore, We need to respect some basic impressionism techniques, skills, hand-abilities' trainings, the teachers and young teenagers' hard-working for many years. Without these respects, experts cannot be called experts and freedom will be lost. Meanwhile, Talk place is for commons and with freedom voices. Please don't damage it. Peace and freedom are existing when others treated you with them. No one wants to lose them. Thinking about it, if formal article don't let commons express their ideas, and talk place lose its freedom, commons will be away from Wikipedia. That's a very terrible future vision. Entrance-door-stone has already been put into our hands, which just depended on what you are thinking and how you are thinking.  If you change your minds to think it as a good way to motivate much beatiful moonlight's silvery coming and further studies, it was also going to be. '''If we have enough time and energy, please put them into researching a further and perfect version of Moonlight, then push it out into the formal article neibouring. Talk place is free for commons.''' This is also said to myself.

'''2. For the 20th case:'''
Good attitudes and characteristics of a life-long piano-learner:
He or she should -
(1) have a sincere attitude and long-lasting willing for exploring new things;
(2) have a desire of accepting more techniques and knowledge points in piano and music;
(3) not feel bored in repeatedly trainings, but with great curiosities in discovering new improvements in each time;
(4) have a positive heart of aesthetics about the coordination of exercises and rests;
(5) work hard and critical think of every question, for problem-solving and lacks' fulfilling;
(6) Challenge authorities and prove ourselves by one life's time;
(7) seek and create possible chances for performances and not give up plays;
(8) not fear about each time of failure and dare to correct self-mistakes and others' mistakes honestly;
(9) have strong self-discipline - when one day comes that no one give you requirements, you can give yourselves some standards in single learning and teaching;
(10)attempt to save yourselves from troubles, and always willing to give people feelings of beauties 
  '''3. For Sir Bach's Reasonability mentioned in English-Suites Analysis above:'''
Recently, I have read some books said: Compared with music form before, Baroque music is like 'Extremely &amp;Dramatically Collected Emotions'. How to understand this question? Not all...in a larger view including the following some styles, many of Baches are actually like 'The Self-being Reasonability of Externalizating Emotional Fields'. I would use some real scences and educational pieces to explain it.([[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:00, 1 May 2020 (UTC))

[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:04, 17 October 2016 (UTC) &lt;!-- Template:Unsigned --&gt;&lt;small class=&quot;autosigned&quot;&gt;—&amp;nbsp;Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han#top|talk]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 00:56, 17 October 2016 (UTC)&lt;/small&gt; &lt;!--Autosigned by SineBot--&gt;
Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed this impression to peoples all round the worlds. In my opinion, the very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:43, 17 October 2016 (UTC)

'''2.Case study from Jason's language -2021:'''
I am surely about all what I have talked about. Now,some have been modified and progressing to be better...But, we all know the difficulty of COVID-19 Time...
One thing I need to ask a overall question:
Could the pure world of music wandering for long (free and beautiful) make the communication with the reality? To make sure a true heart in music? And to make the likely people together? To overcome the hardness of the real life-time? And to be helpful and  understandable for the hearted someone between each other and their common life-going?
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 13:47, 6 June 2021 (UTC)

== The never-ended Postmodernist concluding ==
=== Report of Binary piano-teaching 2019 Wiki-conclusion for the attendance of World Teachers' Day Web Conference in British Council collaboration with IATEFL (article storage) ===
In recent several days, '2019 World Teachers' Day web conference' is coming soon. Time, here, is better to conclude the road having been walking on for many years, what good particularly happened this year,  and further suggest to future. In the consideration of so above, my report is shown as below:
1. English, as my daily tool of 'knowledge &amp; Skills-Acquiescence and Information-Seeking of piano, has already associated me make the teaching-arrangement and write the framework of teaching materials and the total curriculum. Academic journals, news, Wikipedia-searching, and documentaries... have already been the main approaches... Take an example, as a member of Wiki-family, in my main research-blog (portal) page: https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han , the main approach of knowledge-identification &amp; pedagogy-planing are 'English-seeking through Wikipedia, Wikiversity, Wikimedia Commons... Afterwards, materials and ideas were integrated, through the critical thinking skills,  with my past teaching &amp; learning experiences of Piano (from childhood). Furthermore, practising actions were drawn out to guide my daily lessons for 'Piano-kids'.
2. Teaching self-reflexivity, comments and assessment-conclusions can also be found in the link above, which fixed my family-based piano-training methodology up.
3. In piano field, making personal 'Performing-works Show' is always a great way to assess teaching results and present people's 'Artist fashion'.  In these many years, how is mine working for myself and students?  Through sound-images making,  photography and English description... Take an example for this procedure, there are some collected single Work-Show pages - https://commons.wikimedia.org/w/index.php?title=File%3AMM_Good_classroom_F_major_1838_Grande_valse_brillante.ogg https://commons.wikimedia.org/w/index.php?title=File%3AUnder_the_sunshine_-_Kim_Hui_1st_draft.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ADove_in_the_eyes_of_Young_Teenager_girl_Xinyi%2C_Hua.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ASure%2C_Ma's_Version_of_'Turkish_March'_in_piano_classroom_for_piano_education.ogg  Firstly, after getting the best performing works, I shared my credits to help those 'piano kids' to get the submitting license (Non-profit and Creative Commons from the originality) - 'single page', and make the very careful descriptions of classroom-training procedure (through participant-observation). Following, after many years' accumulation and growth, a whole English educational portal (Platform) can be founded, as shown: https://en.wikiversity.org/wiki/Portal:Piano-kids%27_Corner_from_classroom_and_virtually_online Together with the photography, piano-kids' most beautiful moments of the real classroom progress were virturally but vividly shown in front of us, which have been also motivating them to continuously improve in their 'Piano-Life' to future... Give great thanks to Wikiversity who have pushed up this type of my portals - in this year as News for the promotion for many years among native speakers and experts for many times (almost 7 to 8 times).
4. In this year - 2019, I found a fresh way to present what I knew regarding with the classical music, piano and many brilliant composers in list... -  Holding Library Salon-Presentation &amp; Concert. Through many English-seeking approaches in encyclopedia, notation sight-reading and library-notebooking (Chinese and English language)... (Shown as the first point above), primarily, I got information and knowledge of those masters. Then after, through information-processing, I joined them with my own piano-growth road in the memories, and 'thread those beautiful pearls into a whole necklace' (what my thinking skills' professor taught me). Finally, after another many times' rehearsing, I can present my heart-roads of those masters in a beautiful Musical  Library in Dalian. Indeed, this 'fashion' experienced many times' translations, ideas-switching and presentations, which tested a teacher's level greatly. These several photos showed this procedure: https://commons.wikimedia.org/wiki/File:Presenting_Mozart-Forever_in_Dalian_Library.jpg  https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpghttps://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_3rd.jpg https://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_2nd.jpg https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpg
Now, '2019 World Teachers' Day web conference' is coming soon. It's a beautiful and relax day for teachers all around the world. In this global conference, we can share, enjoy and developing our teaching skills. Professional experts in our fields can also give us some suggestions for future. Hopefully, young teachers and teachers with 'never-aging' hearts can all come together, in which hand in hand, we are brothering and sistering each other, with love and friendship! O(∩_∩)O

Jason's second way, Han Acount is also used as the emergency edition channel[[User:Jason&amp;#39;s second way, Han|Jason&amp;#39;s second way, Han]] ([[User talk:Jason&amp;#39;s second way, Han|discuss]] • [[Special:Contributions/Jason&amp;#39;s second way, Han|contribs]]) 15:52, 31 December 2025 (UTC)

== References ==</text>
      <sha1>aaijp5nt8v1uaq9eapoyv9l8mt04q92</sha1>
    </revision>
    <revision>
      <id>2807116</id>
      <parentid>2807115</parentid>
      <timestamp>2026-04-30T14:42:00Z</timestamp>
      <contributor>
        <username>Jason M. C., Han</username>
        <id>2696291</id>
      </contributor>
      <comment>/* As a Postgraduate-ed piano teacher of The Real Master's Master */ Modifyed the real level of Academy - The Real Master's Master</comment>
      <origin>2807116</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="283421" sha1="sw5kmrv28fu6p7po2uktb3dr4vgpvo2" xml:space="preserve">[[File:Jason M. C., Han.jpg|thumbnail]]
[[File:Our baby Munson is coming across the new year 2026.jpg|thumb|Jason &amp; Cynthia's Baby (Jixun Han and Yang Gao) - Munson is coming across his new year 2026!]]
On the date 9th of July, Jason M. C., Han (Academic name, Chinese name is Jixun, Han)and Cynthia's new baby was born. Now, he is coming across his first new year's day of 2026.He is the new hope of this Chinese academic family.
'''Voices in Song having been trained companying with piano keyboard since childhood (keeping all technique possibilities of every times in growth)'''
[[File:Always on my heart (An English-language song, sung by myself adapted into men's voices).wav|thumb|This song &lt;Always on my heart&gt;  is one English-language song made by Chinese person originally for ladies. However, I changed it into men's voices covering all parts in my growing times which I can do. Thanks for listening to my voices![[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:16, 31 December 2024 (UTC)]] 
[[File:Jason M. C., Han and his 3 persons' family.jpg|thumb|Piano &amp; Musical Jason M. C., Han and his 3 persons' family, after new baby was born. Still, they fell in love of piano &amp; music, and feel like to teach and learn piano &amp; music generation after generation. ]]


Dear Wiki-friends: 

In the Postmodern era, academy will have returned back (regressed) to the Life with the humanity
for nourishing itself and continuously contributing to the sustainability of our globalized worlds, 
on its multiple-dimensions levels. 
I believed in this developing tendency occurring in our future.

[[File:Wedding Ceremony.jpeg|thumb|Post-modernist Piano Teacher Jason M. C.,Han comes to the next life stage luckily marrying a pretty girl named Cynthia Gao who is a kind-hearted and soft-tender lady in Dalian, China.They falled in love with each other very much. On the date of wedding ceremony - June 4th of 2022, a Piano pupil named Meng Meng played the Wedding Ceremony March and another student named Xuan played The Wedding Ceremony in the Dream for us, as the accompanyment of music background. That's the participate-observation of angels for wedding. Thanks. Let us give our best wishes of a new life and the recovery of our world 2023！
It's the picture of wedding gown for witness. ～～～～]]

== As a Postmodernist-trinity learner == 

who have been post-graduating on Master's from Newcastle University - one global citizens' university 
'''(Introduction: https://en.wikipedia.org/wiki/Newcastle_University)''' 
and binary living &amp; travelling in my mixed Postmodernist 'channel' 
{It is a symbolized philosophical root (as a flexible portfolio with each part integrated tightly) summarizing the properties from Postmodernist City-theory (City-Machines), the Holy Trinity Spirituality with forgiveness in Post-theology and the Materialized Universal Laws discovered by Post-Marxism} 
between my home town Dalian
 '''(https://en.wikipedia.org/wiki/Dalian)'''
and another beautiful postmodern city - Newcastle 
'''(https://en.wikipedia.org/wiki/Newcastle_upon_Tyne)''',
I am working for the freedom and the equality of knowledge with innovation 
shared by all the universal citizens in every corner of our earth. 
This point has meet Wiki Group's fundamental purpose of development. 
Therefore, I have chosen here to test my own knowledge and discuss educational topics with others through special 'channels' implicitly or explicitly, 
collect and create new knowledge for our next generations, 
and company with peers to produce the effectiveness of the learning and teaching.

== As a Postgraduate-ed piano teacher of The Real Master's Master== 
[[File:Piano Lecture of Dalian Library (Music) delivered by Jason (Jixun) on October 13th, 2024.jpg|thumb|Piano Lecture of Dalian Library (Music) Delivered by Jason (Jixun), Han and His Piano Pupils Team Associated by Family members and Library workers]]
[[File:Music-Moving Dalian Piano Active Joined by Jason M. C., Han (playing).jpg|thumb|Music-Moving Dalian Piano Activity (charity) was Joined by Wikiversity Jason M. C. （Jixun), Han (playing) at the subway station of Zhongshan Square, who  is a member of Dalian Piano-Expertized Association, which was pictured by his wife - Cynthia, Gao. Subway Charity of Piano Donation &amp; Activity is a good way for piano pupils' Growth and public piano-eduction, especially in China. Let us support it, thanks!]]

[[File:Crossing Year 2019-2020 Classical Piano Concert.jpeg|thumb| The Self-situation holding Crossing Year 2019-2020 Classical Piano Concert in local library]]
[[File:The beautiful views of Scotti-highlands (Teaching demonstration - video; Jason, Han).webm|thumb| The teaching demonstration of one important melody in Crossing Year 2019－2020 Classical Piano Concert in local library- 'The beautiful views of Scotti-highlands' (Video)]]
Teaching musical knowledge and diverse musical techniques and schools for children and young teenagers, especially being good at studying, learning, researching and teaching impressionist music, such as Sir Claude Debussy's:
Wikipedia introduction of Sir Claude Debussy: https://en.wikipedia.org/wiki/Claude_Debussy#Late_works
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism_in_music

He thought impressionism in music should have already been transformed to be Post-impressionism as some scholars had also believed.
Wikipedia introduction of Post-impressionism: https://en.wikipedia.org/wiki/Post-Impressionism

But this judgement, if being heard standing more loudly, still needs to be tested in musical life and practices by Time.
He thought: if impressionism in music would be developed much vividly and expressively with more musicianship, it should make the post-regression and post-communications back to its root, as 'postmodernism in painting' across subjects and across sensory organs. How the techniques and skills of both can be compared with and shifted by - from the directly visualized senses to some meaningful auditory ones, and how masters in this field would use their musical techniques and notation-knowledge to explicitly express life-impressions in minds. Supported by new technologies and cognitive sciences, there are plenty tasks which need us to take. 
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism
Therefore, hoping more and more enthusiasts of music can learn, research and learn this school from France, from Europe and from some fork-expressions all around the worlds.

Let us leave a developing zone, here ...[Sir Chopin's musical style may content a big love of his own country, the indoor-limitation of behaviors, the sickness-depression from tuberculosis(desire of health but cannot get),
the un-expressive love to his life-partners, and the gentleman thinking-wandering supported by brilliant fingering skills… It's a complex from young...[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:59, 13 August 2021 (UTC) []
But, here and now, please try to relax yourselves - enjoying life impressions (with music's helps).

Experiments of Self-built Learning Resource Portal for guiding the training of impressionist piano techniques:

'''Neo up-picking of '''old memory''': The impressions of Sir Chopin's advanced techniques-training, accompanying with my pasted young-teenager life'''

[[File:Chopin in memory classroom good.ogg|thumb|Chopin in memory classroom - good edition after many attempts]]
('''Self-reflexivity and Comments collected and referenced from the original Wikimedia Comments' file - [https://commons.wikimedia.org/wiki/File:Chopin_in_memory_classroom_good.ogg]''': 
English: It's said: in each heart of every pianist, piano educator, piano teacher, piano dreamer, learner, and enthusiast, there should be a place for Chopin and a melodic theme wandering, dancing and rotating deeply in mind, which is twining around roof of house making you ignore the tastes of cuisines three days without attention (referenced from Confucius' dialogue when encountering amazing music) . 
It should summarize dreams after excellent techniques, unrestrained fashion, gentle expression, noble personality and patriotic heroism, especially standardized for a piano-boy's societal development. 
Oh, Jason, maybe currently, it is a little bit far from your (my) life and age, but you (I) still keep one own piece companying with you (me) for tens more years, which involves lots of fragments of educational experiences, free shares with peers, private or public performances and happy memories, etc. Then, I put it into my philosophy, with a deep impressionism of Chopin growing, blooming, and never-aging in the spirituality and musicality world. (Indeed, Chopin's techniques are far from impressionism and turning to another approach - &quot;Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.&quot;, and One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity - as his writing in Projet de méthode. But, while you are (I am) taking postmodernist impressions to see them accompanying with your tens more years' life participant-observations - oh, and your rough hands, limited energy and shorten time cannot be compared with yesterdays', they fuzzed to be one deep impression of Chopin in your memories with details unclear but heart true. I don't really know how to put it in my postmodernist educational journal. Is it neo-expressionism or neo-classicalism... but not really - so complicated??? Is it my emotional expression...??? ...but techniques trained used to be advanced, then currently, 'Improvisation stands at the centre of Chopin's creative processes' has almost been released in my classroom performance. Therefore, firstly, by releasing here and waiting further considerations, it's still made from a common named Jason, as the respect and remembrance of Sir Chopin and his post-memories in past .) Deeply in my mind, it's not great as Revolutionary, some flowery mazurkas, and Great Waltzes(I also enjoy listening to and exercising them very much), but a small piece learnt from my teacher and my mother and performing for my peers and family members (also requiring advanced techniques in middle tenth-dancing, rhythm-keeping, fioritura-singing, romantics-reasoning) - light, pure, joyful and bright - as a flowing spring. With it, I enjoyed some beautiful life moments, and passed by lots of examinations, and life-tasks, like a happy (used) waterfall. Yes, it is almost named as Trinity-Form
G-flat major Waltz)
Further Wikipedia introductive Reading-list: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]; [https://en.wikipedia.org/wiki/Waltzes_(Chopin)]

===  Post-Piano tutorial progresses from Jason's learners - in honour of Sir Chopin leaving in Prior-memories ===
In the reasonable line of piano family education before and after, I used to be suggested by my tutor and mum: Jason, in the future, you'd better to seek a period felt in some energetic situations, in which you can dedicate yourself in training advanced techniques of your hand in terms of Frédéric François Chopin's Waltzes, especially some from the collection of Grande valse brillante(Wikipedia introduction: [https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin)]). However, it was two dozens more years pasted by that I haven't sought out a right period in which I was full of energy. I thought I should feel the regret.
Thanksgivings! I am a family piano tutor that what my lost 'dreaming stars' I could pick up for my 'kids' in their right stages &amp; progresses, through some educational approaches, such as notation-analysis, background information-introductions,video-observation and fingering &amp; handshape &amp; sound-effect researches... Therefore, prior 'lost' was transforming to be post-benefits, in which the magical powers of education and music were coherently threaded as a whole representing my small happiness of 'inheritance' (Oh, I wasn't dying as Chopin's complaint about doctors' analysis ''Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die '' in December 1839, after his beautiful France Romantics and an England Tour recorded in some works, as what our F major Waltz had recorded. &lt;ref&gt;'George Sand Part' from https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin) &lt;/ref&gt;. That's my lucky. Therefore, here, 'inheritance's' external scope was enlarged to mean 'some beautiful techniques was sustainably passed by, carefully stored and neo-developed in my learner's mind and fingers supported by educational power.) Oh, it was a lovely girl young teenager (around 13rd year old), about whose educational stories, I had a prior talk in my languages, my post-reports of Sir Debussy's classrooms in Children's Corner. Here, you might feel time was a little bit disorder - 'before or after', but from multiple-channels, they were threaded in a pearl chain of subjective initiative where they should have been in. There, prior lost would be re-picked up and recovered in Post-time; though a little bit idealist, kids' dreams could be warmly post-embraced and post-raised up, no matter too small - we will have wished them: 'never fall... never'.
Though still some 'fails' and LIVE recording facilities in tutorial room weren't quite good, let us try to appreciate her edition and think of how many endeavors in terms of each technique-point were behind it:
[[File:MM Good classroom F major 1838 Grande valse brillante.ogg|thumb|Waltzes, Op. 34  No. 3 (Chopin) in Grande valse brillante in F major, player: Xuemeng, Hu (kid's name in children's cornder: Meng Meng). Comments, please refer to the original file in Wikimedia Commons]]

=== Portals for Postmodernist Research Preparations  ===
'''Piano Etudes as poems -'''
* [[Portal: Piano Etudes as Poems | Piano Etudes as Poems]]
'''Spanish music with impressionist elements -'''
* [[Portal:Maloguena dream|Maloguena dream]]
'''Impressionism in China -'''
* [[Portal: Impressionist Visualizations (for musical imaginations) and some Sound files | Impressionist Visualizations (for musical imaginations) and some Sound files]]
'''Sonatinas from Kids' corner near heaven -'''
* [[Portal: Sonatinas from Kids' corner near heaven | Sonatinas from Kids' corner near heaven]]
'''Green Sleeves (Impressionist Visualization) -'''
* [[Portal: Green Sleeves (Impressionist Visualization) | Green Sleeves (Impressionist Visualization)]]
'''Blues &amp; Jazz learnt for fun and a fast brain -'''
* [[Portal: Blues &amp; Jazz learnt for fun and a fast brain | Blues &amp; Jazz learnt for fun and a fast brain]]
'''Mozart's Genius Techniques in Kids' Eyes -'''
* [[Portal: Mozart's Genius Techniques in Kids' Eye | Mozart's Genius Techniques in Kids' Eyes]]
'''Special interest - Musicality from Chinese Literature and translations'''
* [[Portal:Chinese literature |Chinese literature]]
'''Oceanic Musicality from Outdoor-Sport - Winter Swimming prepared from Daily Long-distant Swimming'''
* [[Portal:Winter Swimming prepared from Daily Long-distant Swimming |Winter Swimming prepared from Daily Long-distant Swimming]]
'''Piano-kids' Corner from classroom and virtually online'''
* [[Portal:Piano-kids' Corner from classroom and virtually online |Piano-kids' Corner from classroom and virtually online]]
'''Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training'''
* [[Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training|Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training]]
'''Vienna School's Aesthetics - Photography for Musicality Cultivation (Piano Exercises)'''
* [[Portal: Aesthetics from Vienna School (Musicality) | Aesthetics from Vienna School (Musicality)]]

=== Wiki-Documentary collection and Practical exploration of piano techniques in Impressionism on the level of Globalization ===

==== Ideology and Critical thinking from Jason's  Wikiversity-perspective ====

===== Root - Ontology and epistemology =====  
World began from the streaming tendencies as its chaos background, then many twinkling-switching impression-points open their realized-or-not eyes to see out some mainly logical themes (procedures and faithes) upon the atmosphere background. That's the impressionism of universal. Now, we came here and time...
Under the World-Era background of postmodernism, for the purpose of entirely recovering the Impressionism techniques of piano, we need to dig a channel with binary materialist supports from both Internet+ collections and daily Educational accumulations. Yes, we can imaginatively stand on words and phrases online or on paper as virtual materials, then collect them; and, we can also vividly consider educational impressions from piano-practices as spiritual materials, then pickup. Afterwards, mixing and integrating those all through engineering-analysis approaches dialectically, we will began to wander throughout more landscapes and watch more beauties internally this channel, for dreaming after pure musicality and reasonability. Furthermore, this channel, supported by some advanced techniques, will be twinkling the brighten 'stars', outside the 'winders' set upon the waving tides of colourful background, ornamentally but also thematically. Then, imagery purity upon 'Holly snow land' would be jerry-liked, gravitationally, self-reflexively - either  mechanics or even anti-mechanics - constructed out and solidified in, which is deeply carved in Debussy ''Doctors'' eyes but also from globalized Children's Corners (Creative places) around all the worlds. Indeed, about impressions, in my view-horizon, peoples in globalization have already made multiple fragmental fork-explorations, through diverse fork instruments and expressive approaches. Therefore, there would be a paragraph collecting what we can know as some folk treasures. Yes, Impressions, somehow, can be fragmentally distributed from consciousness to unconsciousness of races-diversity especially in Collective Unconsciousness (About this term, depending on Time and Energy's limitation, I found a piece of Wikipedia-introduction, about which we can make a Reading List and collect further pieces of informationhttps://en.wikipedia.org/wiki/Collective_unconscious). But, in my (DWL)Dream's Wandering Legend world, we needed to remember the first leader who has systematically summarized them as a school which has been influencing the field - Music, should be the France in Europe.  This paragraph, collected from Wikipedia - Impressionism (art movement) below, can give a proof of what I have mentioned above: 
'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.' &lt;ref&gt;&lt;div class=&quot;references-small&quot;&gt;Wikipedia (2016) Wiki-entry 'Impressionism' Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Impressionism. Accessed: 4th, December, 2016&lt;/div&gt;&lt;/ref&gt; 
In other aspect, from my practical learning, operations, teaching and participant-observations, Impressionism in piano techniques is dialectically contradictive field, even its contradiction in existing itself is also a contradiction, with some internal or inter-schools' debates. On one side, you need to take care about detailed techniques-carving upon materialized life-walls of Times-spaces-crossed channels you are in; on the other side, generalizing those all, you also need to outline a fantastically existing and dramatically varying universe with supports from spiritual impressions bridging multiple channels from others.

==== Recordings of various Methodological explorations  ====

===== &lt;big&gt;Post-prelude&lt;/big&gt;  =====
You knew, Epistemology, in clearly understanding Ontology of musical impressionism in postmodernist channel, isn't a one-time and easy-going procedure. You will have to give out your proposals, and test them from daily practices and documentary reviews. Sometimes, you find it could have made no function, and had to restart a new approach; and sometimes, you would take a new state by summarizing all the impressions of the past together; and sometimes, you might never want to return back again. Then, in Marxist theory, it would be compared with a spring with its channel rotating upwards, and you are going alongside it. Sometimes, you will have found you almost returned back to the original point. Don't be fear, my friends, indeed depending on your accumulations in the past, you have already been in the upstairs of your Epistemology, causing your contributions of your commons' knowledge and your practices in daily life can be compared with solidified material blocks having already been constructed into historical building and left for all, will give the foundations for your actions and will never be forgotten by historical reasonability ('Universal Lord' - personally thought: it should also possibly be recognized by Hegel' 'Spirit'). 
(More professional materials and about how this recognition can be gotten out, we can review Wikipedia introductions for further learning - Key words: 'Marxist philosophy', 'Marxism' (Epistemology) and 'Post-Marxism')   
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Marxism', 'Marxist philosophy', 'Post-Marxism' Searched from ''Wikipedia'' ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Marxist_philosophy; https://en.wikipedia.org/wiki/Post-Marxism; https://en.wikipedia.org/wiki/Marxism. Accessed: 23rd, December, 2016 &lt;/ref&gt;  
Therefore, in these explorations, various different methodological approaches have been applied, or summarized applied growing from root, and with some digital materials, formations-shaping ways, words-modifying ways and thinking ways critically created or collected from Wiki-family.

===== ''' Educational prelude of Post- English Suites subcategorized under &amp; as Post-prelude ''' =====

God didn't give me the giftedness of composition, but to creatively learn, to reasonably teach and to improvably perform. What my approach was still basic binary post-Marxist practices with critical thinking in and from classroom. I thought I needed to add one prelude in this channel, as a complex in remembrance of a life style I used to own in the past, but for future. It was called 'Post-prelude', caused by the reason: in my life process, it has already gotten 'post-', then to be made into considerations, as things' changing fast towards a time-hooking. It isn't a perfect edition, but in my own hands. I thought, I should have the confidence: alongside time's on-going, one day a well-performed piece will be produced out, beautifully re-appearing colourful imageries in my dream. Therefore, it was also an opening case with developing zone, towards future.
In this time and space, I would like to report some small findings for education 
(Before this small research, I reviewed some pieces of information from English Suites - https://en.wikipedia.org/wiki/English_Suites_(Bach) and some Chinese Grading-test teaching videos, I found the division of its structure were quite useful in daily teaching and learning practices; but furthermore, we can try to reason it much clearer):
1. This 'six parts' suite indeed wove each two as a holistic logic of the modelled pattern, or sometimes across each signal part’s ‘terminating cross' to another middle peak-turn as one pattern.
(like 0.00 - 1.10 minutes, it can be called a holistic logic (Theme-Development-Counterpoint-Small Break-Cannon &amp; dialogue - Weaving body - Terminating code); like in 1.59 minute, it ran to the peak but immediately turn back to repeat the pattern' variation - a hidden new beginning which is usually ignored. We can make it still as in a whole pattern; and after 3:2 'ornamentations', around 3.10, a rush threaded from left hand's motives to right hand's totally began a code repeating ideas of the beginning theme.) 
Afterwards, this suite will be logically and creatively divided into 3 or 4 paragraphs, which would be better for classroom-practices (with the same pattern). Meanwhile, 'one connecting 2 or more' idea of the real suite would be fulfilled, which better realizes English Culture, not only about music, but living custom. We can review an explanation of 'Suite' from Cambridge online dictionary 'a set of connected rooms, especially in a hotel'; yes, so did dance;
2. Each terminating code would be performed out a small 'rit.' as for middle break (rest), or 'curtain call'. I think, this point is also reflected out culture and customs; 
3. In texture, our keyboard touching techniques need to reflect Baroque Counterpoint's requirements', and clearly identify its relationships and differences with another definition 'polyphony'. 

'''Homework Requirements (Self-explorations):'''

(1) Regarding with this point, we can firstly review its reading lists in Counterpoint and polyphony (Wikipedia introduction: [https://en.wikipedia.org/wiki/Counterpoint] and [https://en.wikipedia.org/wiki/Polyphony]);
(2) Then, Please view 'Two-factors analysis' research approach mentioned in its Talk page ([https://en.wikipedia.org/wiki/Talk:Counterpoint#Suggestion]) and other talks there, for the identification of some related definitions, and existing problems in this field;
(3) Try to collect and structuralize all 'Counterpoint' parts of our English Suites from its manuscript, and try to collect and analyse some textures of its polyphonic sessions (especially some difficult fugue parts);
(4) Try to realize requirements of (3) point on your piano through recording sound files or video files. Please pay more attentions to their rhythm, dynamics(especially the loudness of some independent melodic lines) and musicality (in Neo-expressions, such as sentence breaths and emotional changes)
(Answers will be researched out sometime in the future. Then, we can have a check and further discussions.)
4. Gracefulness would be 'tasted' out from natural inspirations &amp; impressions of Baroque architecture, gotten in some childhood or young teenager dreams of your own life. . &lt;ref&gt;Wikipedia(2017). Wiki-entry '''Baroque architecture'''. Creative Commons Attribution-ShareAlike License. Available in: https://en.wikipedia.org/wiki/Baroque_architecture. Accessed: September 6th, 2017&lt;/ref&gt;,  Here, an example was re-picked up in my memory sea was Sir Bach's 14th 2-parts Invention. Friends, we can try to make some senses: 
[[File:Bach Invention 2P 14th.ogg|thumb|Bach Invention 2P 14th]][[File:Invention 2P 14th Sostenuto.ogg|thumb|Invention 2P 14th (Special sound effects in sostenuto pedal and jade beats)]]
5. Smart and skilful treatments of ornamentation should be applied as from colours of Neo-classicism and Neo-expressionism; 
6. Variations of Dynamics should meet Neo-emotional expressions in dancing movements.

===== &lt;small&gt;Postmodern Impressionist Explorations of Baroque Techniques:&lt;/small&gt; =====

'''Debate 1st - Highlighted 7th point: Baroque staccato fingers-technique in piano, for simulating Harpsichord's sound style '''

Since the time of my childhood learning with my teacher from a skillful piano family, she has taught me:
the treatment of Baroque staccato in piano field needs to be specially trained. It shouldn't be played as jumping too much and too heavy but naturally, gently, half-attachment and with some originally beautiful manners of European noble fashion , especially about grouping semiquavers without slurs set upon. Some composers' works, in that period, were highlighted, including some from Domenico Scarlatti's 555 keyboard sonatas (Wiki-introduction: https://en.wikipedia.org/wiki/Domenico_Scarlatti)and some from Johann Sebastian Bach's inventions, suites and fugues ( https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) etc. Yes, they are what pieces piano players encountered so frequently and left deep impression of Baroque music in memory at the primary time. 
In that time, I didn't quite understand why I needed to train my fingers with this keyboard-touching fashion, but merely following and carefully exercising time after time. 
Alongside my growth, my further learning requirements and my own face-to-face tutorial needs for my children (students) in studio, I began to explore and reason it much clearer. 

'''Inherences from Harpsichord Era:'''

* Through documentary reviews, I found the primary reason rooted not in piano' physics structure, but harpsichord's (Wiki-introduction: https://en.wikipedia.org/wiki/Harpsichord). We knew piano was, in certain degree, developed from Harpsichord. There were three reasons can explain why this piano fingers' technique training imitating Harpsichord's structure-oriented sound-effects would be made this fashion (above): Firstly, as in our wiki-article: 'The vertical motion of the jack is then stopped by the jackrail (also called the upper rail), which is covered with soft felt to muffle the impact' - this point made notes played out from Harpsichord hard to be linked together, as the application of piano's fingering legato by 'walking fingers one-attaching tightly following another's raising; Harpsichord's sound-louder facilities - 'the sound-louder box' surrounded by soundboard, upper belly rail, lower belly rail, tail and bottom are usually smaller than modernist piano's; meanwhile, pedals haven't been summarized and developed so advanced as what piano's. 
* However, accompanying with people's make-up style, dressing fashion, postures of performance in solo community and further count-fashion etc., harpsichord's sound-effect became a symbolized remembrance of some Golden times in past and their personality and temperaments. 
* Piano was developed from harpsichord, and some compositions can be played on both. This sustainability gave piano the ability to imitate harpsichord, simulate its beauties and pick up some manners of techniques representing golden fashions, especially in Baroque and Renaissance keyboard music. The treatment of Baroque staccato is one important technique of them. 
* Compared with harpsichord, piano could be of much sensitivity and flexibility in dealing with keyboard-touching and varying relevant sound-effects. That's the timbre difference, which cannot be overcome by changes from structure. But, special training of hands with manners and customs, seen as literacies, would be better for Neo-expressions and New-classicism; meanwhile, can be seen as nowadays' post-modernist constructive regression for Baroque Channel.

'''''Requirements:''''' 

(1)fingers of hand need to be naturally dropped by wrists one by one; (2) when touching keyboard, fingers need to stand upon and attach each for a very tiny 'later' time (a little bit lazy) - not too fast or yet jumping heavily; then, naturally pick up it through a coherent force (motion) vertically upwards, which is given still by wrists; (3)repeatedly shifting this sequence to the next finger; (4) please be gentle and relax in playing, and highlight some grouped heads of phrases. If there were some grouping ornamentations depending on these staccatos, please be more careful, smartly and softly, but with centralized weights upon bigger staccatos, rather than 'small notes'; (5) It's better to appreciate pictures, architectures, pieces of music and life scenes in Baroque era (Yes, Wikimedia commons can give us some associations); then, bring these imaginations into your mind alongside your performances' processing, naturally, gently and finely.)

'''''Practical sound effects:'''''

Regarding with the application of those memories, discussions and requirements of Baroque Staccato above into our Pre-prelude - English Suites, its possible research-effects in sounds, and especially the dance personality in Suites suggested from Gigue(British jig) (Wikipedia introduction: https://en.wikipedia.org/wiki/Gigue), we can get some enlightenments by exploring 8th 2-parts invention in Bach's preparation-works. I have taken a sample for demonstration (it could be bettered in future). 
[[File:G Major - 10th 2-parts Invention, Bach.ogg|thumb|This Invention (No. 10) - G Major 2-parts, happily dancing and existing from my memory of childhood, has woven out my primary love of Baroque custom. Though it applied total Baroque Staccato and long-sentence ornamentations to express a joyful fashion of Baroque Dance (British jig) - Gigue in piano instrumentation, you couldn't feel quite boring and tired, but be willing to move on and on, round and round, until the end of a Golden Era. Alongside your behaviours, holly lights were reasonably shining around the area your dancing steps traced out where an imagination Baroque Suite room of yourself appeared (even only for you single). It was quite right that the decorations of this Baroque Suite room were following principles and patterns of Baroque Era - Canon, Counterpoint, Polyphony, Woven body, dance rhyme and ornamentation...; but still, it left some great developing zones for your own 'inventions'. You see, long-sentence ornamentations can be waving tide by tide; and your body languages can also be designed out a life style of people living there while you were dancing your fingers upon keyboard... Though compared with the natural gracefulness in Invention 14th, 10th was a little bit weak in the praying of immortal spirituality ; it gave a festival celebration of true joyfulness' back-returning and your down-calming mood to hold them in mortal complexes - such as companying your family all day, and tasting an afternoon tea with them in the fall suggested from Grandma's Bible classroom, or something else... But, dear kids and young teenagers, you knew, Baroque staccato - your natural &amp; relaxing wrists, fast-dancing fingering but still with very good &amp; controllable manners, pearls-liked staccato note-quality, sentences' breaths and those highlighted rhyme-heads still need many years' training and your dedicated enthusiasm. You can put it in your piano courses and try to better it, alongside your growth.]]

'''''In addition:'''''

Some students asked me &lt;big&gt;'''the relationship between Baroque architecture and Baroque dance, and how they were reflected out from piano instrumentation in music'''&lt;/big&gt;: oh, it was a hard question that: (Firstly, we can make a first impression of the complication of Baroque architecture (textures) in music through this piece- it`s only a standard texture with 3 parts in Invention, but so layered-out, foundationally-made, musical heads-leading and well-structured in system: [[File:3 Parts Invention 8th- from Sir Bach.ogg|thumb|3 Parts Invention 8th- from Sir Bach]])We would reason out that - a group of people got a fashion of one era (ideas) from their souls that they have the willing to express. They might choose some easiest ways and nearest ways - representing their own ideas through the movements of their bodies - such as singing out from mouth, or dancing out by body languages... We can call them 'first-stage - the self-mirroring of landing reasonability'. (how those ideas can be landed in minds is another story that someday we can discuss) Then, after the atmosphere of fashion by one group or multiple-groups were built up, they would separate the self-mirrored and self-expressed aesthetics-sense from their own operations - they own bodies, and re-projecting those to their performances in reality - such as logically recorded in notation for instruments, or engineering in architectural designs &amp; patterns. Afterwards, human beings' 'aesthetics-self' were separated into two: one were flowing or solidified 'outside', maintained and dying by time; and the other - they own 'self' can be liberated out and repeatedly appreciate &amp; modify &amp; create 'outside' beauties with new curiosities and some renewable minds, which can be passed by generations after generations.

===== Editing - '''Debate 2nd - Highlighted 8th point: Exploring Baroque fingers-techniques of Ornamentation in piano - An introduction of Internal-systematic researching approach ''' =====

'''Background-Knowledge Introduction:'''

In the discussion of Ornamentation treatment, there were many debates, about which main stances were originally centralized into the waving direction from its first note and its rhythmic ranges of other notes. Regarding with its treatments, Baroque traditions VS. Scenery self-expressions of composer gave two opposite sides with some moderate approaches ranging upon its 'scaling variable'. In my philosophy (methodological part), I cannot make a direct and absolute cut for confirming something is right and many others are... indeed, there were really no black-white answer. Somehow, this treatment can be seen as players' personal literacies according to their music educational background - yes, their preferences.  But, in some scenes or to certain reasonability, we can analyse one treatment's possibilities in system and try to make some senses of its aesthetics appreciation.  
Firstly, in order to make senses of ornamentation (trill.)'s different versions, let us set our English Suite aside, and listen to two different versions from Fugue's voice (one of the most complicated contrapuntal forms ): 
The first version of d minor fugue (please see below) is a very nice and sound-effected fugue in Sir Bach's &lt;The Well-Tempered Clavier&gt;. In this version,  pianist Kimiko Ishizaka's softened keyboard-touching techniques are enjoyable to my ears and her flexibility of ornamentation (trill. ) performance is also brilliant, reflecting her higher controllability of fingering and forces, in my views. About the ornamentation, like piece (0.05-0,06), we can hear she has applied traditional understanding of Baroque Ornamentation, which sights 17-18 centuries' Baroque composers as a whole group and makes their grouping expression of fashion as a theory deducting  and guiding the treatment in d minor fugue. Then, we found: the signalized trilling G (big note) was played from its above note A and made a wave - AGAGAGAG-A. This expression is an absolute and simplified version simulating harpsichord's sound effect. Many pianists, when dealing with composers' works in that era, usually generalized this version for simplification and popularization.
* Kimiko Ishizaka's Version:
['''(Wikipedia introduction: https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg )''']
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' ''The Well-Tempered Clavier'', 'd minor fugue' '''In''' Session 'Audio of Book I' '''From''' 'Recordings', Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg. Accessed: 2nd, May, 2017&lt;/ref&gt;

There are also many other versions, among which what I has applied is from an educational approach - from my country's national grading test for advanced level. From my analysis and thinking reasoning, in this version, trilling note G's dominant property, as the main note, has been emphasised by a first semiquaver beat of itself. Then, the trill. took the above note as the second note to wave out a twice vibration between A and G. Finally, it took a rotating opposite and returned to the main note. It was heard like: G-AGAG-FG -A. Yes, this pattern is with more flowering pattern, and somehow complicated and difficult to gain. Someone would not feel like to learn. But, from analysis, we can find it filled two gaps between the main note, its rotating below, and its linked next note, which made the transitions much natural, according to palm's growth. Meanwhile, the Main property has been highlighted. Another point is: you can hear the shade of traditional version (Kimiko's Top-downwards) from the second semiquaver beat. 
* Jason's Teaching version:
[[File:D minor Fugue Bach - Expressnist edition.ogg|thumb|In my depth of mental sea (Mainly about the education of piano), a piece of Fugue is lying there. Yep, it's 'd minor Fugue' in Sir Johann Sebastian Bach's 'The Well-Tempered Clavier' (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Though about the performances of its ornamentation, there are many debates in terms of what fashions Bach's preferences were and whether they were only in certain exact scenes which Bach preferred to make some styles to some exact groups. About this topic, 'western side' and 'eastern side' almost have quite differential ideas - someone prefer Era's fashion as being generalized upon all Baroque composers, then applied to some works of Bach (Top-downwards trill.); while, someone prefer the explanation that it can be seen as Bach's individual fashion in some scenes to individual groups. I think: if the resurrection can be made, Sir Bach would also confuse about why he had performed them as so and how he had thought them out... But, the love of playing Bach's has never changed for many centuries among piano boys and girls. I found some music-score dictionary attributed it to players' personal literacies. I thought somehow it was also reasonable...Therefore, in this version, I played it according to a teaching textbook in a national grading - an moderated and coordinating style, but with techniques and strengths what I preferred. In other aspect, if you ask me: 'Hi, naughty Jason, what's your impression of this piece?', I would say: ' Under my educational background, it was like a piece of sorrow mind's self-expression &amp; self-reflexivity - multiple-thinking dimensions have been threaded together in a very complicated (thick and vertical) texture emotionally and beautifully'. Oh, maybe I am a boy wandering in the middle between binary cultures, then, would carrying this feeling... I don't know... But, in psychologist views, after hearing it or playing it deeply, absolutely, they will say: 'Jason, it can be compared with our psychological consult (treatment), in which - firstly, we were leaded into a dialoging theme (B1-B8); then, 'climbing up a mountain' to collect pathway-principles (fragmental indications) among a huge, maze-like and complicated forest of life (with multiple layers and events) (B9-B20); taking much deeper expression of every mood-chain, their composition and totally ranges under a huge emotion-atmosphere (some whispers, then, life complains, deep reasoning &amp; threading, and even loudly cries would happen during this procedure) (B21-B39); Back-returning to original theme, and then, getting the Release of the extra metal power (B40-B44; especially, it contents a final solution to D major block-root which made it bright and got out of life maze). I enjoyed this music trip in education, though still some lacks in techniques were there waiting my further enhancements, such as a forgotten of B29's trill, - sorry, in that Live Space, I felt a little bit tried. But, I wanted to entirely express my experience of it. It's said: Fugue was one of most complicated  contrapuntal forms (Counterpoint) in engineering approach, which needed some very careful trainings of both thinking and hands' techniques. (Wikipedia introductions: https://en.wikipedia.org/wiki/Counterpoint;  https://en.wikipedia.org/wiki/Fugue).  Yes, thanks, Sir Bach... But, in commons' mind, what the most benefit from its appreciation, I thought, should be 'getting a total mind-Release from multiple mood-chains, and enjoying a final peaceful emotion after reasoning our own sufferings during these several years']]
&lt;ref&gt;MingSun, Zhou. Eds (translated; 2007) 'd minor Fugue' '''In''' The Well-Tempered Clavier, The Works-Collection for National Grading Tests. Beijing: The Press for Commons' Fine Art. {{ISBN|9787802400429}}&lt;/ref&gt;
Therefore, as common learners, I think we can follow at least two versions to make our hands-trainings depending on our preferences and background-understandings of sir Bach and that Golden Baroque Era. We can also postmodernist &amp; explicitly express and attribute those emotional chains hidden behind its surface, which Bach's music wanted to tell us. It's another story, about which we can make some discussions through a review of Jason's English self-reflexivity in this Link [https://commons.wikimedia.org/wiki/File:D_minor_Fugue_Bach_-_Expressnist_edition.ogg] from Wikimedia Commons 

'''In-systematic  Analysis for Our English Suites'''
After a very careful mind-identification and detailed introduction of Ornamentation(trill.), we almost got some senses, afterwards, let us get back English Suites and reason out a possibility of its ornamentation (trill.) treatment inside its music manuscript(transcript). Meanwhile, a type of inductive researching approach - In-systematic Analysis (evidences-collections from signal notes-phenomena, theory-forming, practical application into specific situations) could be understood for reasoning, practice and self-style's cultivation.
In brief, most ornamentation (trill.) ways and techniques in this G Minor English Suites (under flat B major system) have already been clarified and signed above ornamentation signals(tr.). Even, in the peak part ' Interaction-F- Ornamentation (B161-B172)' (Please see 'Structuralism-analysis' below ) of Royal Suite B, our Sir Bach has almost designed a total and clear demonstration of his Baroque fashion and idealist thoughts regarding with the ornamentation fashion in his age.
Please see the referenced music manuscript (transcript) Sample 1st (B62-B63) below:
[[File:Sample 1st from English Suites' Ornamentation (trill.).jpg|thumb|Sample 1st from English Suites' Ornamentation (trill.)]]
In order to emphasis his idea, in some reversed Ornamentations (trill.) (down-waving oppositely), he also gave a head-link and some very careful demonstrations, such as Sample 2nd (B22) below:
[[File:Sample 2nd from English Suites' Ornamentation (trill.).jpg|thumb|Sample 2nd from English Suites' Ornamentation (trill.)]]
Notation-following them, we can research out Sir Bach's basic ideas and principles in the Ornamentation (trill.) treatment of this piece:
1. It was made into semiquaver triplet (three divided and averaged notes) per quaver time;
2. In the first quaver time, it should be played a throughout chain from the downstairs note, threading the main note and up-rising to its upstairs note, like the trill. Flat B: it should be A- Flat B -C first;
3. Then, in the next quaver time, it should wave between main note and it's upstairs, like still the trill. Flat B: it should be Flat B - C -Flat B;
4. Following the 3rd point, if trills was continuing, we need to range another triplet wave and thread it to the next, like still the trill. Flat B: it should be C- Flat B -C;
5. But if a downward line was drawn - the Reversed signal (as Sample 1st for B22), we need to make a quadruplet regression (playing 4 divided and averaged demisemiquaver notes) downward and return to the main note, like in Sample 2nd G - it should be A - G - Sharp F - G;
6. If there was accidental Sharp or Flat, or recovery signal set under the middle of Ornamentation (trill.), it was usually made towards the downstairs note, such as Recovered A in Simple 1st and Sharp F in Simple 2nd.

In my opinion, after those principles reasoned and gained in our hands, when a targeted problem occurred, as what Target shown below, we can make a reasoning application of what we could know but Sir Bach didn't notice us:
[[File:Target from English Suites' Ornamentation (trill.).jpg|thumb|Target from English Suites' Ornamentation (trill.)]]
It should be: G - A - Flat B in the first quaver time and A - Flat B - A in the second semiquaver time (yes, we can make a little bit acceleration to show our fingering flexibility). 

I thought after this In-systematic analysis, we somehow could be near Sir Bach's reasonability in music. Why I call this researching way In-systematic analysis: We knew some golden, traditional, brilliant and perfect Baroque edition, such as pianist Martha Goldstein's harpsichord referenced in our Wikipedia article of English Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/English_Suites_(Bach)]). Indeed, I like it very much, especially when hearing the brilliant keyboard-touching techniques and it's traditional Top-Down deductive Ornamentation (trill.) treatment. But how can we make some reasonable possibility by collecting internal evidences, forming a theory, then applying into some unknown problems? May it be Sir Bach would have thought it like this and implicitly hidden behind the tradition... I thought Neo-expressionism and Neo-classicalism would pick up it. 
Here, some experts would criticism me: Naughty boy Jason, what you mentioned are as so, but it didn't realize it into your classroom recording beside; oppositely, you played the third way - Main rising &amp; waving( A- Flat B - A - Flat B; then, tail A - G  G)     
Yes, I am sorry. Firstly, I had tried many times, but my hands-techniques didn't allow me to add another heading upstairs note (Oh, I am thirty year old. Every time thinking of it, I am a little bit sad and would rather get back to my sixteenth - maybe mother would say: Naughty Jason, even getting back that age, you really haven't fulfilled or dare to yourself in piano; That's quite right I am paying for my lost, but I would try more exercises); Secondly, it's about another story of its simplification. About the second point - its simplification, my stance is: Sir Bach almost wanted it a first raise and wave from the main note for reflecting main note's dominate properties in this Ornamentation (trill.). This point is my idea which would be different from tradition and could be criticised and argued. I think In-systematic analysis above is much stronger than this one. All of them are from the love and respect of Sir Bach's engineering world of music and his so brilliant English expression. Thanks! 

 '''&lt;big&gt;Homework and Exercises (Advanced and Research level)&lt;/big&gt;''' 

* '''&lt;big&gt;Requirements and instructions: (Please see the fourth photograph set besides)&lt;/big&gt;'''
[[File:ES Homework and exercises.jpg|thumb|
Requirements and instructions:
1. Please ignore some bad looks of my characteristics-writing and just focus on the manuscript (sorry, my paper-writing of characteristics and letters were really ugly, in my view. I attributed it to my lazy attitude. Oh, my mother usually told me: Jason, you need to write in good shapes, when facing your peers and students. But, I usually find an excuse: sorry, my energy and time didn't allow me... Peers and kids, don't follow this brother's example. You see, it was like animals' footprints or ghosts' signatures); 
2. Please try to apply knowledge of ISRA (In-systematic Researching Approach ) in self-researching out a possible neo-edition of Ornamentation (trill.) of this piece - how to play and explain in both music and language;
3. Please try to record your own sample after self-reasoning and analysis (Be brave)]]

* '''&lt;big&gt;Sound answer:&lt;/big&gt;'''
[[File:ES answer for HE.ogg]]

* '''&lt;big&gt;Explanations:&lt;/big&gt;''' 
Following our discussions of this approach until now and here, advanced learners (including small Jason) have already gotten the abilities in researching out a possible answer of this unspecified ornamentation (trill.).
let me tell its designs and why I made it like:
1. The first semiquaver rest played by left hand needs to match a very fast demisemiquaver triplet downstairs- upward trill. of right hand which was made throughout the main note - Recovered B and sounded like A- Recovered B - C. About this design, we have already known Sir Bach's implicit willing of 'triplet trill.' - first one in up-going tendency. Yes, you can also make a total '3:2' to cover left hand's semiquaver beats; but afterwards, you will find upstairs C would be repeated 3 times and hand's smart feeling was lost. Therefore, I gave a first demisemiquaver triplet to cover left hand's first semiquaver rest;
2. In the second semiquaver note of left hand, the second demisemiquaver triplet (Recovered B - C - Recovered B) was given to cover it. Then, the third principle above - 'Upstairs' shaking' has been targeted. 
3. Originally, palm's growth (growing with fingers in each order) has been applied as one considerable factor impacting fingering designs; and, it was naturally progressed to the following C without any gap.
Congratulation to your good learn! After training your hands for a period and taking the following highlighted 7th point, MO Version set besides can be made out with much smarter hands for the soul of English Suites. But, if you prefer to keep this technique stably heard, lasting for much longer time and your fingering much smarter &amp; fluent, another self-training of it with engineering approach in daily exercises is quite necessary. Students in advanced level can try to search more evidences from this suites of Sir Bach's or other Suites.


'''Highlighted 9th point - Educational self-reflexivity: Natural Impression of its (Prelude in the third English Suites) Horizontal structure ranged upon Time &amp; Space, according to English Language - 'Suites' ''' 
Programmatic formation is the impression I usually brought with when listening and performing the sampled Prelude in 3rd English Suites. In our common's history, usually, the procedure of programmatic formation, presented regularly, periodically, frequently and reasonably, can associate us deepen some unstable subjective impressions, fashion behaviours, popular languages and societal customs into aesthetics and culture, and fix them for lasting longer. Some evolutionists would dislike this impression, for its usual representation of　conservatism which could block the development of new productivity. But, after certain evolutions or in some post-periods, it is also going to function in accepting, fixing, saving and sustaining 'Evolution-fruits' (Thinking twinkling). In Baroque Era, I thought Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/Suite_(music)]) played this role through 'suits-liked' structuralism. Here, the scope of Suites' definition - its enlargement and development also taught us more about how to deal with its structure-organization and composition-management: from the description of '''Room Suites''' occupying real Times &amp; Spaces, to the description of '''Dance Suites''' summarizing similar behaviours and body languages into symbolized rhythm, till its transformations into 'musical composition for instruments', fresh fashions and expressive expectances have been auditory recorded, as in Programmatic formation alongside civilizational regression and up-picking of golden personalities. Yes, it was 'Dance Suites, was commons' weekend dancing in Suites-liked ball-room, and was also Royal Suites (cells-liked rooms being nested throughout one after another) separating different music paragraphs but with a coherently endless joyfulness for life and future... 'Therefore, when we attempt to perfectly realize this teaching procedure, some abstracted 'Royal Suites' and their impressionist 'souls', rather than several 'small connected rooms', can be carefully analysed out, with details fuzzed, but impressions kept, suggesting where course-designs, exercises-presentations, assessments-achievements should begin with. In the '''''Structuralism-analysis''''' below, semicolon divided a small room (suite) or a series of dancing motions threaded in the sequence; but usually, a real 'Royal Suite', in spiritual impression, contents a thematic small suite (or room) and one or several supplemental small rooms (suites) . Their patterns are forming Suites' basic operations, with customs and matters turning back to 17 century Baroque Era. Therefore, in each repeated small suite, furthermore enlarged to be the whole '3 Royal suites' one by one in sequence, we must keep the basic and frequently re-appeared behaviours, dynamics, expressions and customs regularly, as if following certain predictable principle of stylized and progressive model, for showing the understandings of reasons why in certain pace and interval some techniques would be applied there and what respects of traditional thinking pattern they would show for. In other words, from thinking patterns to hands' techniques, body languages and customs expressions, we should model our daily trainings and exercise to be predictable and fixed. Only based on this engineering approach and seeing structuralism as functions' carrier, Neo-expressionism can get its foundation and make more colourful creations and impressions of a golden age above that. Owing to this ideology, I gave a structuralism-analysis of this piece as following:

'''''Structuralism-analysis''''' (represented by English Letters - full connected Prelude-suites (6 into 3) seen as 1 up-taking 2 small rooms - Royal suite [https://en.wikipedia.org/wiki/Presidential_suite]) :

'''''Royal Suite A:'''''
A (B1-B7) B (B8-B15) C (B16-B21) D1 (B22-B27) E (B28-B32) Middle-Stop;

Interaction-F (B33-B46) Counter-B1 (B47-B54) Counter-B2 (B55-B62)
Code-E (B63-B65)

'''''Royal Suite B:'''''
A (B67-B73) B (B74-B81) C1 (B82-B87) D2 (B88-B95) E (B96-B98) Middle-Stop;
Interaction-F (B99-B111) A (B112-B115) B (B116-B122) Simplified E (B123-B124) Middle-Stop;
Interaction-F (B125-B138) Counter-B1 (B139-B148) Counter-B2 (B149-B156) Misplaced E (B157-BB160) Middle-Stop;
Interaction-F- Ornamentation (B161-B172) Developed C2 (B173-179) 

Transiting D (B180-183)

'''''Royal Suite C - Code:'''''
A (B184-B187) B (B188-B195) C (B196-B201) D1 (B202-B207) E (B208-B213) Termination 


I think these standards created and collected from our information bank would motivate a better draft in its sustainability towards FUTURE.

&lt;big&gt;'''First Draft of English Suites: (For normal Performance; See besides)'''&lt;/big&gt;

[[File:English Suite No. 3 in G minor (Modern piano) First Draft for Education.ogg|thumb|
'''2nd Draft:'''
Briefly say - it's with much fluent sound-effects and strong rhythm,  suitably as a fast dancing suite, in which postmodernism picks up vivid colours from Neo-expressionism to see Neo-classicism's unexpressed, down-pressed, and deep-controllable emotions, then tries to explicit them in dynamics and expressive techniques.
A movie - Pride &amp; Prejudice (2005 film) (Wikipedia introduction: https://en.wikipedia.org/wiki/Pride_%26_Prejudice_(2005_film) ), with beautiful scenes of Baroque-dancing ball-suites, gave many inspirations to this version. Hopefully, it will be heard having met more postmodernist targets, as a Post-prelude. And hopefully, we can enjoy it. Better version can be researched out in future. 

'''1st draft:''' 
To be honest, this draft isn't mature and (far away from) satisfactory in piano performance, according to my dreaming standards. I was hoping it could be in Neo-expressionism (https://en.wikipedia.org/wiki/Neo-expressionism) and Neo-classicism (https://en.wikipedia.org/wiki/Neoclassicism), for reappearing rich colours, continuously varying emotional changes abstracted from formal manners and Royal dance-structuralized movements &amp; scenes in a past Golden time, but through commons' hands. However, in this draft, for the reasons of short-time exercising and practices, I can only push out some basic ideas of Neo-expressions, such as highlighted theme-line with heads, layers and ornamentations etc. 
No matter how, about this draft as a new beginning for my love (I really enjoyed to play it and appreciate its imageries) , I need to give my thanks to some pieces of information provided from Wikipedia - English Suites (https://en.wikipedia.org/wiki/English_Suites_(Bach) ),  Baroque Music (https://en.wikipedia.org/wiki/Baroque_music), and Martha Goldstein's harpsichord Edition; and some inspirations from my and my children's daily classroom-practices.
Hopefully, in a short time, a better draft would come out; and hopefully, more commons would enjoy to share their reasonable works through daily practices on this platform; and hopefully, piano keyboard in this century would create more beautiful 'colours', like thousands flowers' blooming - of richness and vitality.
]]

&lt;big&gt;'''MO Version  ( Besides, for professional performance with more tastes of Baroque Golden Era; Compared with 'First Draft...', this version with the 'Modified Ornamentations' was made according to 9 points disscussed above):'''&lt;/big&gt;

[[File:English Suites MO.ogg|thumb| Jason's Neo-classicism and Neo-expressionism: 'you are standing here, and watching the golden fashion there, with impressions being summarized for our current willing' . 
Emotional complex in words 'when standing here, and watching Sir Bach's 'there-standing' to see a great England (or UK) and its peoples' life fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a Long and Unknown Miss. We (Sir, I and learners...) were all not there... in that time and space... but still... musicality in system can teach us... See more, please turn to its main page in Wikimedia Commons]]

===== '''&lt;big&gt; Creative Homework and Exercises (Advanced and Research level):&lt;/big&gt;''' =====
'''1. Student's Performance as the main teaching &amp; learning result of piano:'''
[[File:English Suites No.3 Prelude Xue Meng Hu.ogg|thumb|Teaching Result for English Suites No. 3 Prelude from Wikiversity to the real practices - Meng Meng's performance a week before examination]]
'''Comments:''' The Connections have all been threaded together with fluent but gentle manners from English traditions, from which brilliant social Ball-liked Dance-suites for commons have been described in the world of imagination. Baroque Ornamentations, in her very smart and slim hands, have been performance greatly when hearing. Main skills were trained good, but skills of some parts beyond her age - around 14 years old would need to be trained frequently, afterwards. 'Fast wasn't too hurry and rough but with down-calmed breathes in rhythm' would needed to be understood well in the future. All in all, Meng Meng has already shown her fashion creatively in this English suites with some differences from the original teaching through her skillful hands. More experiences and knowledge of performance in different scenes were needed for her development. 

'''2. learnt Suites Formation in ...(oh my lord, Jazz &amp; Blues):''' 
'''''Royal Suite A:'''''
A + B (As a 'Supplemental A'; Regarding with samples, you can see the portal: Blues &amp; Jazz learnt for fun and a fast brain above)

+

'''''Royal Suite B:'''''
a Variation C (The 2nd chorus made according to A)

'''(Notice: In this homework, we can participant-observe the functions of Suites thinking in different musical fashions)'''

===== &lt;big&gt;Postmodernist Impressionism - Special Researching approach for music researching in instrumental techniques, which needs to be highlighted&lt;/big&gt; ===== 

In my opinion, we title it: Impressionism '''in music or the field of piano techniques; but originally, painting should be the most visualized expression''', of which I thought, if comparisons and contrasts between this root and other instrumental expressions can be made for further researching and exploring, more deep impressions of this field would be abstracted out as for creative findings. In other simple words, what ''''Painting techniques'''' to describe imageries (Session impressionism techniques of Wikipedia introduction -  [https://en.wikipedia.org/wiki/Impressionism])，such as generalized large-brocks colours-brushing, simultaneous contrast, symbolized meanings borrowed from 'natural lights', spirit's floating directly upon 'rough surface' etc. ,  have been highlighted and some similarities and differentiations with instrumental expressions are of the essential importance in my approach. I thought: when it comes to language descriptions (it's hard), much more detailed Interpretivism　and reasoning would better the situation. Watching throughout them by using 'a pair of glasses', we can see more 'drawing pathways' from piano and musical expressions. And, our channels would be more vividly 'with some intervals of blocked clouds being pressed out and holly lights beautifully sun-shining down through clouds to warm souls'.

===== New Educational Researching formation and some pieces of works-analysis （Techniques collected from the learning of Wiki-operations and sections are set beside the texts） =====

===== * '''''Moonlight is the real moonlight, but being vividly and thoughtfully heard when shining upon the sea and beach of not only the reality but also the poetic imagination:''''' ===== 

[[ File:Moonlight - Clair de Lune (As the rememberance of Sir Debussy.ogg|thumb|Moonlight - Clair de Lune (As the rememberance of Sir Debussy ]]
'''Description of Moonlight's Historical Tree (Editions in Times):''' 
Time would have been changing, always; and, things would have been being fizzed quite unclear, already. Closing my eyes, consciousness integrating with some symbolized unconscious imageries may only transform them to be some deep but easy-broken fragmental impressions (even a breezing sound) in my memories and further left in an area of mind-sea there, about what the experiences of keyboard-touching for this melody and some fantasy landscapes of Sir Debussy's Moonlight, reminding there to be mixed without  clear boundaries for distinguishes, and as a fantasy trinity of spirituality (missing), vitality (growing) and sustainability (blooming). 
Self-comments for third draft:
Then, the third draft came out. Yes, it must still be carrying some faulted details, thereby wasn't perfectly heard. However, 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' - this sentence somehow provided the meanings for its survive as one of commons' impressionism, as what small Jason's. When fragments of memory began to be fading, mixed, rolling up news, rippling out light recycles and interacting fatally orbiting routine, a natural impression was still there - growing vividly, as the root with visual boundaries between itself and universal darkness unclear, reminding some memorialized fuzzes there, thunders-wandering, lights-shaking and energies-spreading, with imaginational elements as the supplemental building materials. Therefore, it was still keeping a far distance from my artistic dream on the other bank of life river. However, in this draft, loves and emotional changes from commons 'life have already been attempted in a better situation (than before).
Analysis with some researched evidences: 
But in my heart... the enthusiasm in trying to understand what Sir Debussy has seen and been willing to express - the imageries on the beach of Poolesville (1915, summer) or other beaches in his past, during his tours in the First World War, has never faded its colours. Oh, the time of dreaming it is from my childhood. 
I am dreaming that he had been wandering alongside one beach and left feet kissed by waves from a mix of moonlight-waving, its projective tides-waving and sound-waving reflected. His mind was then flying throughout the darkness, with breezes as wings and lights as shoes, then sliding upon the surface of sea, directly to the clouds surrounding moon. But before, he had been trapped into a deep confusion about why sound-effects of piano has lost its colours in the world wars and how to awake people's fingers and techniques to recover scores' beauties. That's why in this version, in 'Tempo rubato' - the second mind-presenting part, the ideology represented by root-chords has been expressed so deep and so exploratory. Debussy was like a poet, struggling with heart-conflicts of idealist dream and the reality, to travel to the most peaceful and holly 'En animant' Peak session and pray for what moonlight's gentle-caressing would get away human beings' unstable and dangerous minds, and get back original beauties of the seaside shined by silver-moonlights. 'Deep but light' - yes, two sides of this contradiction, in master's composition, have been unified together, as if forces-mechanism has been oppositely turned back and steaming in a quite magic situation. Yes, he has gotten it freely there - the dreaming silver moonlight-a flower blooming on the other bank.  
Hoping: this draft would be better than before and it could be seen as a Christmas gift to my own heart and to some volunteering members in Wiki-family. Let us create more new senses for peaceful situations of the worlds in the coming 2017!
&lt;translate&gt;On n'est jamais mieux servi que par soi-m^eme.
Cherchons nos doigtes!&lt;/translate&gt;
'If you want to make things better, please depend on yourselves. Let us find our giftedness in more exercises for overcoming some difficulties in fingering (techniques)'

'''Small References for one historical facts and some words mentioned:'''
 Wikipedia (2016) '''Wiki-entry''' 'Claude Debussy' from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. Accessed: 20th, December, 2016
Claude Debussy (1916) eds. (9th) 'Preface' and 'Brief Introduction' of '12 piano melodies for techniques-exercising'. G. Henle Verlag, Munchen (Debussy Douze Etudes): People's Press of China (Bejing). {{ISBN|978-7-103-01632-9}}

Though it was a debate about whether or not the research of Impressionism techniques is needed in dealing with Debussy's Clair De Lune. Maybe, it was a little bit like a fierce argument. However, the respecting and pursing of Sir Debussy and his fine art 'natural dreamland' are truly there, according to the Wikiversity edition above and the comparison edition - https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg . Sir Debussy's 'Musical Imagery paintings' are surely about landscape-beauties of naturalism and people's subjective interactions (mainly the 'Impressions': longer accumulations&amp;re-treatments of perceptions for many years though 'Sensory Touchings' but also with memories and artist imagination), under this whole environment or 'Scenes&amp; tendency'... This point has been confirmed from many researching schools, currently.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 23:03, 24 October 2019 (UTC) Meanwhile, some artist 'touching' techniques in terms of playing Debussy's can be felt out from this debate. Wishing children or young teenagers would make some senses!

===== 'Never-ending &amp; Super-time' Homework for 'Forever Piano-kids': =====
Please make some Contrasts and Comparisons between Sir Debussy's Moonlight and Sir Beethoven's Super-time Metal-Rocking 'Moonlight Sonata 3rd Movement', after getting both fashions (Thanks to technology, you can simply watch Beethoven's fashion): 
[[File:3rd movement of Sonata 'Moonlight' Rocking Video JMC, Han (Jason).webm|thumb|3rd movement of Sonata 'Moonlight'_Sir Beethoven's metal-rock_Performed by JMC, Han (Jason)]]
 '''A reference''' of several sentences from Jason's (mine) Openlearn platform of Open University could give us some '''suggestions''' in Contrast &amp; Comparisons:
'Beethoven's music was postmodernism or to say Super-modernism and abstractionism that moonlights were like many fast-racing silver-knives penetrating Beethoven's painful realistic experiences (own unfair fate) and his never-reached idealist love, somewhere in an extremely-expressing Romanticism-Dreamland.' (Course Review of 'An introduction to music research' in Open University, 2018)
'''Homework Answer in Beethoven's side'''
About Debussy, in my page, there are many in depth and impressionism... 
Regarding With Beethoven in Postmodernism, a possible homework answer (sound) was here, right after a local library presentation: [[File:Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven.ogg|thumb|Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven]] [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:52, 29 April 2019 (UTC)
'''Key words explanations, self-learning ways and further readings''': 
Postmodernism -https://en.wikipedia.org/wiki/Postmodernism;
Abstractionism: https://en.wikipedia.org/wiki/Abstractionism;Romanticism: https://en.wikipedia.org/wiki/Romanticism; 

Beethoven's personal life and love: https://en.wikipedia.org/wiki/Giulietta_Guicciardi; 
Printed manuscripts: No. 9 Symphony - 'Ode To Joy'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 1st No. 9th in d Finle.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie No. 9th in d]], and 'No. 5 Fate'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 2nd No. 5th in c.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - No. 5th Fate]]
'''(Reading by following a DVD of Beethoven symphonies collection carefully)'''

===== &lt;big&gt;* '''''Children are doctors for adults, as the reason that they can create some most advanced techniques than your imaginations, but with the purpose only for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, heaven is near:'''''&lt;/big&gt; ===== 

Idealist dreams - the engineering realization of 'Chou Chou's playing techniques' and imaginary impressions through behaviourist language-descriptions:
(To be honest, it’s not to say I can get these behaviourist targets in practices; but, as in educational perspectives of Wikiversity, we need to set some idealist targets for understanding what are Debussy's impressions, how they were formed by expressive techniques, how to guide our learn-tendencies, practical operations and how to better the situations in which new sound-effects' out-coming would be possible. Depending on my educational research background, it was like a 'check list' for planning practices.)  

'''B1 till the head of B3:'''

(Letter B means the bar of a 5-staff-transcript. What is 5-staff-transcript? we can review the historical knowledge about how 5-staves-transcript has been formed in a long history (It wasn't always a 5-staff, but originally developed from people's willing of coding sound), and about which, our Wikipedia introduction (https://en.wikipedia.org/wiki/Staff_(music)),and some online courses-platforms from academy, such as fields about notation-reading in Future Learn and Music Theory in Open Learn etc., have already made some very clear and detailed introductions):
If you let me describe what imagery impression (or life scene) I have seen and what keyboard-touching feeling I have gotten from this musical phrase, I would like to compare it with a game of children's - Stone-skipping. I guess: maybe Chou Chou has gotten the principles of it. (Information from Wikipedia introduction: https://en.wikipedia.org/wiki/Stone_skipping)
But, you may ask me why and how I extracted this imagery impression. Furthermore, What types of hands-techniques have been applied here?

* Mechanism analysis of forces applied from practices:

It was a pitches-rise of right hand with grouping motifs in modelling running of four-quavers - as the united tiny motif. Forces, applied in dealing with every small motif, isn't in average, but with a centralization (fulcrum) set at each head of these small motifs. Meanwhile, other three are supported by these fulcrums, and slipping the whole hand to each next, as for forming the impressionist background layer in the bottom. Therefore, when playing the other three, your fingers need to touch out the depth, as half degree of these keys to form background sound-effect. Rather than, your '3rd, 4th and 5th' fingers, when making keyboard-touching of these grouping heads of motifs, need to fulfil the whole keys and are like these force-fulcrums, to support left hand's 'slipping' to higher places entirely. After hearing, you will find these grouping heads in a queue (with notes in shape and forces in physics) have been highlighted, as twinkling 'lights' in variations. And, your hand is rotated to rise and slip from point to point, by making keyboard-touching with the touching of water-surface.   

'''Documentary comparisons:''' 

'''Notes:'''   

'...The stone generates lift in the same manner as a flying disc, by pushing water down as it moves across the water at an angle. Surface tension has very little to do with it. The stone's rotation acts to stabilize it against the torque of lift being applied to the back...'&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone Skipping' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping. Accessed: 23rd, December, 2016&lt;/ref&gt;
'''Comments''': That's quite right about rotation acts upon fulcrums - every time being for hands' slipping through surface-touching of water. Yes, keyboard, in Debussy's works, touching keyboard can be compared with touching of the surface of water or a mix among water, lights and clouds, which we can discussed in the talk of Wikipedia. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Children's Corner', 'Talk: Children's Corner' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Children%27s_Corner. Accessed: 23nd, December, 2016&lt;/ref&gt; Furthermore, by a little bit critique, I think the surface tension of water as the background, should also associate with stone's (Supporting fingers') 'slipping', and give the counterforce-supports to other fingers. In this case, water striders' actions for moving on the surface of water can give us further enlightenments (It's because of touching, then rotation is enhanced by counterforce on the surface; and water's tension (expending a little bit extra) is functioning for the entirely movement to the next). &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone skipping’, ‘Surface tension', and 'Water striders' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping, https://en.wikipedia.org/wiki/Surface_tension, and https://en.wikipedia.org/wiki/Gerridae. Accessed: 23nd, December, 2016&lt;/ref&gt; Following above, where is the beginning force? Oh, don't forget the whole head - an octave chord (C2- C3) divided by a depending ornament upon main C3, which is like a throwing force motivating the whole imagery impression.
For brief, here, one of Chou Chou's little games, as from the very beginning, has been vividly described standing upon paper - stone skipping. You can feel the functions of one hand' fingers (right) have been separated into two with centralized fulcrums set on one of your 3rd, 4th and 5th fingers and others as for background, among which forces were transmitted for the whole's slipping. Then, energies, as impressionist paints' applications, have been managed with twinkling light natural emphasised and background half-touched 'Grays and dark tones are produced by mixing complementary colours’. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 23nd, December, 2016&lt;/ref&gt; Oh, don't forget to give A beginning bang transmitting force from the left hand to the right hand. It's a throwing one for all. Following all these techniques above, one piece of technique carrying its sub-properties have been unified together as a whole. 

'''B3-B6 - The directions of forces-application (fulcrums) -  fingers-wiping (Upwards) or forces-pressing(downwards) VS. the relationships between twinkling heads (in the groups of 4 semi-quaver notes which can be compared with 'leading stars') and their dispersal background recycling round by round:'''

* The direction of forces-application (fulcrums) -  fingers-wiping (Upwards):

In this piece, Chou Chou and her father have almost jumped into the lake-liked water-surface which they were playing Stone-skipping, but fantastically mirrored and reflected out upon sky into another impressionist scenery like what this painting showed - The Starry Night. Wikipedia introduction:' https://en.wikipedia.org/wiki/The_Starry_Night' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'The Starry Night' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/The_Starry_Night. Accessed: 29nd, December, 2016&lt;/ref&gt; 
But, you would ask me: Why did I state this vision that Chou Chou and her father's journal had been travelling there, and how did Debussy describe it through instrumental techniques? 
My own vision is: Though there were many debates about The starry Night's expressionistic symbolizations (in my mind, impressionism's extreme side would go to expressionism) - about its galaxy-origin, woman's painful birth-procedure, or religious relations, by simplifying them deeply and only picking up one most useful element interpreting our case which my mind-touching for it can get from the past, I would say: in this night-sky, stars were always magically twinkling as only ornamentations, holistically impressing the whole impression of the universe in dark into our memory and locations-statically heart-beating(moving)in certain interactively-shaking rhythm, which can be compared with numberless eyes shining in the sky - blinking and blinking with the vitality. In this time, Chou Chou, associated by Debussy Clause's advanced instrumental techniques, has lighten these eyes in the sky for us to appreciate impressionist beauties. 
Yes, Scientific approach has already told us: stars' astronomical twinkling is caused by the reason that multiple layers of atmosphere have refracted lights' getting through-in - which were travelling for multiple times &amp; spaces then arriving here on our earth - especially when even a small breath's occurring would change our seeing-angles in atmospheric medium.&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Twinkling' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Twinkling. Accessed: 29nd, December, 2016&lt;/ref&gt; However, when this impression was recorded into the world of subjective imaginations without helps of any machine and only depending on our own willing, it somehow transformed to be every single painting-stroke's pixel-vibration which was also relatively vibrating our mind. By threading numberless 'eyes-vibrations' together, we knew the on-going of its theme - to appreciate the peaceful Glory and the dreamful Harmony presented by the creator, which Chou Chou was angelically singing out. Then, how did Debussy express it in sound-effect world? 
By bearing imagery-impressions of visualization obtained from The Starry Night in mind and by making the deep simplification, we can know two sides of this comparison - from its origin to its target - are all about energy-vibrations - light's vibration → sound's vibration. 
Following it, this hands' technique, landing in the instrument of piano, isn't so difficult as we imagined that Debussy has highlighted several main quaver semi-staccatos as heads of 4-notes-semiquaver groups with each quaver rest followed: (Indeed, this technique has been repeatedly applied in the following part, but sometimes functioning variously, with the main point rooted as this.)
When playing the treble part, the forces-directions of 3rd, 4th and 5th fingers (head-beating) and the rest ones are quite different. The head-beating ones need to create one type of sound-effect as the note-vibrating and eye-blinking, by slipping and wiping backwards (semi-staccato) upon keyboard's water-surface (it's a little bit like making the rolling-jumping alongside its force-orbit.) By matching it with left hand's opposite fingering wave-approach &amp; associating accompaniment and pedal's breathily smoothness(intervals), the soul was described out summarizing the spirituality of all 'eyes-twinkling'. We can know, in this systematic mechanism, several mains can represent the tendency of all. This double lines (Mainly in higher part of right hand, but associated by left hand) are weaving together as the framework of The Starry Night and for 'giving texture to the painting'. In this case, the technique of painting - Impasto applied in impressionism (Wikipedia introduction: https://en.wikipedia.org/wiki/Impasto) can somehow make interpretations cross fields; while further, in terms of what impressionist effects reflected out from the field music and piano, I prefer a scientific explanation fulfilling its abstracted mechanism of stars-twinkling - 'Diffuse reflection' (Wikipedia introduction: https://en.wikipedia.org/wiki/Diffuse_reflection), which we can try to make more senses in the future.

* The directions of forces-application (fulcrums) -  forces-pressing(downwards):

If things what Chou Chou and her father wanted to idealist express which are understandably required musicians' hands-performances only have reached there as what paragraphs above have been shown, this story cannot be called a legend journal and an advanced impressionist description.
In the second half tightly followed, force-direction of grouping head-beats have suddenly turned oppositely downwards. It was almost that Chou Chou wanted to press a sequence of lights-vibrating bubbles which are mirroring the twinkling eyes in our Starry Night into a deep place under our water-surface-liked keyboard. Oh, this effect is that she collected them into one big accumulated bubble under our memory sea. We can find: the direction of fingers (3rd, 4th and 5th) has been totally changed - to press notes down smoothly with the full value of a crotchet attaching with others upon keyboard and standing there. At the same time, other fingers have been meanwhile playing the role of background-making - fuzzy without clear details of sound-effects, but as the totally floating impression-streams, wave after wave. In this case, energies have been accumulated by two hands as a whole, then waiting for a further breaking-out tide. Here, we can feel how fineness Debussy has designed the applications of forces and their textures into his works. He can even totally reverse forces mechanics in the immediacy. But, when it came to us - the players and appreciators, we need to train the controllability of our hands, the distinguish-abilities of our ears and attempt to express it better and more vividly. That's the job of continuous learning throughout life, which we can dream after and practise. Every time, a little bit more progress would make me feel happy and smile - just because the distance between dream's realization and my position has been shortening. 

* The demonstration of the dispersal background (the rest 3 semi-quaver notes attaching with their 'leading stars' in front) recycling round by round and their relationship with quaver heads:

Final part of this session, I want to say something extra about impressionist background. Indeed, this is really a charitable and contributive job. It wasn't the 'blooming followers' but 'volunteering grasses' for setting 'head-beatings' off more vividly. However, special keyboard-touching technique is also required that we need to make more preparations. Sometimes, the depths of 1/2, 3/4 or 1/4　are required alongside the changes of dynamics and vibrations of 'eyes-blinking'. Preparing for it can be compared with 'Colours are applied side-by-side with as little mixing as possible' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 29nd, December, 2016&lt;/ref&gt;, which is for describing the degree what a fineness it is. But, finally, the purpose of all our background-preparations are only for auditors' self-ignorance of its 'much more details', their willing of 'singing-out' the vivid framework in multiple-layers' texture, their possible appreciation of the impressionist theme with the supports from background atmosphere, their self-summarization upon some fragments of impressionism and further integrations with their own experiences, and their participant-observation of an entirely dispersed and fantastically floating universe emerging from own hearts and from the windows of our own channels. Hopefully, it would be of the understandability.     

'''B7 - 10: Classical Dynamics system VS. Anti-classical expressions: Master's requirements for some techniques of imaginational impressions (magical fictions)'''

* B7: Classical Energy-tide and its expression in Dynamics 

In the normal situations, music was compared with the floating water (or certain imagery joining basic elements from liquid, clouds or lights). It is because that they have the similar mechanical system (In music, we call it Dynamics system). The very simple impression, when we are watching them, is like the waving tide carrying energy (twinkling in visual system, or vibrating in sound system). In other words, it can be called 'energy-tide'. It is said floating matters, rather than solidified ones, are good at expressing energy's changes during the time tide is coming, as what music, liquid, and clouds have shown. About their expressions, 'forces' pressed down from outside into their mechanisms can work and motivate the whole phenomenon's varying. Accepted into subjective senses through sensory organs, the total impression without much clear details will motivate our mental energy and deeply push our emotional 'tide' wave by wave. This is the normal situation, as what the oceanic tide on our earth are motivated by the gravitational forces in spaces. (interacted by earth' core, moon and sun) &lt;ref&gt;Wikipedia (2016)''the section 'Forces' of 'Physics''', '''Wiki-entry''' 'Tide' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Tide. Accessed: 1st, January, 2016&lt;/ref&gt; 
In nature, the highest point of liquid's movements is usually where the application of the extreme force, to show the internal energy's centralization and externalization. We can call that point the energy-peak. In order to get it, there should be a continuous rising of forces' level for climbing to it, and a continuous decreasing of forces' level for landing back to the originally quiet surface. That is the procedure of energy-tide's coming and passing-by. Because of the dramatic energy-changing and energy-moving inside, huge forces are usually expressed out with the huge and apparent powers (to objects). In order to get this sense, we can review a piece of material from Wikipedia - 2010 Mentawai earthquake and tsunami (Wikipedia introduction:　https://en.wikipedia.org/wiki/2010_Mentawai_earthquake_and_tsunami )
In music and sound-effects field, it was also working, but by fulfilling the performance of dynamics with hands (piano). Usually, the highest note (mouth), as B7's middle E, is also the peak of energy-tide. Besides it, we can find two same wings - a 'crescendo' impressionist scale and a 'decrescendo' scale being continuously produced and attached upon each side. By analogy, from formations to content, we can know it belongs to the family of 'energy-tide'. This one should be a significant peak-run, because of its lowest beginning and ending were the same at 'pp'. Then, through two hands' (fingers) tightly matching and dramatically climbing up and landing back, the natural impression of powerful tide has been realized beautifully, which Chou Chou must understand how to play it from heaven onto the ocean. 

* B8: Anti-classical Energy-tide in Dynamics and its realization by hands' controllability

As what we have discussed above, B7 is designed in classical mechanics system - higher pitches' rising alongside natural forces' impotence  more deeply, which can be compared with tide-energy's passing by. However, in my heart, if things are merely arriving there, it cannot be called the application of advanced techniques. Afterwards, Doctor Chou Chou has played another fantastical game from heaven. She totally pressed down tidy's peaking tendency into one channel under musical sea, and let it go in a regular way, without indications floated up to the surface and being seen clearly. On the surface, what impression we have obtained is a winds-calming and waves-peaceful sea-face with light smiles. Originally, B8's quiet and 'normal' scene should be from people's 'normal' expects; but, nature taught us 'envelope-liked climbing to the peak then falling down to the ground, alongside dynamics' 'attack (dramatically increasing) and release (dramatically decreasing)', is energy's systematically spreading out and needs much heavier forces' pressing down then departing away continuously, which are required from our fingers' controllability and for re-appearing natural imagery. This impression is summarized by people's empirical interpretations from Second law of thermodynamics, about which we can review much learning details from Wikipedia and its reading list (Wikipedia introduction: [[Second law of thermodynamics]]　　　　　　　　　　　https://en.wikipedia.org/wiki/Second_law_of_thermodynamics). Therefore, we can say this case was an expressive contradiction - 'pretended normal is truly anti-normal' and 'classical naturally births anti-classical'. Doctor Chou Chou must understand it quite well. Even further, thinking about: in which case, forces would lose their weights and energy would be anti-naturally pressed down in certain channels of our universe. Yes, if we want to theoretically reason it much clearly, around one year, we still need to go back to gravitation, but in a very different field - sound effect (Indeed, through the analysis of what sound sent here, we can make the judgements of what types of materials, endeavours and forces originally applied in the beginning - sound sources through engineering approach - to build subjective connections through training our sensory organs of body.) - ears and fingers' 'anti-gravity' need to be frequently trained for the expression with the accuracy. I am sorry to say: in my second draft, beauties of this bar haven't been expressed perfectly. Then, if in energy-signal's ending part - sound effect and for perfect controllability (Tiny single note's accumulation), it would be the term 'gravitational waves'. In my opinion, it isn't to say, our hands (arms and fingers) need to be so advanced - 'creating a black hole', but to say they need to make some very simple anti-gravitational moves, in terms of which the entire effect is seen as normal, but under the surface, forces applied are somehow anti-normal. To be honest, Chou Chou's doctorial expressions with this style, in ''Children's Corner'', are ranged upon many places. It is one magically artist description of certain '''symbolized imagery''' representing the relationship between natural phenomenon and their controllable gravity, energy-impacts, 'energy-escapes', and energy-simulations of, from or for gravitational waves; then, by joining them above all together, we need to explore: in what types of situation, gravitational reversibility (or as some interval stages of waving) would happen. (Wikipedia introductions: [[Gravity]] https://en.wikipedia.org/wiki/Gravity;  https://en.wikipedia.org/wiki/Gravitational_wave)
All in all, B8 and some like it needs to make some anti-normal endeavours to control your hands' nature and realize a quiet and peaceful sea-face, directly after energy-tide's passing by in B7. (About further explanation, we can review more pieces of information from the Comment of File History in Wikimedia Commons (Third Edition - 16:10, 15 January 2017), but the true music was wrongly placed at the position in which fourth edition should take (16:27, 15 January 2017). I am sorry. 
( Wikimedia Files-storing: https://commons.wikimedia.org/w/index.php?title=File%3AImpressionist_Data_for_technique_analysis_-_Doctor_Gradus_ad_Parnassum.ogg )

* The mechanism of B9 and B10 (motif) is designed as to follow B7-B8's impressionist fashion, too

'''B11-B12: A simulation of the release of a sequence of bubbles (rising up) from underwater and to the surface '''

* Impressionist description:

Tightly following the anti-gravitationally down-pressed Bar B10, another advanced technique has been magically produced out, which can be heard by us in revealing Chou Chou's extraordinary doctoral imagination and her transcendentalist operations. This technique is regarding with a natural phenomenon - Bubbles' rising up in water.
Let me make a careful explanation: After a great amount of classical forces have been anti-gravitationally pressed down for recovering a peaceful 'sea-surface', we knew, in order to overcome jelly-liked Times &amp; Spaces' multiple- limitations, a hidden 'black hole' has been set in the centre of our 'hands' with a channel sending (escaping) the extra energy to the 'parallel universe'. It can be compared with the situation of being fixed in the depth of ocean, as a Aladdin's lamp sealing the damageable power of an 'energy-monster' in. However, in the other side - the white hole (or being mirrored in a occasion which would be compared with what Chou Chou has magically done - to release the huge power of a tide( or a tsunami)), Times &amp; Spaces' jelly-liked holding-back function has played the role of shaping its escaping routine into a wave-like up-rising channel, in which the whole energy has been divided into small pieces by Times &amp; Spaces, as gases in bubbles, staged flowing up at intervals (in rhythm). We can review some pieces of information about the changes of a sequence of bubbles' speeds in the procedure of flowing up, the reason why they can go but remain intact, and the equation for counting their pulsations (in rhythm) in our Wikipedia introduction: https://en.wikipedia.org/wiki/Bubble_(physics). Indeed, my explanation of this imagery impression is: the energy wants to escape in a very fast speed but cannot, because of Times &amp; Spaces' anti-forces in holding it back through changing angles of its pathway (deeply say: it is a result of interactive fighting between each other), which can also be compared with the situation Chou Chou's small hands are plugging bubble-liked energy-pieces back to the original mouth. I think this is also from one of the reasons why gravitational waves are 'heard' like waves - energy is staged divided and held back at staged as bubbles carrying gases to flow up under the pressure of fighting against Times &amp; Spaces. From this case, we can see how many pieces of knowledge doctoral Chou Chou in the heaven with her father have already known, especially understood their abstractions and applications in keyboard's practices and our fingers' descriptions, with their creative imagination.

* Fingers' realisation:

In this case, two hands of us need to be tightly matching together in order to behave as one hand. This procedure is made through one hand's tightly following with the other. We can hear 4 notes each in one group, as a small unit across two hands, which are forming a staged bubble-projection in the waving pathway; then there are four bubble-projections upon Times &amp; Spaces. From the bottom to the surface, it's the left hand which gives the power to motivate the whole mechanism' working in the fingering; then, the right hand is following after, but exploring further high-ways and leading the waving angles' changes. In other words, it's the right hand leading out the shape of waving pathway upon keyboard and guiding their progress to further step. It's better to play out an acceleration of our impressionist arpeggio alongside the cresc. of loudness, for simulating out the situation in which bubble-pulsation in rise requires. The final 'sf' and its dying out, alongside the procedure of the semibreve' standing upon a full time value of one bar, is an entire peak, as if rushing up to the surface of 'sea water', and bombing out there with full energy' release influencing in a large scope and lasting for long time. 

Thanks for this case, through reviewing which we can know how beautiful and what a magical world in Dr. Chou Chou's eyes in Children' Corner. On purpose or not on purpose, that's a problem. I think: just because of Chou Chou's childish ignorance of this complicate problem and totally behaving the full-hearted dedication of herself into creating universal beauties, (just for playing it happily, or being even without any thought of how and why to make them out) currently, through many times' excising and techniques-reasoning, we can find our hands' improvement, and the impressionist wandering to the purity after frequently trainings.  

'''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)'''

After travelling alongside a sequence of bubbles rising-up till being above sea-surface (B11-B12), we can find the forces' application realized by transformed staccatos has turned to a fresh field: how could us make the joyfulness through surface motions? Oh, smart Chou Chou's music-spirituality has chosen an amazing activity -playing a surface-chasing with her lovely pet - Exocoetidae (Flying fish). 

* Flying fish's flying mechanism:

In order to understand how Chou Chou can play so happily, but without self-ignorance of our own hands abilities. We can make this thinking: for making things clear, through accurate notation-reading, we need to get back to Flying fish's biophysics mechanism: 

In identifying Wikipedia introduction's words recordings of Flying fish' flight mechanism, we can know all flying fish's body parts - 'muscles, connective tissues, and ligaments in a fish’s skeleton; totally generalized: the vertebral column and cranium' - have been threaded internally by Neural arches, as a 'strong bow'. The shrinking of this 'strong bow', by accepting a signal from brain-linked Neural arches, would suddenly produce a strong force directly beating upon sea-surface with the direction back-forward. As a respond, the counter-force given by water surface would shoot up this streamlined fish - threaded all body parts - into air, with light swings overcoming resistances. In this procedure, tail fins (as grouped staccato-heads) play the direct back-forward motivation; meanwhile, higher-placed fish wings (as mind-borne huge slurs) play the function as gliding this movement from the beginning accelerations. Depending on this mechanism, Chou Chou's lovely pet - Exocoetidae (Flying fish) can realize its bird-flight. Indeed, small 'tides' surrounding its flight trace are like being wheeled, with back-forward streams counter-pushing fish's shooting, which are also projecting body parts' out shapes. In order to keep in air for longer time, middle re-forcing as another strong standing-point is needed during this interval flight, by its 'strong bow' with tail fins touching the surface. That's the whole flight which my recognition can get. About further researches and information, we can review Wikipedia introduction.https://en.wikipedia.org/wiki/Flying_fish . &lt;ref&gt;Wikipedia (2017)''the section 'Distribution and description' of 'Flying fish''', '''Wiki-entry''' 'Flying fish' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Flying_fish. Accessed: 13rd, February, 2017&lt;/ref&gt;

* Fingers' realisation:

1. In B13 - B21, you can hear left hand's staccato-heads back-forwarded wheeling and leading another linked 3 notes distributed upon right hand of each group plays each small shooting flight;
(Yes, the direction of left hand's staccato-head threaded with the wheeling 3 notes of right hand need to be played back forward and wheeling, as pedaling water's surface stream by stream. Then, flying fish, supported by courter-forces, can fly to the front air.)

2. Each 'slur' set upon these staccato groups should be seen as mind-borne 'wing fins' for keeping in air longer time and farther distance;

3. In each second bar covered by slurs, there are dynamics peaks between two wings - a crescendo signal and a decrescendo signal, supported by a 'post-' foot pedaling, counter-shooting flying fish's middle re-flight and re-acceleration for being kept in air longer time;(B14 and B16)

4. Oh, what a giftedness you can hear that Chou Chou sets several tenuto quaver heads distinguished with staccato ones to later their time values for more sturdier standings counter-reflected upon water surface. (Each second and fourth notes of B17 and B19).
It's like: in this lovely chasing, naughty Chou Chou suddenly rides upon flying fish, or grasps its' tail fins for delaying its time, and making some fun things. You can also hear 'hairpins' of dynamics - sudden softer signal, accompanied by posted right pedals tried to enhance this effect for the real joyfulness. (But, the effect still needs to be improved in future);

5. Finally, in this session, 'In Peu Retenu' makes a back-drawn and continuing 'slow motion' of flying fish's flight, which can be seen as the sprint stage of this race. There should be a back-drawn force slowing down the whole Times &amp; Spaces, which can be compared with the transformation of all these cases above to be a 'slingshot' - flying fish's 'strong bow' , being later down, but for a fresh beginning in NEXT 'a tempo'.


'''B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwards for enjoying a beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together '''

[[File:Educational sample for demonstrating techniques of B22-32 (Sir Debussy's Children Corner - Doctor).ogg|thumb|This is a small piece of educational sample for the demonstration of piano techniques, belonging to the session 'B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwardsfor enjoyinga beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together ' of one journal article researching Sir Debussy's Children's Corner - Doctor. As one techniques-sample, it's tempo was expressively slowed down a little bit, but oppositely reflected out more emotional changes when watching impressions of binary system's progressing under background of CMB (Unbalanced balance surrounding hidden gravitational axis - turning round and turning back - waving by waving). Meanwhile, you can also hear the parts of deep self-reasoning and down-falling towards clouds. I thought basic principles of impressionism, according to Sir Debussy's notation-transcript, had been kept. Better edition based on classroom background, will be researched out for commons' free shares and usages .]]

Tightly following the end of last session, we can see flying fish's 'strong bow' (a rit. &amp; a recovering force applied for another new beginning) has been magically transformed to be a Slingshot (Wikipedia introduction: https://en.wikipedia.org/wiki/Slingshot) in Chou Chou's hands directly shooting up the melodic theme into a holly snow-land. In my opinion, this session can be called the second peak and pure exploration of heavenly snow-land.
Why can we say it is the second peak? We can find this session's preparative functions for the other top trip in the later part, in which more achievements of landscapes-appreciations have been succeeded by our Dr. Chou Chou. Therefore, this one is the first 'attempt'.
How can Chou Chou achieve it? I thought this session can be divided into 4 sub-steps (stages) carrying functional meanings. About their titles, I can conclude them as: 
Thematic variation in small fingering changes latterly with shooting forces-tendency rocketed-upwards, 
Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling, 
Holly purification and self-reasoning in an angelically crystal universe full of brighten galaxies, 
Falling back to a earth cloud with Bass-thunders and Sun-lights' penetrations providing senses of light's warmth.  

&lt;small&gt;'''B22-B23: Thematic variation through small fingering changes (B23) with shooting forces-tendency rocketed-upwards'''&lt;/small&gt;

To be honest, this model, as each beginning of three sessions (B1-B2, B22-B23, B45-B46), wasn't unfamiliar by us. It's like every beginning part of children race, with an acceleration of fingers' running to rise pitches to treble part and prepare for further adventures. However, this part is special with a distinguishable variation in B23. In B23, left hand played a guiding function with expanding fingering pathway to climb up mountains and leading 4-notes grouped right hand to a further sky. Meanwhile, it was carefully designed according to Orbital eccentricity (Wikipedia introduction:[https://en.wikipedia.org/wiki/Orbital_eccentricity ]) , expressed through forces' increasing in dynamics-changing. You knew, under the background of gravity, if one object wants to improve its height to a far distant, it must recover its tempo to a continuing faster rate, in overcoming air fictions. During this procedure, its acceleration associates the transformation of kinetic energy to be gravitational energy; meanwhile, changing r (radius), collected as its height representing for gravitational energy's increasing, can be seen as vertical indicator (towards core)meaning the 'embracement' of further 'landscapes' in curvature horizon. Therefore, in my vision, four root-notes (intervals: third, fourth, third, fourth, finally towards sunny E in C major) played by right hand, with a expanding sense, gave the guides as ''Orbital eccentricity'' for rock's flying into further sky and realm. About them, We can give a self-range of its dynamics (4 levels) of pitches' rising, fingers-forces' inputting, loudness' increasing, to realize this effect. Here, a very naturally designed fingering pathway, as 'sky climbing-ladder', is of the importance, which Sir Debussy has referenced Mozart's 'nose-application' to give us some suggestions. ''''Natural' means that its design can follow the direction of accelerating tendency and hand's expanding pathway.''' In a fuzzing view, four root-notes are 'staring positions' of the curvature orbit leading a small-waving impression-belt orbiting to our higher snow-land in the space above clouds.

&lt;small&gt;'''B24-B26: Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling'''&lt;/small&gt;

What would happen further and what will us see tightly after last accelerated session? 
You can feel a pure universally holly snow-land have been formed (travelled to, or discovered) with amazingly astronomical phenomena magically existing summarizing different impressions of 'landscapes'. 
1. Binary stars system (yes, we can compare situations of two hands here with Spectroscopic binaries and a beginning of energy's integration. ) in piano expression and its hands' realization: from B24, left hand's leading energy has been totally released out that it flies by and orbits right hand in certain significant rhythm of position-occurrences. The observation of interactive 'Algol B orbits Algol A' in relative Wikipedia page gave me some inspirations of this situation. Here, through melodic analysis through our own hands, we can guess this stage in binary stars system's history - earlier time can be seen as still in a higher, enough and fulfilled energy level. However, the range of two sides are in one specially orbiting balance, with a ''equally-ranged'' merging tendency between each other - they cannot die out each other by gravitational attraction, but with energy system as a whole one including a major axis. Thereby, they were orbiting with each other in a special rhythm with one (indeed, it's interactive two) forcedly drawn by from one down-slowing peak to the other up-fasting peak. Indeed, it wasn't made out by 'left hand' only, but an interactive two sides with one accelerated merging into the other from one peak, then sliding out to the other peak; and the other influenced as energy-waving or even shape-penetrated floating small　Nebulas (impressionist background; about the effect, please see Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) It's really a beautiful universal phenomenon in higher energy level.   
   
&lt;small&gt;'''Fingering realization:'''&lt;/small&gt;

Signature 'l.h.' of left hand associates us to realize it. Depending on the acceleration, natural inertia and higher level energy-atmosphere pushed through B23,  We can see that left hand was making the frequently travelling (penetrating) throughout right hand's waving rage, in a distance about one octave; and about each wave (divided into two turned penetrations), two peaks from highest to lowest have been clearly twinkling out by left hand, as two crystal pearls hung by tenuto and a intervallic middle-shifting staccato (and both sharp C in the middle peak of B25, as a special tenuto-ing staccato). Meanwhile, dynamics range are naturally pushed though up and down with mouth as the middle main axis. In other words, let us divide this paragraph into points and see what basic standards here: 

1. As in one binary star system, the timbres of both hands need to be heard as if only in one hand without any differentiations, especially when left hand was travelling to treble part to fulfill a back-turning peak ;
2. However, tenuto semibreve and minim bass root-notes (in B24 it was a minor third effect - CE, and in B25 it was a single E) also need to create a whole impressionism atmosphere of bars, with time value being fulfilled enough. It's for the distinguishability of a stable higher energy level, contrasting to the accelerating part before. Oh, I knew maybe it was heard in crazy contradiction; But, indeed, on certain degree, they were dialectically unified together, as one for driving out this system, but when left hand was through out, the other back-turning peak for drawing back (braking) the energy of binary system. Then, they were keeping on going in balance;
3. Tempo in bass part (first half of B24 and B25)needs to make a accelerating accumulation (continuing faster) of force for driving the whole system to higher energy level. But, when left hand was across right higher to touch treble peak, a down-slowing and harder (continuing to slower) sense needs to be expressed out for braking and drawing back in binary stars system ( worked by eccentricity);
4. Following points 2nd and 3rd, a oppositely rotated middle axis will have been interactively revealed out with a Sharp C impressionism twinkling beautiful lights on the mirrored sky 'ceiling'. Oh, Debussy has totally anti-gravitationally (but also relatively in gravitational attraction's influences) reversed the axis in Bass part, which can be seen as a challenge of classical physics mechanism requiring more of hands' self-controllability;
5. However, there is also a contrast between B24's middle main axis and B25's that one is a staccato, but the other is a semi-staccato. How could us see this differentiation? I thought it should be one type of natural transformation from binary stars system to Eclipsing binary. Yes, alongside time's on-going, they are near and their energies merging into one whole that staccato's brightness evolving to be down-pressing root-notes and joining the group with B and Sharp A in scale. In other words, two peaks on each side have been integrated as only one notion and all in bass root with significant impressions pressed out;
6. Dears, what about our right hand? Caused by higher energy's stretching power and the other planet's frequent penetrations, it lost its star-shape and was generalized as energy Nebula (still, Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) fuzzing a tiding impressionism background waving by waving.
7. Here, How can us thread all those above coherently and harmonically? sustain pedal of piano has played a very important role in creating a crystallized Reverberation effect representing for a holly, peaceful and pure  energy-environment (Snow-land) with various sub-level touching-effects according to time,  to support the realization of techniques, about which we can pre-review some pieces of information from Wikipedia introductions. (Sustain Pedal -[https://en.wikipedia.org/wiki/Sustain_pedal] and Reverberation - [https://en.wikipedia.org/wiki/Reverberation]). Yes, indeed it should be heard as being pushed from nature and according to energy's being upon Times &amp; Spaces ; but, when we try to realize them in the cooperation of feet and hands, the idealist effects are not easy that we need to research more about their interactions.
Here, some peers and students would ask me - Jason, how could us press out good sound effects of piano pedaling to support impressionist expressions of hands, in the realization of imageries we had described above? 
That's a quite great but very hard question in piano that different schools have gotten different ideas, and some have concluded out several theoretical systems. Here, we can try to reflect out and summarize some of my small practical experiences and some appreciations of different pianists in educational approaches, according to notation-reading and practical performance effects. From the view of impressionism and Neo-expressionism in piano, just leave a brief sentence: please bear in mind, natural breathing in rhythm according to slurs and dynamics is quite important. In postmodernist impressionism for commons, we mainly support Post-set (later a little bit time, compared with notes' finger down-pressing) pedalling pathways for Education Research. In other session, we can make careful and reasonable self-reflexivity from tens years' exercising, some information-collections from documentary materials, and some comments of effects from classroom recordings. 
(Leaving a developing zone)

&lt;small&gt;'''B27-B30: Deep self-reasoning and self-exploring when gaining impressionism of a infinite CMB Universe'''&lt;/small&gt;

Till now, after running after binary star system and feeling about its special rotating rhythm caused by  gravity ( being with two peaks of orbit and a inclined middle axis; then, merging into a eclipsing binary star system), Chou Chou's sight was travelling to the deepest part of her universal horizon - maybe inflation with light's primary breaking-out, a delicious sweet &amp; hot particles-soup in dark, , or some far more unknowns... ; meanwhile, Dr. Chou Chou's subjective worlds was dropping into a special situation - self-reasoning, self-questioning and self-exploring.
How can me hear those? in B27, the upon-travelling left hand, associated with sustain Pedalling created a special sound-effect - slurred semi-staccatos were making twinkling 'eyes' breaking-through right hand's hot hydrogen recombination background; in a wide and profound space, they created later back-turned, slowly-decaying and longer-lasting reverberations, which are shaking as three supernova stars (Wikipedia introduction: https://en.wikipedia.org/wiki/Supernova ) hanging upon chaotic and after 'binary system's combination in sessions before. So beautiful vitality Chou Chou did, which also reminded  me the post-impressionist painting Starry Night [https://en.wikipedia.org/wiki/The_Starry_Night] mentioned before. It's also a question flowing from G, to Sharp F, till E in G major system (or its attached e minor tone), deeply and expressively asking human beings 'who am I (compared with the never-ended and long-lasting universe from big bang)? or what are (our) meanings (with a short life as so)?' That's quite right that Loevgren calls The Starry Night &quot;an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos&quot;, which revealed a little bit sorrow when the seventh of G major appeared (as if in minor e) directly asking universe our being's final meanings - to feed and light the unknown darkness? Chou Chou almost knew the answer that in next bars B28 and B29 two small slurs beneath two huge threading slurs made through left hand described two self-exploration and self-climbing - D, E and Sharp F (5th, 6th and 7th of e minor). We can hear the reasoning feet of the two repeated motifs have all been landing upon sharp F with the instability and uncertainty as universal fluctuation and left sound-effects energy-waving in vacuum. Those self-reasoning motifs were so deep from true heart, which are bravely expressing the dream of a truly peaceful heaven with imageries of freedom to appreciate symbolic 'landscapes' made by Creator. 

&lt;small&gt;'''B30-B32: Dramatically Channelling back through scale-fingering from deep universe to Snow-land built upon cloud-blocks of earth's atmosphere'''&lt;/small&gt; 
Final part of this session, in B30, all astronomical landscape-paintings ceilinged upon Chou Chou's Multiverse sky-roof have been summarized as a self-comfortable confirm for life and peace, with three semi-staccatos shining back the rising acceleration, and taking a downward tendency through a slur-breath - naturally and beautifully. Meanwhile, a smooth curvature line of dynamics -decrescendo, implicitly drawing out star fireworks' resting-pulse upon 4 dimensions, turned down the tempo of Chou Chou's whole universe and make her fall into a huge waterfall of energy, back to the original heaven. 
Yes, B31 is that waterfall with a continuing and dramatic dim. requiring two hands tightly matching together as a whole flow; by attracting all matters, it internally dug out a landing channel, to somewhere as Chou chou's willing to go. We can call it a wormhole, rather than black hole's leading towards another sky.(Wormhole - Wikipedia introduction: [https://en.wikipedia.org/wiki/Wormhole]) Though B31's waterfall of F major, Chou Chou got back to an assembly of cloudy blocks seemed heavy as castles, but floating upon our earth's atmosphere. 'Retenu' of B32  - down-slowing associated us realize this successful landing, which can be compared with a　parachute covering three slur-legato-ing pitches - D, E and C - longer-lasting (as up-hanging crotchets), associated by Bass's fluctuations in sound-effect, to keep parts' distinguishability in texture and　to simulate braking soft-land.


 '''B33-B44 :  Fairy Legend -  The 'Expressif' of natural spirits: 'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks; The pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then spreading all-directions - alongside impressionist arpeggio's climbing and above the upside landscapes of clouds-made heaven (B37-B40); Holly lights are shining and intervallic penetrating throughout the joints of cloudy blocks, as in a continuously weaving pattern to future (B41-B44)''' 

* 'Wormhole Door' was opened by drumming spring lightening '''(B33-B36)''', which is charged and expanding in the middle of cloudy blocks

In this part, the ''impressionist Arpeggio'' was expendably climbing to higher place through alternate applications of both hands, as if lightening was formed and wandering among clouds-layer. Why did I highlight the term 'impressionist Arpeggio'? 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto' - this impressionist technique (Wikipedia introduction: Section 'Impressionist Techniques' [https://en.wikipedia.org/wiki/Impressionism])taught us: not all notes need to represent properties of motives, but some grouped heads. They should be brighten than others with longer time-values and support the existing of certain textural parts, right as ''Short, thick strokes of paint''. Meanwhile, other notes would be touched much softer without too many attentions, quite as 'improvisational  details' streaming out an expanding tendency slowly tearing out 'clouds-background' from middle. You can hear: from Bass flatten B to long notes middle D, till treble D, a solidified cloudy structure was built upon sky involving 'impressionist point-pixels', for leaving 'essence of the subject' - yes, the soul. Then, lightening streams were climbing alongside this frame with details half-touched unclear, but spiritual powers accumulated and pushed to higher level. If only in this case, we cannot state Chou Chou's piano techniques are advanced. I can remember: in previous sections, we have discussed the anti-gravitational characteristics of Debussy's compositions- down-pressed peak forces with higher-energy vibrating, such as the comparison between B7, B9 and B8, B10. Here, still, this requirement of hands' controllability has been mentioned again, with two hairpin left-opened decrescendos and a middle piu (more)painted on. Therefore, a significant energy was down-pressed, finally being fuzzed to be a broken chordal impression left in atmosphere. Among cloudy blocks, it can be a vacuum, created and lasting for a small interval. Tightly beneath it, please see charged lightening streams rolled struck ground through bass-part's switches between flatten B and flatten E. Here, longer-lasted, pearl-rolled and charge-vibrating 5 notes (B35-B36) with special reverberations in sound effects, perfectly express lightning's expanding and strength when being down-pressed into certain channel Cloud-to-ground (CG). In order to make better understandings of this case, we can review some pieces of information, in analogy of lightning. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Lightning]) 
Those notes can also be understood as Chou Chou's lightning-strikes knocking at the door (on the other side of wormhole) for opening a fresh heavenly realm upon clouds. 
* The weaved pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then was spreading all-directions - alongside impressionist arpeggios' climbing and above the upside landscapes of clouds-made heaven '''(B37-B40)'''

It's hard to describe this session, titled with an emotional signal of 'Animez un peu' (continuing to be lovely and vivid). 
Technique-requirements:
1. Still, the right hand was simulating a cloud-weaved tree's growth, branches-climbing and area-expanding by following 'impressionist arpeggios'. It's a slow but enjoyable procedure, with the depths of keyboard-touching increasing one by one, but very naturally. 
2. Accompanying with the first point, the warmth of atmosphere and the lights of sun were emerged out and hollowed throughout repeatedly, which are in the dislocated positions of aesthetics of clouds-tree shade. How could us understand it? Usually, in our minds, there are normal expectations that the most brighten lights should be shined upon peak-poles; then, warmth pushed by dynamics can be reflected out. However, in this case, the posted-pedalling diffused warms in the atmosphere and from bottom; meanwhile, 'l.h.' across the right hand to simulate the sunshine, holly over, and hollowing clouds-made tree-shade. Owned to the reason the hollowing points (Two major thirds of flatten G-flatten B) were out of our expectations, but set a little bit later compared with peaks of dynamics. They are weaved with the imbalance, but symbolized as beautiful surprises. Therefore, We can call it 'Dislocated aesthetics'. Indeed, in the history of aesthetics and covering some fantastical landscapes, there were many beauties seen as some amazing surprises, but placed wherever out of expectations (even wrongly enough). We got the sense - oh they are beautiful- mostly because of their deep impressions of the imbalance. We can call this imbalance - happiness. Oh, it's a symbolized and weaved pattern of happiness tree (clouds-made) growing upon our heads. Souls have almost been hollowed by warm streams of happiness.  
3. May it be, the weights of treble sky gave us many pressures; in order to control this situation, our left hand had  also traveled back to set a weight in middle part (tenuto  minuet long-third between flatten E and flatten G ); then, flying back to light the clouds-made heaven through another dislocated joint. 
We can make our imaginations through watching more visualized imageries and introductions from clouds and know more discussions of beauties' contents from aesthetics. (Wikipedia introductions: [https://en.wikipedia.org/wiki/Cloud]; [https://en.wikipedia.org/wiki/Aesthetics] )    

'''* Holly lights are totally shining and intervallic penetrating throughout the joints of cloud-liked block-made happiness tree, as in a continuously weaving pattern processing to the future(B41-B44)''' 

Techniques for this session have already been introduced, as above. Yes, among what we have learned before, many points were symbolized out by our thought experiments, including some elements from analysing and reasoning. Thereby, an omission can be left here. However, this part was also one of the most expressive, reasoning, fantastical, warm, holly, brighten and peaceful sections in the whole composition, requiring us to apply more engineering exercises, careful forces and fantastical musicality. Based on those fundamental trainings , we can fly our fingers with more enjoyably impressionist freedoms. Here, you can see: The right hand has expanded a long regression-analysed D-flatten arpeggio-chain (heard similarly in a Pentatonic scale) - stating from D Flat' Perfect Fourth and climbing across the sky-horizon to touch another peak-peal of this work. You can clearly hear its simulation of our universal expansion through dynamics-climbing, which can be compared with a transcendentalist push (prior designed from universal nature ) of both materials and spirits in logical pace (rhythm) to touch another 'brighten ring' (around black hole) or a hidden eye channeling black hole (seeing or attracting all brighten 'lights' there, then '''oppositely''' (felt) as a dark fallen eye from the singularity), with gravity's increasing (while hand was expanding upward) which brought Times &amp; Spaces' continuing  down-slown - yes, leaving some natural out-breaking holes for holly lights' shining down from worlds with high dimensions, which was relatively heard as the signaled peak 'Retenu' contenting full imaginations self-created and penetrating out (continuously rhythmic down-slowing for some deep expressions).

[Extra explanation: Scientific observations have already proofed us - when we would traveled a lot (climbed too much) throughout a sky with wormhole to a nearby neutron star, or somewhat a black hole, gravitational waves produced by them would twist our senses of Times &amp; Spaces, especially down-slowing and expanding them to certain unbelievable peak-points. I believed one day, manufactural time-controllability with powers drawn from them can be re-produced out; then some amazing senses , rather than terrible ones can be motivated by our consciousness when channeling them - some holly, reasonable, purified, joyful, amazing and heavenly senses would be motivated out (on the other bank of our trip), as a naturalist regression threading all fragmental memory pieces of our life in a chain. And, we can finally make them meaningful, as the appreciation of Sir Debussy's Doctor in children's corner. Therefore, I still believe it's a 'up-picking' of  flowers blooming from childhood by a huge &amp; unconscious regression-analysis of our own life trip. Recommending one movie - Interstellar (Wikipedia introduction: https://en.wikipedia.org/wiki/Interstellar_(film)) , which is among my top list, especially its virtualized final-part of black hole's gravitational senses, though still some rough points which Joseph's subjective regression alongside gravity's increasing in dark hole was towards his own mental history rather than earth or solar system's entire history &amp; meanings, and further I didn't think book-liked square-dimensions hidden behind his daughter's bookshelf would be his own life or all people's regression points as universal truth ; but currently, lots of reasonable imageries from this movie have been reasonably created out and visualized out, which both met scientific purposes of Space-exploration, theological humanity - loving and respecting commons' life blessed by Lord even ending from black hole, and also in little Jason's journal, would motivate our musicality (imagination field) for more romantic understandings, some neo-expressions and a generalized impressionist-coding of Universal Epic in Sir Debussy's eyes. In my eyes, as Joseph's bookshelf, about Sir Debussy, if predictable and after his own Event Horizon [https://en.wikipedia.org/wiki/Event_horizon], his universe and subjective regression point across Times &amp; Spaces would be going toward the mutual music-impressions keyboard-touched in diverse works between his dreams and landscapes with beloved Chou Chou's landscapes heavenly upon innocent children's universal corner.] 

Therefore, as seen above, it's also a gravitational regression of universe, but not easy for our own hand's training about the case whether or nor we can make the expanding of right hand's climbing-liked Arpeggio and finally light the senses of most peak in Times &amp; Spaces' Retenu and the shinned depth of singularity in dynamics (to get the solution of general relativity Equation in gravitational waves),  was going to depend on our own levels and endeavours in hands-exercising. 
Please see: when peak - the '''flatten A''' was totally reached and lighten on 'ceiling', a sky was opened above all clouds-made landscapes and holly lights are peacefully shinning upon all corners of our earth. We can know our endeavors were worthy.  Chou Chou's childish &amp; innocent smile-face with good wishes for future appeared there, warming all people's heart and make them powerful and joyful. Facing so significant an universal impressionist painting there from kid's eyes, don't forget put an element of ''''France Romantic'''' gently &amp; relaxable wandering upon those curiously&amp;unusual universal observations: you knew, so small we were when facing... but we can reason ourselves to much 'deeper places', then, our emotion would be comforted &amp; released from this procedure experienced -joining the reasoning and self-expression together from something in emotion - not clearly known but felt...'''romantically and peacefully'''.  Though our hands were still rough (in my mind), let us take more idealist imaginations (how things and hands-techniques would reasonably be like) to make more tastes of this session and our own endeavors - sweet, sweaty, but worthy ... I thought it would be the educational purpose of music.

'''Tempo I: The awakening of pasted memories through thematic repetition but twinkling elements from new accumulations ('''B45 - B54''')'''

After travelling into a brighten ring with 'a dark fallen eye in singularity', we can find it contents a summery of most beautiful impressionist landscapes in a only note of '''flatten A''' decorated upon Sky ceiling, the unconsciousness of Sir Debussy with his beloved Chou Chou has almost gotten back to the past - their  'Original dreaming heart (willing)' (B1-B10). Yes, the review of your 'Original Dreaming Heart' is very important as a reference to correct the navigational direction, pick up 'lost flowers (imageries)' from its morning, accumulate more energies and make further adventures in this trip. You knew, the boundaries of a dream somehow content original powers rooting from your unconsciousness and linking to universal nature fatal designed already, thereby, is called transcendentalism. Awareness or unawareness, you are following its channel to be somewhere, with some people, and doing somewhat. Sometimes, you would lose yourself alongside complication's increasing. But like 'Mustard Seeds which have already been grown around you', only your down-bowing for picking up your originally true heart and cherish it again, you can travel to your peaceful heaven. '''(The Parable of the Sower and the Parable of the Mustard Seed and the Yeast,  ch 1-43, MATTHEW 13).''' I thought it's the reason why Sir Debussy has made this repetition in later middle part. Till now, the power of our hands has been increased and the techniques have been brilliant which would give us more confidences to face new situations. Let us go! 
In piano performance, usually, when a repetition occurs, we need to make different expressions in Dynamics, though techniques would be out of the similarity. It's for keep the diversity of music. One approach for this point is to research tiny differences from new piano scores (though some of them are either modified, or hard to find or later-posted by others) which content different experiences and impressions rather than Sir Debussy's own impressionism. The other approach is from natural root to self-construct, depending on your freedom of reasoning, musicality and universal participant-observation. I would like to remind several changes appeared with differentiation in this piece:
1. The whole dynamics background has been totally reduced from 'p' to 'pp', which means less forces would be applied here; meanwhile, oppositely, the scope of dynamics was enlarged in which much space can be left for Neo-expression of impressionism . Indeed, I would rather to compare it with a '''hanging valley''' above higher altitudes and cloud-blocks (Wikipedia introduction: [https://en.wikipedia.org/wiki/Valley]), air atmosphere became thinner represented by 'pp', but the whole height was improved . In the other view, why did I apply 'Hanging valley' to describe this repetition? Don't forget we have already climb a peak of this expanding tree with a signature - 'Renenu belt' leading to a Black (unknown) inside-Fallen Eye channeling to another beautiful &amp; infinite happiness universe. In this time, from the nature of a dream after beautiful landscapes, let us climb another peak within the events-horizon more symbolized beauties were hidden there. In other view, it's also a rest of our hands' energy and an accumulation of new energy, after so depth the forces we have applied for climbing that brighten happiness tree above clouds. A fast light-review of Originally True heart, as a reference set beside, might help us find the 'solution' and open 'another sky'.
2. Compared with B3-B6's twinkling-head stars under The Impressionist background of Starry Night and various keyboard-touching techniques for supporting fingers' fluent arrangement, it's a very small difference that the scope of (crescendo-decrescendo-formed) (date-core-liked) dynamics-progression has been enlarged until  two Bars' covering (B49-B50), rather than before - only occurred in half bar of B5. How could us explain this change? Dramatic change was transformed to be a leisurely emotional expression. Following it, more energies can be accumulated and more tastes of musical beauties hanging and dropping under the Starry Night would be slowly reflected out. It's still for the preparation of another Peak-climbing alongside the Cloud-blocking, Snowland-upon, happiness-tree upward-expanding channel to the universal purification and reasonability, which can also be seen as the heaven Debussy picked up for his Chou Chou in musical patterns.
3. Bass change: 'Small depending note' attached to Octave C which was forming a progressive chord has been transformed as a octave block-chord - G; then, slurred Perfect fifth (Deep C - G2)mirrored from this change(B45-B46). I think it was an evolution, which makes the distinguishes between before and current. It can also be seen as a proof of 'Hanging Valley' above higher altitude joining two peaks in transition.

After these accumulations, fast reviews, small modifications and new expressions on 'Hanging Valley' above clouds and under The Starry Night, another shooting trip will be going to soon begin...

 '''B55-B56: Expanding Heaven-Ladder out-breaking the other branch channeling wormhole which was created by fantastical materials borrowed from old story - bubbles (rising up) throughout the underwater of atmosphere (developed from B11) '''

By notation-reading, we can find this bubbles' on-going channel is developed from B11 (bubbles-rising), but differentiating in length (Time interval: one → two bars), 
tiny note-differences in recycling pattern
{This time, in each　tracking pattern (Originally, basic unit-recycling was wheeled by a bottom-top movement - each time, the next note will be the first: E- Recovered B-E-Sharp G → Recovered B-E-Sharp G-B  →  E-Sharp G-B-E, Sharp G-B-E-Sharp G), B was raised to be C, Sharp G to be flatten A and a highlighted repetition occupying the middle intervallic linking two bars together ('Flatten A-C-E-Flatten A') was designed there to build a '''buffer platform''' curvedly twisting the whole tendency of this upwards on-going channel to be in another higher-rising branch.},
and accurate fingering locating
(You will feel that your fingering needs to make a very smart and exact change (rise) - especially the second finger of left hand - moving from B to C, for opening an expanding gap; and further, carry this gap inserting into woven pattern alongside two hands' tightly following in Arpeggio-playing way: E-C-E-flatten A → C-E-flatten A-C → E-flatten A-C-E→ flatten A-C-E → '''flatten A-C-E-flatten A → flatten A-C-E-flatten A''' ...).
From directions, our right hand (like　navigator) needs to lead and match left hand' back-pushes (giving motivations like engine) to go higher places together. Somehow, when playing very fast, they were together siding out a pathway up and down. In turns of two hands, a wave-pattern with gravitational expression has been woven out (I have mentioned it before in B11 - B12 session) as this channel's outside form. Then, 8 recycling bubbles (motives) were travelling throughout this channel one by one. 
when we try to recover its beauties, it's better to send a very small Exocoetidae (Flying fish) back-forwarded (reversed) force (about this term, please see the session - '''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)''' above) directly upon our 'buffer platform'. Oppositely, we (as in one bubble) will fly (being shoot) higher up onto a joyful, purified &amp; holly heaven land. During this procedure, special music background 'colours' (separated and) motivated from the frictions of this channeling movement made the whole space &amp; time shining amazing lights fantastically. Appreciating it, we can also imagine a surrounding atmosphere with crystal diffuse reflection (Wikipedia introduction: [https://en.wikipedia.org/wiki/Diffuse_reflection]) magically embracing our channel in the middle, which summarized spiritualties of landscapes' most beautiful elements and impressionist reflexed out of our 'channel windows'. I think, that's the magic power of impressionism, in which we can both detailed analyse its components &amp; techniques as a solidified foundation; and meanwhile, alongside its post-channels, special colours and lights, as souls without shapes, can be generalized and abstracted out what were wandering, spreading, occupying and surrounding the boundaries of specialist operations - lasting tasty in our mind for long time without disappearance. Yes, in childhood, we can also see special 'colours' from bubbles in air under sunshine. In order to support this impression, a dynamics 'cresc.' was dramatically set here, for simulating special lights &amp; colours' scattered transparence. Since happening in a higher hanging valley, this climb has been channeling to a true Peak situation - heavenly snow-land crystal-liked existing in Chou Chou and Sir Debussy's mutual memories, their imageries, their beautiful wishes, and their universal regression for future. Oh, it's also in Angelic Children's Corner. Therefore, in my opinion, '''Heaven Ladder''' is a good title for this channel.  

 '''B57-B64: Dualism to see Chou Chou's Universal Heaven-Slide travelling throughout landscapes for joyfulness - techniques VS imagination '''

[[File:Better demostration B55-64.ogg|thumb| Minutes 0.03-0.15 was B57-B64's demonstration]]

Dears, close your eyes, try to imagine which places were there - in your imageries-sea, as for the occurrence of the most joyful experiences? And, after your endeavors of climbing a '''hanging valley'''; and then, bubble-settled &amp; exocoetidae-shooting up to a long distant channel heavenly dropping to another true peak-land with crystal dreams scattering over purified snow-flowers fuzzing beauties of landscapes all around you past experiences , what are your heart then truly willing to see?  
Don't forget, Doctor Chou Chou was still unconsciously a child in her Children's Corner (may it be an lazy daydreaming afternoon lying on a rock watching heaven lights shining throughout gaps of forest, highly there...). Sir Debussy recognized this point and set a most beautiful &amp; infinite Children's Slide there - in the center of universe and back to the beginning - to the most imaginational first light, and the deep impression of the birth. (Wikipedia introduction: Slide in playground [https://en.wikipedia.org/wiki/Playground_slide]) Then, in Chou Chou's heaven, she can always operate her joyfulness by slide-travelling in which passing by universe &amp; mind landscapes 'besides and under her feet'. But what does this 'Children Slide' in her corner (playground) looked like? I think Dualism of 'piano techniques level in physics world' and ' the links of imaginational level' would help us:
* The identification of piano techniques applied here as the foundation simulating '''Children's Slide''':
Here, we can see 'slurs' grouping each four semiquavers in every beat of a 4 beats' bar, which range both left hand and right hand. Left hand played each tenuto of long note (crotchet) at the beginning of each group (note which needs to be played out enough or over a little bit time value), then being counted out 4 heads leading each group waving upwards till left hand, spreading by spreading. In a larger view, several huge slurs, linking each 8 heads in a breath,  are totally downwards going. They are forming 4 sentences with a smooth progress continuously landing to our earth. Then, post-set 4 pieces of pedalling are there alongside 4 sentences' down-landing, matching out two octaves' data-core liked interactions which apply forces in dynamics channels - each between a ‘Crescendo’ and a 'Decrescendo'. 
* The links of imagination
Then, a breathable heaven with crystal landscapes, supported by pedalling, as the fairy background twinkling and embracing Chou Chou's  Slide theme in the middle, which are formed out the impressionism orienting the history of universe. Chou Chou feels so happy sliding in this channel reviewing fast by-passed landscapes and her own consciousness experiences. Oh, I forget to say: it was also a rotating Slide while you were playing, the degrees of bending &amp; stretching of your fingers told you angles need to be changed periodically. Currently, I think, to some philosophical degrees, the mechanism of universe in particular Planck epoch era, or then spreading out here (Wikipedia introduction: Universe [https://en.wikipedia.org/wiki/Universe];[https://en.wikipedia.org/wiki/Planck_units#Cosmology]), can also be in a analogy of universal Children's Slide, set from a far beginning, down-landing out &amp; down-sliding towards us and this earth - then, till now and here. In brief, this time Chou Chou has really well-done a great universal climb, upwards to so top, fantastic and holly a place, then sliding downwards to us. The beautiful heavenly sound effects made us drunk in the appreciations and imaginations of unknown beauties deeply in universal heaven, which indeed are truly from children's nature - playing only from the curiosity and for the joyfulness.

===== Editing- '''B65-B70: Impressionist Texture - Main streams VS. Fuzzing background - After repeatedly sliding to 'double-turns' '''hanging valley''', Chou Chou found another 'New Toy' -  a vibrating '''Crystal Fountain''' emerging from gravitationally cloud-waves '''=====

Currently, we are going to enter into 'Coda' part of this Doctorial Suite of Children's Corner, melodically reported by  Chou Chou and his father from heaven. firstly, putting it aside, I would like say something extra. There used to be one discussion: what emotion should a 'Doctor' from Children's Corner be carrying? After having reviewed so many fields of knowledge bridging communications between western worlds and eastern worlds, and having travelled so far from 'Big bang' occurring from universe's beginning to 'Black hole' channeling to somewhere unknown parallel universal branch , or in other words, to the depth of his or her own mental unconsciousness part regressing back to those moments that astronaut and his or her symbolized 'daughter' can never make the departure with each other but being together facing happy and unhappy life-imageries in life, and then landing back to the 'solidified' impressionist background with dialectically fuzzing gravitationally-waving 'lights' twinkled from 'The Starry night'...; doctors' contributions have already achieved many what being dreamed for long - a 'crystal castle' built upon 'Mind-independent Snow-land' and colourful clouds, mapping new Era's beginning from Nations' Cartography generalizing 'New natural landscapes with vitalities' (yes, and some societal languages)up to the symbolizations of 'spirituality indications' for future (- Postmodernist Constructionism) (Wikipedia introduction: [https://en.wikipedia.org/wiki/Cartography]); or oppositely thinking, it seems that things still meant nothing or very few gains, after a systematic running of the whole universe - normally, beautifully and peacefully inherited from before, and future was sill continuing to 'there bank' rather than 'here lands' (- Postmodernist Deconstructionism) upon unsure foundations. 
What kind of a 'Coda' part would Sir Debussy and his beloved Chou Chou have writen for our 'Doctors' in 'Children's Corner'? Directly say, I think: so many fields of knowledge from human beings' worlds which were bombing in his or her mind that shouldn't make people from children's corner as a tool inserted into a evil machine or device, working merely for the hopes-losing operation of a negative future; but positively, as a back-returned discover, he or she need to see their 'original heart' and hear some 'harmonic voices' sung from the heavenly corner of children. In other words, the purified attitude of worlds' future, the curious eyes to discover universal beauties and the love of childishness &amp; innocence shouldn't die, but oppositely support the freedom of minds' wandering, expanding, and new links' construction, for harmonically embracing more people and more possibilities. More simplified, by 'returning to be a kid' and 'working only for pure play well in the future', we can keep the root of a young heart with the creativity. Yeah, it is the freedom of minds, and also the curiosity with the creativity - to see more, to solve more, to discover more and to appreciate more... shouldn't be killed. 

By carrying this impressionist emotion ( and make it a deep internalization of ourselves), we are able to appreciate Sir Debussy and Chou Chou's 'Coda' part:
Indeed, Chou Chou was so exciting about Coda's coming, which was firstly noticed from B67's score requirement -'Très animé' (very lively with full vitalities). Then, this exciting mood was also realized through the vertically in-textural matching with a impressionist thematic arpeggio-part (several bright channels were dug out up-through travelling from downstairs - bass &amp; middle parts) and the impressionist background of a accompaniment set putted upstairs (treble's small voices which were short waving &amp; fuzzing there, gave a overall gravitational atmosphere, for holding all expressions thereby beneath it). To my understandings, here Chou Chou's exciting mood came from her willing of an another fantastic performance carrying some brilliantly impressionist techniques about keyboard-touching. It was almost that She had frequently asked us: 'can you distinguish the main channel of thematic arpeggio from the twinkling background in impressionism? and, can you make it out?' Even here, in this case (B67 and B69) your two hands for both theme and background need to interactively &amp; commonly share with the same positions of keyboard and the same notes? Yes, even though it would happen, the distinguishable senses still need to be clearly made out for both audiences and your own heart, which was a quite hard job for our exercises. You can see: in this requirement, the long note - middle C needs to be kept and attached upon the keyboard, leaving a chain: G (crotchet)- A(quaver)- B (quaver) slur-liked  breathing the impressionist air upwards-waving after waving. But, the fact was that they were taking the same area of a piano with each movement set beside each other. Could it be possible, or possibly disordering each other's running order, especially when the same B reasoning from left hand's upwards tail-breath , but also reflected as a normal middle third beat of right hand (in a group shaped as being among a rest-composed 4-semiquavers group in the accompanying background ) , which tightly posted your hands' flexibility in a disordered situation, and furthermore, the longer-lasted middle C bass enhanced this situation to much worse. That's not the most difficult thing, but compared with it: in the next bar, several 'ʌ' signatures - Louder-Sharpening signatures  - emphasizing all heads of groups, were set there alongside an 'opening mouth' in dynamics, which continued her exciting dream to much wider horizons. Though heard good, it needed your fingers' keyboard-touching directions (left hand) be immediately rotated down... to be frequent pressed in the style of stronger 'Up-Down towards' patting of 'Perfect fifths', without even a moment of thinking.. Out of your hands' controllability, do you think so... do you have a willing of giving-up and being broken? Is there a feeling of you, after a long journey, being here with the total tiredness? Yes, but hi, my guys, don't give up, and hold it on for a little bit much time, situations would change better, and to a forever impression. We can say: this treatment was still in beautiful breathes, though hot and exciting. 

Then, a question came out: what was it really heard like - in those fantastic impressionist imageries? what I did analogize it was one of Chou Chou's heavenly toys - a crystal fountain set among multiple-dimensions of spaces &amp; times in our universe. Yes, it was also a symbolized expression of the gravitational system. We can review more historical recordings of fountain's functions in human beings' entertainment life and products-creation from this Wiki-article (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fountain]). I think: you hear, in minutes (1.52-2.00), the left hand's expression - frequently up-streaming main thematic chains - was like　main water-jets shot up frequently in its significant situations, which made the distinctions with other water in basin (impressionist background)clear and recognizable. Yes, they are made by the 'same material' as basin's water beneath, but differentially in stronger powerful forces - being shot up some up-raising streams in music motifs (Middle C as a root of water-jet in basin, with G-A-B style streams flying up towards the sky), which simulated a fountain's beautiful situations. Afterwards, we took a long-distant view, and then, would find  B68 and B70 tightly followed are in a much more macroscopic impression upon the rhythm of spaces &amp; times, for the purpose of summarizing 'Universal Fountain's' beauties. If you let me seek an astronomical phenomena representing the mechanism of this Chou Chou's 'new toy', I would still mention Supernova Shooting (jetting) as Chou Chou's fountain in our universe: (Wikipedia introduction: [https://en.wikipedia.org/wiki/Supernova]; [https://en.wikipedia.org/wiki/Supernova_remnant]). But if you want me make a much sweeter analogy from kids' nature, I would mention Chocolate Fountain with 'water-fall' surrounding - a favourite and enjoyable 'landscape' of my delicious foods. (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chocolate_fountain]). No matter the real fountain, universal fountain or chocolate fountain, I think Doctor Chou Chou's true purpose was for happily 'playing' out one innocent future with the freedom of creativity and new hopes. Let us respect her willing and the nature of a doctor in children's Corner.

Suddenly, you would have found: 'Jason, you haven't mentioned B65-B66!; and you haven't fulfilled yourself in this session!' 'Oh, dears, please forgive me that in the final part of this session would make a clear effect of the explanation, I thought...' To be honest, they were in a Spaces-Times vibrating treatment (with a half-bar's gravitational breath in normal slur-shape - a Louder-weakening signature, but the other as an anti-gravitational expression for 'water's' up-climbing and energy's accumulation )set as a motivating  mechanism inserted into the fundamental basin of our fountain. Seeking words, you will find a device-term 'Siphon' with a series of parts would give you better impressions about what Chou Chou's 'New Toy' was working like (Wikipedia introduction: [https://en.wikipedia.org/wiki/Siphon]). In order to overcome some anti-gravitational difficulties brought to your hands, you must keep them in very small shape and in very careful channels. Following it, music 'water' can pour up 'more pure than a soul', and many beautiful imageries can be created out upon Chou Chou's 'universal landscapes'. In shape, '› ‹' can also be compared with a butterfly, and a kid's pure soul was channeling in this pattern for 'flying higher' with joyfulness. After this supplemental illustration, I think things would be much clearer for the realization of piano techniques and musical appreciation.

===== 'Braking! Braking! A Consciousness-streaming': ''' Back-turned Braking from Peak force' application - in a doctor kid's post-regression  - as a 'black hole' travelling - with new 'big bang notes' up-waking people's minds '''=====

Finally, it's a real 'coda' part our journey will arrive in, about which Sir Debussy and his beloved little doctor Chou Chou in Children's corner were looking forwards to giving us a significant impression, as for the remembrance of 'each beautiful landscape' on the travelling of our journey, and the innocent childishness we were carrying in hearts together. I guess this pair of 'father-daughter-union' composers, from spiritual subject being to universal physics existing, must have discussed this case for long time: 'Father, what type of long-effecting impression we would leave to our learners - the listeners, the keyboard-realizers, further composers who were willing to take our approach, the notation-readers and some self-learners of piano...? By designing out a good coda-fashion?' Indeed, if we review transcripts of Debussy's works, normally, Sir Debussy turned to make two choices in coda parts - one was a romantic up-sliding way flying away our dream's disappearing alongside a fading of its vivid colours gently and pleased, like what 'a let-going spring' imagery 'islandic disappearing' (imagining, when our boat passed by an round island in mind desert-sea,...oh, it was with Arabic fountains, green plants, night birds...only in dream... and continuously...it was disappearing... that's quite right you got it!) from our horizon in Première Arabesque (Arabic Suite - Spring; it's another story in new life we will talk further...)and what Clair de Lune (Moonlight)showed - a silver channel fragmentary slivery upon the surface of a forgotten sea somewhere in our universe and strings of lute lighting it upon to heaven (More information, we can review from Wikipedia introduction: [https://en.wikipedia.org/wiki/Claude_Debussy]. I think, this time, two demonstrating samples can somehow meet some standards of my critical ears, but I would also try classroom samples from wikiversity and wikicommons' views, I thought... Oh, waiting time, it will have been another story in my life) ; and, the other type was a sudden and half-opened termination near postmodernism &amp; postimpressionism -leaving more imaginations to learners ourselves. In this case, Sir Debussy gave more respects to Chou Chou's own choice. She smiled joyfully with her eyes full of curiosities and probably said: ' Papa, I preferred a sudden stop leaving more imaginations to others' Somehow, from sound effects, it would also be compared with a 'childish mischief' with 'a Braking throughout a peak force', but then, knocking out a renewable 'universal door' big-banging a fresh vision of future'. 
Thinking till here, two questions emerged: It's the time to say goodbye, but how did they realize a universal braking in coda? And, what type of analogy can we make according to it?  

'''Techniques Description:'''
Firstly, let us present a participating-observation of its texture in B70-B71, then follow a talk about its techniques-training. Indeed, parts-formation of this piece was quite simple. Overall, it just contents a second-transformed major-triad ( C-E-G) with a range of Perfect fifth (G-C) separately covering your left hand (lower part) which can be seen as its main impressionist chain - heavier and stronger, but the rest part of major chord structure floating up a impressionist background waved by right hand- lighter and higher. For this, logically matching &amp; grouping two hands together as a whole was also the basic technique, with the leading heads (left) joining impressionist background (right) tightly presenting the equal intervallic pace on average. It gave us an aesthetic feeling of well-distributed texture in which harmonic 'Perfect fifths' were repeatedly measuring the keyboard throughout a C major triad impression, which motivated waves by waves (oh, dears, did you forget, waves would be from Chou Chou's new toy - our crystal fountain?). Then by multiple dimensions, it reverberates itself in spaces &amp; times - octave by octave (octave as a cycle), and curve by curve (down-falling). Be careful that 'Gs' here in perfect fifths (B71) were highlighted twice in  minims (long notes) with two 'Λs' (sharpen stronger in loudness) telling us which were heads. Then, parts (spaces) in texture (universe)were separated, with twinkling mind threaded to be pearl chains breezing out colourful energy-waves upon fuzzing materials of background.  But following again, B72's main chain was naughtily jumping up, as happier as Chou Chou's dancing with child's interests. Breaths realized by slurs linking texture together were also short-time jumping. Another possible explanation was that frictions from braking have sparking out dreaming flowers in short-time stopping, about whose story we could see in the following paragraph.  But, transformed from two ''hills'' landing (B71), here, in dynamics, impressionist background has been totally connected out a continuing ‘Crescendo’ - louder after louder.

'''Imageries forming:'''
Secondly, why do we make an analogy 'braking'? Article 'Brake' [https://en.wikipedia.org/wiki/Brake]in our Wikipedia introduction can teach us more about some similarities: After another 'Peak' strongly played through the first G of B71 - the first factor of braking - 'Peak force' has been targeted and accumulated from our fountain's shootings. Sentences like 'The peak force is often greater than the traction limit of the tires', and 'braking can cause a wheel skid' referenced, showed the similarities projected in Sir Debussy's work requiring hands' controllability for controlling 'significant force' in channel. Following this logics, what about those 'heading points' left hand has created out? I think they were like 'shoes' of 'frictional brakes', increasing touching-areas of 'wear surfaces' with 'the rotating drums' for stopping (or we can call it: 'the rotating waves of impressionism'); alongside, 'kinetic energy' has been converted into 'potential energy' memorized in our dynamics score - yes, hotter (louder) and hotter (louder). But, why was the frequency of those highlighted 'Λ heads' continuing faster and faster, from B71 to B72? Imagining a fast metro or light-way train was now coming facing your face on a station, it needs to prepare a braking even far in long distance... until its nearness, the 'inertia' makes out a huge destroyable influence out control of its released 'peak force' - yes, being transformed to the 'kinetic energy' in acceleration, with which 'angels' and 'evils' joined together . In this case, the frequency of 'braking heads' from repeatedly set 'Λ heads' heated the atmosphere dramatically by dramatically . Owing to this operation of 'stopping', much 'kinetic energy' has been transformed to the 'potential energy' and stored in our 'hands machine'. Then, in principles, it was hotter(louder) and hotter (louder). Practicing in reality, we can achieve this braking through our hands' controllability.  Oh, re-thinking about this design, we can know how great Dr. Chou Chou was - as a real physics expert but across multiple subjects. Meanwhile, associated by Sir Debussy, what a beautiful music universe with many imagery landscapes they have discovered for our learners. 

'''Larger our horizon:'''
Finally, a sudden standing has been made with 4 bars' long notes - 'B73, B74, B75 and B76' terminating everything right now. 'F-A: major third' matching 'C-E: major third' was solved to be a transformed major triad in key C(C-G-C-E). We can hear significant &amp; accumulated powers have been totally externalized and summarized (with a mischief joyfulness) to several 'block chords'. Meanwhile, dynamics got the highest level 'ff', long notes (chords) told us everything in terms of this work. In playing it, you will feel your fingers were almost broken by vibrational energy (Wikipedia introduction: W = W potential + W Kinetic  [https://en.wikipedia.org/wiki/Sound_energy]) owing to Resonance (Wikipedia introduction: [https://en.wikipedia.org/wiki/Resonance]) associated by Pedalling (Wikipedia introduction: [https://en.wikipedia.org/wiki/Piano_pedals]; here, it's better a Tremolo pedalling (shaking), about whose story we will discuss in future), after strongly standing on keyboard. This tail can also been seen as a projection summarizing all powers of the whole work. Don't forget the composition of '_' and 'Λ' taught us its special technique - enough time value of each note (and over a little bit) should be kept with a depth reflecting Sharpen senses (dynamics) of the loudness. From forearms, to wrists, till palms and then the edges of fingers, all forces need to be applied there for 'standing' strongly. The dramatic atmosphere created by our hands' controllability even made us out of breathing and 'sweating out rainy'. Taking a full-shot look, I still think it was in an analogy with the ending of our universe - Black hole's  'Gravitational singularity' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Black_hole]). You see, all gravitational laws materialized to be landscapes (notes) have been collapsed, concluded, and compressed into one dimension points-chain, as a stopping 'electrocardiogram'. Is it to say: everything has been talked over and the darkness is still our universe's final fate - no lights, no hopes and being in infinite silence again. If so, what were meanings of life, materials and our prosperous being? ... still to a quiet self-deconstruction... used to be stronger, but final nothing left...

'''Chou Chou's Doctored voice (awarded):'''
'No', Dr. Chou Chou gives us a strong answer in the final note - Big Bang C (Wikipedia introduction: [https://en.wikipedia.org/wiki/Big_Bang]) which will have bombed out everything again, as flowers blooming from 'Dark hole' flowerpot, ranging upon from one-dimension channel to two octaves and more. Yes, it is another branch (Post-Channel) of multiverse tree. Tightly following this note, our story will have been renewed and spread out, with new hope, good wish, lovely vitality, and bright lights penetrated from Imagination. Will it be another Impressionist Spring? It may... or other things...

Thanks to all!

Yours [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:11, 5 July 2017 (UTC)

[[File:Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg|thumb|Doctor Gradus ad Parnassum - Doctorial trainings in Children's Corner (5th draft - New, 3rd draft - preferred. About Each draft's comment, please see beside; About each draft in growth three, please see WIKIMEDIA COMMONS)]]
'''Supplemental Words: Comments for the Main Sound File 'Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg' created in WIKIMEDIA COMMONS and Impressionism analysed here'''

(''' Comments for the 5th draft:''': It is the fifth draft with three advantages, being heard better than before (Almost, I didn't want me so sensitive about certain performance-lacks, and till now, still I thought the third version was the best; but, I cannot stop to try better versions, as for love and respect to this work in this period.):
1. Binary Stars-system B24-B27 showed more unbalanced sound-fluctuations around its axis; tightly following this part, the fluency of Chou Chou's self-reasoning has been performed more naturally;
2. My willing of Fairy Legend in Cloudy heaven has been expanding (B33-B44), with more sounds-reverberations occurring in the bass of lightning door-knocking (left hand of B35-b36), much extending impressionist arpeggio-braches growing of happiness three and more bright lights penetrating joints cloud-blocks from higher peaks.     
3. More coherences and fluencies of the second universal travelling was kept (B55-B57).
Therefore, to me, I thought it has much more meanings of Education Research, which I would like to share)

(''' Comments for the 4th draft:''' This version is with a better and expressive B22-B32, as what demonstrated besides - much like being in impressionism)

('''Comments for the 3rd draft:''' Till now, this version was of the most fluentness I had played, but a little bit stable. I would like theme of impression much clearer and expressive. )

('''The analysis for the 2nd draft:''' You see, in this draft, naughty Chou Chou and his father are playing clouds and lights in the heaven and waiting for a happy Christmas, what they have done are creating imaginational impressions of sky. Then, we saw tools formed by clouds were sometimes like dogs, sometimes like boats, sometimes like drops and sometimes directly floating down like a spring. Oh, they are all only Chou Chou's games. Especially the minutes (from 0.48 to 1.18), she was attempting her best to push aside two pieces of blocked dark-clouds through her arms and let holly lights shine out by being floating directly upon our earth. She did get it (but I haven't really gotten it in my play). It was in the minutes (from 1.08 to 1.18). We can also hear her dances presented by his father hands-running in the heaven are so expressive being after an assemble of clouds-animals to the peak of mountains, which is in the minutes (from 1.33 to 1.50). Oh, finally, after so many adventures, a big bang was applied that our dream was awaken and our soul was taken back to the reality.
Then, we knew: it's only a dream Debussy and Chou Chou have played in our sleeping time. 
Indeed, I felt very sad to hear this sentence 'Claude-Emma was born on 30 October 1905 in Paris, and is described as a lively and friendly child who was adored by her father. She died of diphtheria on 14 July 1919, scarcely a year after her father's death.' Then, we can understand: so beautiful a musical world which is full of vivid landscapes there created by his father and for this only and small daughter. But, how can Chou Chou bear the fact that she needed to make the eternal departure on this earth with this lovely and magic father - on 14 July 1918. I thought it was why only a year after that she had also gone out of her single. Wikipedia Introduction: https://en.wikipedia.org/wiki/Children%27s_Corner 
I knew, in this draft, there are still many lacks far away from my artistic dream. However, in preparing for it, I learned more; and hopefully, it can be heard by you, than before.
Bringing it here is for thanking all the members of Wiki-family, who have been dedicated working for a whole year in different corners of our earth. In this case, we are trying to send Christmas gifts to Chou Chou and his father, for their contributions of human beings' musicality and imagination.)
'''Main Words'''
This version is a life rough data-collection for the exposition of  piano techniques. To be honest, the existing of it is in a little bit far distance from my art dream, but as in respects of Sir Debussy's impressionist universe. It is based on my current energy, time and ability. If possible, I would like to soon modify this draft to further better ones. In that dreaming pure 'snow-land', the paint-brush, transformed by hands and threaded by forces from mechanics and anti-mechanics, can magically draw lights, clouds, bubbles and steam to be the colourful Spaces &amp;Times of a mirrored universe. Then, Chou Chou can freely and naughtily play her games forever. If the final bang is a waking-up sound breaking Chou Chou's beautiful sleep. I would rather we never come back to the reality from this childish dream. If you would like to make better understandings of this melody, you can come to Wikipedia introduction[https://en.wikipedia.org/wiki/Children%27s_Corner].

==== Students' learning effects &amp; progresses from piano pedagogical reasonability (reasonableness): &quot;Kids' Performances in children's corner&quot;  ====

''Jason, why did you submit this edition, is it yours?'' No, no, this sound file was made by myself, but the content was from 'my kid's' learning progress' of Sir Debussy's 'Doctorial' in Children's corner. You knew, Sir Debussy has his own daughter; but till this year - my age of 30 year's old, I haven't gotten any. Therefore, in this period, I saw my students as my kids. Oh, it was by accident that I had recorded one piece of a little girl's exercises in classroom (around 13 or 14). Her name was Xue Meng, Hu and her 'little doctor' Live voicing in this place.
Oh, it was a long long story... Every time thinking was going here, I would be emotional and sensitive. As her piano family tutor (one traditional teaching way carrying a dream of piano fine art from commons), I have been watching her growth - almost from her 5 year's old. During this period, time has changed lots of things, including people's experiences, perspectives of value, willing, and some true hearts ; good or bad, but our dream of piano education and self-aesthetics (the appreciations of musical beauties) has never changed.  In my fragmental memories of consciousness stream, I can remember when I made the departure from 'my kids' for my dreaming educational rationality (I like 'reasonability' this world, because when you were reasoning, you can get the ability to be in pure logics and review world's beauties) in UK ( and Newcastle), she has never given up her self-practices of piano techniques, preparations for national grading tests in China and improve her literacies of music. There were also some times we felt hard to insist on going on, and some times her 'little uncle - Jason' might be so serious about her daily exercises and about himself... And, some times people surrounding us wouldn't quite understand why these guys were dreaming so hard... But, no matter what situations were there, still, she didn't give up; and I have been participant-observing and accompanying her growth in educational reasonability (reasonableness) of piano. 
'Jason, are you a big dream of your educational approach?' Yes, I don't want to deny it but ... not really... I used to say to her facing her family: 'little guy, one day I could teach world's most beautiful melodies of those Masters, and you could learn and get nutrition from them for your creative life fashion. You had the love of piano and a dreaming heart of perfection. That's your giftedness.' But, in that time, her family members told me: we had never thought she could play them... you knew, generations after generations, we had gotten food - fruits, and vegetables ... from our fields... we had been working for it... That's our fate... Just, some interests out of schooling, if she like, she can...
After getting back from UK (or to say, my mind has been alive bilingually through the internet; especially, thanks to my wiki-family, some online platforms of education), alongside the logics chain threaded in the section 2.3.2.9 of this page[https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han#.2A_Children_are_doctors_for_adults.2C_as_the_reason_that_they_can_create_some_most_advanced_techniques_than_your_imaginations.2C_but_with_the_purpose_only_for_happily_playing_their_games._I_guess:_Chou_Chou_must_know_it.2C_and_father_Debussy_also._Then.2C_heaven_is_near:], I began to tidy my minds and my daily practices of teaching and my theoretical modes from education researching.  After a year's time of grade 9th's preparation and her wonderful passing-through, we began to research Sir Debussy's this work - 'Doctor in children's corner'. 

'''Stages as:'''
1st Rough draft for primarily getting its shape;
2nd  Background knowledge collections for understanding Sir Debussy and his Chou Chou's life 
(this was a continuing process by myself that I mainly began from Wikipedia, and then made paper works regarding with it, and carefully observed its manuscripts);
3rd  Analysis of basic points and techniques requirements of its keyboard-touching;
4th  Critical weaving imaginations and impressions to be painting imageries wandering upon techniques;
5th, Collecting languages from both Chinese and English for binary classroom 
(There were several sessions totally in English and some key words of music theory &amp; background knowledge in English I had frequently presented to her, which I could say I made this procedure in binary languages. Though she was in primary level of English, I found music, especially our love of piano, had transformed to be a bridge across hearts' gap and brought us inspirations; Furthermore, I promised every impressionist imageries and scenes I had taught her, but simplified in languages of her age and her ways. Though still, it was very hard for her to understand, she took the challenge and achieve some points through her own sweats)
gave us powers.

'''Two weeks ago, she was able to make this edition from learning progress:''' 
Then, there were some conflictions in terms of whether or not I should submit it, which was from my own heart and experiences. I said to myself: Jason, be brave! What gift can you create for your 'little guy'? What did you own, nothing or something...?  What place, in your mind, is beautiful and pure for your piano education, after so many years' explorations, some dreams, some good memories and some sufferings...? Then, I thought here...My conflictions were also about some small mistakes, 'sliding notes'  &amp; 'breaks' without purpose, the incompletely expressed musicality and some ignored keyboard-touching ways caused by nervous moods made by her... which made her edition lose some 'natural landscapes', such as B26-B28's left hand, the emotional reasoning in B37-B44 and a peak sliding fault &amp; dynamics fall in B65-B66,B71.... And, they were also about ethics issues I wasn't an expert in. But, finally, considering educational reasonability, her long time love of piano, her giftedness, basic completion of key points and some impressionist sessions, and from inheritance (you can see there were small gaps between my first edition and hers' that it sounded like her piano tutor - mine. Her advantage was from a girl's slim hands), I thought I should send out my gift, and era should leave more developing zones &amp; opportunities to young generations' growth, no matter where they were and who there were...) Hopefully, she are able to achieve much more beautiful editions and cheers in her own future for our worlds, than her ' big comprehensive case carrier and a strange kindhearted uncle -  Tutor &amp; Learner (me).

'''One week before examination - a near-closing case of piano education:''' &quot;This classroom edition was recorded a week before her examination of Grade Test. Thinking of it, it's really a hard job for us having gone over a long period to get the basic knowledge of notation, to train hands-manners and necessary techniques of piano, to know some masters of piano and finally to understand Sir Debussy's impressionism and make some possible self-expressions... Before the examination, I wished to give her more confidences, thereby, recorded this edition - to let her know how powerful currently her hands were heard like and how good she could self-reason out her own 'Children's Corner'... Alongside hearing this edition, so many beautiful moments, hard times and imaginable scenes glanced over my brain, in which our growths (including my own - a piano tutor) were recorded sparking the vitality out. Were there still some small problems, Jason? Yes, to a critical tutor, I found it was a little bit later in her right hand when going through the 'Binary System' and the 'highlighted-shinning stars' on sky-celling were lighted by wrongly sliding out other notes a little bit (B24-B30). But I was very happy to hear that she tried her best to play out two 'Impressionism Butterflies' (B65-B66) and linked them to a beautiful Fountain (B67-B69) . Yes, the techniques-stability was enhanced. Thanks, Meng Meng! I used to think last edition was your best... but... this one was further better. Wish a beautiful spring holiday of your 2018, after the examination, will come to your heart and your life!&quot; (Jason M. C., Han in Wikimedia Commons, 2018)

Here and now, throughout a 'text-book writing' of Sir Debussy's Doctorial in Children's Corner,  a reviewing of work-analyses of some techniques-points, many times of fulfilled practicing in virtual and real classrooms, many time of cases-recording of both tutor (me) and student (Meng Meng) in sound-files with words-descriptions, currently, in the new spring holidays of 2018, this teaching procedure was nearly closed, as a final student's good effect was recorded before examination, and further she was going out of 'our children's corner' and to face her examination and her own future. What, I need to say: thanks to all! Thanks to 'being known - a nature of human beings'! And, thanks to this Era who gave a chance to this multiple-channeling teaching &amp; learning procedure of piano! Future... maybe still unknown, especially for this little girl... But, best wishes! 
[[User:Jason M. C., Han|Jason M. C., Han]] '' (Jason, M. C., Han, 2017)'' &lt;ref&gt;WIKIMEDIA COMMONS (2017) Wiki-entry 'Children's corner of Meng',  Searched from Wikipedia. ，Creative Commons Attribution-Share Alike 4.0 International license. Available at: https://commons.wikimedia.org/wiki/File:Children%27s_corner_of_Meng.ogg. Accessed: 10th, August, 2017&lt;/ref&gt;

[[File:Children's corner of Meng.ogg|thumb| Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons]]
===== '''Arabic Spring bloomed out from impressions of Children's Corner:''' =====
[[File:Claude Monet, Impression, soleil levant.jpg|thumb|Claude Monet, Impression, soleil levant]]
After having learned many techniques of Impressionism, Let us have a try of Sir Claude Debussy's another impressionist work - '1st Arabic Suite - Spring Garden' (DEUX ARABESQUES - 1st Melody).
Here, This paragraph below referenced from the description of my 'Wikimedia Commons' was a 'true-heart' dialogue, which can guide us the music imagination and impressions-forming: 

' I was dreaming of a morning awakening in Hanging Gardens of Babylon (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ). Then, gentle breathes of spring told me stories in my childhood painting sheets which has stood up  several imageries, including a bird-transformed angel-girl and Ali's virtual trip to gods' place for love... which were reminded unclear now... sorry. Oh, I can remember the time was when I opened an old book from my grandpa named One Thousand and One Nights (Wikipedia introduction: https://en.wikipedia.org/wiki/One_Thousand_and_One_Nights) that I can read words in my first time. But, in the following tens years of my life, it's heard that happiness and joyfulness in Islamic Garden，like tune sung away in sky by nightingales, left tears with the sadness becoming a dominate theme running throughout the darkness... Spring is the most beautiful one growing from one long-drought desert-area or 'heart'... people knew(Wikipedia introduction: nightingale - https://en.wikipedia.org/wiki/Common_nightingale;Islamic Garden - https://en.wikipedia.org/wiki/Islamic_garden) I have nearly forgotten how beautiful water 'fireworks' raised up by fountains were projected out green vitalities in sky upon desert and diverse mythical animals living there... Until one morning of later spring, I have been to carefully sight-read the manuscript of Sir Claude Debussy's  'DEUX ARABESQUES - 1st suite' (1888) in piano... I found romantic lines wandering upon impressionism background with nightingale's natural musicality of singing praying back a blooming spring have all been summarized in this 'song', which made it soon become one of my favorites... My father told me: Jason, after I heard it, I can feel the willing of expressing its civilization in freedom, as being recovering, but still, it's with a piece of 'unspoken' sadness... Oh, that's quite correct... I thought.Saying something lighter:Currently, it was a hot summer - though posted in a little bit later but 'hurry' time - I prepared it in only a couple of weeks, and some ideas cannot be fulfilled, when diving under seawater in my hometown and opening my eyes bigger, I still can feel the cool feeling attracted by blue jelly-liked bottom was quite like a spring waiting there - warm but not hot, peaceful and with pains... Just mentioning the feeling, I thought Jacques in the movie The Big Blue (currently, I have watched)  would carry the same complex. But, mine is in piano and life. (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Big_Blue ).Oh, sorry,  so far away, I just wanted to emphasis an element of 'Spring feeling' in this Arabic song (suite). Indeed, when I was in Newcastle, one morning, hearing words from a peer of Iraq (mine) praying on a piece of ground-carpet towards ' The right direction' in his heart, what can also give me a 'spring feeling'...So many words... let us listen to this suite with singing musicality... I would modify it with better techniques in short time...Thanks! '(Han, 2017) Coming back again under the sunshine and softly breezing winds in New Era Time, what I would like to further self-reflexive was:' Thanks to this Time, Hanging Garden was almost seen near my eyes with more blooming flowers... Maybe still some pities that my heart didn't reach too far as from a critical aesthete's eyes; but happiness, in the Babylon Garden of Imagination, as a plant would be growing to the Green Tree in a night of 2018 Lucky Dog's year, under which beautiful voices from a singer, or nightingale would freely wander up and totally relax you long-time ‘tighten nerve’... to welcome a mind wake-up in one 'cool' morning unknown with 'dew-drops', fountains, citruses, and special natural creatures... all in musicality...' (Han, 2018)


Here, I need to set two references, in terms of which one was 'Patrizia Prati's version' which I had heard many time for enlightenments and the other was the manuscript I sight-read for the credibility: 
1. Patrizia Prati's Version: &lt;ref&gt; Prati, P. (2016)''Français : Première Arabesque'', Claude Debussy (Wikipedia article):Creative Commons Attribution-ShareAlike License. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. (Accessed: 11th, July, 2017)&lt;/ref&gt;  
2. Manuscript for Credibility: &lt;ref&gt; Translated: Wang, J. Tang, C. (eds.) (2004) ‘1ère Arabesque - DEUX ARABESQUES’, The Collection of Debussy Piano Imageries, Beijing: People's Music Press.pp.5-9.{{ISBN|978-7-103-02765-3}}&lt;/ref&gt;

'''Self-reflexivity:''' I respected others' versions and appreciated them very much, especially from the reasonability of piano deals. But, if you asked me: Jason, what's your characteristics? Maybe... In brief, I am willing that it was: 'more colours with impressionism techniques reflected from daily life... such as 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' and 'The play of natural light (sound effects) is emphasized. Close attention is paid to the reflection of colours from object to object', etc; and ' my full of emotions have been expressed in ways of Neo-expressionism and Neo-classicalism'. Further more, after real practices in some life scenes out of classroom, I would suggested putting an element of ''''France Romantic'''' based on reviewing other cultures emerged from imagery notation would be an good idea. Please have a try, thanks!
[[File:Claude Debussy - 2nd Arabesque (JMC, Han).oga |thumb|1st Arabic Suite- Spring Garden(in 3rd version: Impressionism Singing - Main natural Lines&amp;Breathes from Sir Debussy)]]

3. '''Later time of spring-New Era''' , a colourful Butterfly is gently flying into your Hanging Gardens of Babylon -1st Arabic Suite (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ) , and taking  your imagination&amp;dream to a flowering life-mountain facing a farland sea...Watching some time of one section inside, you can also hear Monet's 'Quiet Morning' upon the sea...Alongside Butterfly's dance suite, Stories are beginning...Oh, listening... it's the legend of Butterfly in birds' song...

[[File:Claude Debussy - 2nd Arabic Suite (Arabesque) - Spring Butterfly, Performer JMC, Han.wav|thumb|2nd Arabic Suite- Spring Butterfly (Impressionism Singing -Main Natural Lines&amp;Breathes from Sir Debussy)]]

===== About the performance of Debussy works, piano Keyboard's touching pathways, techniques, and effects shown in Wikipedia need to meet some standards of impressionism, Sampling - Clair de Lune =====

https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg -
Though this edition has been studio-produced without some unnecessary noises, It wasn't from the nature of life, and with the reasonability of impressionism. Meanwhile, it carried some mistakes. Therefore, I don't think its notation-reading and Piano touching techniques have met impressionism's standards, such as the seconds (0.46-0.49 note F , and 0.53-0.54 note D) - two long-keeping notes absolutely being made the technique-mistakes by being divided into two single ones which deeply broke melodic harmony. Some other mistakes can also be found, such as (0.57-0.58 root chord Octave E; 2.34-2.35 high pitch C in the middle part, the lost expression of Calmato from Bar 43; The no distinguish of 'pp' and 'ppp' from Tempo I etc.)
Another perspective, from 1:39, the impressionism arpeggios produced by master Debussy, on the middle part by left hand, have been deeply broken into single notes' on-going; then, impressionism music's colour-fizzy impressions borrowed from its painting, which was reflected out by hands' skills have been totally ignored. Yes, every note was clear and run in beats, but impressionism disappeared and hands' abilities in controlling linking notes and running them in certain active speed hadn't been made the accompaniment with the whole theme's development. The very importance is the dynamic level of bass long-keeping notes in lowest part haven't been played with 'tender but highlighted forces' gently, which needed to give people some unconsciousness impressions as deep 'footprints of coming'.  (2.23 - 2.24) - from these seconds， high tide's 'En Animant' hasn't been performed well with the sparkling lights upon the higher pitches linked as in a whole logical line, then required to be tenderly pressed the force into keyboards; meanwhile, it and its following paragraph are also too quiet without deep thoughts and without the dynamics level as motivating to 'f' etc. Rather than only these sampled points I pointed out, indeed, there are also some many keys lost accessing to impressionism, which haven't been performed well.
Therefore, I need to say: I have to recover the original edition as both the respect of master Debussy and respect of fine artist' aesthetics. Though in last edition from wikiversity, some pink noises layer was existing. However, it was true both from life and from past experiences - then it was called deep impressions. Can life be pretended without noises? Impressionism is also. It cared about soul root's purity but fuzzed the details (on purposes as by special techniques) Meanwhile, last edition in Wikipedia has also respected Debussy' original notation-reading and soul-expressions. Meanwhile, player's emotional changes about his own past tens more years regarding with this work had all been applied by tightly participant-observing the universal logical line of Clair de Lune implicitly, just like some symbolizations produced impressionism, overall. Then, you can hear some struggling feelings and self-releasing being deeply hidden from the root, which was also participant-observing Debussy's historical life-line. 
If some better editions can be found, after panelled discussions, we can push further more. Meanwhile, I am continuously researching this field. If some communications focusing on melody itself rather than some unnecessary issue, I am very happy to give my talks. Furthermore, indeed, I was very touched by this player's bravery of playing Fine Art's Digital Literacies earlier, but some details need to be up-to-date and regressed back the Composer Debussy his own thoughts from his historical background and life themselves, as engineering giving beauties to commons. Here, we need to think more ... Thanks!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:05, 10 October 2016 (UTC)

'Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies,[43] and the forms are '''far more irregular and fragmented'''.[44] These chords that seemingly had no resolution were described by Debussy himself as '''&quot;floating chords&quot;,''' and were used to '''set tone and mood''' in many of his works. '''The whole tone scale''' dominates much of Debussy's late music.' (Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

These sentences referenced from Wikipedia was really good for understanding Debussy's piano techniques and Key-board touching skills, wish we can make more understandings. I think 'floating chords' are impressionism arpeggio; meanwhile, emotional depth have been explored, rather than a 'stable lake', but with dynamic levels and even 'hidden struggling of life', then, 'self-releasing finally'.

'Rudolph Reti points out the following features of Debussy's music, which &quot;established a new concept of tonality in European music&quot;:
Glittering passages and webs of figurations which distract from occasional absence of tonality;
Frequent use of parallel chords which are &quot;in essence not harmonies at all, but rather 'chordal melodies', enriched unisons&quot;, described by some writers as non-functional harmonies;
Bitonality, or at least bitonal chords;
Use of the whole-tone and pentatonic scale;
Unprepared modulations, &quot;without any harmonic bridge.&quot;'(Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

This part is really good, which reflected out the necessary that impressionism techniques and skills are needed in dealing with these composing habits and requirements from Debussy mentioned for our players. I think, the floating hands-skills, fizzing details and oppositely pushing out theme in Impressionism arpeggios, are really needed. They can be transformed to techniques we need to give ourselves some trainings.

=== Some theoritical constructions summerizing creative thinking skills, phylosiphical roots, psychological ideas and educational research skills, applied in piano field ===
 '''Button:　(See Besides)　'''　　　　　　　　　　　　　　　　　　　　　　　　　　[[File:LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS.pdf　|thumb|LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS]]
('''Post-comment:'''
After repeatedly exercising, after a procedure from clear division of each stage strictly to entirely usages by fuzzing boundaries with learners, finally, this approach will be naturally merging into teachers, teacher educators and learners' daily classroom-oriented operations. Bearing 6 stages always in mind to comprehensively think out practical solutions for problems ranging from simple ones to much complicated ones is always very important, which can help us clarify your thinking in piano and musical education.)

=== Piano Exercises (PE): Postmodern Piano Teacher's (Performance &amp; Keyboard-touching) Continuing Developmental Zone with a crystal heart as Kid's  ===
==== Improvisations for Future====
Main files: Please see the Portal 'Blues &amp; Jazz learnt for fun and a fast brain' in the Portal section above
==== Reorganizations &amp; Solo-rehearsals for Some 'unbelievable &amp; dreaming' melodies in Life-long 'Music-Journey' ====
Friends, Life journey is so long that many emotion-landscapes are going up and down. To be a Happiness Piano-teacher (Piano-teacher for dreaming and sharing the Happiness-land), we are always on the way... When beauties of a flower or a river are touching our heart, we preferred to make out (catch) them buy hands. Then... Have you heard annual Vienna New Year's Concert? From born time? Yes, in 2018, it's mostly like a fantastic Southland Rose, under Italian conductor's hands. But, in 2019, under Germany 'Big Bear' Composer's hands, it's like impressions of North-sea waves. 
So rich views, they were like, varying on the trip... However, there is a piece of waltz never faded, which? Yes, the Perfectionism Waltz - Blue Danube Waltz, flowing from Heaven-spring or from the pure harmonic part of your heart. In so long a life journey, I have been dreaming for many years..., but really hard for piano... The year 2019 told me: Jason, you can play some not all, even like a smaller collection; and remember Sir Chopin's suggestions - 'Very independent Waltz Fingering techniques and fioriture ornamentation'... Further back, in I a little girl student's teaching plan, I added a small task - 'having a try of Blue Danube' through a notation textbook - 'Brilliant Pearls on the Keyboard'. Now, in the End of May, I gave a reorganized &amp; re-integrated edition of piano, myself: 
[[File:Blue Denube in my heart.jpg|thumb| Piano life is like the travelling Blue Danube, let us see]]
[[File:Blue Danube (Exercise and variations-collections in piano) JMC, Han.ogg|thumb|Blue Danube Waltz in piano,  JMC, Han]]
Though many details were still rough in my ears (compared with some perfect editions), I never heard it played in solo-piano and what structure collected was much suitable for piano techniques-training: 

 '''Introduction (Andantino) - A. Waltz (Main) - B. Waltz (Development and Peak 1) - C. Waltz (Development and Relaxation 2) - Coda (Repetition and End)'''
Blue Danube Waltz is still dancing &amp; going on... 
This procedure taught me: '''For some beloved melodies beyond piano's ability, we can cut and pick up some sections not all, then reorganize them in a much suitable form for piano - introduction, development, coda.... ''' I will train myself further more...

=== Small breaks to relax yourself... in Neo-expressionism &amp; Neo-classic of Pop-piano ===
=== 2018 Spring-Echo - Dreamed Flowers-blooming, Cruise-ship trip to Sasebo in holidays and a Self-Doctorial public performance (5 days and 10 times) in 'Children's Corner' (mind-recognized and notations-above collected) Restaurant ===
* [[Portal: 2018 Spring-Echo trip to Sasebo and a Self-Doctorial travelling Performance  | 2018 Spring-Echo trip to Sasebo and a Self-Doctorial Travelling Performance]]

== The Postmodernist functions of tertiary education in Jason's views ==

In my mind, tertiary educational system need to benefit ordinary people's daily lives, and also can continuously absorb the nutrition from them for growing further. 
Imagining the coming of one beautiful day when waking up in the morning: 
all the aging people, middle age people, young adults, young teenagers and children -
no matter where you are living in, 
you will not feel hollowed emptily in mind with hopelessness.
Oppositely, 
through shuttling in your Postmodernist channels to accept the fresh knowledge freely (contracting with the global society digitally）, 
you can know what you are going to do, 
how you could realize your dreams by fulfilling your daily plans, 
and what contributions you will be making for the worlds.
Then, your life would be valuable with the blue hopes 
under the free sunshine of pure knowledge. 
This Postmodernist Regressing-situation should have already been predicted by a classical painting - 
The School of Athens 
'''(https://en.wikipedia.org/wiki/The_School_of_Athens).'''
 All the people internally can freely research their Life and knowledge in their own 'channels'.

At that time, every young person and child's giftedness (even very different from what we have already known) 
will not be ignored, forgiven, or blocked by the society
merely because of the limitations occurred from their special problems, their private difficulties and their disorders (mental or physical) which might be hard to tell others. 
The reason is that plenty universal citizens online would associate them to realize their dreams. 
I knew this vison is towards one huge project for all and somehow a little bit lonely way for me, 
however, I strongly believed in: if every person everyday attempt to travel one step friendly (even very small) for others, 
'tomorrows' will be the beautiful days for all!


== '''The daily collections of Jason's Postmodernist Language''' ==
=== Introduction of this part ===
In my mind, the pieces of fragmental consciousness and some unconscious roots have been inspiring your life-strategies and decisions. However, they are somehow emerging easily in your short-time memories and also broken easily.  How could us frequently collect them and contribute to our postmodernist civilization immediately. I think: collecting your daily internal and external language might be a good pathway.  

=== Contents ===

==== Some words from 2016 ====

1. Sciences &amp; Technologies can better the materialist standards of ordinary people's life; meanwhile, philosophy can give people the wisdom to self-reflexive their life standards for dreaming an idealist future; meanwhile, theology can keep their well-being situation be peacefully maintained. In postmodernist life, after constructing the channel threading the Trinity, I cannot see the conflicts, but the cooperation and negotiation. (7th/June/2016)

2. When navigating in the sea, the directions of sun somehow are depending on your own heart. Whether it is sunrise or sunset, you should ask yourselves(There used to be a philosophical debate about where is the centre of your worlds - heart or brain, about which we can search some information in Wiki-team's 'channels' online).
(7th/June/2016)

3. Children's eyes are prettily beautiful, which can bring holly peace and heavenly love into your mind. Watching them, touching the universal harmony and postmodernist imaginary-regressing to your own childhood; in what channel, I almost forgot some pieces of  unnecessariness, such as hates, boring issues and hostile emotions, and only leaved one pure dream in mind - being together with them to play, and play with smiles hung upon faces. In psychology, it was to say: people would pick up their childish in the later life as the intelligence's regression to be innocence as time's passing by. But, but, I'd rather picking it up in my middle ages, or even from my childhood itself. In that case, my postmodernist trip would not be painfully or singly enough, but with full of sunshine. Oh, good night, my worlds! hoping children in their channels including these generations and the next and the next after the next ones - would enjoy their peacefulness and joyfulness all the time. I will have been praying for all in this channel - mine, yours and theirs - time after time, until the numberless recycles upon.
(16th/September/2016)

4. Today, watching the autumn-leaves here - falling from the higher place to the ground greyly, my memory was also falling and falling to certain part named 'self-reflexivity', or 'mind-independent land' as in the past:
Three years before, I had been a very peaceful and ashamed boy, of whom, even made any arguments with others, the face will turn red. On those days, I just wanted to enjoy my own small joyfulness with my family. Currently, I saw he had been very foolish but innocent enough. Sometimes, when I was him, I enjoyed to watch beautiful moonlights, felt its silver love can be compared with Mother's dedications in my education year by year, or someone else who had would like to make the accompaniments with me in my small life-trip. I didn't know how to quarrel with each other, but just follow some ideas to make further thoughts. In that time, peers, relatives and family members all thought I was a good boy. 
Until one day, I began to gain more multiple-disciplinary knowledge, then critically thinking of my life across cultures and subjects. Then, I went abroad for multiple-views of life and academy for the purposes of getting 'bilingually and comparable views' as in philosophical education.   I found: what absolute pieces of knowledge, even language and number themselves, are somehow not enough absolute and peaceful as before. Yeah, someone taught me some keys; then, I thought I can train them very excellent even super-against someone's levels before, especially dialectics itself, depending on which I can make much more trips and see more beautiful views in my channels. I can also travel to more reasonable and purified 'places', somehow, than current, with the foundation only on a huge summery of multiple-subjects of knowledge. I can shift myself from here to there, from now to the future situations after being reasoning about the possible tendencies. But, this isn't my false, which made someone feel really not happy when I took my stances. They began to make various troubles for me, and I began to make various arguments, complaints and appeals with them, just because what I said and dreamed after had been really not wrong, but possibilities for future - even good visions; and, they didn't believe in what they had seen. Oh, I am researching thinking and education for many years in my ways and I am really not a foolish; but why didn't they give me an opportunity in totally expressing the views I thought in certain field, and even the possibilities for themselves? I did really don't know why - I thought it was because Lord Universal Infinite is fair enough that when he gave you somethings to see, he also covered your another eye as the repay. Every time after the argument with others (even I was successful or fall), I felt of the very tiredness and I was somehow a little bit 'dirty' than before. From heart to say: I feared to argue with others and really don't want to give anyone any troubles, I just wanted to enjoy my beauties - the beautiful music, beautiful scientific approaches - thinking and experimenting, and how others are emotional changing and intelligent progressing etc. But, facing the knowledge given freely from universal reasonbilities, I need to show my respects of their beauties, and I need to be more reasonable in thinking. No matter who you are, where you are from and what kind of authorities you conquered. We were all equally sitting on the balanced Scales of Truth freely. Oh, every time after the argument, firstly, I would feel - indeed there is no correct answer, but main tendencies for... but why your eyes were just focusing on my behaviours... what I would like is to tell the truths, but why you are so critiqued upon my ideas ... if you are travelling to my point between the pressures of two cultures, your thinking will not be better than me etc. - somewhat like shown above. I felt really painful, but I enjoyed pursuing the 'big look' of knowledge, its reasonability and purity themselves. However, if I didn't make out my voices, might be no one would know them, or being latter - they are all going to be separated into fragments in their own channels without caring about the connections between them. In other words, worlds objectively inputted in my eyes and my worlds subjectively reflected out in mirrored universe will not unified together. That's a terrible future. Indeed, what my purpose was very simple, for teaching and learning from each other freely. I want to be a good teacher educator whom, if in my later time, can give every suggestion according to someone who turned to me, with the creative zones I can see. Then, I am accumulating more every day and trying more every day.
Oh, I am praying, praying for that innocent Jason's coming back who, this time, is with multiple-subjects’ knowledge but also gentle, and peacefully as before. Oh Lord, we all have been making sins. Please forgive our sins! Let us all feel peaceful as before!

'' ''The Garden Eden:''{{'}}: Then the Lord God planted a garden in Eden, in the East, and there he put the man he had formed... In the middle of the garden stood the tree that gives life and the tree that gives knowledge of what is good and what is bad... '' {{'}}Adam and Eve Are Sent Out of the Garden{{'}} {{'}}So the Lord God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed{{'}}
&lt;ref&gt;Genesis 2: 8 - 10; Genesis 3: 22 - 23 &lt;/ref&gt;

5. Oh, dear. I am hoping this time my moonlight can last for longer time. Then, I am praying for peace. Oh, what is love? someone fell in love with a person, someone with a city and someone with a piece of music. Wishing this time, my dealing way is in good matters.

6. Fine arts need to respect some innovations from common's daily life. As the responds of Talk in Claude Debussy, I still need to point out: Wikipedia still needs to respect commons' so-many-years' training and love of one piece of music. If it was talking about music, we need to respect some facts and don't tell lies.

7. I have clearly shown out my stance' meanwhile, in order to respect others, I put my version in Talk. 
Talk place is for talking this subject with freedom. Even there, someones still want to break these basic recogitions and pricinples. For what? I don't know. If for money or some other ugly things, don't do it!

8. If appeals were too may and still without respects, appeals will be meanless

9. Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed his this impression to peoples all round the worlds. The very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:44, 17 October 2016 (UTC)

10. If there is no teachers and young teenagers researching music for many years and telling what they were seeing in this field with academic styles and in real or virtual classrooms, Musicians' beautiful flowers will lose their colours. Yes, we are Postmodernist commons online, and sometimes, our voices usually were ignored. Yes, maybe, we are not very professional (Indeed, I thought in one thing if you have interests and love, you can be keen on doing it for tens more years and even longer, that's enough good. Education researches and Psychologists told us, we, ourselves, can already be compared with experts.); and sometimes, we are not professional in using some professional technologies. However, we haven't lost ourselves and tried to dream after the beatiful heaven in our hearts all the time. That's what life's meanings existing in. Sometimes, we feared about unnecessary confliects' happening, owing to that we are peaceful. However, this didn't show that we were weak. Children and young teenagers, my Debussy' case told us: no matter when and how, we need to take some stances and insist on doing what we are dreaming. Behind you, there are your supporters - known or unknown. We need to give them our thanks and bravely face our life.

11. Protecting belongings, maintain yourself against cheating deals, and keeping value-reflecting-price business in China: (I didn't want to make this talk so explicit, just as a daily talk from a common Wiki-member. Then, in this case, I am very carefully to use languages, even my emotion is shaking with unhappiness. I don't want to hurt anyone and don't want anyone hurt my family.) 
Firstly, I love my country and feel good to be a common citizen. However, from long-time's participant-observations, somethings unhappy I still need to say: To be a kindhearted Chinese and don't feel tiredness about some unnecessary issues against some unfair deals are somehow two hard jobs, even only in life. From central TV channel, to local channels, to Internet digital world's channels, and to some newspapers, usually, notices were all written - Please taking care about your belongings, keeping a very clear mind when treating some deals, and trying your best to take a value-reflecting-price business, in China. Yes, 'in China', every time hearing this high-lightening, my heart always felt a little bit sorrowful, especially about 'cheating deals'. From my childhood, I used to feel strange 'why just Chinese was mentioned, why it was towards Chinese, why did we be mentioned shaping our behaviours when making some deals, even in daily life'; yes, if there weren't some unhappy things occurred before, this special 'notices' shouldn't be highlighted, even our own channels, for really protecting some honesty people's practical benefits. But I really have to say: it was a real fact. That's why Education and Daily Notices awaked us everyday. Indeed, 'price running around the true value' - this principle is what keeping things going well. Even being over or below in certain controllable situations, it shouldn't be so exaggerated too much - to over or below certain degree too much, such as 8 times or 10 times more. Meanwhile, it shouldn't be existing without getting the other side's (buyers) permissions, or finally just waiting 'the process of the cheating deal' having nearly been completed to the final step (buyers have wasted so much energy and time in this case), then presented out as excuse to set out the responsibilities. In those cases, they can all be called 'cheating deals'. 
'Stealing belongs' are what really cannot be accepted by the civilizations. In china, some people, especially some being-threated aging people and children have to become members of certain criminal groups. They were sent to some public places including transportation-tools , such as buses. In these public traffics, usually, it was very crowed and the distances among people couldn't be accepted by a humanised civilization. 'Too many people, and too crowed' and 'driver's attitude somehow was really bad' - Those are the real facts lasting for tens more years. Depending on these unmoral distances among different people, these thieves can naturally 'attach' to some persons' shoulders, elbows, waists and hands, which are somewhere your wallets, bags or satchels placed. Then, their hands will wander towards zippers. Even worse, someone would use knife to break your waists, in order to get your belongings. The ages gave them the 'hidden conditions' to make crimes and would become their excuses to set out the responsibilities. They would make the attempts to steal your belongs for many times. After your turning heads back and found their cases, if you are an adult and strong man or woman and pointed them out directly and would like to notice others' care-taking, they would make quarrels with you in the public places. They would draw moral powers to attack your notices directly, in order to 'hide' their crimes or dispersing your attentions; then, they can get out from their situations (Yes, somehow, they are aging people and you are younger.) If they haven't achieve the successes and you founded it, they can also 'slide' away, depending on their public misleading. Then, they could disappear in the crowed 'people sea', and would focus on the next; or get out from this bus for the next. Usually, they weren't working for their own benefits depending on their own willing; but behind, there should be some darkness groups, which has almost been a public secret. Their crimes, if small, can be forgiven by your mercy (Indeed, we really want to ignore them, but ...), which are also understood and grasped by these groups. Their health-care and education are really concerned by people, especially towards some children. &lt;small&gt;(Taking some samples from my own participant-observations: when I was a undergraduate student in Dalian, I used to encounter a child steeling my bag in the market when I was buying a piece of delicious Xinjiang cake (Really very delicious; thereby, I enjoyed to buy some). This is a fact that I have lost my ID card, all the belongings and the money; but today, this case repeatedly occurring upon me, after the time of ten years, when I was in a bus. This time, it was an aging woman that she attempted so many times towards my satchel, which made my attentions. I wasn't a fool, but somehow like a fool. Secretly struggling with her, I attempted 3 times to avoid bad things' happening, by twisting my satchel in front from aside. Then, she turned to the next- my mother, beside me. I turned my body to the other side to block her pathway, but it was unsuccessfully in get back her evil mind. I have to directly point out this unhappy fact to all, in public. What I wanted to do is just awaking people's care-taking of their own belongs in this crowed and unhappy bus. However, my mother wanted me to keep a secret. Why? she didn't know how many people in her groups are in that bus and she didn't know how to deal with some moral blames and misleading towards her son, if being trapped with this aging woman in this crowed bus for so long time (the distances among people have been over too much upon normal people's physics endurances.)   Yes, I can, and almost, I need to. In China, there is a traditionally thinking way - 'Keeping your own businesses without caring about others' issues, especially when this issue wasn't about your own matters, or, you or your family can avoid or escape from taking hurts, signally' - this one usually kept the right one who wanted to notice people in the 'mouth-closure' and let some 'unhappy issues' happened in public as the secret, time after time...)&lt;/small&gt; But taking a perspective from Education: if all the people in public kept what they encountered as secrets, what situations  will be like in the future. If letting aging people or child to steel belongs can be taught to our next generations from their parents or thief-teachers, what will happen in the mind of our next generations. What they think would be: I don't need to take any labours, just depending on cheating deals through some words-confusion skills or steeling belongings from others, then, in risks, somehow, we can get 8 or 10 times more values than before from others, or from nothing I have directly upon to all. In the other side, buyers or belongings-losers will immediately lost what they used to own without being honest treated or being merciful dealt, even in their own life. What-like will our next generations be made as?
Therefore, in my mind, in postmodernist globalized civilization, these are really several Red lines which were touching bottom of Education, and we need to tell children and young teenagers what are right or wrong; so that, I written this recording to bear somethings in mind.
(I make an apology about this language collection's quality is a little bit rough - the fluency is between bilingually oral and academy, because of the very unhappy emotional participant-observations during its completion and its instability with anger. Therefore, lots of details and several small events have been personally ignored, including　one opportunist price bid-up (10 times more)in street market and another half-weight-added relationship-selling without clarifying the quality and quantity of products. They all happened in my hometown, which made me feel really sad. If merely seeing it as one in my self-researches of life-language phenomenon for language-improvement  and taking it from educational perspective, my heart might not feel so painful. Hopefully, they can still be fragments without being threaded together; and hopefully, a night after, I can totally forget them. Yes, after watching child's face and hearing her melody-playing, my mind was calmed down. Okay, I would like to take it as one bad educational material in case for teaching good)
('''Suggestions:''' 
(1) To common people ourselves, in order to live, it's better to prepare a Anti-cheating-deal-protection Booklet by collecting various pieces of information from News online, TV channels and Newspaper. To be honest, there are too many pieces provided in China everyday. When watching them, you would feel evil and how can things be like those... Recently, I repeatedly heard some disorders in southern part of China have been grouped and organized to steal belongings. Oh, they are disorders with special needs. How can things be like those! Yes, we don't want to harm others, but we need to protect our own belongings.   
(2) systematical Market order and monitoring for commons' daily lives need to be re-constructed and standardized. I insisted the Value-to-price - this principle should be highlighted, even more over, it shouldn't be much than 8 to 10 times - over this dangerous red-line. 
(3) Materials-saving and re-cycling ideas in own-dream's realization, as only for, need be taught and learnt by more people, depending on which corruption situation would be reduced and unpractical bad emotions influencing commons' daily well-being would be modified.)

==== Words with annual renewable freshness for 2017====

12. Oh, I should feel much free talking something in Jason's Postmodernist Language Part. In my mind, sorry, maybe - my mind has been self-traveling to the future too far. Taking back a step, this one is still and always a holly place for my self-reasoning and self-purification in my own worlds.   
Firstly, Happy Spring Festival of Chinese Area and please enjoy the first day of a very merry Rooster Year - 2017! 


13. Then, today, following 11st point, I want to talk about another phenomenon experienced on Public bus, which I really don't want to mention but have to. How could I organize my languages more clearly like, after encountering this angry experience? I don't want and never want to tell lies, but certain basic trust &amp; honesty was still gotten lost about its diver. Things should go like those below:
Indeed, it hasn't been a current problem but somewhat lasting for long time since my family's returning to my hometown. Facing this problem, usually, it's my mum who over-stressed me too much -  pressing down may stance and don't want me to say out  my participant-observations. However, today, it is the first day of Rooster Year, everyone should apply polite attitude in dealing with and interactively treating each other, as the gift for a lucky year. My family's gift has gotten lost; and thereby, I don't want to give my gift to some individuals in my city. 
In China, as one part of public welfare, aging people, over the age of 60, have been enjoying a condition of public welfare - over 60, they can get half-discount tickets in public bus; and over 70, aging people can enjoy free tickets. You knew, behind the fast constructions of China, so many people have contributed all their life, all their youth time, all their family-working opportunities or all their family-volunteering contributions and all their patriotic health &amp; energy to each city they are living in; till now, they had to (not to say they are on purposes) be aging over 60 or over 70. Compared with what contributions they made to this country's development in their life and youth time, this welfare is really what they should get, as a balance of their value. In my big family, many people got to this life stage; and in my small family, my parents have all come into the opportunity of first stage - age 60  to age 70. (Wikipedia Introductions: https://en.wikipedia.org/wiki/Social_welfare_in_China) Towards people in this group, I found some divers' bad attitudes and behaviours had been really too cruel, need some criticisms, too inhumanity and lost their basic trusts (to commons) &amp; honesty (to their own working opportunities). 
From 1900s to 2000s, in my family, public bus used to be a main way for travelling outside, depending on the technologies. In order to suit this public tool, We have cultivated too many good habits (you knew, in some extreme overloading situations - sometimes, over too much being even without space for merely one person's two feet which was painfully enough carved in my memory that I didn't want to mention  since my childhood - treated with inhumanity and only for money.). Among them, one is very useful relatively linking to today's case - coins-checking: (1)Before getting onto public buses, my father usually checked each coin and arranged them to me and my mum one by one; (2)and evolving from it, to me, before it, I have been together with my mum in checking about money for many times, in order not to trouble divers and keep our good manners in public bus. However, including today's and another one several months ago and several other times' before, though I really saw my mother's five Jiao (half ticket-fee) had been inserted into tickets-selling machine, and before it, I had really self-checked or father--checked, or saw she herself carefully checked the money, to ensure the correct money having been counted out, and in order not to trouble divers or others, for all times (I dared to say so. We really don't want to be trapped in this case). But still, when it came to this weak and slim lady, many times she was tangled by drivers by impolite questioning how much being inserted for many times. Indeed, if just being questioned many times, this case is also of no matter. Every time, in that very narrowed and only feet-inserted space (today, the situation is better), I or my father will be together associating my mother to take explanations - at the beginning, it's very gentle. However, this time, after saying sentences one time, two times, and three times:' we can confirm that she has really put the right money', some individual drivers, like today's in 28, still used very rude manners, down-looking attitude (with somewhat can be called discriminations. I understood psychology and knew what types of actions reflecting thinking ways behind these actions they showed can be called discriminations after so many years' experiences), questioning and impolite pronunciations to treat this poor lady - my mother. If letting me to attribute the reason of his actions, I would say: in societal activities and trips outside, my mother usually didn't care about her appearance and usually being with normal or even non-good-looked and old-fashioned clothes. She was also an aging teacher dedicating all her energy and time into serving next generations, and really didn't want to pay more attentions to the fashion of her out-looks - she didn't care about it and somehow considering it to be a waste of time and would rather pay things on more useful fields for other family members, family constructions or students (Money she and my family made earned is really not easy). Some individual Chinese have a problem: usually, what they behaved aren't according to people's souls, minds, contributions and good manners with beauties, but somewhat outside appearances. To strong or rich people, some individuals didn't want to trouble too much (because of the reason that they are strong or rich or even being clothed as almost rich), but some persons weak or poor or even just being looked as in poor situations and someone who really want to follow principles to behave (they also reasoned it as because of their poor or weak situations that they have to follow, rather than from heart that they respect principles and universal reasonability), they turned to use bad attitudes (from the angles of their down-looking eyes, bad Chinese pronunciation and many times 'suspicious questions - as if thinking everyone is crime) which you can directly feel about. 
Every time, facing this situation, if I was there I would associate my mother to make things clear and if things weren't really caused by our faults, after many times' explanations made like today, I had to bravely stand out: Every coin should be paid for your own labours, if you thought your labours were valued lower than this money, depending on your 'gentle attitudes', you can enjoy it happily. I knew on the first day of Spring Festival you wouldn't feel happy to take your tasks in working. However, you had chosen it you also need to take the responsibilities. Without interests, working experiences would let you feel in hell. Meanwhile, this point is also not following society principles. if you thought it was a burden, you can abandon it without disturbing others' holiday joyfulness; other divers who love it can take as from their own interests. Did you forget the traditional Chinese customs of Spring Festival? They are aging people, do you have parents and did you treat them like this on Spring Festival? Did you treat other aging people like this who are clothed well? Did you want to send every your bad face as 'the gift' to passengers all the day? ... Did you lose your basic trust and honesty to your customers? Without them, how do you want to get others' back? If you didn't respect your own working, how could others respect yours'?
In Rooster Year's Spring Festival Gala (Wikipedia introduction: https://en.wikipedia.org/wiki/CCTV_New_Year%27s_Gala ), 
'basic societal trusts' deeply rooted in hearts (to our own workings, our family members, our guests, our customers, our friends and our relatives ) has just been mentioned as from Chinese people' moral tradition, about which commons want to send some pieces of the positive information and Chinese Civilization to the worlds. Then, in the first day of Rooster - daily life and around people, it was still lost on you. 
Further, lots of aging people, like my mother, facing this situation, usually tried to pressure down her own son or family members, which transformed outside troubles into family conflicts - this is also one traditional custom without the openness to the world. Why? I wanted to make some much careful explanations: facing it, on the way outside, aging people knew they were weak and didn't want to trouble others or trouble their own family members by being pouched or hated by others. They thought this way was a good solution to avoid something's happening. Therefore, if things they can endeavour, they will. Even my father wanted to insert another 5 Jiao to calm down this situation quietly. Indeed, it was wrongly enough. After being educated, we knew another 5 Jiao cannot get back a lost trust and cannot pay for the whole societal justice. More aging people - in this group - may still need to unfairly pay another one time, two times or even more for being in their weak. That isn't according to moral principles and Education. Even more, taking Christianity's view: God, as Provider, trusts in everyone with the equality for many times. And, the balancing procedure made has already started from everyone's young time, even the childhood, till now, and then. 

'''Enlightenments and Educational suggestions for future:'''
(Children and young teenagers, please don't follow this uncle's bad example. If at the beginning, the diver would smile firstly and say: ’Aunt, Happy Spring Festival! I am sorry but I am not sure about your inserted ticket-fee, please have a check. You knew, my job wasn't easy on holidays‘. And, after gotten the answer once, he would choose to trust in this aging aunt and others’ explanations, for keeping holiday joyfulness and following traditional customs of Spring Festival. How fine an end of this case would be! )

14. Following the 13rd point (transportation management), today, I would like to accumulate one piece as for Jason's language. Currently, the situation of transportation is really better than before - last year and even longer time for tens years. However, in this point, about some cases of round-cycling bus in certain zones , I still need to give a very brief summary (I don't want to be trapped in certain unhappy mood too much): (1) If one job, or life-task, or volunteering, or event, you don't like to do, or even without any interests in, please forgive yourselves and others by choose another one. If you can't choose it, please try to fall in love with it. Yet, please just don't cry out your boring words about your careers all the way on bus. It would trouble others' moods while hearing; (2)When talking about some passengers in weak groups, or some pedestrians (walkers), especially aging people and children, passing by zebra crossing, please be merciful! It's because that cars are everywhere - they are parking, but without caring about principles of transportation. Weak groups, even walked out one line, shouldn't need to pay (responsibilities) for the disordered situation of transportation (sometimes). It's also because that you also have parents and children; meanwhile you also have times to be a child or an aging people. (3) Bell, for bus, is very important, especially for round-cycling bus(if 'really' being set and not broken). If you cannot hear it, please have some attempts; but, if causing by continuous talks with another passenger about some other issues regardless with your jobs, please try to stop... lives of passengers on this bus have all be grasped in your hand... (4) Please bring a good attitude to serve people on your bus and forget their social classes and identities (especially in a country run by principles of Marxism &amp; named for commons and when you can't make sure others' situations - such as whether or not someone has already pressed button of bell, but you didn't hear) and take care of your application of oral language and face expressions - at least, it's your job. Only a gentle smile can solve a conflict, shouting can only get back further louder shouting with anger, but nothing else. (5) About meanings of round-cycling bus: In my store of educational knowledge of transportation, round-cycling bus is designed for motivating the economic development of certain areas - tours to appreciate landscapes, short-distance working demands, local visits, local businesses, relaxing leisure and holiday joyfulness etc. Indeed, at the beginning, there were very small regions importing this type of buses. Then, with the economic development and openness, round-cycling bus became popular and common in some economically developing zones. Rather than this type, two-destinations &amp; each-stop bus was in tradition and  always normal usages for crows of people's daily running, which stopped in every station with no bell being set(or being set, but never being used), but for long-distance travelling across one city, from one to the other, or from city center to countryside , whose problems I have also pointed out in 13rd. They have different functional purposes and should be distinguishable.(2021 views: I still feel sorry to see the situation of 3 routine bus in Golden Pebble Beach of Dalian hasn't change any as a true round-circle bus it has planed, and also the bad attitude of its diver I came aross and his language... It's said China's Cloud-data counting way of new technologies can solve it that people will check their card twice-one for the beginning and the other for the end. When being out of a circle, the end one check will report 2 times of price. We are waiting...for commons) [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:39, 5 October 2021 (UTC) We knew the worldwide famous city-tour bus is London bus, which has already been one symbol of the city and has developed a systemic mechanism for various purposes (Wikipedia introduction: https://en.wikipedia.org/wiki/Buses_in_London). Someone may argue: Jason, you are joking, how can small local bus routines be compared with London Bus and this system - so higher standards; and, we are in China with some different conditions, limitations, local habits of behaviours and cultural customs. Yes, that's quite right. But, I tell you the truth: a big and advanced system, such as 'London specification' to meet specific London requirements' (as a world-wide international city), was also developed from local demands. Just in solving practical problems, dividing functional differences with the distinguishability, storing good developing factors, serving people with more humanities and conveniences (you can see: 'All these buses conform to the Disability discrimination act, and can accept passengers in wheelchairs and other mobility impaired passengers'- how this system did serve people in weak groups that we have no need to mention aging people, women with babies, students, or others etc. ), it can get hundreds years' developments without doubts. Indeed, some reasonable solutions have already been seeded in commons' minds - very sample to say: facing bells of bus, the reasonability deeply in minds has already taught us how, where and when to use, which could be seen as the self-willing of being civilized, being reasonable, being following principles, and really enjoying good-qualified life of own purposes. Without needs to mention whether or not certain driver is able to talk with passengers all the way for boring words towards their own careers and weak groups even ignoring others' bells, here, we can get a brief conclusion across cultures: Don't like, won't do; If like, fulfilling in; if lacking, improving it; if bettering, keeping fine; if boring, forgiving in. 
oh, Jason's life task has no enough time and energy applied in this field; and to be honest, after that event, several weeks' participant-observations were better than before - I can feel: on one bus, air-conditioning was opened in cold days for commons; on one bus, a group of aging people can enjoy their travelling; on one bus, bell can work again, etc. Those are good-qualities, please keep on ... Education should trust people's abilities of self-awareness, self-learning, and self-discipline that we can better. Education can give suggestions from various researching pathways but cannot make decisions of anyone. That's what my learning taught me. I prefer to leave a developing zone here for future ...

Maybe, Public transportation has great relationships with commons' daily life and can give a direct impression of how a city is going on. That is why I had wasted a huge paragraph in talking about some principles as common knowledge in educational purpose. I really don't want to be trapped in this case and some troubles outside computer. However, the reasonability of Education (so long time) taught me I needed to do. Indeed, 'The daily collections of Jason's Postmodernist Language' - this session was designed for collections of language's beauties and creations. The original purpose of it is for the accumulation of good-qualified writing materials and educating languages, with philosophical ideas, fashions of musical aesthetics, fine arts, and bilingually cultural elements.  
I am hopping: as the bettering situations of transportation around my living place, my languages will make a post-regression back to original beauties; and my attentions would be drawn back to what fields I should be in. For it, everyday, I am praying everyday.

15. Strongly condemning the terrorist attack occurring in Houses of Parliament in London today - March 23rd 2017, and also any other terrorist attacks (including Paris', Brussels's and all countries in modern civilization), and abusive &amp; Coward's behaviours and hurts towards commons: 
Life and health are the rights, being blessed by lord and given to all the people equally, without the differences of races, genders, ages. Whoever, if hurting them, are commons' enemies and should be blamed; whatever behaviours, if attempting to damage them or succeeding in doing so, should sin so many and be punished.
Let us prayer for peace and commons' security; meanwhile, mourn those brothers and sisters died in terrorist attacks!

16. Sir Debussy's great contribution to impressionism rooted in his application of impressionism to express impressionist imageries generalized from 'Mind-landscapes' which have already been there - another romantic bank. In brief, we can conclude it as ''''Impressionism only for Impressionism''''.  The later impressionism is a generalized definition adding his willing-landscapes abstracted upon certain real natural landscapes in experiences, dreaming scenes, societal events together with family members &amp; relatives, and most importantly - some emotional joyfulness and love's Neo-expressions, which can be post-tasted for long...
17. Oh, I suddenly found: currently, on some good platforms I was in, about Educational research for music, I have gotten deep senses of Wiki-family' creative powers in various aspects, including documents, comments, self-medias, diaries, images... in life and for commons learners. Depending on them, I can solve many problems easily. It's just about me - my own habits' cultivation and from my experiences, regardless with any unnecessary issues. I need say: thanks, I can be a member.

18. 'May, 30th, 2017' - today, it is the traditional folk festival '端午节' in Great China Area (Normal Wikipedia introduction: [https://en.wikipedia.org/wiki/Dragon_Boat_Festival]), as the remembrance of Patriotism poet &amp; musician (Folk Songs) - Qu Yuan (Wikipedia introduction: [https://en.wikipedia.org/wiki/Qu_Yuan]). From academic perspective, how can we make some senses of this 'cultural signal maker', and how can western friends deeply understand this master and his festival? Two branches of orientations - Western culture and Eastern culture gave me a comparison, which can transcendentalist taught us somethings from their similar natures - probably as a universal communication. When Qu Yuan came into my mind, another Patriotism Poet &amp; Musician from Western world was usually emerging too - Frédéric Chopin (Wikipedia introduction: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]). If you ask me: how can I get this sense, I would firstly emphasize the appreciation of Qu yuan's great work - Li Sao (Wikipedia introduction: [https://en.wikipedia.org/wiki/Li_Sao]).After being heard (language with Chu Ci music), your will find the deep impression - the sadness, madness and anger motivated up directly floating above head - would be harmonic with another piano work of Frédéric Chopin - 'Étude Op. 10, No. 12 (so-called Revolutionary)' in each of their series (Wikipedia introduction: [https://en.wikipedia.org/wiki/File:Frederic_Chopin_-_Opus_10_-_Twelve_Grand_Etudes_-_c_minor.ogg]). Yes, they are under the similar emotional (personal) &amp; historical backgrounds and with the similar expressive mood-streams (even a little bit angry sometimes), for each of their own idealistic, peaceful, and dreaming countries but being going to die near-days, and for their deep loves of common peoples &amp; their lives, and were willing to save their nearly broken hearts from dangers and outside threats - yes, in their different eras, there would also have been suffering strong Terrorism attacks from outside (we can definite them as terrorism attacks, causing lots of innocent commons' lives were lost from anti-governments' powers rather than public's historical willing, which were all unblessed and unfair... especially some public harms and inhumanity they faced, from academy, would have already met the main characteristics of terrorism attacks) to damage local peoples' lives - so many people were killed from numberless wars... (Wikipedia introduction: [https://en.wikipedia.org/wiki/Terrorism]). Therefore, in commons' and so many generations' eyes following, they were heroes and their works can be called 'National works', and there should be some days annually ranged out from the respects. In another similarity, they all represented each different ideas from mother-tongue music traditions - 'their national characteristics' - Qu Yuan carried Chu Ci (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chu_Ci]) as the pattern for his artist innovation; while, Frédéric Chopin pushed Mazurek to the historical stage of world music; all for their loves of own countries. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Mazurka]) Therefore, they can all be called 'Poetic masters in both language and music'; just, Qu Yuan was quite near politician &amp; philosopher, but Chopin was quite near musician &amp; romanticist. 
Furthermore, I have found another historical similarity in materialism: in order to make the remembrances of them, generations all applied the symbolic objects standing for their bodies into custom and culture. This point was hard to be understood. Let me make it clear: In Duan Wu Festival (Dragon Boat Festival), people living in Great China Area usually ate Zongzi (Wikipedia Introduction: [https://en.wikipedia.org/wiki/Zongzi]) Do you know why it was done? After ' he committed suicide by wading into the Miluo River' - oh, he was so sad and angry about the death of his country, people was afraid of his body's destroy in the river by fish's bites. They researched out 'a traditional Chinese food made of glutinous rice stuffed with different fillings and wrapped in bamboo, reed, or other large flat leaves' (Wikipedia introduction: [https://en.wikipedia.org/wiki/Zongzi], 2017), which was made in the shape of body-liked diets, and if being thrown into the river, can attract fish's attentions away from Qu Yuan's body; thereby, his body can be alive and stored always in the river, as for the dependence of his spirit - to be a real river god. Oh, you can find it was also a romantic story merging into commons' customs for food and life. You knew, in traditional Chinese culture, if someone had made great contributions, commons would inductively research out one food of a festival in fairy legends, for deep respects and mind expressions. This was for their material's (body's ) immortal lasting. Very interesting, I found 'Chopin's death mask and a cast of his left hand' and 'Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin], 2017) were also represented people's loves, respects, and remembrances of their lives through carving, protecting or storing parts of their bodies. In some degrees, their lives and spirits were still existing in 'Mind-Independence worlds' of our civilizations through enjoyable festivals and customs, on paper and in music multiscript, and in patriotic expressions and poetic romanticism. 
Tonight of this festival, I was quietly sight-reading them - their minds upon words, and read out the same hot-beating heart, the independent judgement of societal bad &amp; good and universal reasonability, a good willing from our pasted academic masters and intelligences, and the interactive loves from commons in our common root of customs and cultures. Now, on this commercial and changing-lot earth, please try to keep them, for bettering human beings' future.

19. Taking a glance, 2017's hot summer has been arrived. Very happy, Round-channeling bus, I mentioned before, can be in a real cycle with so many landscapes; and some situations of transportation have also and almost modified. Take an example: Near my home, I can also see some endeavors (not being totally solved) have been applied, such as facilities (barriers and separated areas)for keeping emergency Exit throughout and cars' parking in order, though it is really a complicated system and the effect is waiting to be tested. The situation of crowed bus has also been modified in certain degree, by adding some seats from back-place (In this case, I can see some experiments have been applied in terms of whether seats should be added in front, in the middle or at back. Finally, almost being at back was a good way.) But, sometimes, it was still crowed, and choosing different ways would be a good choice. You knew, soooo many people. After reviewing most of my life in this period, I decided to make a Consciousness Stream for summarizing my fuzzing impressions and beauties in this period. Meanwhile, I would like to visualize them through my eyes and technologies. As a result: it came out in self-educational views -

'Where to begin this visualized journey? Where could I have myself extracted from various ends of a life thread-ball and wrote down something for a quite brilliant and rather graceful, but still with 'deepest blue dropping lightest grey' summer of my 2017? A monologue, or a self-dialogue with someone unknown in universe, or an implicit symbolization representing lots of life indications, or projections from two mirrors to numberless futures... should land to a super-ego behaviour that I made over my abilities:Pushing against the wall of a strong cable-bridge's Pier (Wikipedia introduction: https://en.wikipedia.org/wiki/Pier_(architecture); https://en.wikipedia.org/wiki/Cable_Bridge) just above water-ground in sea's middle,  water then was soon raising up to one to two buildings' height beyond your head, and a huge eddy (Wikipedia introduction: https://en.wikipedia.org/wiki/Eddy_(fluid_dynamics) ; you knew, Cable Bridge's pier, in sea, can be thought as  'large emergent rocks' presenting this fluid dynamics ), swirling water around you, was forming out.  It's several minutes that you lost yourself in it,  and just were watching light blue water under sunshine penetrating your soul, as if your tomb will be closed in a core lonely darkness out of sight-focus from this purified colour. (I cannot directly express this feeling in my photography portfolio, owing to no camera in my hands at that moment. But, the middle downstairs photo was made in another time when I was passing by that cable bridge and watching the far beach I was right swimming from... Combined with other water colours in this photography portfolio, we can try to make some senses ...)As in order, then, a hope of resurrection emerging from your mind and from the nature of your physics. Breaststroke,(Wikipedia introduction: https://en.wikipedia.org/wiki/Breaststroke), out of my unconsciousness, automatically pick me up from that dive depth. My mind began a argument about which gesture was better for Swift water rescue in Whitewater areas(Wikipedia introduction: https://en.wikipedia.org/wiki/Swift_water_rescue; https://en.wikipedia.org/wiki/Whitewater). Absolutely, my stance was on Breaststroke, because of my personal problems - my nature turned to this one freely and I didn't like so competitive swimming ways. Meanwhile, I thought self swift water rescue - this activity met my tendency that it needed people to keep themselves safe in water, rather than completive purposes. Furthermore, tell you a small secret of my self-training: It's two more years since I began to research some inputs of Tai chi thinking elements, such as self-making an energy ball through water, presenting a &quot;white crane spreading its wings&quot; in water, imitating with a 'merman's jumping', and walking out a 'octopus' wandering', rushing out a 'Tiger's mountain down-climbing'... into the modifications of traditional competitive ways, for self-rescuing and self-appreciations in life. I found 'frog's breaststroke' and 'whale's Backstroke' (It's another story that we can try to apply whale's 'arms-switching' , breathing rhythm and 'frog's up-wards legs' to transform backstroke. It has the possibilities to carry more nature elements. And, you can also make it in the similarity with personally moving a boating machine -in gyms- by arms, I thought) were much easier to be divided (elements), re-composed, transformed and reused by Tai Chi philosophy.By thinking of those special gestures, alongside Jason's automatic 'frog-kick', I was suddenly left into an imaginational world full of sea creatures from the deep sea beneath my face. You can see, a huge red-mouth-opening frog, a giant octopus and my aunt's eating-crab were externalized out of Jason's mind, appearing in the middle-up corner of this photography portfolio, as in the nightmare. Regarding with more documentary researches and discussions of Sea Monsters &amp; Hell, I has already presented in my comments of 'Chinese encyclopedias of Strange things'' in the analysing article of  'Dream Of the Red Chamber' (Portal: Chinese literature: https://en.wikiversity.org/wiki/Portal:Chinese_literature). Thinking of those, a deep fear got out from the bottom of my heart. I told myself: 'Jason, hurry up, move faster, get away from this area...'After swimming to the beach, I found I was born from water, to enjoy a presenting life on both virtualized and realized birthday, with my family members and friend. Under the blue sky, it's only your family members - your parents, your relatives... who will never give up you, and would like to hold some birthday parties for you; and by together, you can eat some feasts with. Thinking here, in my imaginational world, a whole seaside was bombed out by many Beach Tents and people's smiling faces. As if, they were all together celebrating my birthday. You can see: It was real that in the middle corner of this portfolio's left side, there were a celebrating scene composed by many beach tents throughout woods. 'Jason, please don't say those mad words to anyone else! It's dangerous on earth, rather than on Mars. there was no relationships between other people's holiday-happiness and your birthday party. You should understand. Yet, if you told it to anyone, you will be sent to Well-being Centre...'  Every time, mother would feel angry and cry out...  'But, this time, there should be some relationships between my birth and universe's collective joyfulness... Yet, how lonely we came to this earth...' Every time, I would argue words as so... finally, a quarrel or in silence, we made a choice together... ''Bingo...'  However, in this year, My small aunt and big uncle's visitations made my birthday hasn't been so boring. Eating self-helped Western Steaks in this birthday feast (Wikipedia introduction:https://en.wikipedia.org/wiki/Steak) was what event motivating my mood to a magic level. Yes, I had also eaten some traditional Sichuan Cuisines, as regularly on birthday. (Wikipedia introduction: https://en.wikipedia.org/wiki/Sichuan_cuisine)  . To be honest, in my Trinity Postmodernism philosophy, I really didn't know whether it carries some relationships - myself, with international conditions, or universal organizations - it's said China had imported many beef meats from America at that time. I meant it.'  'Don't say those mad words !' Mother's logics... Oh, okay, no matter how, as a common's lonely Educational Researcher, I felt happy to bury myself under those joyful noises surrounded by my family members and friend. At least, I was in a virtualized&amp; realized group, and couldn't never be given up by human beings...Following it, please pay more attentions to those blue mussels (Wikipedia introduction: https://en.wikipedia.org/wiki/Blue_mussel) besides my Cross Birthday picture on the left top. They were picked up from one of my swimming beach, which made me feel happy to see the ecological friendship with Nature, rather than merely in mouth tastes.  And then, on the right top corner of this photography portfolio, Jason has been dreaming himself into a blue outlook for future: currently, the Open Day of Sea Agriculture is coming. Many fishing boats in North Pacific Ocean were waiting to ship themselves out for seafood. As an educational observer, I was praying Lord in Nature would bless them good lucks!  Finally, a consciousness-streaming channel has broken out throughout the axis of this photography portfolio. It's a 'Ironman' composed by Metro &amp; Railway system dug out of this visualization, to a further brightness. It's also said it could be connected with City International Airport, directly from my home doorway, to anywhere on this earth... It would still need some time to re-adjust situations... But, before moving to Mars from this life... there will be still sometime that I can wait... wait for our relationships (even a little bit with the universe)  can be fixed, or wait someone's coming into my visualized &amp; realized LIFE... or wait for nothing but only waiting... IN  a WIKI-Consciousness Stream of a never-ended hot summer2017' 
'''(Notice: Words referenced from WIKIMEDIA COMMONS for Educational Purpose in Wikiversity)'''

20. About the attitude of kids' or young teenagers' piano-practices: This topic was also a hardly-talked and easily-ignored one with many arguments. In very brief and normally, piano-learning should be from a kid's nature, rather than being required by or being forced to by their parents. 'Nature' means: when hearing sounds, you feel happy rather than painful; when touching keyboard, your heart is comfortable, rather than worry; while some problems are existing, you have the willing to solve and don't want to easily give up; When it is a long period you haven't met it, you will miss piano very much; and when it comes to your responsibility, you should bravely take. And, this learn was as one of your own matters, regardless with fame, money, competition, relationship, or other unnecessary factors (About this point, I would like to say more: some people argued that playing piano should bring those unnecessary factors your mentioned, Jason. Yet, in a commercialism reality, without them, do you think still some people would like to play it? Friends, I tell you the truth: they should in a good order that the primary thing you play piano should be for your nature - your interest and love; then, others would follow you nature and as some beautiful supplements surrounding making your experiences much happier. Therefore, it's not to say I play piano for money, fame, relationship, competition...; then, I have to cultivate my interests and my love from nature... If making it of an inversion, you will find the procedure of piano-practices is rather painful and boring.) Some parents might argue that: Jason, how could we see whether or not our kids have this ''''nature'''' you mentioned? 
* Firstly, at very earlier time (maybe 1-3 years old; here, you can review some exact knowledge and timetable from infant perception, such as hearing; Wikipedia introduction: https://en.wikipedia.org/wiki/Developmental_psychology#Lifespan_development; but please don't make it so mechanized, and just see him or her, after hearing some pieces of significantly emotional music, can smile or feel unhappy, and his or her movements, sometimes, can make according to the rhythm, and even, when touching piano keyboard he or she can show the curiosity and interest for a lasting time of attention...) 
* Secondly, alongside his or her growth, you will find his or her games appearing more elements from music and keyboard-touching (3-5 years old). 
* Thirdly, when you have a try suggesting him or her to learn piano, he or she show great interests;
* And when it comes to some tasks of practices and even challenges teachers would give, they can stay besides piano to research and explore some possible solutions and show his or her endurance for a long time... Yes, no matter what situations results will be like, he or she can show the willing and the endurance upon time. Congratulation! Till now, he or she is a good piano learner. 
Some kids told me: little uncle Jason, I really '''love piano''' very much, even in one day I cannot be apart from thinking of it...But, my dear, what is the love of piano? please don't say 'love', just 'to like'. Just in thinking, without playing? 
In one week's interval, 
if you don't want to pay even more than one hour's time for training your hands flexibly according to some tasks' requirements; 
and if as from traditions of piano family-tutorials since Bach, Mozart, Beethoven, Chopin and Debussy's times, you even didn't want to take your responsibilities to pay the basic tutoring fee, didn't want to say anything clearly or later it for more than 5 times until the next time as if nothing has happened that you only need to pay the next 5 times, or make some plots on purpose to miss it in each time, such as forgetting recording notebook, writing on another sheet &amp; then losing it in next time,  as if fooling your tutor, until your tutors' endurance really cannot hold on it anymore 
(If you have some problems in the reality, please say things clearly to your tutors by seeking a secret time as you know or I know, and if helps I can give, based on my all-inclusive educational perspective, I must research out a solution. Indeed, just focusing on piano tasks, I added lots of extra time following each session for problems-solving and asking questions of your piano practices and showing out effective solutions, if needed... Therefore, please make your attentions just on knowledge and skills, and don't waste your wisdoms on how I can set out your responsibilities. If for money, making good usages of your tutor is better than wasting time to think of avoiding fees. Please thinking like that: if I can learn 2 sessions' content in only one session, show my giftedness out to my tutor and get senses of achievements from learning,  will I have save much money for my family? You knew, you tutor also needs to survive!); 
and right in tutorial, if you even didn't want to focus all your attentions on piano learnings, but thought of other things projected from your eyes-touching, and showed very lazy movements on some locations and very slow responses, but required by your tutor's instructions and guides;
how could you say you '''love piano'''? 
Oh, my dears, you knew, the interactions between you and your tutors, if being motivated out and sustaining well, are beneficial for both your learning and your teacher's teaching. If recycling well, it will also be very funny and constructive for your developments that some interesting games, activities, solo parties, realia-explorations, visualizations (painting together), language descriptions and even visitations to some landscapes can all be magically organized, which were what I continuously learnt from British Council. And, every piano teacher also has his or her own magic to make classroom funny, if he or she feels happy to teach. Without interactive motivations, without a interest, and even a small respect as to your classmate (Western world) or to your own parents (Eastern world), how can things be good for you?
By sending those words above to my field, what my purpose was for a good wish that someday we (tutors and kids) could really join together as peers to touch beauties of fine arts, without any unnecessary desires and only for a true heart from nature. Till then, you will find what a beautiful world piano in music will be...Thanks!


'''21. Case study in Appealing: From this page https://commons.wikimedia.org/wiki/User_talk:Jason_M._C.,_Han, which I used in Wikimedia Commons, we can see the list proved some individuals have plotted for long time (Yet, it cannot make out a so detailed list with many visualizations and sounds used in Wikiversity) to against formal and good purposes in educational views. Otherwise, it cannot be so detailed. But, those educational designs were made for more kids' learning of piano through their watching, listening and reading... I felt sad and confused very much. You knew, I had a dream that one day, if there were internet in any corner, our next generations can all enjoy equal rights to watch some beautiful learning materials and make some arrangements for teaching and learning. What I applied were my most beautiful languages in English and piano techniques since my 4 years old learning which I could write. I didn't want their disappearance, but I really disliked those people who, I don't know why, plotted to delete others' contributions...without caring about their reasons.It would be from nature... You knew, I even live on those materials and put all I can give from my life as action plans, life tests, participant-observations, and visualizations of Wiki-knowledges. If some individuals didn't understand some future learning styles, they can ask and discuss with me... But, why?  I really didn't know how to deal with this terrible issue. This place was a peaceful one I felt comfortable to appeal. Hopefully it will be fine...  Thanks'''

22. Case study in Appealing: https://commons.wikimedia.org/wiki/File:Globalized_impression_of_London.JPG
Sorry, I had to use this type of reference, owing to my ability influenced by emotion, currently. I didn't want to do somethings out of control. 
You knew, this type of Photography Portfolio has described my heart-road with poem-liked languages and translations to meet those requirements of postmodernist Fine art's teaching and learning in globalized visualization. (I tried my best to think out and make in learners' most familiar formations - Words and PPT)
Inductively say: in my eyes, it was so beautiful recording my travelling through that great city. Though I wasn't a famous person but a small common,  my eyes with curiosities about different cultures lighted my ways throughout that city to the higher gracefulness of its architecture. It was also like music spring flowing throughout my thinking and learning. And also, I applied most beautiful words I can think out in Chinese language to describe what happened in my minds. All energies and time I all applied into thinking those educational 'heart-road painting' and sometimes their reflections in music. But currently, it faced dangers that it might &amp; will be deleted (Sorry, in this condition, my languages heard would be broken functioned by emotional changes) I really didn't want its disappearance, as in one of my beautiful memorized trips. 
Similar situations would also happen in those pictures:
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:2017_Spring_Impression_-_Butterfly.pdf
https://commons.wikimedia.org/wiki/File:International_Cherry_Blossom_Festival_of_L%C3%BCshunkou_in_Dalian.JPG
https://commons.wikimedia.org/wiki/File:Metiral-way_in_Jason%27s_life.gif
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-1.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-8.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-7.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-5.jpg
Someone might say: Jason, they included some your individual or even private life fashions.
Yes, peers, they can be seen as one teaching &amp; learning way applying personal senses of life to participant-observe knowledge's applications in life practices and their variously expressive forms. By collecting all points of beauties, we can teach our learners in fine arts and ourselves how to appreciate landscapes and cultivate our own positive moods in lives. You knew, in our world, there was even no one historical event, great architecture, pieces of colourful music and paintings can get away from commons' personal endeavors of aesthetics (our senses). Sometimes, they were in pictures, sometimes they were in dynamics (a moving procedure with loudness and lightness), and sometimes, they were hidden behind. Without those, it seems salt is without salty and bodies without souls, especially in education. We need to teach someone somethings. It is better that we put ourselves in it, to feel and to think. Without them, how can we say we are teaching commons, as who we ourselves are? I think some people usually made me like a gun, and foolish (clever) me usually was used. But, please trust me, my heart was kind... Oh, so many words and... pains in memories. So tired... Hopefully, my explanations can make some people re-think of and understand those issues...
===== Editing -: Words for 2018 from Spring Festival =====
23. '''Processing a Spring Festival in Lucky Dog Year'''
* [[Portal: 2018 Spring Festival|To spend the Spring Festival of Lucky Dog Year]]
Comment: Now, to think...how great that spring festival was! Unless, who can expect the coming of COVID-19? Who can?

===== Editing -: Words for 2021 COVID-19 Recovery Time =====
24. No matter what type of piano Grade Tests, a pupil's ability should be matching with the grade level signed on the certificate he or she got...It records how much endurance he or she had paid on this interest, and the achievement he or she gained depending on his or her own endurance, rather than any other unnecessary or different ways...That's the meaning. I thought in COVID 19-Recovery time we should also emphasizes this point for the positive power and health of this field.

=== Supplements: ===

'''1. For the 10th case:'''
A small summary and Further talk of 10th case in Educational way:
Some standards were not made by only one person but from long-time daily educational practices, and then documentary summaried in Wikipedia. The root should be from commons. Therefore, We need to respect some basic impressionism techniques, skills, hand-abilities' trainings, the teachers and young teenagers' hard-working for many years. Without these respects, experts cannot be called experts and freedom will be lost. Meanwhile, Talk place is for commons and with freedom voices. Please don't damage it. Peace and freedom are existing when others treated you with them. No one wants to lose them. Thinking about it, if formal article don't let commons express their ideas, and talk place lose its freedom, commons will be away from Wikipedia. That's a very terrible future vision. Entrance-door-stone has already been put into our hands, which just depended on what you are thinking and how you are thinking.  If you change your minds to think it as a good way to motivate much beatiful moonlight's silvery coming and further studies, it was also going to be. '''If we have enough time and energy, please put them into researching a further and perfect version of Moonlight, then push it out into the formal article neibouring. Talk place is free for commons.''' This is also said to myself.

'''2. For the 20th case:'''
Good attitudes and characteristics of a life-long piano-learner:
He or she should -
(1) have a sincere attitude and long-lasting willing for exploring new things;
(2) have a desire of accepting more techniques and knowledge points in piano and music;
(3) not feel bored in repeatedly trainings, but with great curiosities in discovering new improvements in each time;
(4) have a positive heart of aesthetics about the coordination of exercises and rests;
(5) work hard and critical think of every question, for problem-solving and lacks' fulfilling;
(6) Challenge authorities and prove ourselves by one life's time;
(7) seek and create possible chances for performances and not give up plays;
(8) not fear about each time of failure and dare to correct self-mistakes and others' mistakes honestly;
(9) have strong self-discipline - when one day comes that no one give you requirements, you can give yourselves some standards in single learning and teaching;
(10)attempt to save yourselves from troubles, and always willing to give people feelings of beauties 
  '''3. For Sir Bach's Reasonability mentioned in English-Suites Analysis above:'''
Recently, I have read some books said: Compared with music form before, Baroque music is like 'Extremely &amp;Dramatically Collected Emotions'. How to understand this question? Not all...in a larger view including the following some styles, many of Baches are actually like 'The Self-being Reasonability of Externalizating Emotional Fields'. I would use some real scences and educational pieces to explain it.([[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:00, 1 May 2020 (UTC))

[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:04, 17 October 2016 (UTC) &lt;!-- Template:Unsigned --&gt;&lt;small class=&quot;autosigned&quot;&gt;—&amp;nbsp;Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han#top|talk]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 00:56, 17 October 2016 (UTC)&lt;/small&gt; &lt;!--Autosigned by SineBot--&gt;
Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed this impression to peoples all round the worlds. In my opinion, the very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:43, 17 October 2016 (UTC)

'''2.Case study from Jason's language -2021:'''
I am surely about all what I have talked about. Now,some have been modified and progressing to be better...But, we all know the difficulty of COVID-19 Time...
One thing I need to ask a overall question:
Could the pure world of music wandering for long (free and beautiful) make the communication with the reality? To make sure a true heart in music? And to make the likely people together? To overcome the hardness of the real life-time? And to be helpful and  understandable for the hearted someone between each other and their common life-going?
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 13:47, 6 June 2021 (UTC)

== The never-ended Postmodernist concluding ==
=== Report of Binary piano-teaching 2019 Wiki-conclusion for the attendance of World Teachers' Day Web Conference in British Council collaboration with IATEFL (article storage) ===
In recent several days, '2019 World Teachers' Day web conference' is coming soon. Time, here, is better to conclude the road having been walking on for many years, what good particularly happened this year,  and further suggest to future. In the consideration of so above, my report is shown as below:
1. English, as my daily tool of 'knowledge &amp; Skills-Acquiescence and Information-Seeking of piano, has already associated me make the teaching-arrangement and write the framework of teaching materials and the total curriculum. Academic journals, news, Wikipedia-searching, and documentaries... have already been the main approaches... Take an example, as a member of Wiki-family, in my main research-blog (portal) page: https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han , the main approach of knowledge-identification &amp; pedagogy-planing are 'English-seeking through Wikipedia, Wikiversity, Wikimedia Commons... Afterwards, materials and ideas were integrated, through the critical thinking skills,  with my past teaching &amp; learning experiences of Piano (from childhood). Furthermore, practising actions were drawn out to guide my daily lessons for 'Piano-kids'.
2. Teaching self-reflexivity, comments and assessment-conclusions can also be found in the link above, which fixed my family-based piano-training methodology up.
3. In piano field, making personal 'Performing-works Show' is always a great way to assess teaching results and present people's 'Artist fashion'.  In these many years, how is mine working for myself and students?  Through sound-images making,  photography and English description... Take an example for this procedure, there are some collected single Work-Show pages - https://commons.wikimedia.org/w/index.php?title=File%3AMM_Good_classroom_F_major_1838_Grande_valse_brillante.ogg https://commons.wikimedia.org/w/index.php?title=File%3AUnder_the_sunshine_-_Kim_Hui_1st_draft.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ADove_in_the_eyes_of_Young_Teenager_girl_Xinyi%2C_Hua.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ASure%2C_Ma's_Version_of_'Turkish_March'_in_piano_classroom_for_piano_education.ogg  Firstly, after getting the best performing works, I shared my credits to help those 'piano kids' to get the submitting license (Non-profit and Creative Commons from the originality) - 'single page', and make the very careful descriptions of classroom-training procedure (through participant-observation). Following, after many years' accumulation and growth, a whole English educational portal (Platform) can be founded, as shown: https://en.wikiversity.org/wiki/Portal:Piano-kids%27_Corner_from_classroom_and_virtually_online Together with the photography, piano-kids' most beautiful moments of the real classroom progress were virturally but vividly shown in front of us, which have been also motivating them to continuously improve in their 'Piano-Life' to future... Give great thanks to Wikiversity who have pushed up this type of my portals - in this year as News for the promotion for many years among native speakers and experts for many times (almost 7 to 8 times).
4. In this year - 2019, I found a fresh way to present what I knew regarding with the classical music, piano and many brilliant composers in list... -  Holding Library Salon-Presentation &amp; Concert. Through many English-seeking approaches in encyclopedia, notation sight-reading and library-notebooking (Chinese and English language)... (Shown as the first point above), primarily, I got information and knowledge of those masters. Then after, through information-processing, I joined them with my own piano-growth road in the memories, and 'thread those beautiful pearls into a whole necklace' (what my thinking skills' professor taught me). Finally, after another many times' rehearsing, I can present my heart-roads of those masters in a beautiful Musical  Library in Dalian. Indeed, this 'fashion' experienced many times' translations, ideas-switching and presentations, which tested a teacher's level greatly. These several photos showed this procedure: https://commons.wikimedia.org/wiki/File:Presenting_Mozart-Forever_in_Dalian_Library.jpg  https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpghttps://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_3rd.jpg https://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_2nd.jpg https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpg
Now, '2019 World Teachers' Day web conference' is coming soon. It's a beautiful and relax day for teachers all around the world. In this global conference, we can share, enjoy and developing our teaching skills. Professional experts in our fields can also give us some suggestions for future. Hopefully, young teachers and teachers with 'never-aging' hearts can all come together, in which hand in hand, we are brothering and sistering each other, with love and friendship! O(∩_∩)O

Jason's second way, Han Acount is also used as the emergency edition channel[[User:Jason&amp;#39;s second way, Han|Jason&amp;#39;s second way, Han]] ([[User talk:Jason&amp;#39;s second way, Han|discuss]] • [[Special:Contributions/Jason&amp;#39;s second way, Han|contribs]]) 15:52, 31 December 2025 (UTC)

== References ==</text>
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        <id>2696291</id>
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      <comment>/* Portals for Postmodernist Research Preparations as Phd's Doctor */ Stated what level I made already, regarding with lots of portals in wikiversity - it's the Phd level of Doctor's</comment>
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[[File:Our baby Munson is coming across the new year 2026.jpg|thumb|Jason &amp; Cynthia's Baby (Jixun Han and Yang Gao) - Munson is coming across his new year 2026!]]
On the date 9th of July, Jason M. C., Han (Academic name, Chinese name is Jixun, Han)and Cynthia's new baby was born. Now, he is coming across his first new year's day of 2026.He is the new hope of this Chinese academic family.
'''Voices in Song having been trained companying with piano keyboard since childhood (keeping all technique possibilities of every times in growth)'''
[[File:Always on my heart (An English-language song, sung by myself adapted into men's voices).wav|thumb|This song &lt;Always on my heart&gt;  is one English-language song made by Chinese person originally for ladies. However, I changed it into men's voices covering all parts in my growing times which I can do. Thanks for listening to my voices![[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:16, 31 December 2024 (UTC)]] 
[[File:Jason M. C., Han and his 3 persons' family.jpg|thumb|Piano &amp; Musical Jason M. C., Han and his 3 persons' family, after new baby was born. Still, they fell in love of piano &amp; music, and feel like to teach and learn piano &amp; music generation after generation. ]]


Dear Wiki-friends: 

In the Postmodern era, academy will have returned back (regressed) to the Life with the humanity
for nourishing itself and continuously contributing to the sustainability of our globalized worlds, 
on its multiple-dimensions levels. 
I believed in this developing tendency occurring in our future.

[[File:Wedding Ceremony.jpeg|thumb|Post-modernist Piano Teacher Jason M. C.,Han comes to the next life stage luckily marrying a pretty girl named Cynthia Gao who is a kind-hearted and soft-tender lady in Dalian, China.They falled in love with each other very much. On the date of wedding ceremony - June 4th of 2022, a Piano pupil named Meng Meng played the Wedding Ceremony March and another student named Xuan played The Wedding Ceremony in the Dream for us, as the accompanyment of music background. That's the participate-observation of angels for wedding. Thanks. Let us give our best wishes of a new life and the recovery of our world 2023！
It's the picture of wedding gown for witness. ～～～～]]

== As a Postmodernist-trinity learner == 

who have been post-graduating on Master's from Newcastle University - one global citizens' university 
'''(Introduction: https://en.wikipedia.org/wiki/Newcastle_University)''' 
and binary living &amp; travelling in my mixed Postmodernist 'channel' 
{It is a symbolized philosophical root (as a flexible portfolio with each part integrated tightly) summarizing the properties from Postmodernist City-theory (City-Machines), the Holy Trinity Spirituality with forgiveness in Post-theology and the Materialized Universal Laws discovered by Post-Marxism} 
between my home town Dalian
 '''(https://en.wikipedia.org/wiki/Dalian)'''
and another beautiful postmodern city - Newcastle 
'''(https://en.wikipedia.org/wiki/Newcastle_upon_Tyne)''',
I am working for the freedom and the equality of knowledge with innovation 
shared by all the universal citizens in every corner of our earth. 
This point has meet Wiki Group's fundamental purpose of development. 
Therefore, I have chosen here to test my own knowledge and discuss educational topics with others through special 'channels' implicitly or explicitly, 
collect and create new knowledge for our next generations, 
and company with peers to produce the effectiveness of the learning and teaching.

== As a Postgraduate-ed piano teacher of The Real Master's Master== 
[[File:Piano Lecture of Dalian Library (Music) delivered by Jason (Jixun) on October 13th, 2024.jpg|thumb|Piano Lecture of Dalian Library (Music) Delivered by Jason (Jixun), Han and His Piano Pupils Team Associated by Family members and Library workers]]
[[File:Music-Moving Dalian Piano Active Joined by Jason M. C., Han (playing).jpg|thumb|Music-Moving Dalian Piano Activity (charity) was Joined by Wikiversity Jason M. C. （Jixun), Han (playing) at the subway station of Zhongshan Square, who  is a member of Dalian Piano-Expertized Association, which was pictured by his wife - Cynthia, Gao. Subway Charity of Piano Donation &amp; Activity is a good way for piano pupils' Growth and public piano-eduction, especially in China. Let us support it, thanks!]]

[[File:Crossing Year 2019-2020 Classical Piano Concert.jpeg|thumb| The Self-situation holding Crossing Year 2019-2020 Classical Piano Concert in local library]]
[[File:The beautiful views of Scotti-highlands (Teaching demonstration - video; Jason, Han).webm|thumb| The teaching demonstration of one important melody in Crossing Year 2019－2020 Classical Piano Concert in local library- 'The beautiful views of Scotti-highlands' (Video)]]
Teaching musical knowledge and diverse musical techniques and schools for children and young teenagers, especially being good at studying, learning, researching and teaching impressionist music, such as Sir Claude Debussy's:
Wikipedia introduction of Sir Claude Debussy: https://en.wikipedia.org/wiki/Claude_Debussy#Late_works
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism_in_music

He thought impressionism in music should have already been transformed to be Post-impressionism as some scholars had also believed.
Wikipedia introduction of Post-impressionism: https://en.wikipedia.org/wiki/Post-Impressionism

But this judgement, if being heard standing more loudly, still needs to be tested in musical life and practices by Time.
He thought: if impressionism in music would be developed much vividly and expressively with more musicianship, it should make the post-regression and post-communications back to its root, as 'postmodernism in painting' across subjects and across sensory organs. How the techniques and skills of both can be compared with and shifted by - from the directly visualized senses to some meaningful auditory ones, and how masters in this field would use their musical techniques and notation-knowledge to explicitly express life-impressions in minds. Supported by new technologies and cognitive sciences, there are plenty tasks which need us to take. 
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism
Therefore, hoping more and more enthusiasts of music can learn, research and learn this school from France, from Europe and from some fork-expressions all around the worlds.

Let us leave a developing zone, here ...[Sir Chopin's musical style may content a big love of his own country, the indoor-limitation of behaviors, the sickness-depression from tuberculosis(desire of health but cannot get),
the un-expressive love to his life-partners, and the gentleman thinking-wandering supported by brilliant fingering skills… It's a complex from young...[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:59, 13 August 2021 (UTC) []
But, here and now, please try to relax yourselves - enjoying life impressions (with music's helps).

Experiments of Self-built Learning Resource Portal for guiding the training of impressionist piano techniques:

'''Neo up-picking of '''old memory''': The impressions of Sir Chopin's advanced techniques-training, accompanying with my pasted young-teenager life'''

[[File:Chopin in memory classroom good.ogg|thumb|Chopin in memory classroom - good edition after many attempts]]
('''Self-reflexivity and Comments collected and referenced from the original Wikimedia Comments' file - [https://commons.wikimedia.org/wiki/File:Chopin_in_memory_classroom_good.ogg]''': 
English: It's said: in each heart of every pianist, piano educator, piano teacher, piano dreamer, learner, and enthusiast, there should be a place for Chopin and a melodic theme wandering, dancing and rotating deeply in mind, which is twining around roof of house making you ignore the tastes of cuisines three days without attention (referenced from Confucius' dialogue when encountering amazing music) . 
It should summarize dreams after excellent techniques, unrestrained fashion, gentle expression, noble personality and patriotic heroism, especially standardized for a piano-boy's societal development. 
Oh, Jason, maybe currently, it is a little bit far from your (my) life and age, but you (I) still keep one own piece companying with you (me) for tens more years, which involves lots of fragments of educational experiences, free shares with peers, private or public performances and happy memories, etc. Then, I put it into my philosophy, with a deep impressionism of Chopin growing, blooming, and never-aging in the spirituality and musicality world. (Indeed, Chopin's techniques are far from impressionism and turning to another approach - &quot;Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.&quot;, and One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity - as his writing in Projet de méthode. But, while you are (I am) taking postmodernist impressions to see them accompanying with your tens more years' life participant-observations - oh, and your rough hands, limited energy and shorten time cannot be compared with yesterdays', they fuzzed to be one deep impression of Chopin in your memories with details unclear but heart true. I don't really know how to put it in my postmodernist educational journal. Is it neo-expressionism or neo-classicalism... but not really - so complicated??? Is it my emotional expression...??? ...but techniques trained used to be advanced, then currently, 'Improvisation stands at the centre of Chopin's creative processes' has almost been released in my classroom performance. Therefore, firstly, by releasing here and waiting further considerations, it's still made from a common named Jason, as the respect and remembrance of Sir Chopin and his post-memories in past .) Deeply in my mind, it's not great as Revolutionary, some flowery mazurkas, and Great Waltzes(I also enjoy listening to and exercising them very much), but a small piece learnt from my teacher and my mother and performing for my peers and family members (also requiring advanced techniques in middle tenth-dancing, rhythm-keeping, fioritura-singing, romantics-reasoning) - light, pure, joyful and bright - as a flowing spring. With it, I enjoyed some beautiful life moments, and passed by lots of examinations, and life-tasks, like a happy (used) waterfall. Yes, it is almost named as Trinity-Form
G-flat major Waltz)
Further Wikipedia introductive Reading-list: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]; [https://en.wikipedia.org/wiki/Waltzes_(Chopin)]

===  Post-Piano tutorial progresses from Jason's learners - in honour of Sir Chopin leaving in Prior-memories ===
In the reasonable line of piano family education before and after, I used to be suggested by my tutor and mum: Jason, in the future, you'd better to seek a period felt in some energetic situations, in which you can dedicate yourself in training advanced techniques of your hand in terms of Frédéric François Chopin's Waltzes, especially some from the collection of Grande valse brillante(Wikipedia introduction: [https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin)]). However, it was two dozens more years pasted by that I haven't sought out a right period in which I was full of energy. I thought I should feel the regret.
Thanksgivings! I am a family piano tutor that what my lost 'dreaming stars' I could pick up for my 'kids' in their right stages &amp; progresses, through some educational approaches, such as notation-analysis, background information-introductions,video-observation and fingering &amp; handshape &amp; sound-effect researches... Therefore, prior 'lost' was transforming to be post-benefits, in which the magical powers of education and music were coherently threaded as a whole representing my small happiness of 'inheritance' (Oh, I wasn't dying as Chopin's complaint about doctors' analysis ''Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die '' in December 1839, after his beautiful France Romantics and an England Tour recorded in some works, as what our F major Waltz had recorded. &lt;ref&gt;'George Sand Part' from https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin) &lt;/ref&gt;. That's my lucky. Therefore, here, 'inheritance's' external scope was enlarged to mean 'some beautiful techniques was sustainably passed by, carefully stored and neo-developed in my learner's mind and fingers supported by educational power.) Oh, it was a lovely girl young teenager (around 13rd year old), about whose educational stories, I had a prior talk in my languages, my post-reports of Sir Debussy's classrooms in Children's Corner. Here, you might feel time was a little bit disorder - 'before or after', but from multiple-channels, they were threaded in a pearl chain of subjective initiative where they should have been in. There, prior lost would be re-picked up and recovered in Post-time; though a little bit idealist, kids' dreams could be warmly post-embraced and post-raised up, no matter too small - we will have wished them: 'never fall... never'.
Though still some 'fails' and LIVE recording facilities in tutorial room weren't quite good, let us try to appreciate her edition and think of how many endeavors in terms of each technique-point were behind it:
[[File:MM Good classroom F major 1838 Grande valse brillante.ogg|thumb|Waltzes, Op. 34  No. 3 (Chopin) in Grande valse brillante in F major, player: Xuemeng, Hu (kid's name in children's cornder: Meng Meng). Comments, please refer to the original file in Wikimedia Commons]]

=== Portals for Postmodernist Research Preparations as Phd's Doctor ===
'''Piano Etudes as poems -'''
* [[Portal: Piano Etudes as Poems | Piano Etudes as Poems]]
'''Spanish music with impressionist elements -'''
* [[Portal:Maloguena dream|Maloguena dream]]
'''Impressionism in China -'''
* [[Portal: Impressionist Visualizations (for musical imaginations) and some Sound files | Impressionist Visualizations (for musical imaginations) and some Sound files]]
'''Sonatinas from Kids' corner near heaven -'''
* [[Portal: Sonatinas from Kids' corner near heaven | Sonatinas from Kids' corner near heaven]]
'''Green Sleeves (Impressionist Visualization) -'''
* [[Portal: Green Sleeves (Impressionist Visualization) | Green Sleeves (Impressionist Visualization)]]
'''Blues &amp; Jazz learnt for fun and a fast brain -'''
* [[Portal: Blues &amp; Jazz learnt for fun and a fast brain | Blues &amp; Jazz learnt for fun and a fast brain]]
'''Mozart's Genius Techniques in Kids' Eyes -'''
* [[Portal: Mozart's Genius Techniques in Kids' Eye | Mozart's Genius Techniques in Kids' Eyes]]
'''Special interest - Musicality from Chinese Literature and translations'''
* [[Portal:Chinese literature |Chinese literature]]
'''Oceanic Musicality from Outdoor-Sport - Winter Swimming prepared from Daily Long-distant Swimming'''
* [[Portal:Winter Swimming prepared from Daily Long-distant Swimming |Winter Swimming prepared from Daily Long-distant Swimming]]
'''Piano-kids' Corner from classroom and virtually online'''
* [[Portal:Piano-kids' Corner from classroom and virtually online |Piano-kids' Corner from classroom and virtually online]]
'''Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training'''
* [[Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training|Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training]]
'''Vienna School's Aesthetics - Photography for Musicality Cultivation (Piano Exercises)'''
* [[Portal: Aesthetics from Vienna School (Musicality) | Aesthetics from Vienna School (Musicality)]]

=== Wiki-Documentary collection and Practical exploration of piano techniques in Impressionism on the level of Globalization ===

==== Ideology and Critical thinking from Jason's  Wikiversity-perspective ====

===== Root - Ontology and epistemology =====  
World began from the streaming tendencies as its chaos background, then many twinkling-switching impression-points open their realized-or-not eyes to see out some mainly logical themes (procedures and faithes) upon the atmosphere background. That's the impressionism of universal. Now, we came here and time...
Under the World-Era background of postmodernism, for the purpose of entirely recovering the Impressionism techniques of piano, we need to dig a channel with binary materialist supports from both Internet+ collections and daily Educational accumulations. Yes, we can imaginatively stand on words and phrases online or on paper as virtual materials, then collect them; and, we can also vividly consider educational impressions from piano-practices as spiritual materials, then pickup. Afterwards, mixing and integrating those all through engineering-analysis approaches dialectically, we will began to wander throughout more landscapes and watch more beauties internally this channel, for dreaming after pure musicality and reasonability. Furthermore, this channel, supported by some advanced techniques, will be twinkling the brighten 'stars', outside the 'winders' set upon the waving tides of colourful background, ornamentally but also thematically. Then, imagery purity upon 'Holly snow land' would be jerry-liked, gravitationally, self-reflexively - either  mechanics or even anti-mechanics - constructed out and solidified in, which is deeply carved in Debussy ''Doctors'' eyes but also from globalized Children's Corners (Creative places) around all the worlds. Indeed, about impressions, in my view-horizon, peoples in globalization have already made multiple fragmental fork-explorations, through diverse fork instruments and expressive approaches. Therefore, there would be a paragraph collecting what we can know as some folk treasures. Yes, Impressions, somehow, can be fragmentally distributed from consciousness to unconsciousness of races-diversity especially in Collective Unconsciousness (About this term, depending on Time and Energy's limitation, I found a piece of Wikipedia-introduction, about which we can make a Reading List and collect further pieces of informationhttps://en.wikipedia.org/wiki/Collective_unconscious). But, in my (DWL)Dream's Wandering Legend world, we needed to remember the first leader who has systematically summarized them as a school which has been influencing the field - Music, should be the France in Europe.  This paragraph, collected from Wikipedia - Impressionism (art movement) below, can give a proof of what I have mentioned above: 
'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.' &lt;ref&gt;&lt;div class=&quot;references-small&quot;&gt;Wikipedia (2016) Wiki-entry 'Impressionism' Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Impressionism. Accessed: 4th, December, 2016&lt;/div&gt;&lt;/ref&gt; 
In other aspect, from my practical learning, operations, teaching and participant-observations, Impressionism in piano techniques is dialectically contradictive field, even its contradiction in existing itself is also a contradiction, with some internal or inter-schools' debates. On one side, you need to take care about detailed techniques-carving upon materialized life-walls of Times-spaces-crossed channels you are in; on the other side, generalizing those all, you also need to outline a fantastically existing and dramatically varying universe with supports from spiritual impressions bridging multiple channels from others.

==== Recordings of various Methodological explorations  ====

===== &lt;big&gt;Post-prelude&lt;/big&gt;  =====
You knew, Epistemology, in clearly understanding Ontology of musical impressionism in postmodernist channel, isn't a one-time and easy-going procedure. You will have to give out your proposals, and test them from daily practices and documentary reviews. Sometimes, you find it could have made no function, and had to restart a new approach; and sometimes, you would take a new state by summarizing all the impressions of the past together; and sometimes, you might never want to return back again. Then, in Marxist theory, it would be compared with a spring with its channel rotating upwards, and you are going alongside it. Sometimes, you will have found you almost returned back to the original point. Don't be fear, my friends, indeed depending on your accumulations in the past, you have already been in the upstairs of your Epistemology, causing your contributions of your commons' knowledge and your practices in daily life can be compared with solidified material blocks having already been constructed into historical building and left for all, will give the foundations for your actions and will never be forgotten by historical reasonability ('Universal Lord' - personally thought: it should also possibly be recognized by Hegel' 'Spirit'). 
(More professional materials and about how this recognition can be gotten out, we can review Wikipedia introductions for further learning - Key words: 'Marxist philosophy', 'Marxism' (Epistemology) and 'Post-Marxism')   
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Marxism', 'Marxist philosophy', 'Post-Marxism' Searched from ''Wikipedia'' ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Marxist_philosophy; https://en.wikipedia.org/wiki/Post-Marxism; https://en.wikipedia.org/wiki/Marxism. Accessed: 23rd, December, 2016 &lt;/ref&gt;  
Therefore, in these explorations, various different methodological approaches have been applied, or summarized applied growing from root, and with some digital materials, formations-shaping ways, words-modifying ways and thinking ways critically created or collected from Wiki-family.

===== ''' Educational prelude of Post- English Suites subcategorized under &amp; as Post-prelude ''' =====

God didn't give me the giftedness of composition, but to creatively learn, to reasonably teach and to improvably perform. What my approach was still basic binary post-Marxist practices with critical thinking in and from classroom. I thought I needed to add one prelude in this channel, as a complex in remembrance of a life style I used to own in the past, but for future. It was called 'Post-prelude', caused by the reason: in my life process, it has already gotten 'post-', then to be made into considerations, as things' changing fast towards a time-hooking. It isn't a perfect edition, but in my own hands. I thought, I should have the confidence: alongside time's on-going, one day a well-performed piece will be produced out, beautifully re-appearing colourful imageries in my dream. Therefore, it was also an opening case with developing zone, towards future.
In this time and space, I would like to report some small findings for education 
(Before this small research, I reviewed some pieces of information from English Suites - https://en.wikipedia.org/wiki/English_Suites_(Bach) and some Chinese Grading-test teaching videos, I found the division of its structure were quite useful in daily teaching and learning practices; but furthermore, we can try to reason it much clearer):
1. This 'six parts' suite indeed wove each two as a holistic logic of the modelled pattern, or sometimes across each signal part’s ‘terminating cross' to another middle peak-turn as one pattern.
(like 0.00 - 1.10 minutes, it can be called a holistic logic (Theme-Development-Counterpoint-Small Break-Cannon &amp; dialogue - Weaving body - Terminating code); like in 1.59 minute, it ran to the peak but immediately turn back to repeat the pattern' variation - a hidden new beginning which is usually ignored. We can make it still as in a whole pattern; and after 3:2 'ornamentations', around 3.10, a rush threaded from left hand's motives to right hand's totally began a code repeating ideas of the beginning theme.) 
Afterwards, this suite will be logically and creatively divided into 3 or 4 paragraphs, which would be better for classroom-practices (with the same pattern). Meanwhile, 'one connecting 2 or more' idea of the real suite would be fulfilled, which better realizes English Culture, not only about music, but living custom. We can review an explanation of 'Suite' from Cambridge online dictionary 'a set of connected rooms, especially in a hotel'; yes, so did dance;
2. Each terminating code would be performed out a small 'rit.' as for middle break (rest), or 'curtain call'. I think, this point is also reflected out culture and customs; 
3. In texture, our keyboard touching techniques need to reflect Baroque Counterpoint's requirements', and clearly identify its relationships and differences with another definition 'polyphony'. 

'''Homework Requirements (Self-explorations):'''

(1) Regarding with this point, we can firstly review its reading lists in Counterpoint and polyphony (Wikipedia introduction: [https://en.wikipedia.org/wiki/Counterpoint] and [https://en.wikipedia.org/wiki/Polyphony]);
(2) Then, Please view 'Two-factors analysis' research approach mentioned in its Talk page ([https://en.wikipedia.org/wiki/Talk:Counterpoint#Suggestion]) and other talks there, for the identification of some related definitions, and existing problems in this field;
(3) Try to collect and structuralize all 'Counterpoint' parts of our English Suites from its manuscript, and try to collect and analyse some textures of its polyphonic sessions (especially some difficult fugue parts);
(4) Try to realize requirements of (3) point on your piano through recording sound files or video files. Please pay more attentions to their rhythm, dynamics(especially the loudness of some independent melodic lines) and musicality (in Neo-expressions, such as sentence breaths and emotional changes)
(Answers will be researched out sometime in the future. Then, we can have a check and further discussions.)
4. Gracefulness would be 'tasted' out from natural inspirations &amp; impressions of Baroque architecture, gotten in some childhood or young teenager dreams of your own life. . &lt;ref&gt;Wikipedia(2017). Wiki-entry '''Baroque architecture'''. Creative Commons Attribution-ShareAlike License. Available in: https://en.wikipedia.org/wiki/Baroque_architecture. Accessed: September 6th, 2017&lt;/ref&gt;,  Here, an example was re-picked up in my memory sea was Sir Bach's 14th 2-parts Invention. Friends, we can try to make some senses: 
[[File:Bach Invention 2P 14th.ogg|thumb|Bach Invention 2P 14th]][[File:Invention 2P 14th Sostenuto.ogg|thumb|Invention 2P 14th (Special sound effects in sostenuto pedal and jade beats)]]
5. Smart and skilful treatments of ornamentation should be applied as from colours of Neo-classicism and Neo-expressionism; 
6. Variations of Dynamics should meet Neo-emotional expressions in dancing movements.

===== &lt;small&gt;Postmodern Impressionist Explorations of Baroque Techniques:&lt;/small&gt; =====

'''Debate 1st - Highlighted 7th point: Baroque staccato fingers-technique in piano, for simulating Harpsichord's sound style '''

Since the time of my childhood learning with my teacher from a skillful piano family, she has taught me:
the treatment of Baroque staccato in piano field needs to be specially trained. It shouldn't be played as jumping too much and too heavy but naturally, gently, half-attachment and with some originally beautiful manners of European noble fashion , especially about grouping semiquavers without slurs set upon. Some composers' works, in that period, were highlighted, including some from Domenico Scarlatti's 555 keyboard sonatas (Wiki-introduction: https://en.wikipedia.org/wiki/Domenico_Scarlatti)and some from Johann Sebastian Bach's inventions, suites and fugues ( https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) etc. Yes, they are what pieces piano players encountered so frequently and left deep impression of Baroque music in memory at the primary time. 
In that time, I didn't quite understand why I needed to train my fingers with this keyboard-touching fashion, but merely following and carefully exercising time after time. 
Alongside my growth, my further learning requirements and my own face-to-face tutorial needs for my children (students) in studio, I began to explore and reason it much clearer. 

'''Inherences from Harpsichord Era:'''

* Through documentary reviews, I found the primary reason rooted not in piano' physics structure, but harpsichord's (Wiki-introduction: https://en.wikipedia.org/wiki/Harpsichord). We knew piano was, in certain degree, developed from Harpsichord. There were three reasons can explain why this piano fingers' technique training imitating Harpsichord's structure-oriented sound-effects would be made this fashion (above): Firstly, as in our wiki-article: 'The vertical motion of the jack is then stopped by the jackrail (also called the upper rail), which is covered with soft felt to muffle the impact' - this point made notes played out from Harpsichord hard to be linked together, as the application of piano's fingering legato by 'walking fingers one-attaching tightly following another's raising; Harpsichord's sound-louder facilities - 'the sound-louder box' surrounded by soundboard, upper belly rail, lower belly rail, tail and bottom are usually smaller than modernist piano's; meanwhile, pedals haven't been summarized and developed so advanced as what piano's. 
* However, accompanying with people's make-up style, dressing fashion, postures of performance in solo community and further count-fashion etc., harpsichord's sound-effect became a symbolized remembrance of some Golden times in past and their personality and temperaments. 
* Piano was developed from harpsichord, and some compositions can be played on both. This sustainability gave piano the ability to imitate harpsichord, simulate its beauties and pick up some manners of techniques representing golden fashions, especially in Baroque and Renaissance keyboard music. The treatment of Baroque staccato is one important technique of them. 
* Compared with harpsichord, piano could be of much sensitivity and flexibility in dealing with keyboard-touching and varying relevant sound-effects. That's the timbre difference, which cannot be overcome by changes from structure. But, special training of hands with manners and customs, seen as literacies, would be better for Neo-expressions and New-classicism; meanwhile, can be seen as nowadays' post-modernist constructive regression for Baroque Channel.

'''''Requirements:''''' 

(1)fingers of hand need to be naturally dropped by wrists one by one; (2) when touching keyboard, fingers need to stand upon and attach each for a very tiny 'later' time (a little bit lazy) - not too fast or yet jumping heavily; then, naturally pick up it through a coherent force (motion) vertically upwards, which is given still by wrists; (3)repeatedly shifting this sequence to the next finger; (4) please be gentle and relax in playing, and highlight some grouped heads of phrases. If there were some grouping ornamentations depending on these staccatos, please be more careful, smartly and softly, but with centralized weights upon bigger staccatos, rather than 'small notes'; (5) It's better to appreciate pictures, architectures, pieces of music and life scenes in Baroque era (Yes, Wikimedia commons can give us some associations); then, bring these imaginations into your mind alongside your performances' processing, naturally, gently and finely.)

'''''Practical sound effects:'''''

Regarding with the application of those memories, discussions and requirements of Baroque Staccato above into our Pre-prelude - English Suites, its possible research-effects in sounds, and especially the dance personality in Suites suggested from Gigue(British jig) (Wikipedia introduction: https://en.wikipedia.org/wiki/Gigue), we can get some enlightenments by exploring 8th 2-parts invention in Bach's preparation-works. I have taken a sample for demonstration (it could be bettered in future). 
[[File:G Major - 10th 2-parts Invention, Bach.ogg|thumb|This Invention (No. 10) - G Major 2-parts, happily dancing and existing from my memory of childhood, has woven out my primary love of Baroque custom. Though it applied total Baroque Staccato and long-sentence ornamentations to express a joyful fashion of Baroque Dance (British jig) - Gigue in piano instrumentation, you couldn't feel quite boring and tired, but be willing to move on and on, round and round, until the end of a Golden Era. Alongside your behaviours, holly lights were reasonably shining around the area your dancing steps traced out where an imagination Baroque Suite room of yourself appeared (even only for you single). It was quite right that the decorations of this Baroque Suite room were following principles and patterns of Baroque Era - Canon, Counterpoint, Polyphony, Woven body, dance rhyme and ornamentation...; but still, it left some great developing zones for your own 'inventions'. You see, long-sentence ornamentations can be waving tide by tide; and your body languages can also be designed out a life style of people living there while you were dancing your fingers upon keyboard... Though compared with the natural gracefulness in Invention 14th, 10th was a little bit weak in the praying of immortal spirituality ; it gave a festival celebration of true joyfulness' back-returning and your down-calming mood to hold them in mortal complexes - such as companying your family all day, and tasting an afternoon tea with them in the fall suggested from Grandma's Bible classroom, or something else... But, dear kids and young teenagers, you knew, Baroque staccato - your natural &amp; relaxing wrists, fast-dancing fingering but still with very good &amp; controllable manners, pearls-liked staccato note-quality, sentences' breaths and those highlighted rhyme-heads still need many years' training and your dedicated enthusiasm. You can put it in your piano courses and try to better it, alongside your growth.]]

'''''In addition:'''''

Some students asked me &lt;big&gt;'''the relationship between Baroque architecture and Baroque dance, and how they were reflected out from piano instrumentation in music'''&lt;/big&gt;: oh, it was a hard question that: (Firstly, we can make a first impression of the complication of Baroque architecture (textures) in music through this piece- it`s only a standard texture with 3 parts in Invention, but so layered-out, foundationally-made, musical heads-leading and well-structured in system: [[File:3 Parts Invention 8th- from Sir Bach.ogg|thumb|3 Parts Invention 8th- from Sir Bach]])We would reason out that - a group of people got a fashion of one era (ideas) from their souls that they have the willing to express. They might choose some easiest ways and nearest ways - representing their own ideas through the movements of their bodies - such as singing out from mouth, or dancing out by body languages... We can call them 'first-stage - the self-mirroring of landing reasonability'. (how those ideas can be landed in minds is another story that someday we can discuss) Then, after the atmosphere of fashion by one group or multiple-groups were built up, they would separate the self-mirrored and self-expressed aesthetics-sense from their own operations - they own bodies, and re-projecting those to their performances in reality - such as logically recorded in notation for instruments, or engineering in architectural designs &amp; patterns. Afterwards, human beings' 'aesthetics-self' were separated into two: one were flowing or solidified 'outside', maintained and dying by time; and the other - they own 'self' can be liberated out and repeatedly appreciate &amp; modify &amp; create 'outside' beauties with new curiosities and some renewable minds, which can be passed by generations after generations.

===== Editing - '''Debate 2nd - Highlighted 8th point: Exploring Baroque fingers-techniques of Ornamentation in piano - An introduction of Internal-systematic researching approach ''' =====

'''Background-Knowledge Introduction:'''

In the discussion of Ornamentation treatment, there were many debates, about which main stances were originally centralized into the waving direction from its first note and its rhythmic ranges of other notes. Regarding with its treatments, Baroque traditions VS. Scenery self-expressions of composer gave two opposite sides with some moderate approaches ranging upon its 'scaling variable'. In my philosophy (methodological part), I cannot make a direct and absolute cut for confirming something is right and many others are... indeed, there were really no black-white answer. Somehow, this treatment can be seen as players' personal literacies according to their music educational background - yes, their preferences.  But, in some scenes or to certain reasonability, we can analyse one treatment's possibilities in system and try to make some senses of its aesthetics appreciation.  
Firstly, in order to make senses of ornamentation (trill.)'s different versions, let us set our English Suite aside, and listen to two different versions from Fugue's voice (one of the most complicated contrapuntal forms ): 
The first version of d minor fugue (please see below) is a very nice and sound-effected fugue in Sir Bach's &lt;The Well-Tempered Clavier&gt;. In this version,  pianist Kimiko Ishizaka's softened keyboard-touching techniques are enjoyable to my ears and her flexibility of ornamentation (trill. ) performance is also brilliant, reflecting her higher controllability of fingering and forces, in my views. About the ornamentation, like piece (0.05-0,06), we can hear she has applied traditional understanding of Baroque Ornamentation, which sights 17-18 centuries' Baroque composers as a whole group and makes their grouping expression of fashion as a theory deducting  and guiding the treatment in d minor fugue. Then, we found: the signalized trilling G (big note) was played from its above note A and made a wave - AGAGAGAG-A. This expression is an absolute and simplified version simulating harpsichord's sound effect. Many pianists, when dealing with composers' works in that era, usually generalized this version for simplification and popularization.
* Kimiko Ishizaka's Version:
['''(Wikipedia introduction: https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg )''']
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' ''The Well-Tempered Clavier'', 'd minor fugue' '''In''' Session 'Audio of Book I' '''From''' 'Recordings', Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg. Accessed: 2nd, May, 2017&lt;/ref&gt;

There are also many other versions, among which what I has applied is from an educational approach - from my country's national grading test for advanced level. From my analysis and thinking reasoning, in this version, trilling note G's dominant property, as the main note, has been emphasised by a first semiquaver beat of itself. Then, the trill. took the above note as the second note to wave out a twice vibration between A and G. Finally, it took a rotating opposite and returned to the main note. It was heard like: G-AGAG-FG -A. Yes, this pattern is with more flowering pattern, and somehow complicated and difficult to gain. Someone would not feel like to learn. But, from analysis, we can find it filled two gaps between the main note, its rotating below, and its linked next note, which made the transitions much natural, according to palm's growth. Meanwhile, the Main property has been highlighted. Another point is: you can hear the shade of traditional version (Kimiko's Top-downwards) from the second semiquaver beat. 
* Jason's Teaching version:
[[File:D minor Fugue Bach - Expressnist edition.ogg|thumb|In my depth of mental sea (Mainly about the education of piano), a piece of Fugue is lying there. Yep, it's 'd minor Fugue' in Sir Johann Sebastian Bach's 'The Well-Tempered Clavier' (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Though about the performances of its ornamentation, there are many debates in terms of what fashions Bach's preferences were and whether they were only in certain exact scenes which Bach preferred to make some styles to some exact groups. About this topic, 'western side' and 'eastern side' almost have quite differential ideas - someone prefer Era's fashion as being generalized upon all Baroque composers, then applied to some works of Bach (Top-downwards trill.); while, someone prefer the explanation that it can be seen as Bach's individual fashion in some scenes to individual groups. I think: if the resurrection can be made, Sir Bach would also confuse about why he had performed them as so and how he had thought them out... But, the love of playing Bach's has never changed for many centuries among piano boys and girls. I found some music-score dictionary attributed it to players' personal literacies. I thought somehow it was also reasonable...Therefore, in this version, I played it according to a teaching textbook in a national grading - an moderated and coordinating style, but with techniques and strengths what I preferred. In other aspect, if you ask me: 'Hi, naughty Jason, what's your impression of this piece?', I would say: ' Under my educational background, it was like a piece of sorrow mind's self-expression &amp; self-reflexivity - multiple-thinking dimensions have been threaded together in a very complicated (thick and vertical) texture emotionally and beautifully'. Oh, maybe I am a boy wandering in the middle between binary cultures, then, would carrying this feeling... I don't know... But, in psychologist views, after hearing it or playing it deeply, absolutely, they will say: 'Jason, it can be compared with our psychological consult (treatment), in which - firstly, we were leaded into a dialoging theme (B1-B8); then, 'climbing up a mountain' to collect pathway-principles (fragmental indications) among a huge, maze-like and complicated forest of life (with multiple layers and events) (B9-B20); taking much deeper expression of every mood-chain, their composition and totally ranges under a huge emotion-atmosphere (some whispers, then, life complains, deep reasoning &amp; threading, and even loudly cries would happen during this procedure) (B21-B39); Back-returning to original theme, and then, getting the Release of the extra metal power (B40-B44; especially, it contents a final solution to D major block-root which made it bright and got out of life maze). I enjoyed this music trip in education, though still some lacks in techniques were there waiting my further enhancements, such as a forgotten of B29's trill, - sorry, in that Live Space, I felt a little bit tried. But, I wanted to entirely express my experience of it. It's said: Fugue was one of most complicated  contrapuntal forms (Counterpoint) in engineering approach, which needed some very careful trainings of both thinking and hands' techniques. (Wikipedia introductions: https://en.wikipedia.org/wiki/Counterpoint;  https://en.wikipedia.org/wiki/Fugue).  Yes, thanks, Sir Bach... But, in commons' mind, what the most benefit from its appreciation, I thought, should be 'getting a total mind-Release from multiple mood-chains, and enjoying a final peaceful emotion after reasoning our own sufferings during these several years']]
&lt;ref&gt;MingSun, Zhou. Eds (translated; 2007) 'd minor Fugue' '''In''' The Well-Tempered Clavier, The Works-Collection for National Grading Tests. Beijing: The Press for Commons' Fine Art. {{ISBN|9787802400429}}&lt;/ref&gt;
Therefore, as common learners, I think we can follow at least two versions to make our hands-trainings depending on our preferences and background-understandings of sir Bach and that Golden Baroque Era. We can also postmodernist &amp; explicitly express and attribute those emotional chains hidden behind its surface, which Bach's music wanted to tell us. It's another story, about which we can make some discussions through a review of Jason's English self-reflexivity in this Link [https://commons.wikimedia.org/wiki/File:D_minor_Fugue_Bach_-_Expressnist_edition.ogg] from Wikimedia Commons 

'''In-systematic  Analysis for Our English Suites'''
After a very careful mind-identification and detailed introduction of Ornamentation(trill.), we almost got some senses, afterwards, let us get back English Suites and reason out a possibility of its ornamentation (trill.) treatment inside its music manuscript(transcript). Meanwhile, a type of inductive researching approach - In-systematic Analysis (evidences-collections from signal notes-phenomena, theory-forming, practical application into specific situations) could be understood for reasoning, practice and self-style's cultivation.
In brief, most ornamentation (trill.) ways and techniques in this G Minor English Suites (under flat B major system) have already been clarified and signed above ornamentation signals(tr.). Even, in the peak part ' Interaction-F- Ornamentation (B161-B172)' (Please see 'Structuralism-analysis' below ) of Royal Suite B, our Sir Bach has almost designed a total and clear demonstration of his Baroque fashion and idealist thoughts regarding with the ornamentation fashion in his age.
Please see the referenced music manuscript (transcript) Sample 1st (B62-B63) below:
[[File:Sample 1st from English Suites' Ornamentation (trill.).jpg|thumb|Sample 1st from English Suites' Ornamentation (trill.)]]
In order to emphasis his idea, in some reversed Ornamentations (trill.) (down-waving oppositely), he also gave a head-link and some very careful demonstrations, such as Sample 2nd (B22) below:
[[File:Sample 2nd from English Suites' Ornamentation (trill.).jpg|thumb|Sample 2nd from English Suites' Ornamentation (trill.)]]
Notation-following them, we can research out Sir Bach's basic ideas and principles in the Ornamentation (trill.) treatment of this piece:
1. It was made into semiquaver triplet (three divided and averaged notes) per quaver time;
2. In the first quaver time, it should be played a throughout chain from the downstairs note, threading the main note and up-rising to its upstairs note, like the trill. Flat B: it should be A- Flat B -C first;
3. Then, in the next quaver time, it should wave between main note and it's upstairs, like still the trill. Flat B: it should be Flat B - C -Flat B;
4. Following the 3rd point, if trills was continuing, we need to range another triplet wave and thread it to the next, like still the trill. Flat B: it should be C- Flat B -C;
5. But if a downward line was drawn - the Reversed signal (as Sample 1st for B22), we need to make a quadruplet regression (playing 4 divided and averaged demisemiquaver notes) downward and return to the main note, like in Sample 2nd G - it should be A - G - Sharp F - G;
6. If there was accidental Sharp or Flat, or recovery signal set under the middle of Ornamentation (trill.), it was usually made towards the downstairs note, such as Recovered A in Simple 1st and Sharp F in Simple 2nd.

In my opinion, after those principles reasoned and gained in our hands, when a targeted problem occurred, as what Target shown below, we can make a reasoning application of what we could know but Sir Bach didn't notice us:
[[File:Target from English Suites' Ornamentation (trill.).jpg|thumb|Target from English Suites' Ornamentation (trill.)]]
It should be: G - A - Flat B in the first quaver time and A - Flat B - A in the second semiquaver time (yes, we can make a little bit acceleration to show our fingering flexibility). 

I thought after this In-systematic analysis, we somehow could be near Sir Bach's reasonability in music. Why I call this researching way In-systematic analysis: We knew some golden, traditional, brilliant and perfect Baroque edition, such as pianist Martha Goldstein's harpsichord referenced in our Wikipedia article of English Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/English_Suites_(Bach)]). Indeed, I like it very much, especially when hearing the brilliant keyboard-touching techniques and it's traditional Top-Down deductive Ornamentation (trill.) treatment. But how can we make some reasonable possibility by collecting internal evidences, forming a theory, then applying into some unknown problems? May it be Sir Bach would have thought it like this and implicitly hidden behind the tradition... I thought Neo-expressionism and Neo-classicalism would pick up it. 
Here, some experts would criticism me: Naughty boy Jason, what you mentioned are as so, but it didn't realize it into your classroom recording beside; oppositely, you played the third way - Main rising &amp; waving( A- Flat B - A - Flat B; then, tail A - G  G)     
Yes, I am sorry. Firstly, I had tried many times, but my hands-techniques didn't allow me to add another heading upstairs note (Oh, I am thirty year old. Every time thinking of it, I am a little bit sad and would rather get back to my sixteenth - maybe mother would say: Naughty Jason, even getting back that age, you really haven't fulfilled or dare to yourself in piano; That's quite right I am paying for my lost, but I would try more exercises); Secondly, it's about another story of its simplification. About the second point - its simplification, my stance is: Sir Bach almost wanted it a first raise and wave from the main note for reflecting main note's dominate properties in this Ornamentation (trill.). This point is my idea which would be different from tradition and could be criticised and argued. I think In-systematic analysis above is much stronger than this one. All of them are from the love and respect of Sir Bach's engineering world of music and his so brilliant English expression. Thanks! 

 '''&lt;big&gt;Homework and Exercises (Advanced and Research level)&lt;/big&gt;''' 

* '''&lt;big&gt;Requirements and instructions: (Please see the fourth photograph set besides)&lt;/big&gt;'''
[[File:ES Homework and exercises.jpg|thumb|
Requirements and instructions:
1. Please ignore some bad looks of my characteristics-writing and just focus on the manuscript (sorry, my paper-writing of characteristics and letters were really ugly, in my view. I attributed it to my lazy attitude. Oh, my mother usually told me: Jason, you need to write in good shapes, when facing your peers and students. But, I usually find an excuse: sorry, my energy and time didn't allow me... Peers and kids, don't follow this brother's example. You see, it was like animals' footprints or ghosts' signatures); 
2. Please try to apply knowledge of ISRA (In-systematic Researching Approach ) in self-researching out a possible neo-edition of Ornamentation (trill.) of this piece - how to play and explain in both music and language;
3. Please try to record your own sample after self-reasoning and analysis (Be brave)]]

* '''&lt;big&gt;Sound answer:&lt;/big&gt;'''
[[File:ES answer for HE.ogg]]

* '''&lt;big&gt;Explanations:&lt;/big&gt;''' 
Following our discussions of this approach until now and here, advanced learners (including small Jason) have already gotten the abilities in researching out a possible answer of this unspecified ornamentation (trill.).
let me tell its designs and why I made it like:
1. The first semiquaver rest played by left hand needs to match a very fast demisemiquaver triplet downstairs- upward trill. of right hand which was made throughout the main note - Recovered B and sounded like A- Recovered B - C. About this design, we have already known Sir Bach's implicit willing of 'triplet trill.' - first one in up-going tendency. Yes, you can also make a total '3:2' to cover left hand's semiquaver beats; but afterwards, you will find upstairs C would be repeated 3 times and hand's smart feeling was lost. Therefore, I gave a first demisemiquaver triplet to cover left hand's first semiquaver rest;
2. In the second semiquaver note of left hand, the second demisemiquaver triplet (Recovered B - C - Recovered B) was given to cover it. Then, the third principle above - 'Upstairs' shaking' has been targeted. 
3. Originally, palm's growth (growing with fingers in each order) has been applied as one considerable factor impacting fingering designs; and, it was naturally progressed to the following C without any gap.
Congratulation to your good learn! After training your hands for a period and taking the following highlighted 7th point, MO Version set besides can be made out with much smarter hands for the soul of English Suites. But, if you prefer to keep this technique stably heard, lasting for much longer time and your fingering much smarter &amp; fluent, another self-training of it with engineering approach in daily exercises is quite necessary. Students in advanced level can try to search more evidences from this suites of Sir Bach's or other Suites.


'''Highlighted 9th point - Educational self-reflexivity: Natural Impression of its (Prelude in the third English Suites) Horizontal structure ranged upon Time &amp; Space, according to English Language - 'Suites' ''' 
Programmatic formation is the impression I usually brought with when listening and performing the sampled Prelude in 3rd English Suites. In our common's history, usually, the procedure of programmatic formation, presented regularly, periodically, frequently and reasonably, can associate us deepen some unstable subjective impressions, fashion behaviours, popular languages and societal customs into aesthetics and culture, and fix them for lasting longer. Some evolutionists would dislike this impression, for its usual representation of　conservatism which could block the development of new productivity. But, after certain evolutions or in some post-periods, it is also going to function in accepting, fixing, saving and sustaining 'Evolution-fruits' (Thinking twinkling). In Baroque Era, I thought Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/Suite_(music)]) played this role through 'suits-liked' structuralism. Here, the scope of Suites' definition - its enlargement and development also taught us more about how to deal with its structure-organization and composition-management: from the description of '''Room Suites''' occupying real Times &amp; Spaces, to the description of '''Dance Suites''' summarizing similar behaviours and body languages into symbolized rhythm, till its transformations into 'musical composition for instruments', fresh fashions and expressive expectances have been auditory recorded, as in Programmatic formation alongside civilizational regression and up-picking of golden personalities. Yes, it was 'Dance Suites, was commons' weekend dancing in Suites-liked ball-room, and was also Royal Suites (cells-liked rooms being nested throughout one after another) separating different music paragraphs but with a coherently endless joyfulness for life and future... 'Therefore, when we attempt to perfectly realize this teaching procedure, some abstracted 'Royal Suites' and their impressionist 'souls', rather than several 'small connected rooms', can be carefully analysed out, with details fuzzed, but impressions kept, suggesting where course-designs, exercises-presentations, assessments-achievements should begin with. In the '''''Structuralism-analysis''''' below, semicolon divided a small room (suite) or a series of dancing motions threaded in the sequence; but usually, a real 'Royal Suite', in spiritual impression, contents a thematic small suite (or room) and one or several supplemental small rooms (suites) . Their patterns are forming Suites' basic operations, with customs and matters turning back to 17 century Baroque Era. Therefore, in each repeated small suite, furthermore enlarged to be the whole '3 Royal suites' one by one in sequence, we must keep the basic and frequently re-appeared behaviours, dynamics, expressions and customs regularly, as if following certain predictable principle of stylized and progressive model, for showing the understandings of reasons why in certain pace and interval some techniques would be applied there and what respects of traditional thinking pattern they would show for. In other words, from thinking patterns to hands' techniques, body languages and customs expressions, we should model our daily trainings and exercise to be predictable and fixed. Only based on this engineering approach and seeing structuralism as functions' carrier, Neo-expressionism can get its foundation and make more colourful creations and impressions of a golden age above that. Owing to this ideology, I gave a structuralism-analysis of this piece as following:

'''''Structuralism-analysis''''' (represented by English Letters - full connected Prelude-suites (6 into 3) seen as 1 up-taking 2 small rooms - Royal suite [https://en.wikipedia.org/wiki/Presidential_suite]) :

'''''Royal Suite A:'''''
A (B1-B7) B (B8-B15) C (B16-B21) D1 (B22-B27) E (B28-B32) Middle-Stop;

Interaction-F (B33-B46) Counter-B1 (B47-B54) Counter-B2 (B55-B62)
Code-E (B63-B65)

'''''Royal Suite B:'''''
A (B67-B73) B (B74-B81) C1 (B82-B87) D2 (B88-B95) E (B96-B98) Middle-Stop;
Interaction-F (B99-B111) A (B112-B115) B (B116-B122) Simplified E (B123-B124) Middle-Stop;
Interaction-F (B125-B138) Counter-B1 (B139-B148) Counter-B2 (B149-B156) Misplaced E (B157-BB160) Middle-Stop;
Interaction-F- Ornamentation (B161-B172) Developed C2 (B173-179) 

Transiting D (B180-183)

'''''Royal Suite C - Code:'''''
A (B184-B187) B (B188-B195) C (B196-B201) D1 (B202-B207) E (B208-B213) Termination 


I think these standards created and collected from our information bank would motivate a better draft in its sustainability towards FUTURE.

&lt;big&gt;'''First Draft of English Suites: (For normal Performance; See besides)'''&lt;/big&gt;

[[File:English Suite No. 3 in G minor (Modern piano) First Draft for Education.ogg|thumb|
'''2nd Draft:'''
Briefly say - it's with much fluent sound-effects and strong rhythm,  suitably as a fast dancing suite, in which postmodernism picks up vivid colours from Neo-expressionism to see Neo-classicism's unexpressed, down-pressed, and deep-controllable emotions, then tries to explicit them in dynamics and expressive techniques.
A movie - Pride &amp; Prejudice (2005 film) (Wikipedia introduction: https://en.wikipedia.org/wiki/Pride_%26_Prejudice_(2005_film) ), with beautiful scenes of Baroque-dancing ball-suites, gave many inspirations to this version. Hopefully, it will be heard having met more postmodernist targets, as a Post-prelude. And hopefully, we can enjoy it. Better version can be researched out in future. 

'''1st draft:''' 
To be honest, this draft isn't mature and (far away from) satisfactory in piano performance, according to my dreaming standards. I was hoping it could be in Neo-expressionism (https://en.wikipedia.org/wiki/Neo-expressionism) and Neo-classicism (https://en.wikipedia.org/wiki/Neoclassicism), for reappearing rich colours, continuously varying emotional changes abstracted from formal manners and Royal dance-structuralized movements &amp; scenes in a past Golden time, but through commons' hands. However, in this draft, for the reasons of short-time exercising and practices, I can only push out some basic ideas of Neo-expressions, such as highlighted theme-line with heads, layers and ornamentations etc. 
No matter how, about this draft as a new beginning for my love (I really enjoyed to play it and appreciate its imageries) , I need to give my thanks to some pieces of information provided from Wikipedia - English Suites (https://en.wikipedia.org/wiki/English_Suites_(Bach) ),  Baroque Music (https://en.wikipedia.org/wiki/Baroque_music), and Martha Goldstein's harpsichord Edition; and some inspirations from my and my children's daily classroom-practices.
Hopefully, in a short time, a better draft would come out; and hopefully, more commons would enjoy to share their reasonable works through daily practices on this platform; and hopefully, piano keyboard in this century would create more beautiful 'colours', like thousands flowers' blooming - of richness and vitality.
]]

&lt;big&gt;'''MO Version  ( Besides, for professional performance with more tastes of Baroque Golden Era; Compared with 'First Draft...', this version with the 'Modified Ornamentations' was made according to 9 points disscussed above):'''&lt;/big&gt;

[[File:English Suites MO.ogg|thumb| Jason's Neo-classicism and Neo-expressionism: 'you are standing here, and watching the golden fashion there, with impressions being summarized for our current willing' . 
Emotional complex in words 'when standing here, and watching Sir Bach's 'there-standing' to see a great England (or UK) and its peoples' life fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a Long and Unknown Miss. We (Sir, I and learners...) were all not there... in that time and space... but still... musicality in system can teach us... See more, please turn to its main page in Wikimedia Commons]]

===== '''&lt;big&gt; Creative Homework and Exercises (Advanced and Research level):&lt;/big&gt;''' =====
'''1. Student's Performance as the main teaching &amp; learning result of piano:'''
[[File:English Suites No.3 Prelude Xue Meng Hu.ogg|thumb|Teaching Result for English Suites No. 3 Prelude from Wikiversity to the real practices - Meng Meng's performance a week before examination]]
'''Comments:''' The Connections have all been threaded together with fluent but gentle manners from English traditions, from which brilliant social Ball-liked Dance-suites for commons have been described in the world of imagination. Baroque Ornamentations, in her very smart and slim hands, have been performance greatly when hearing. Main skills were trained good, but skills of some parts beyond her age - around 14 years old would need to be trained frequently, afterwards. 'Fast wasn't too hurry and rough but with down-calmed breathes in rhythm' would needed to be understood well in the future. All in all, Meng Meng has already shown her fashion creatively in this English suites with some differences from the original teaching through her skillful hands. More experiences and knowledge of performance in different scenes were needed for her development. 

'''2. learnt Suites Formation in ...(oh my lord, Jazz &amp; Blues):''' 
'''''Royal Suite A:'''''
A + B (As a 'Supplemental A'; Regarding with samples, you can see the portal: Blues &amp; Jazz learnt for fun and a fast brain above)

+

'''''Royal Suite B:'''''
a Variation C (The 2nd chorus made according to A)

'''(Notice: In this homework, we can participant-observe the functions of Suites thinking in different musical fashions)'''

===== &lt;big&gt;Postmodernist Impressionism - Special Researching approach for music researching in instrumental techniques, which needs to be highlighted&lt;/big&gt; ===== 

In my opinion, we title it: Impressionism '''in music or the field of piano techniques; but originally, painting should be the most visualized expression''', of which I thought, if comparisons and contrasts between this root and other instrumental expressions can be made for further researching and exploring, more deep impressions of this field would be abstracted out as for creative findings. In other simple words, what ''''Painting techniques'''' to describe imageries (Session impressionism techniques of Wikipedia introduction -  [https://en.wikipedia.org/wiki/Impressionism])，such as generalized large-brocks colours-brushing, simultaneous contrast, symbolized meanings borrowed from 'natural lights', spirit's floating directly upon 'rough surface' etc. ,  have been highlighted and some similarities and differentiations with instrumental expressions are of the essential importance in my approach. I thought: when it comes to language descriptions (it's hard), much more detailed Interpretivism　and reasoning would better the situation. Watching throughout them by using 'a pair of glasses', we can see more 'drawing pathways' from piano and musical expressions. And, our channels would be more vividly 'with some intervals of blocked clouds being pressed out and holly lights beautifully sun-shining down through clouds to warm souls'.

===== New Educational Researching formation and some pieces of works-analysis （Techniques collected from the learning of Wiki-operations and sections are set beside the texts） =====

===== * '''''Moonlight is the real moonlight, but being vividly and thoughtfully heard when shining upon the sea and beach of not only the reality but also the poetic imagination:''''' ===== 

[[ File:Moonlight - Clair de Lune (As the rememberance of Sir Debussy.ogg|thumb|Moonlight - Clair de Lune (As the rememberance of Sir Debussy ]]
'''Description of Moonlight's Historical Tree (Editions in Times):''' 
Time would have been changing, always; and, things would have been being fizzed quite unclear, already. Closing my eyes, consciousness integrating with some symbolized unconscious imageries may only transform them to be some deep but easy-broken fragmental impressions (even a breezing sound) in my memories and further left in an area of mind-sea there, about what the experiences of keyboard-touching for this melody and some fantasy landscapes of Sir Debussy's Moonlight, reminding there to be mixed without  clear boundaries for distinguishes, and as a fantasy trinity of spirituality (missing), vitality (growing) and sustainability (blooming). 
Self-comments for third draft:
Then, the third draft came out. Yes, it must still be carrying some faulted details, thereby wasn't perfectly heard. However, 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' - this sentence somehow provided the meanings for its survive as one of commons' impressionism, as what small Jason's. When fragments of memory began to be fading, mixed, rolling up news, rippling out light recycles and interacting fatally orbiting routine, a natural impression was still there - growing vividly, as the root with visual boundaries between itself and universal darkness unclear, reminding some memorialized fuzzes there, thunders-wandering, lights-shaking and energies-spreading, with imaginational elements as the supplemental building materials. Therefore, it was still keeping a far distance from my artistic dream on the other bank of life river. However, in this draft, loves and emotional changes from commons 'life have already been attempted in a better situation (than before).
Analysis with some researched evidences: 
But in my heart... the enthusiasm in trying to understand what Sir Debussy has seen and been willing to express - the imageries on the beach of Poolesville (1915, summer) or other beaches in his past, during his tours in the First World War, has never faded its colours. Oh, the time of dreaming it is from my childhood. 
I am dreaming that he had been wandering alongside one beach and left feet kissed by waves from a mix of moonlight-waving, its projective tides-waving and sound-waving reflected. His mind was then flying throughout the darkness, with breezes as wings and lights as shoes, then sliding upon the surface of sea, directly to the clouds surrounding moon. But before, he had been trapped into a deep confusion about why sound-effects of piano has lost its colours in the world wars and how to awake people's fingers and techniques to recover scores' beauties. That's why in this version, in 'Tempo rubato' - the second mind-presenting part, the ideology represented by root-chords has been expressed so deep and so exploratory. Debussy was like a poet, struggling with heart-conflicts of idealist dream and the reality, to travel to the most peaceful and holly 'En animant' Peak session and pray for what moonlight's gentle-caressing would get away human beings' unstable and dangerous minds, and get back original beauties of the seaside shined by silver-moonlights. 'Deep but light' - yes, two sides of this contradiction, in master's composition, have been unified together, as if forces-mechanism has been oppositely turned back and steaming in a quite magic situation. Yes, he has gotten it freely there - the dreaming silver moonlight-a flower blooming on the other bank.  
Hoping: this draft would be better than before and it could be seen as a Christmas gift to my own heart and to some volunteering members in Wiki-family. Let us create more new senses for peaceful situations of the worlds in the coming 2017!
&lt;translate&gt;On n'est jamais mieux servi que par soi-m^eme.
Cherchons nos doigtes!&lt;/translate&gt;
'If you want to make things better, please depend on yourselves. Let us find our giftedness in more exercises for overcoming some difficulties in fingering (techniques)'

'''Small References for one historical facts and some words mentioned:'''
 Wikipedia (2016) '''Wiki-entry''' 'Claude Debussy' from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. Accessed: 20th, December, 2016
Claude Debussy (1916) eds. (9th) 'Preface' and 'Brief Introduction' of '12 piano melodies for techniques-exercising'. G. Henle Verlag, Munchen (Debussy Douze Etudes): People's Press of China (Bejing). {{ISBN|978-7-103-01632-9}}

Though it was a debate about whether or not the research of Impressionism techniques is needed in dealing with Debussy's Clair De Lune. Maybe, it was a little bit like a fierce argument. However, the respecting and pursing of Sir Debussy and his fine art 'natural dreamland' are truly there, according to the Wikiversity edition above and the comparison edition - https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg . Sir Debussy's 'Musical Imagery paintings' are surely about landscape-beauties of naturalism and people's subjective interactions (mainly the 'Impressions': longer accumulations&amp;re-treatments of perceptions for many years though 'Sensory Touchings' but also with memories and artist imagination), under this whole environment or 'Scenes&amp; tendency'... This point has been confirmed from many researching schools, currently.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 23:03, 24 October 2019 (UTC) Meanwhile, some artist 'touching' techniques in terms of playing Debussy's can be felt out from this debate. Wishing children or young teenagers would make some senses!

===== 'Never-ending &amp; Super-time' Homework for 'Forever Piano-kids': =====
Please make some Contrasts and Comparisons between Sir Debussy's Moonlight and Sir Beethoven's Super-time Metal-Rocking 'Moonlight Sonata 3rd Movement', after getting both fashions (Thanks to technology, you can simply watch Beethoven's fashion): 
[[File:3rd movement of Sonata 'Moonlight' Rocking Video JMC, Han (Jason).webm|thumb|3rd movement of Sonata 'Moonlight'_Sir Beethoven's metal-rock_Performed by JMC, Han (Jason)]]
 '''A reference''' of several sentences from Jason's (mine) Openlearn platform of Open University could give us some '''suggestions''' in Contrast &amp; Comparisons:
'Beethoven's music was postmodernism or to say Super-modernism and abstractionism that moonlights were like many fast-racing silver-knives penetrating Beethoven's painful realistic experiences (own unfair fate) and his never-reached idealist love, somewhere in an extremely-expressing Romanticism-Dreamland.' (Course Review of 'An introduction to music research' in Open University, 2018)
'''Homework Answer in Beethoven's side'''
About Debussy, in my page, there are many in depth and impressionism... 
Regarding With Beethoven in Postmodernism, a possible homework answer (sound) was here, right after a local library presentation: [[File:Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven.ogg|thumb|Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven]] [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:52, 29 April 2019 (UTC)
'''Key words explanations, self-learning ways and further readings''': 
Postmodernism -https://en.wikipedia.org/wiki/Postmodernism;
Abstractionism: https://en.wikipedia.org/wiki/Abstractionism;Romanticism: https://en.wikipedia.org/wiki/Romanticism; 

Beethoven's personal life and love: https://en.wikipedia.org/wiki/Giulietta_Guicciardi; 
Printed manuscripts: No. 9 Symphony - 'Ode To Joy'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 1st No. 9th in d Finle.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie No. 9th in d]], and 'No. 5 Fate'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 2nd No. 5th in c.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - No. 5th Fate]]
'''(Reading by following a DVD of Beethoven symphonies collection carefully)'''

===== &lt;big&gt;* '''''Children are doctors for adults, as the reason that they can create some most advanced techniques than your imaginations, but with the purpose only for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, heaven is near:'''''&lt;/big&gt; ===== 

Idealist dreams - the engineering realization of 'Chou Chou's playing techniques' and imaginary impressions through behaviourist language-descriptions:
(To be honest, it’s not to say I can get these behaviourist targets in practices; but, as in educational perspectives of Wikiversity, we need to set some idealist targets for understanding what are Debussy's impressions, how they were formed by expressive techniques, how to guide our learn-tendencies, practical operations and how to better the situations in which new sound-effects' out-coming would be possible. Depending on my educational research background, it was like a 'check list' for planning practices.)  

'''B1 till the head of B3:'''

(Letter B means the bar of a 5-staff-transcript. What is 5-staff-transcript? we can review the historical knowledge about how 5-staves-transcript has been formed in a long history (It wasn't always a 5-staff, but originally developed from people's willing of coding sound), and about which, our Wikipedia introduction (https://en.wikipedia.org/wiki/Staff_(music)),and some online courses-platforms from academy, such as fields about notation-reading in Future Learn and Music Theory in Open Learn etc., have already made some very clear and detailed introductions):
If you let me describe what imagery impression (or life scene) I have seen and what keyboard-touching feeling I have gotten from this musical phrase, I would like to compare it with a game of children's - Stone-skipping. I guess: maybe Chou Chou has gotten the principles of it. (Information from Wikipedia introduction: https://en.wikipedia.org/wiki/Stone_skipping)
But, you may ask me why and how I extracted this imagery impression. Furthermore, What types of hands-techniques have been applied here?

* Mechanism analysis of forces applied from practices:

It was a pitches-rise of right hand with grouping motifs in modelling running of four-quavers - as the united tiny motif. Forces, applied in dealing with every small motif, isn't in average, but with a centralization (fulcrum) set at each head of these small motifs. Meanwhile, other three are supported by these fulcrums, and slipping the whole hand to each next, as for forming the impressionist background layer in the bottom. Therefore, when playing the other three, your fingers need to touch out the depth, as half degree of these keys to form background sound-effect. Rather than, your '3rd, 4th and 5th' fingers, when making keyboard-touching of these grouping heads of motifs, need to fulfil the whole keys and are like these force-fulcrums, to support left hand's 'slipping' to higher places entirely. After hearing, you will find these grouping heads in a queue (with notes in shape and forces in physics) have been highlighted, as twinkling 'lights' in variations. And, your hand is rotated to rise and slip from point to point, by making keyboard-touching with the touching of water-surface.   

'''Documentary comparisons:''' 

'''Notes:'''   

'...The stone generates lift in the same manner as a flying disc, by pushing water down as it moves across the water at an angle. Surface tension has very little to do with it. The stone's rotation acts to stabilize it against the torque of lift being applied to the back...'&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone Skipping' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping. Accessed: 23rd, December, 2016&lt;/ref&gt;
'''Comments''': That's quite right about rotation acts upon fulcrums - every time being for hands' slipping through surface-touching of water. Yes, keyboard, in Debussy's works, touching keyboard can be compared with touching of the surface of water or a mix among water, lights and clouds, which we can discussed in the talk of Wikipedia. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Children's Corner', 'Talk: Children's Corner' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Children%27s_Corner. Accessed: 23nd, December, 2016&lt;/ref&gt; Furthermore, by a little bit critique, I think the surface tension of water as the background, should also associate with stone's (Supporting fingers') 'slipping', and give the counterforce-supports to other fingers. In this case, water striders' actions for moving on the surface of water can give us further enlightenments (It's because of touching, then rotation is enhanced by counterforce on the surface; and water's tension (expending a little bit extra) is functioning for the entirely movement to the next). &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone skipping’, ‘Surface tension', and 'Water striders' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping, https://en.wikipedia.org/wiki/Surface_tension, and https://en.wikipedia.org/wiki/Gerridae. Accessed: 23nd, December, 2016&lt;/ref&gt; Following above, where is the beginning force? Oh, don't forget the whole head - an octave chord (C2- C3) divided by a depending ornament upon main C3, which is like a throwing force motivating the whole imagery impression.
For brief, here, one of Chou Chou's little games, as from the very beginning, has been vividly described standing upon paper - stone skipping. You can feel the functions of one hand' fingers (right) have been separated into two with centralized fulcrums set on one of your 3rd, 4th and 5th fingers and others as for background, among which forces were transmitted for the whole's slipping. Then, energies, as impressionist paints' applications, have been managed with twinkling light natural emphasised and background half-touched 'Grays and dark tones are produced by mixing complementary colours’. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 23nd, December, 2016&lt;/ref&gt; Oh, don't forget to give A beginning bang transmitting force from the left hand to the right hand. It's a throwing one for all. Following all these techniques above, one piece of technique carrying its sub-properties have been unified together as a whole. 

'''B3-B6 - The directions of forces-application (fulcrums) -  fingers-wiping (Upwards) or forces-pressing(downwards) VS. the relationships between twinkling heads (in the groups of 4 semi-quaver notes which can be compared with 'leading stars') and their dispersal background recycling round by round:'''

* The direction of forces-application (fulcrums) -  fingers-wiping (Upwards):

In this piece, Chou Chou and her father have almost jumped into the lake-liked water-surface which they were playing Stone-skipping, but fantastically mirrored and reflected out upon sky into another impressionist scenery like what this painting showed - The Starry Night. Wikipedia introduction:' https://en.wikipedia.org/wiki/The_Starry_Night' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'The Starry Night' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/The_Starry_Night. Accessed: 29nd, December, 2016&lt;/ref&gt; 
But, you would ask me: Why did I state this vision that Chou Chou and her father's journal had been travelling there, and how did Debussy describe it through instrumental techniques? 
My own vision is: Though there were many debates about The starry Night's expressionistic symbolizations (in my mind, impressionism's extreme side would go to expressionism) - about its galaxy-origin, woman's painful birth-procedure, or religious relations, by simplifying them deeply and only picking up one most useful element interpreting our case which my mind-touching for it can get from the past, I would say: in this night-sky, stars were always magically twinkling as only ornamentations, holistically impressing the whole impression of the universe in dark into our memory and locations-statically heart-beating(moving)in certain interactively-shaking rhythm, which can be compared with numberless eyes shining in the sky - blinking and blinking with the vitality. In this time, Chou Chou, associated by Debussy Clause's advanced instrumental techniques, has lighten these eyes in the sky for us to appreciate impressionist beauties. 
Yes, Scientific approach has already told us: stars' astronomical twinkling is caused by the reason that multiple layers of atmosphere have refracted lights' getting through-in - which were travelling for multiple times &amp; spaces then arriving here on our earth - especially when even a small breath's occurring would change our seeing-angles in atmospheric medium.&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Twinkling' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Twinkling. Accessed: 29nd, December, 2016&lt;/ref&gt; However, when this impression was recorded into the world of subjective imaginations without helps of any machine and only depending on our own willing, it somehow transformed to be every single painting-stroke's pixel-vibration which was also relatively vibrating our mind. By threading numberless 'eyes-vibrations' together, we knew the on-going of its theme - to appreciate the peaceful Glory and the dreamful Harmony presented by the creator, which Chou Chou was angelically singing out. Then, how did Debussy express it in sound-effect world? 
By bearing imagery-impressions of visualization obtained from The Starry Night in mind and by making the deep simplification, we can know two sides of this comparison - from its origin to its target - are all about energy-vibrations - light's vibration → sound's vibration. 
Following it, this hands' technique, landing in the instrument of piano, isn't so difficult as we imagined that Debussy has highlighted several main quaver semi-staccatos as heads of 4-notes-semiquaver groups with each quaver rest followed: (Indeed, this technique has been repeatedly applied in the following part, but sometimes functioning variously, with the main point rooted as this.)
When playing the treble part, the forces-directions of 3rd, 4th and 5th fingers (head-beating) and the rest ones are quite different. The head-beating ones need to create one type of sound-effect as the note-vibrating and eye-blinking, by slipping and wiping backwards (semi-staccato) upon keyboard's water-surface (it's a little bit like making the rolling-jumping alongside its force-orbit.) By matching it with left hand's opposite fingering wave-approach &amp; associating accompaniment and pedal's breathily smoothness(intervals), the soul was described out summarizing the spirituality of all 'eyes-twinkling'. We can know, in this systematic mechanism, several mains can represent the tendency of all. This double lines (Mainly in higher part of right hand, but associated by left hand) are weaving together as the framework of The Starry Night and for 'giving texture to the painting'. In this case, the technique of painting - Impasto applied in impressionism (Wikipedia introduction: https://en.wikipedia.org/wiki/Impasto) can somehow make interpretations cross fields; while further, in terms of what impressionist effects reflected out from the field music and piano, I prefer a scientific explanation fulfilling its abstracted mechanism of stars-twinkling - 'Diffuse reflection' (Wikipedia introduction: https://en.wikipedia.org/wiki/Diffuse_reflection), which we can try to make more senses in the future.

* The directions of forces-application (fulcrums) -  forces-pressing(downwards):

If things what Chou Chou and her father wanted to idealist express which are understandably required musicians' hands-performances only have reached there as what paragraphs above have been shown, this story cannot be called a legend journal and an advanced impressionist description.
In the second half tightly followed, force-direction of grouping head-beats have suddenly turned oppositely downwards. It was almost that Chou Chou wanted to press a sequence of lights-vibrating bubbles which are mirroring the twinkling eyes in our Starry Night into a deep place under our water-surface-liked keyboard. Oh, this effect is that she collected them into one big accumulated bubble under our memory sea. We can find: the direction of fingers (3rd, 4th and 5th) has been totally changed - to press notes down smoothly with the full value of a crotchet attaching with others upon keyboard and standing there. At the same time, other fingers have been meanwhile playing the role of background-making - fuzzy without clear details of sound-effects, but as the totally floating impression-streams, wave after wave. In this case, energies have been accumulated by two hands as a whole, then waiting for a further breaking-out tide. Here, we can feel how fineness Debussy has designed the applications of forces and their textures into his works. He can even totally reverse forces mechanics in the immediacy. But, when it came to us - the players and appreciators, we need to train the controllability of our hands, the distinguish-abilities of our ears and attempt to express it better and more vividly. That's the job of continuous learning throughout life, which we can dream after and practise. Every time, a little bit more progress would make me feel happy and smile - just because the distance between dream's realization and my position has been shortening. 

* The demonstration of the dispersal background (the rest 3 semi-quaver notes attaching with their 'leading stars' in front) recycling round by round and their relationship with quaver heads:

Final part of this session, I want to say something extra about impressionist background. Indeed, this is really a charitable and contributive job. It wasn't the 'blooming followers' but 'volunteering grasses' for setting 'head-beatings' off more vividly. However, special keyboard-touching technique is also required that we need to make more preparations. Sometimes, the depths of 1/2, 3/4 or 1/4　are required alongside the changes of dynamics and vibrations of 'eyes-blinking'. Preparing for it can be compared with 'Colours are applied side-by-side with as little mixing as possible' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 29nd, December, 2016&lt;/ref&gt;, which is for describing the degree what a fineness it is. But, finally, the purpose of all our background-preparations are only for auditors' self-ignorance of its 'much more details', their willing of 'singing-out' the vivid framework in multiple-layers' texture, their possible appreciation of the impressionist theme with the supports from background atmosphere, their self-summarization upon some fragments of impressionism and further integrations with their own experiences, and their participant-observation of an entirely dispersed and fantastically floating universe emerging from own hearts and from the windows of our own channels. Hopefully, it would be of the understandability.     

'''B7 - 10: Classical Dynamics system VS. Anti-classical expressions: Master's requirements for some techniques of imaginational impressions (magical fictions)'''

* B7: Classical Energy-tide and its expression in Dynamics 

In the normal situations, music was compared with the floating water (or certain imagery joining basic elements from liquid, clouds or lights). It is because that they have the similar mechanical system (In music, we call it Dynamics system). The very simple impression, when we are watching them, is like the waving tide carrying energy (twinkling in visual system, or vibrating in sound system). In other words, it can be called 'energy-tide'. It is said floating matters, rather than solidified ones, are good at expressing energy's changes during the time tide is coming, as what music, liquid, and clouds have shown. About their expressions, 'forces' pressed down from outside into their mechanisms can work and motivate the whole phenomenon's varying. Accepted into subjective senses through sensory organs, the total impression without much clear details will motivate our mental energy and deeply push our emotional 'tide' wave by wave. This is the normal situation, as what the oceanic tide on our earth are motivated by the gravitational forces in spaces. (interacted by earth' core, moon and sun) &lt;ref&gt;Wikipedia (2016)''the section 'Forces' of 'Physics''', '''Wiki-entry''' 'Tide' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Tide. Accessed: 1st, January, 2016&lt;/ref&gt; 
In nature, the highest point of liquid's movements is usually where the application of the extreme force, to show the internal energy's centralization and externalization. We can call that point the energy-peak. In order to get it, there should be a continuous rising of forces' level for climbing to it, and a continuous decreasing of forces' level for landing back to the originally quiet surface. That is the procedure of energy-tide's coming and passing-by. Because of the dramatic energy-changing and energy-moving inside, huge forces are usually expressed out with the huge and apparent powers (to objects). In order to get this sense, we can review a piece of material from Wikipedia - 2010 Mentawai earthquake and tsunami (Wikipedia introduction:　https://en.wikipedia.org/wiki/2010_Mentawai_earthquake_and_tsunami )
In music and sound-effects field, it was also working, but by fulfilling the performance of dynamics with hands (piano). Usually, the highest note (mouth), as B7's middle E, is also the peak of energy-tide. Besides it, we can find two same wings - a 'crescendo' impressionist scale and a 'decrescendo' scale being continuously produced and attached upon each side. By analogy, from formations to content, we can know it belongs to the family of 'energy-tide'. This one should be a significant peak-run, because of its lowest beginning and ending were the same at 'pp'. Then, through two hands' (fingers) tightly matching and dramatically climbing up and landing back, the natural impression of powerful tide has been realized beautifully, which Chou Chou must understand how to play it from heaven onto the ocean. 

* B8: Anti-classical Energy-tide in Dynamics and its realization by hands' controllability

As what we have discussed above, B7 is designed in classical mechanics system - higher pitches' rising alongside natural forces' impotence  more deeply, which can be compared with tide-energy's passing by. However, in my heart, if things are merely arriving there, it cannot be called the application of advanced techniques. Afterwards, Doctor Chou Chou has played another fantastical game from heaven. She totally pressed down tidy's peaking tendency into one channel under musical sea, and let it go in a regular way, without indications floated up to the surface and being seen clearly. On the surface, what impression we have obtained is a winds-calming and waves-peaceful sea-face with light smiles. Originally, B8's quiet and 'normal' scene should be from people's 'normal' expects; but, nature taught us 'envelope-liked climbing to the peak then falling down to the ground, alongside dynamics' 'attack (dramatically increasing) and release (dramatically decreasing)', is energy's systematically spreading out and needs much heavier forces' pressing down then departing away continuously, which are required from our fingers' controllability and for re-appearing natural imagery. This impression is summarized by people's empirical interpretations from Second law of thermodynamics, about which we can review much learning details from Wikipedia and its reading list (Wikipedia introduction: [[Second law of thermodynamics]]　　　　　　　　　　　https://en.wikipedia.org/wiki/Second_law_of_thermodynamics). Therefore, we can say this case was an expressive contradiction - 'pretended normal is truly anti-normal' and 'classical naturally births anti-classical'. Doctor Chou Chou must understand it quite well. Even further, thinking about: in which case, forces would lose their weights and energy would be anti-naturally pressed down in certain channels of our universe. Yes, if we want to theoretically reason it much clearly, around one year, we still need to go back to gravitation, but in a very different field - sound effect (Indeed, through the analysis of what sound sent here, we can make the judgements of what types of materials, endeavours and forces originally applied in the beginning - sound sources through engineering approach - to build subjective connections through training our sensory organs of body.) - ears and fingers' 'anti-gravity' need to be frequently trained for the expression with the accuracy. I am sorry to say: in my second draft, beauties of this bar haven't been expressed perfectly. Then, if in energy-signal's ending part - sound effect and for perfect controllability (Tiny single note's accumulation), it would be the term 'gravitational waves'. In my opinion, it isn't to say, our hands (arms and fingers) need to be so advanced - 'creating a black hole', but to say they need to make some very simple anti-gravitational moves, in terms of which the entire effect is seen as normal, but under the surface, forces applied are somehow anti-normal. To be honest, Chou Chou's doctorial expressions with this style, in ''Children's Corner'', are ranged upon many places. It is one magically artist description of certain '''symbolized imagery''' representing the relationship between natural phenomenon and their controllable gravity, energy-impacts, 'energy-escapes', and energy-simulations of, from or for gravitational waves; then, by joining them above all together, we need to explore: in what types of situation, gravitational reversibility (or as some interval stages of waving) would happen. (Wikipedia introductions: [[Gravity]] https://en.wikipedia.org/wiki/Gravity;  https://en.wikipedia.org/wiki/Gravitational_wave)
All in all, B8 and some like it needs to make some anti-normal endeavours to control your hands' nature and realize a quiet and peaceful sea-face, directly after energy-tide's passing by in B7. (About further explanation, we can review more pieces of information from the Comment of File History in Wikimedia Commons (Third Edition - 16:10, 15 January 2017), but the true music was wrongly placed at the position in which fourth edition should take (16:27, 15 January 2017). I am sorry. 
( Wikimedia Files-storing: https://commons.wikimedia.org/w/index.php?title=File%3AImpressionist_Data_for_technique_analysis_-_Doctor_Gradus_ad_Parnassum.ogg )

* The mechanism of B9 and B10 (motif) is designed as to follow B7-B8's impressionist fashion, too

'''B11-B12: A simulation of the release of a sequence of bubbles (rising up) from underwater and to the surface '''

* Impressionist description:

Tightly following the anti-gravitationally down-pressed Bar B10, another advanced technique has been magically produced out, which can be heard by us in revealing Chou Chou's extraordinary doctoral imagination and her transcendentalist operations. This technique is regarding with a natural phenomenon - Bubbles' rising up in water.
Let me make a careful explanation: After a great amount of classical forces have been anti-gravitationally pressed down for recovering a peaceful 'sea-surface', we knew, in order to overcome jelly-liked Times &amp; Spaces' multiple- limitations, a hidden 'black hole' has been set in the centre of our 'hands' with a channel sending (escaping) the extra energy to the 'parallel universe'. It can be compared with the situation of being fixed in the depth of ocean, as a Aladdin's lamp sealing the damageable power of an 'energy-monster' in. However, in the other side - the white hole (or being mirrored in a occasion which would be compared with what Chou Chou has magically done - to release the huge power of a tide( or a tsunami)), Times &amp; Spaces' jelly-liked holding-back function has played the role of shaping its escaping routine into a wave-like up-rising channel, in which the whole energy has been divided into small pieces by Times &amp; Spaces, as gases in bubbles, staged flowing up at intervals (in rhythm). We can review some pieces of information about the changes of a sequence of bubbles' speeds in the procedure of flowing up, the reason why they can go but remain intact, and the equation for counting their pulsations (in rhythm) in our Wikipedia introduction: https://en.wikipedia.org/wiki/Bubble_(physics). Indeed, my explanation of this imagery impression is: the energy wants to escape in a very fast speed but cannot, because of Times &amp; Spaces' anti-forces in holding it back through changing angles of its pathway (deeply say: it is a result of interactive fighting between each other), which can also be compared with the situation Chou Chou's small hands are plugging bubble-liked energy-pieces back to the original mouth. I think this is also from one of the reasons why gravitational waves are 'heard' like waves - energy is staged divided and held back at staged as bubbles carrying gases to flow up under the pressure of fighting against Times &amp; Spaces. From this case, we can see how many pieces of knowledge doctoral Chou Chou in the heaven with her father have already known, especially understood their abstractions and applications in keyboard's practices and our fingers' descriptions, with their creative imagination.

* Fingers' realisation:

In this case, two hands of us need to be tightly matching together in order to behave as one hand. This procedure is made through one hand's tightly following with the other. We can hear 4 notes each in one group, as a small unit across two hands, which are forming a staged bubble-projection in the waving pathway; then there are four bubble-projections upon Times &amp; Spaces. From the bottom to the surface, it's the left hand which gives the power to motivate the whole mechanism' working in the fingering; then, the right hand is following after, but exploring further high-ways and leading the waving angles' changes. In other words, it's the right hand leading out the shape of waving pathway upon keyboard and guiding their progress to further step. It's better to play out an acceleration of our impressionist arpeggio alongside the cresc. of loudness, for simulating out the situation in which bubble-pulsation in rise requires. The final 'sf' and its dying out, alongside the procedure of the semibreve' standing upon a full time value of one bar, is an entire peak, as if rushing up to the surface of 'sea water', and bombing out there with full energy' release influencing in a large scope and lasting for long time. 

Thanks for this case, through reviewing which we can know how beautiful and what a magical world in Dr. Chou Chou's eyes in Children' Corner. On purpose or not on purpose, that's a problem. I think: just because of Chou Chou's childish ignorance of this complicate problem and totally behaving the full-hearted dedication of herself into creating universal beauties, (just for playing it happily, or being even without any thought of how and why to make them out) currently, through many times' excising and techniques-reasoning, we can find our hands' improvement, and the impressionist wandering to the purity after frequently trainings.  

'''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)'''

After travelling alongside a sequence of bubbles rising-up till being above sea-surface (B11-B12), we can find the forces' application realized by transformed staccatos has turned to a fresh field: how could us make the joyfulness through surface motions? Oh, smart Chou Chou's music-spirituality has chosen an amazing activity -playing a surface-chasing with her lovely pet - Exocoetidae (Flying fish). 

* Flying fish's flying mechanism:

In order to understand how Chou Chou can play so happily, but without self-ignorance of our own hands abilities. We can make this thinking: for making things clear, through accurate notation-reading, we need to get back to Flying fish's biophysics mechanism: 

In identifying Wikipedia introduction's words recordings of Flying fish' flight mechanism, we can know all flying fish's body parts - 'muscles, connective tissues, and ligaments in a fish’s skeleton; totally generalized: the vertebral column and cranium' - have been threaded internally by Neural arches, as a 'strong bow'. The shrinking of this 'strong bow', by accepting a signal from brain-linked Neural arches, would suddenly produce a strong force directly beating upon sea-surface with the direction back-forward. As a respond, the counter-force given by water surface would shoot up this streamlined fish - threaded all body parts - into air, with light swings overcoming resistances. In this procedure, tail fins (as grouped staccato-heads) play the direct back-forward motivation; meanwhile, higher-placed fish wings (as mind-borne huge slurs) play the function as gliding this movement from the beginning accelerations. Depending on this mechanism, Chou Chou's lovely pet - Exocoetidae (Flying fish) can realize its bird-flight. Indeed, small 'tides' surrounding its flight trace are like being wheeled, with back-forward streams counter-pushing fish's shooting, which are also projecting body parts' out shapes. In order to keep in air for longer time, middle re-forcing as another strong standing-point is needed during this interval flight, by its 'strong bow' with tail fins touching the surface. That's the whole flight which my recognition can get. About further researches and information, we can review Wikipedia introduction.https://en.wikipedia.org/wiki/Flying_fish . &lt;ref&gt;Wikipedia (2017)''the section 'Distribution and description' of 'Flying fish''', '''Wiki-entry''' 'Flying fish' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Flying_fish. Accessed: 13rd, February, 2017&lt;/ref&gt;

* Fingers' realisation:

1. In B13 - B21, you can hear left hand's staccato-heads back-forwarded wheeling and leading another linked 3 notes distributed upon right hand of each group plays each small shooting flight;
(Yes, the direction of left hand's staccato-head threaded with the wheeling 3 notes of right hand need to be played back forward and wheeling, as pedaling water's surface stream by stream. Then, flying fish, supported by courter-forces, can fly to the front air.)

2. Each 'slur' set upon these staccato groups should be seen as mind-borne 'wing fins' for keeping in air longer time and farther distance;

3. In each second bar covered by slurs, there are dynamics peaks between two wings - a crescendo signal and a decrescendo signal, supported by a 'post-' foot pedaling, counter-shooting flying fish's middle re-flight and re-acceleration for being kept in air longer time;(B14 and B16)

4. Oh, what a giftedness you can hear that Chou Chou sets several tenuto quaver heads distinguished with staccato ones to later their time values for more sturdier standings counter-reflected upon water surface. (Each second and fourth notes of B17 and B19).
It's like: in this lovely chasing, naughty Chou Chou suddenly rides upon flying fish, or grasps its' tail fins for delaying its time, and making some fun things. You can also hear 'hairpins' of dynamics - sudden softer signal, accompanied by posted right pedals tried to enhance this effect for the real joyfulness. (But, the effect still needs to be improved in future);

5. Finally, in this session, 'In Peu Retenu' makes a back-drawn and continuing 'slow motion' of flying fish's flight, which can be seen as the sprint stage of this race. There should be a back-drawn force slowing down the whole Times &amp; Spaces, which can be compared with the transformation of all these cases above to be a 'slingshot' - flying fish's 'strong bow' , being later down, but for a fresh beginning in NEXT 'a tempo'.


'''B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwards for enjoying a beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together '''

[[File:Educational sample for demonstrating techniques of B22-32 (Sir Debussy's Children Corner - Doctor).ogg|thumb|This is a small piece of educational sample for the demonstration of piano techniques, belonging to the session 'B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwardsfor enjoyinga beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together ' of one journal article researching Sir Debussy's Children's Corner - Doctor. As one techniques-sample, it's tempo was expressively slowed down a little bit, but oppositely reflected out more emotional changes when watching impressions of binary system's progressing under background of CMB (Unbalanced balance surrounding hidden gravitational axis - turning round and turning back - waving by waving). Meanwhile, you can also hear the parts of deep self-reasoning and down-falling towards clouds. I thought basic principles of impressionism, according to Sir Debussy's notation-transcript, had been kept. Better edition based on classroom background, will be researched out for commons' free shares and usages .]]

Tightly following the end of last session, we can see flying fish's 'strong bow' (a rit. &amp; a recovering force applied for another new beginning) has been magically transformed to be a Slingshot (Wikipedia introduction: https://en.wikipedia.org/wiki/Slingshot) in Chou Chou's hands directly shooting up the melodic theme into a holly snow-land. In my opinion, this session can be called the second peak and pure exploration of heavenly snow-land.
Why can we say it is the second peak? We can find this session's preparative functions for the other top trip in the later part, in which more achievements of landscapes-appreciations have been succeeded by our Dr. Chou Chou. Therefore, this one is the first 'attempt'.
How can Chou Chou achieve it? I thought this session can be divided into 4 sub-steps (stages) carrying functional meanings. About their titles, I can conclude them as: 
Thematic variation in small fingering changes latterly with shooting forces-tendency rocketed-upwards, 
Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling, 
Holly purification and self-reasoning in an angelically crystal universe full of brighten galaxies, 
Falling back to a earth cloud with Bass-thunders and Sun-lights' penetrations providing senses of light's warmth.  

&lt;small&gt;'''B22-B23: Thematic variation through small fingering changes (B23) with shooting forces-tendency rocketed-upwards'''&lt;/small&gt;

To be honest, this model, as each beginning of three sessions (B1-B2, B22-B23, B45-B46), wasn't unfamiliar by us. It's like every beginning part of children race, with an acceleration of fingers' running to rise pitches to treble part and prepare for further adventures. However, this part is special with a distinguishable variation in B23. In B23, left hand played a guiding function with expanding fingering pathway to climb up mountains and leading 4-notes grouped right hand to a further sky. Meanwhile, it was carefully designed according to Orbital eccentricity (Wikipedia introduction:[https://en.wikipedia.org/wiki/Orbital_eccentricity ]) , expressed through forces' increasing in dynamics-changing. You knew, under the background of gravity, if one object wants to improve its height to a far distant, it must recover its tempo to a continuing faster rate, in overcoming air fictions. During this procedure, its acceleration associates the transformation of kinetic energy to be gravitational energy; meanwhile, changing r (radius), collected as its height representing for gravitational energy's increasing, can be seen as vertical indicator (towards core)meaning the 'embracement' of further 'landscapes' in curvature horizon. Therefore, in my vision, four root-notes (intervals: third, fourth, third, fourth, finally towards sunny E in C major) played by right hand, with a expanding sense, gave the guides as ''Orbital eccentricity'' for rock's flying into further sky and realm. About them, We can give a self-range of its dynamics (4 levels) of pitches' rising, fingers-forces' inputting, loudness' increasing, to realize this effect. Here, a very naturally designed fingering pathway, as 'sky climbing-ladder', is of the importance, which Sir Debussy has referenced Mozart's 'nose-application' to give us some suggestions. ''''Natural' means that its design can follow the direction of accelerating tendency and hand's expanding pathway.''' In a fuzzing view, four root-notes are 'staring positions' of the curvature orbit leading a small-waving impression-belt orbiting to our higher snow-land in the space above clouds.

&lt;small&gt;'''B24-B26: Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling'''&lt;/small&gt;

What would happen further and what will us see tightly after last accelerated session? 
You can feel a pure universally holly snow-land have been formed (travelled to, or discovered) with amazingly astronomical phenomena magically existing summarizing different impressions of 'landscapes'. 
1. Binary stars system (yes, we can compare situations of two hands here with Spectroscopic binaries and a beginning of energy's integration. ) in piano expression and its hands' realization: from B24, left hand's leading energy has been totally released out that it flies by and orbits right hand in certain significant rhythm of position-occurrences. The observation of interactive 'Algol B orbits Algol A' in relative Wikipedia page gave me some inspirations of this situation. Here, through melodic analysis through our own hands, we can guess this stage in binary stars system's history - earlier time can be seen as still in a higher, enough and fulfilled energy level. However, the range of two sides are in one specially orbiting balance, with a ''equally-ranged'' merging tendency between each other - they cannot die out each other by gravitational attraction, but with energy system as a whole one including a major axis. Thereby, they were orbiting with each other in a special rhythm with one (indeed, it's interactive two) forcedly drawn by from one down-slowing peak to the other up-fasting peak. Indeed, it wasn't made out by 'left hand' only, but an interactive two sides with one accelerated merging into the other from one peak, then sliding out to the other peak; and the other influenced as energy-waving or even shape-penetrated floating small　Nebulas (impressionist background; about the effect, please see Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) It's really a beautiful universal phenomenon in higher energy level.   
   
&lt;small&gt;'''Fingering realization:'''&lt;/small&gt;

Signature 'l.h.' of left hand associates us to realize it. Depending on the acceleration, natural inertia and higher level energy-atmosphere pushed through B23,  We can see that left hand was making the frequently travelling (penetrating) throughout right hand's waving rage, in a distance about one octave; and about each wave (divided into two turned penetrations), two peaks from highest to lowest have been clearly twinkling out by left hand, as two crystal pearls hung by tenuto and a intervallic middle-shifting staccato (and both sharp C in the middle peak of B25, as a special tenuto-ing staccato). Meanwhile, dynamics range are naturally pushed though up and down with mouth as the middle main axis. In other words, let us divide this paragraph into points and see what basic standards here: 

1. As in one binary star system, the timbres of both hands need to be heard as if only in one hand without any differentiations, especially when left hand was travelling to treble part to fulfill a back-turning peak ;
2. However, tenuto semibreve and minim bass root-notes (in B24 it was a minor third effect - CE, and in B25 it was a single E) also need to create a whole impressionism atmosphere of bars, with time value being fulfilled enough. It's for the distinguishability of a stable higher energy level, contrasting to the accelerating part before. Oh, I knew maybe it was heard in crazy contradiction; But, indeed, on certain degree, they were dialectically unified together, as one for driving out this system, but when left hand was through out, the other back-turning peak for drawing back (braking) the energy of binary system. Then, they were keeping on going in balance;
3. Tempo in bass part (first half of B24 and B25)needs to make a accelerating accumulation (continuing faster) of force for driving the whole system to higher energy level. But, when left hand was across right higher to touch treble peak, a down-slowing and harder (continuing to slower) sense needs to be expressed out for braking and drawing back in binary stars system ( worked by eccentricity);
4. Following points 2nd and 3rd, a oppositely rotated middle axis will have been interactively revealed out with a Sharp C impressionism twinkling beautiful lights on the mirrored sky 'ceiling'. Oh, Debussy has totally anti-gravitationally (but also relatively in gravitational attraction's influences) reversed the axis in Bass part, which can be seen as a challenge of classical physics mechanism requiring more of hands' self-controllability;
5. However, there is also a contrast between B24's middle main axis and B25's that one is a staccato, but the other is a semi-staccato. How could us see this differentiation? I thought it should be one type of natural transformation from binary stars system to Eclipsing binary. Yes, alongside time's on-going, they are near and their energies merging into one whole that staccato's brightness evolving to be down-pressing root-notes and joining the group with B and Sharp A in scale. In other words, two peaks on each side have been integrated as only one notion and all in bass root with significant impressions pressed out;
6. Dears, what about our right hand? Caused by higher energy's stretching power and the other planet's frequent penetrations, it lost its star-shape and was generalized as energy Nebula (still, Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) fuzzing a tiding impressionism background waving by waving.
7. Here, How can us thread all those above coherently and harmonically? sustain pedal of piano has played a very important role in creating a crystallized Reverberation effect representing for a holly, peaceful and pure  energy-environment (Snow-land) with various sub-level touching-effects according to time,  to support the realization of techniques, about which we can pre-review some pieces of information from Wikipedia introductions. (Sustain Pedal -[https://en.wikipedia.org/wiki/Sustain_pedal] and Reverberation - [https://en.wikipedia.org/wiki/Reverberation]). Yes, indeed it should be heard as being pushed from nature and according to energy's being upon Times &amp; Spaces ; but, when we try to realize them in the cooperation of feet and hands, the idealist effects are not easy that we need to research more about their interactions.
Here, some peers and students would ask me - Jason, how could us press out good sound effects of piano pedaling to support impressionist expressions of hands, in the realization of imageries we had described above? 
That's a quite great but very hard question in piano that different schools have gotten different ideas, and some have concluded out several theoretical systems. Here, we can try to reflect out and summarize some of my small practical experiences and some appreciations of different pianists in educational approaches, according to notation-reading and practical performance effects. From the view of impressionism and Neo-expressionism in piano, just leave a brief sentence: please bear in mind, natural breathing in rhythm according to slurs and dynamics is quite important. In postmodernist impressionism for commons, we mainly support Post-set (later a little bit time, compared with notes' finger down-pressing) pedalling pathways for Education Research. In other session, we can make careful and reasonable self-reflexivity from tens years' exercising, some information-collections from documentary materials, and some comments of effects from classroom recordings. 
(Leaving a developing zone)

&lt;small&gt;'''B27-B30: Deep self-reasoning and self-exploring when gaining impressionism of a infinite CMB Universe'''&lt;/small&gt;

Till now, after running after binary star system and feeling about its special rotating rhythm caused by  gravity ( being with two peaks of orbit and a inclined middle axis; then, merging into a eclipsing binary star system), Chou Chou's sight was travelling to the deepest part of her universal horizon - maybe inflation with light's primary breaking-out, a delicious sweet &amp; hot particles-soup in dark, , or some far more unknowns... ; meanwhile, Dr. Chou Chou's subjective worlds was dropping into a special situation - self-reasoning, self-questioning and self-exploring.
How can me hear those? in B27, the upon-travelling left hand, associated with sustain Pedalling created a special sound-effect - slurred semi-staccatos were making twinkling 'eyes' breaking-through right hand's hot hydrogen recombination background; in a wide and profound space, they created later back-turned, slowly-decaying and longer-lasting reverberations, which are shaking as three supernova stars (Wikipedia introduction: https://en.wikipedia.org/wiki/Supernova ) hanging upon chaotic and after 'binary system's combination in sessions before. So beautiful vitality Chou Chou did, which also reminded  me the post-impressionist painting Starry Night [https://en.wikipedia.org/wiki/The_Starry_Night] mentioned before. It's also a question flowing from G, to Sharp F, till E in G major system (or its attached e minor tone), deeply and expressively asking human beings 'who am I (compared with the never-ended and long-lasting universe from big bang)? or what are (our) meanings (with a short life as so)?' That's quite right that Loevgren calls The Starry Night &quot;an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos&quot;, which revealed a little bit sorrow when the seventh of G major appeared (as if in minor e) directly asking universe our being's final meanings - to feed and light the unknown darkness? Chou Chou almost knew the answer that in next bars B28 and B29 two small slurs beneath two huge threading slurs made through left hand described two self-exploration and self-climbing - D, E and Sharp F (5th, 6th and 7th of e minor). We can hear the reasoning feet of the two repeated motifs have all been landing upon sharp F with the instability and uncertainty as universal fluctuation and left sound-effects energy-waving in vacuum. Those self-reasoning motifs were so deep from true heart, which are bravely expressing the dream of a truly peaceful heaven with imageries of freedom to appreciate symbolic 'landscapes' made by Creator. 

&lt;small&gt;'''B30-B32: Dramatically Channelling back through scale-fingering from deep universe to Snow-land built upon cloud-blocks of earth's atmosphere'''&lt;/small&gt; 
Final part of this session, in B30, all astronomical landscape-paintings ceilinged upon Chou Chou's Multiverse sky-roof have been summarized as a self-comfortable confirm for life and peace, with three semi-staccatos shining back the rising acceleration, and taking a downward tendency through a slur-breath - naturally and beautifully. Meanwhile, a smooth curvature line of dynamics -decrescendo, implicitly drawing out star fireworks' resting-pulse upon 4 dimensions, turned down the tempo of Chou Chou's whole universe and make her fall into a huge waterfall of energy, back to the original heaven. 
Yes, B31 is that waterfall with a continuing and dramatic dim. requiring two hands tightly matching together as a whole flow; by attracting all matters, it internally dug out a landing channel, to somewhere as Chou chou's willing to go. We can call it a wormhole, rather than black hole's leading towards another sky.(Wormhole - Wikipedia introduction: [https://en.wikipedia.org/wiki/Wormhole]) Though B31's waterfall of F major, Chou Chou got back to an assembly of cloudy blocks seemed heavy as castles, but floating upon our earth's atmosphere. 'Retenu' of B32  - down-slowing associated us realize this successful landing, which can be compared with a　parachute covering three slur-legato-ing pitches - D, E and C - longer-lasting (as up-hanging crotchets), associated by Bass's fluctuations in sound-effect, to keep parts' distinguishability in texture and　to simulate braking soft-land.


 '''B33-B44 :  Fairy Legend -  The 'Expressif' of natural spirits: 'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks; The pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then spreading all-directions - alongside impressionist arpeggio's climbing and above the upside landscapes of clouds-made heaven (B37-B40); Holly lights are shining and intervallic penetrating throughout the joints of cloudy blocks, as in a continuously weaving pattern to future (B41-B44)''' 

* 'Wormhole Door' was opened by drumming spring lightening '''(B33-B36)''', which is charged and expanding in the middle of cloudy blocks

In this part, the ''impressionist Arpeggio'' was expendably climbing to higher place through alternate applications of both hands, as if lightening was formed and wandering among clouds-layer. Why did I highlight the term 'impressionist Arpeggio'? 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto' - this impressionist technique (Wikipedia introduction: Section 'Impressionist Techniques' [https://en.wikipedia.org/wiki/Impressionism])taught us: not all notes need to represent properties of motives, but some grouped heads. They should be brighten than others with longer time-values and support the existing of certain textural parts, right as ''Short, thick strokes of paint''. Meanwhile, other notes would be touched much softer without too many attentions, quite as 'improvisational  details' streaming out an expanding tendency slowly tearing out 'clouds-background' from middle. You can hear: from Bass flatten B to long notes middle D, till treble D, a solidified cloudy structure was built upon sky involving 'impressionist point-pixels', for leaving 'essence of the subject' - yes, the soul. Then, lightening streams were climbing alongside this frame with details half-touched unclear, but spiritual powers accumulated and pushed to higher level. If only in this case, we cannot state Chou Chou's piano techniques are advanced. I can remember: in previous sections, we have discussed the anti-gravitational characteristics of Debussy's compositions- down-pressed peak forces with higher-energy vibrating, such as the comparison between B7, B9 and B8, B10. Here, still, this requirement of hands' controllability has been mentioned again, with two hairpin left-opened decrescendos and a middle piu (more)painted on. Therefore, a significant energy was down-pressed, finally being fuzzed to be a broken chordal impression left in atmosphere. Among cloudy blocks, it can be a vacuum, created and lasting for a small interval. Tightly beneath it, please see charged lightening streams rolled struck ground through bass-part's switches between flatten B and flatten E. Here, longer-lasted, pearl-rolled and charge-vibrating 5 notes (B35-B36) with special reverberations in sound effects, perfectly express lightning's expanding and strength when being down-pressed into certain channel Cloud-to-ground (CG). In order to make better understandings of this case, we can review some pieces of information, in analogy of lightning. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Lightning]) 
Those notes can also be understood as Chou Chou's lightning-strikes knocking at the door (on the other side of wormhole) for opening a fresh heavenly realm upon clouds. 
* The weaved pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then was spreading all-directions - alongside impressionist arpeggios' climbing and above the upside landscapes of clouds-made heaven '''(B37-B40)'''

It's hard to describe this session, titled with an emotional signal of 'Animez un peu' (continuing to be lovely and vivid). 
Technique-requirements:
1. Still, the right hand was simulating a cloud-weaved tree's growth, branches-climbing and area-expanding by following 'impressionist arpeggios'. It's a slow but enjoyable procedure, with the depths of keyboard-touching increasing one by one, but very naturally. 
2. Accompanying with the first point, the warmth of atmosphere and the lights of sun were emerged out and hollowed throughout repeatedly, which are in the dislocated positions of aesthetics of clouds-tree shade. How could us understand it? Usually, in our minds, there are normal expectations that the most brighten lights should be shined upon peak-poles; then, warmth pushed by dynamics can be reflected out. However, in this case, the posted-pedalling diffused warms in the atmosphere and from bottom; meanwhile, 'l.h.' across the right hand to simulate the sunshine, holly over, and hollowing clouds-made tree-shade. Owned to the reason the hollowing points (Two major thirds of flatten G-flatten B) were out of our expectations, but set a little bit later compared with peaks of dynamics. They are weaved with the imbalance, but symbolized as beautiful surprises. Therefore, We can call it 'Dislocated aesthetics'. Indeed, in the history of aesthetics and covering some fantastical landscapes, there were many beauties seen as some amazing surprises, but placed wherever out of expectations (even wrongly enough). We got the sense - oh they are beautiful- mostly because of their deep impressions of the imbalance. We can call this imbalance - happiness. Oh, it's a symbolized and weaved pattern of happiness tree (clouds-made) growing upon our heads. Souls have almost been hollowed by warm streams of happiness.  
3. May it be, the weights of treble sky gave us many pressures; in order to control this situation, our left hand had  also traveled back to set a weight in middle part (tenuto  minuet long-third between flatten E and flatten G ); then, flying back to light the clouds-made heaven through another dislocated joint. 
We can make our imaginations through watching more visualized imageries and introductions from clouds and know more discussions of beauties' contents from aesthetics. (Wikipedia introductions: [https://en.wikipedia.org/wiki/Cloud]; [https://en.wikipedia.org/wiki/Aesthetics] )    

'''* Holly lights are totally shining and intervallic penetrating throughout the joints of cloud-liked block-made happiness tree, as in a continuously weaving pattern processing to the future(B41-B44)''' 

Techniques for this session have already been introduced, as above. Yes, among what we have learned before, many points were symbolized out by our thought experiments, including some elements from analysing and reasoning. Thereby, an omission can be left here. However, this part was also one of the most expressive, reasoning, fantastical, warm, holly, brighten and peaceful sections in the whole composition, requiring us to apply more engineering exercises, careful forces and fantastical musicality. Based on those fundamental trainings , we can fly our fingers with more enjoyably impressionist freedoms. Here, you can see: The right hand has expanded a long regression-analysed D-flatten arpeggio-chain (heard similarly in a Pentatonic scale) - stating from D Flat' Perfect Fourth and climbing across the sky-horizon to touch another peak-peal of this work. You can clearly hear its simulation of our universal expansion through dynamics-climbing, which can be compared with a transcendentalist push (prior designed from universal nature ) of both materials and spirits in logical pace (rhythm) to touch another 'brighten ring' (around black hole) or a hidden eye channeling black hole (seeing or attracting all brighten 'lights' there, then '''oppositely''' (felt) as a dark fallen eye from the singularity), with gravity's increasing (while hand was expanding upward) which brought Times &amp; Spaces' continuing  down-slown - yes, leaving some natural out-breaking holes for holly lights' shining down from worlds with high dimensions, which was relatively heard as the signaled peak 'Retenu' contenting full imaginations self-created and penetrating out (continuously rhythmic down-slowing for some deep expressions).

[Extra explanation: Scientific observations have already proofed us - when we would traveled a lot (climbed too much) throughout a sky with wormhole to a nearby neutron star, or somewhat a black hole, gravitational waves produced by them would twist our senses of Times &amp; Spaces, especially down-slowing and expanding them to certain unbelievable peak-points. I believed one day, manufactural time-controllability with powers drawn from them can be re-produced out; then some amazing senses , rather than terrible ones can be motivated by our consciousness when channeling them - some holly, reasonable, purified, joyful, amazing and heavenly senses would be motivated out (on the other bank of our trip), as a naturalist regression threading all fragmental memory pieces of our life in a chain. And, we can finally make them meaningful, as the appreciation of Sir Debussy's Doctor in children's corner. Therefore, I still believe it's a 'up-picking' of  flowers blooming from childhood by a huge &amp; unconscious regression-analysis of our own life trip. Recommending one movie - Interstellar (Wikipedia introduction: https://en.wikipedia.org/wiki/Interstellar_(film)) , which is among my top list, especially its virtualized final-part of black hole's gravitational senses, though still some rough points which Joseph's subjective regression alongside gravity's increasing in dark hole was towards his own mental history rather than earth or solar system's entire history &amp; meanings, and further I didn't think book-liked square-dimensions hidden behind his daughter's bookshelf would be his own life or all people's regression points as universal truth ; but currently, lots of reasonable imageries from this movie have been reasonably created out and visualized out, which both met scientific purposes of Space-exploration, theological humanity - loving and respecting commons' life blessed by Lord even ending from black hole, and also in little Jason's journal, would motivate our musicality (imagination field) for more romantic understandings, some neo-expressions and a generalized impressionist-coding of Universal Epic in Sir Debussy's eyes. In my eyes, as Joseph's bookshelf, about Sir Debussy, if predictable and after his own Event Horizon [https://en.wikipedia.org/wiki/Event_horizon], his universe and subjective regression point across Times &amp; Spaces would be going toward the mutual music-impressions keyboard-touched in diverse works between his dreams and landscapes with beloved Chou Chou's landscapes heavenly upon innocent children's universal corner.] 

Therefore, as seen above, it's also a gravitational regression of universe, but not easy for our own hand's training about the case whether or nor we can make the expanding of right hand's climbing-liked Arpeggio and finally light the senses of most peak in Times &amp; Spaces' Retenu and the shinned depth of singularity in dynamics (to get the solution of general relativity Equation in gravitational waves),  was going to depend on our own levels and endeavours in hands-exercising. 
Please see: when peak - the '''flatten A''' was totally reached and lighten on 'ceiling', a sky was opened above all clouds-made landscapes and holly lights are peacefully shinning upon all corners of our earth. We can know our endeavors were worthy.  Chou Chou's childish &amp; innocent smile-face with good wishes for future appeared there, warming all people's heart and make them powerful and joyful. Facing so significant an universal impressionist painting there from kid's eyes, don't forget put an element of ''''France Romantic'''' gently &amp; relaxable wandering upon those curiously&amp;unusual universal observations: you knew, so small we were when facing... but we can reason ourselves to much 'deeper places', then, our emotion would be comforted &amp; released from this procedure experienced -joining the reasoning and self-expression together from something in emotion - not clearly known but felt...'''romantically and peacefully'''.  Though our hands were still rough (in my mind), let us take more idealist imaginations (how things and hands-techniques would reasonably be like) to make more tastes of this session and our own endeavors - sweet, sweaty, but worthy ... I thought it would be the educational purpose of music.

'''Tempo I: The awakening of pasted memories through thematic repetition but twinkling elements from new accumulations ('''B45 - B54''')'''

After travelling into a brighten ring with 'a dark fallen eye in singularity', we can find it contents a summery of most beautiful impressionist landscapes in a only note of '''flatten A''' decorated upon Sky ceiling, the unconsciousness of Sir Debussy with his beloved Chou Chou has almost gotten back to the past - their  'Original dreaming heart (willing)' (B1-B10). Yes, the review of your 'Original Dreaming Heart' is very important as a reference to correct the navigational direction, pick up 'lost flowers (imageries)' from its morning, accumulate more energies and make further adventures in this trip. You knew, the boundaries of a dream somehow content original powers rooting from your unconsciousness and linking to universal nature fatal designed already, thereby, is called transcendentalism. Awareness or unawareness, you are following its channel to be somewhere, with some people, and doing somewhat. Sometimes, you would lose yourself alongside complication's increasing. But like 'Mustard Seeds which have already been grown around you', only your down-bowing for picking up your originally true heart and cherish it again, you can travel to your peaceful heaven. '''(The Parable of the Sower and the Parable of the Mustard Seed and the Yeast,  ch 1-43, MATTHEW 13).''' I thought it's the reason why Sir Debussy has made this repetition in later middle part. Till now, the power of our hands has been increased and the techniques have been brilliant which would give us more confidences to face new situations. Let us go! 
In piano performance, usually, when a repetition occurs, we need to make different expressions in Dynamics, though techniques would be out of the similarity. It's for keep the diversity of music. One approach for this point is to research tiny differences from new piano scores (though some of them are either modified, or hard to find or later-posted by others) which content different experiences and impressions rather than Sir Debussy's own impressionism. The other approach is from natural root to self-construct, depending on your freedom of reasoning, musicality and universal participant-observation. I would like to remind several changes appeared with differentiation in this piece:
1. The whole dynamics background has been totally reduced from 'p' to 'pp', which means less forces would be applied here; meanwhile, oppositely, the scope of dynamics was enlarged in which much space can be left for Neo-expression of impressionism . Indeed, I would rather to compare it with a '''hanging valley''' above higher altitudes and cloud-blocks (Wikipedia introduction: [https://en.wikipedia.org/wiki/Valley]), air atmosphere became thinner represented by 'pp', but the whole height was improved . In the other view, why did I apply 'Hanging valley' to describe this repetition? Don't forget we have already climb a peak of this expanding tree with a signature - 'Renenu belt' leading to a Black (unknown) inside-Fallen Eye channeling to another beautiful &amp; infinite happiness universe. In this time, from the nature of a dream after beautiful landscapes, let us climb another peak within the events-horizon more symbolized beauties were hidden there. In other view, it's also a rest of our hands' energy and an accumulation of new energy, after so depth the forces we have applied for climbing that brighten happiness tree above clouds. A fast light-review of Originally True heart, as a reference set beside, might help us find the 'solution' and open 'another sky'.
2. Compared with B3-B6's twinkling-head stars under The Impressionist background of Starry Night and various keyboard-touching techniques for supporting fingers' fluent arrangement, it's a very small difference that the scope of (crescendo-decrescendo-formed) (date-core-liked) dynamics-progression has been enlarged until  two Bars' covering (B49-B50), rather than before - only occurred in half bar of B5. How could us explain this change? Dramatic change was transformed to be a leisurely emotional expression. Following it, more energies can be accumulated and more tastes of musical beauties hanging and dropping under the Starry Night would be slowly reflected out. It's still for the preparation of another Peak-climbing alongside the Cloud-blocking, Snowland-upon, happiness-tree upward-expanding channel to the universal purification and reasonability, which can also be seen as the heaven Debussy picked up for his Chou Chou in musical patterns.
3. Bass change: 'Small depending note' attached to Octave C which was forming a progressive chord has been transformed as a octave block-chord - G; then, slurred Perfect fifth (Deep C - G2)mirrored from this change(B45-B46). I think it was an evolution, which makes the distinguishes between before and current. It can also be seen as a proof of 'Hanging Valley' above higher altitude joining two peaks in transition.

After these accumulations, fast reviews, small modifications and new expressions on 'Hanging Valley' above clouds and under The Starry Night, another shooting trip will be going to soon begin...

 '''B55-B56: Expanding Heaven-Ladder out-breaking the other branch channeling wormhole which was created by fantastical materials borrowed from old story - bubbles (rising up) throughout the underwater of atmosphere (developed from B11) '''

By notation-reading, we can find this bubbles' on-going channel is developed from B11 (bubbles-rising), but differentiating in length (Time interval: one → two bars), 
tiny note-differences in recycling pattern
{This time, in each　tracking pattern (Originally, basic unit-recycling was wheeled by a bottom-top movement - each time, the next note will be the first: E- Recovered B-E-Sharp G → Recovered B-E-Sharp G-B  →  E-Sharp G-B-E, Sharp G-B-E-Sharp G), B was raised to be C, Sharp G to be flatten A and a highlighted repetition occupying the middle intervallic linking two bars together ('Flatten A-C-E-Flatten A') was designed there to build a '''buffer platform''' curvedly twisting the whole tendency of this upwards on-going channel to be in another higher-rising branch.},
and accurate fingering locating
(You will feel that your fingering needs to make a very smart and exact change (rise) - especially the second finger of left hand - moving from B to C, for opening an expanding gap; and further, carry this gap inserting into woven pattern alongside two hands' tightly following in Arpeggio-playing way: E-C-E-flatten A → C-E-flatten A-C → E-flatten A-C-E→ flatten A-C-E → '''flatten A-C-E-flatten A → flatten A-C-E-flatten A''' ...).
From directions, our right hand (like　navigator) needs to lead and match left hand' back-pushes (giving motivations like engine) to go higher places together. Somehow, when playing very fast, they were together siding out a pathway up and down. In turns of two hands, a wave-pattern with gravitational expression has been woven out (I have mentioned it before in B11 - B12 session) as this channel's outside form. Then, 8 recycling bubbles (motives) were travelling throughout this channel one by one. 
when we try to recover its beauties, it's better to send a very small Exocoetidae (Flying fish) back-forwarded (reversed) force (about this term, please see the session - '''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)''' above) directly upon our 'buffer platform'. Oppositely, we (as in one bubble) will fly (being shoot) higher up onto a joyful, purified &amp; holly heaven land. During this procedure, special music background 'colours' (separated and) motivated from the frictions of this channeling movement made the whole space &amp; time shining amazing lights fantastically. Appreciating it, we can also imagine a surrounding atmosphere with crystal diffuse reflection (Wikipedia introduction: [https://en.wikipedia.org/wiki/Diffuse_reflection]) magically embracing our channel in the middle, which summarized spiritualties of landscapes' most beautiful elements and impressionist reflexed out of our 'channel windows'. I think, that's the magic power of impressionism, in which we can both detailed analyse its components &amp; techniques as a solidified foundation; and meanwhile, alongside its post-channels, special colours and lights, as souls without shapes, can be generalized and abstracted out what were wandering, spreading, occupying and surrounding the boundaries of specialist operations - lasting tasty in our mind for long time without disappearance. Yes, in childhood, we can also see special 'colours' from bubbles in air under sunshine. In order to support this impression, a dynamics 'cresc.' was dramatically set here, for simulating special lights &amp; colours' scattered transparence. Since happening in a higher hanging valley, this climb has been channeling to a true Peak situation - heavenly snow-land crystal-liked existing in Chou Chou and Sir Debussy's mutual memories, their imageries, their beautiful wishes, and their universal regression for future. Oh, it's also in Angelic Children's Corner. Therefore, in my opinion, '''Heaven Ladder''' is a good title for this channel.  

 '''B57-B64: Dualism to see Chou Chou's Universal Heaven-Slide travelling throughout landscapes for joyfulness - techniques VS imagination '''

[[File:Better demostration B55-64.ogg|thumb| Minutes 0.03-0.15 was B57-B64's demonstration]]

Dears, close your eyes, try to imagine which places were there - in your imageries-sea, as for the occurrence of the most joyful experiences? And, after your endeavors of climbing a '''hanging valley'''; and then, bubble-settled &amp; exocoetidae-shooting up to a long distant channel heavenly dropping to another true peak-land with crystal dreams scattering over purified snow-flowers fuzzing beauties of landscapes all around you past experiences , what are your heart then truly willing to see?  
Don't forget, Doctor Chou Chou was still unconsciously a child in her Children's Corner (may it be an lazy daydreaming afternoon lying on a rock watching heaven lights shining throughout gaps of forest, highly there...). Sir Debussy recognized this point and set a most beautiful &amp; infinite Children's Slide there - in the center of universe and back to the beginning - to the most imaginational first light, and the deep impression of the birth. (Wikipedia introduction: Slide in playground [https://en.wikipedia.org/wiki/Playground_slide]) Then, in Chou Chou's heaven, she can always operate her joyfulness by slide-travelling in which passing by universe &amp; mind landscapes 'besides and under her feet'. But what does this 'Children Slide' in her corner (playground) looked like? I think Dualism of 'piano techniques level in physics world' and ' the links of imaginational level' would help us:
* The identification of piano techniques applied here as the foundation simulating '''Children's Slide''':
Here, we can see 'slurs' grouping each four semiquavers in every beat of a 4 beats' bar, which range both left hand and right hand. Left hand played each tenuto of long note (crotchet) at the beginning of each group (note which needs to be played out enough or over a little bit time value), then being counted out 4 heads leading each group waving upwards till left hand, spreading by spreading. In a larger view, several huge slurs, linking each 8 heads in a breath,  are totally downwards going. They are forming 4 sentences with a smooth progress continuously landing to our earth. Then, post-set 4 pieces of pedalling are there alongside 4 sentences' down-landing, matching out two octaves' data-core liked interactions which apply forces in dynamics channels - each between a ‘Crescendo’ and a 'Decrescendo'. 
* The links of imagination
Then, a breathable heaven with crystal landscapes, supported by pedalling, as the fairy background twinkling and embracing Chou Chou's  Slide theme in the middle, which are formed out the impressionism orienting the history of universe. Chou Chou feels so happy sliding in this channel reviewing fast by-passed landscapes and her own consciousness experiences. Oh, I forget to say: it was also a rotating Slide while you were playing, the degrees of bending &amp; stretching of your fingers told you angles need to be changed periodically. Currently, I think, to some philosophical degrees, the mechanism of universe in particular Planck epoch era, or then spreading out here (Wikipedia introduction: Universe [https://en.wikipedia.org/wiki/Universe];[https://en.wikipedia.org/wiki/Planck_units#Cosmology]), can also be in a analogy of universal Children's Slide, set from a far beginning, down-landing out &amp; down-sliding towards us and this earth - then, till now and here. In brief, this time Chou Chou has really well-done a great universal climb, upwards to so top, fantastic and holly a place, then sliding downwards to us. The beautiful heavenly sound effects made us drunk in the appreciations and imaginations of unknown beauties deeply in universal heaven, which indeed are truly from children's nature - playing only from the curiosity and for the joyfulness.

===== Editing- '''B65-B70: Impressionist Texture - Main streams VS. Fuzzing background - After repeatedly sliding to 'double-turns' '''hanging valley''', Chou Chou found another 'New Toy' -  a vibrating '''Crystal Fountain''' emerging from gravitationally cloud-waves '''=====

Currently, we are going to enter into 'Coda' part of this Doctorial Suite of Children's Corner, melodically reported by  Chou Chou and his father from heaven. firstly, putting it aside, I would like say something extra. There used to be one discussion: what emotion should a 'Doctor' from Children's Corner be carrying? After having reviewed so many fields of knowledge bridging communications between western worlds and eastern worlds, and having travelled so far from 'Big bang' occurring from universe's beginning to 'Black hole' channeling to somewhere unknown parallel universal branch , or in other words, to the depth of his or her own mental unconsciousness part regressing back to those moments that astronaut and his or her symbolized 'daughter' can never make the departure with each other but being together facing happy and unhappy life-imageries in life, and then landing back to the 'solidified' impressionist background with dialectically fuzzing gravitationally-waving 'lights' twinkled from 'The Starry night'...; doctors' contributions have already achieved many what being dreamed for long - a 'crystal castle' built upon 'Mind-independent Snow-land' and colourful clouds, mapping new Era's beginning from Nations' Cartography generalizing 'New natural landscapes with vitalities' (yes, and some societal languages)up to the symbolizations of 'spirituality indications' for future (- Postmodernist Constructionism) (Wikipedia introduction: [https://en.wikipedia.org/wiki/Cartography]); or oppositely thinking, it seems that things still meant nothing or very few gains, after a systematic running of the whole universe - normally, beautifully and peacefully inherited from before, and future was sill continuing to 'there bank' rather than 'here lands' (- Postmodernist Deconstructionism) upon unsure foundations. 
What kind of a 'Coda' part would Sir Debussy and his beloved Chou Chou have writen for our 'Doctors' in 'Children's Corner'? Directly say, I think: so many fields of knowledge from human beings' worlds which were bombing in his or her mind that shouldn't make people from children's corner as a tool inserted into a evil machine or device, working merely for the hopes-losing operation of a negative future; but positively, as a back-returned discover, he or she need to see their 'original heart' and hear some 'harmonic voices' sung from the heavenly corner of children. In other words, the purified attitude of worlds' future, the curious eyes to discover universal beauties and the love of childishness &amp; innocence shouldn't die, but oppositely support the freedom of minds' wandering, expanding, and new links' construction, for harmonically embracing more people and more possibilities. More simplified, by 'returning to be a kid' and 'working only for pure play well in the future', we can keep the root of a young heart with the creativity. Yeah, it is the freedom of minds, and also the curiosity with the creativity - to see more, to solve more, to discover more and to appreciate more... shouldn't be killed. 

By carrying this impressionist emotion ( and make it a deep internalization of ourselves), we are able to appreciate Sir Debussy and Chou Chou's 'Coda' part:
Indeed, Chou Chou was so exciting about Coda's coming, which was firstly noticed from B67's score requirement -'Très animé' (very lively with full vitalities). Then, this exciting mood was also realized through the vertically in-textural matching with a impressionist thematic arpeggio-part (several bright channels were dug out up-through travelling from downstairs - bass &amp; middle parts) and the impressionist background of a accompaniment set putted upstairs (treble's small voices which were short waving &amp; fuzzing there, gave a overall gravitational atmosphere, for holding all expressions thereby beneath it). To my understandings, here Chou Chou's exciting mood came from her willing of an another fantastic performance carrying some brilliantly impressionist techniques about keyboard-touching. It was almost that She had frequently asked us: 'can you distinguish the main channel of thematic arpeggio from the twinkling background in impressionism? and, can you make it out?' Even here, in this case (B67 and B69) your two hands for both theme and background need to interactively &amp; commonly share with the same positions of keyboard and the same notes? Yes, even though it would happen, the distinguishable senses still need to be clearly made out for both audiences and your own heart, which was a quite hard job for our exercises. You can see: in this requirement, the long note - middle C needs to be kept and attached upon the keyboard, leaving a chain: G (crotchet)- A(quaver)- B (quaver) slur-liked  breathing the impressionist air upwards-waving after waving. But, the fact was that they were taking the same area of a piano with each movement set beside each other. Could it be possible, or possibly disordering each other's running order, especially when the same B reasoning from left hand's upwards tail-breath , but also reflected as a normal middle third beat of right hand (in a group shaped as being among a rest-composed 4-semiquavers group in the accompanying background ) , which tightly posted your hands' flexibility in a disordered situation, and furthermore, the longer-lasted middle C bass enhanced this situation to much worse. That's not the most difficult thing, but compared with it: in the next bar, several 'ʌ' signatures - Louder-Sharpening signatures  - emphasizing all heads of groups, were set there alongside an 'opening mouth' in dynamics, which continued her exciting dream to much wider horizons. Though heard good, it needed your fingers' keyboard-touching directions (left hand) be immediately rotated down... to be frequent pressed in the style of stronger 'Up-Down towards' patting of 'Perfect fifths', without even a moment of thinking.. Out of your hands' controllability, do you think so... do you have a willing of giving-up and being broken? Is there a feeling of you, after a long journey, being here with the total tiredness? Yes, but hi, my guys, don't give up, and hold it on for a little bit much time, situations would change better, and to a forever impression. We can say: this treatment was still in beautiful breathes, though hot and exciting. 

Then, a question came out: what was it really heard like - in those fantastic impressionist imageries? what I did analogize it was one of Chou Chou's heavenly toys - a crystal fountain set among multiple-dimensions of spaces &amp; times in our universe. Yes, it was also a symbolized expression of the gravitational system. We can review more historical recordings of fountain's functions in human beings' entertainment life and products-creation from this Wiki-article (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fountain]). I think: you hear, in minutes (1.52-2.00), the left hand's expression - frequently up-streaming main thematic chains - was like　main water-jets shot up frequently in its significant situations, which made the distinctions with other water in basin (impressionist background)clear and recognizable. Yes, they are made by the 'same material' as basin's water beneath, but differentially in stronger powerful forces - being shot up some up-raising streams in music motifs (Middle C as a root of water-jet in basin, with G-A-B style streams flying up towards the sky), which simulated a fountain's beautiful situations. Afterwards, we took a long-distant view, and then, would find  B68 and B70 tightly followed are in a much more macroscopic impression upon the rhythm of spaces &amp; times, for the purpose of summarizing 'Universal Fountain's' beauties. If you let me seek an astronomical phenomena representing the mechanism of this Chou Chou's 'new toy', I would still mention Supernova Shooting (jetting) as Chou Chou's fountain in our universe: (Wikipedia introduction: [https://en.wikipedia.org/wiki/Supernova]; [https://en.wikipedia.org/wiki/Supernova_remnant]). But if you want me make a much sweeter analogy from kids' nature, I would mention Chocolate Fountain with 'water-fall' surrounding - a favourite and enjoyable 'landscape' of my delicious foods. (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chocolate_fountain]). No matter the real fountain, universal fountain or chocolate fountain, I think Doctor Chou Chou's true purpose was for happily 'playing' out one innocent future with the freedom of creativity and new hopes. Let us respect her willing and the nature of a doctor in children's Corner.

Suddenly, you would have found: 'Jason, you haven't mentioned B65-B66!; and you haven't fulfilled yourself in this session!' 'Oh, dears, please forgive me that in the final part of this session would make a clear effect of the explanation, I thought...' To be honest, they were in a Spaces-Times vibrating treatment (with a half-bar's gravitational breath in normal slur-shape - a Louder-weakening signature, but the other as an anti-gravitational expression for 'water's' up-climbing and energy's accumulation )set as a motivating  mechanism inserted into the fundamental basin of our fountain. Seeking words, you will find a device-term 'Siphon' with a series of parts would give you better impressions about what Chou Chou's 'New Toy' was working like (Wikipedia introduction: [https://en.wikipedia.org/wiki/Siphon]). In order to overcome some anti-gravitational difficulties brought to your hands, you must keep them in very small shape and in very careful channels. Following it, music 'water' can pour up 'more pure than a soul', and many beautiful imageries can be created out upon Chou Chou's 'universal landscapes'. In shape, '› ‹' can also be compared with a butterfly, and a kid's pure soul was channeling in this pattern for 'flying higher' with joyfulness. After this supplemental illustration, I think things would be much clearer for the realization of piano techniques and musical appreciation.

===== 'Braking! Braking! A Consciousness-streaming': ''' Back-turned Braking from Peak force' application - in a doctor kid's post-regression  - as a 'black hole' travelling - with new 'big bang notes' up-waking people's minds '''=====

Finally, it's a real 'coda' part our journey will arrive in, about which Sir Debussy and his beloved little doctor Chou Chou in Children's corner were looking forwards to giving us a significant impression, as for the remembrance of 'each beautiful landscape' on the travelling of our journey, and the innocent childishness we were carrying in hearts together. I guess this pair of 'father-daughter-union' composers, from spiritual subject being to universal physics existing, must have discussed this case for long time: 'Father, what type of long-effecting impression we would leave to our learners - the listeners, the keyboard-realizers, further composers who were willing to take our approach, the notation-readers and some self-learners of piano...? By designing out a good coda-fashion?' Indeed, if we review transcripts of Debussy's works, normally, Sir Debussy turned to make two choices in coda parts - one was a romantic up-sliding way flying away our dream's disappearing alongside a fading of its vivid colours gently and pleased, like what 'a let-going spring' imagery 'islandic disappearing' (imagining, when our boat passed by an round island in mind desert-sea,...oh, it was with Arabic fountains, green plants, night birds...only in dream... and continuously...it was disappearing... that's quite right you got it!) from our horizon in Première Arabesque (Arabic Suite - Spring; it's another story in new life we will talk further...)and what Clair de Lune (Moonlight)showed - a silver channel fragmentary slivery upon the surface of a forgotten sea somewhere in our universe and strings of lute lighting it upon to heaven (More information, we can review from Wikipedia introduction: [https://en.wikipedia.org/wiki/Claude_Debussy]. I think, this time, two demonstrating samples can somehow meet some standards of my critical ears, but I would also try classroom samples from wikiversity and wikicommons' views, I thought... Oh, waiting time, it will have been another story in my life) ; and, the other type was a sudden and half-opened termination near postmodernism &amp; postimpressionism -leaving more imaginations to learners ourselves. In this case, Sir Debussy gave more respects to Chou Chou's own choice. She smiled joyfully with her eyes full of curiosities and probably said: ' Papa, I preferred a sudden stop leaving more imaginations to others' Somehow, from sound effects, it would also be compared with a 'childish mischief' with 'a Braking throughout a peak force', but then, knocking out a renewable 'universal door' big-banging a fresh vision of future'. 
Thinking till here, two questions emerged: It's the time to say goodbye, but how did they realize a universal braking in coda? And, what type of analogy can we make according to it?  

'''Techniques Description:'''
Firstly, let us present a participating-observation of its texture in B70-B71, then follow a talk about its techniques-training. Indeed, parts-formation of this piece was quite simple. Overall, it just contents a second-transformed major-triad ( C-E-G) with a range of Perfect fifth (G-C) separately covering your left hand (lower part) which can be seen as its main impressionist chain - heavier and stronger, but the rest part of major chord structure floating up a impressionist background waved by right hand- lighter and higher. For this, logically matching &amp; grouping two hands together as a whole was also the basic technique, with the leading heads (left) joining impressionist background (right) tightly presenting the equal intervallic pace on average. It gave us an aesthetic feeling of well-distributed texture in which harmonic 'Perfect fifths' were repeatedly measuring the keyboard throughout a C major triad impression, which motivated waves by waves (oh, dears, did you forget, waves would be from Chou Chou's new toy - our crystal fountain?). Then by multiple dimensions, it reverberates itself in spaces &amp; times - octave by octave (octave as a cycle), and curve by curve (down-falling). Be careful that 'Gs' here in perfect fifths (B71) were highlighted twice in  minims (long notes) with two 'Λs' (sharpen stronger in loudness) telling us which were heads. Then, parts (spaces) in texture (universe)were separated, with twinkling mind threaded to be pearl chains breezing out colourful energy-waves upon fuzzing materials of background.  But following again, B72's main chain was naughtily jumping up, as happier as Chou Chou's dancing with child's interests. Breaths realized by slurs linking texture together were also short-time jumping. Another possible explanation was that frictions from braking have sparking out dreaming flowers in short-time stopping, about whose story we could see in the following paragraph.  But, transformed from two ''hills'' landing (B71), here, in dynamics, impressionist background has been totally connected out a continuing ‘Crescendo’ - louder after louder.

'''Imageries forming:'''
Secondly, why do we make an analogy 'braking'? Article 'Brake' [https://en.wikipedia.org/wiki/Brake]in our Wikipedia introduction can teach us more about some similarities: After another 'Peak' strongly played through the first G of B71 - the first factor of braking - 'Peak force' has been targeted and accumulated from our fountain's shootings. Sentences like 'The peak force is often greater than the traction limit of the tires', and 'braking can cause a wheel skid' referenced, showed the similarities projected in Sir Debussy's work requiring hands' controllability for controlling 'significant force' in channel. Following this logics, what about those 'heading points' left hand has created out? I think they were like 'shoes' of 'frictional brakes', increasing touching-areas of 'wear surfaces' with 'the rotating drums' for stopping (or we can call it: 'the rotating waves of impressionism'); alongside, 'kinetic energy' has been converted into 'potential energy' memorized in our dynamics score - yes, hotter (louder) and hotter (louder). But, why was the frequency of those highlighted 'Λ heads' continuing faster and faster, from B71 to B72? Imagining a fast metro or light-way train was now coming facing your face on a station, it needs to prepare a braking even far in long distance... until its nearness, the 'inertia' makes out a huge destroyable influence out control of its released 'peak force' - yes, being transformed to the 'kinetic energy' in acceleration, with which 'angels' and 'evils' joined together . In this case, the frequency of 'braking heads' from repeatedly set 'Λ heads' heated the atmosphere dramatically by dramatically . Owing to this operation of 'stopping', much 'kinetic energy' has been transformed to the 'potential energy' and stored in our 'hands machine'. Then, in principles, it was hotter(louder) and hotter (louder). Practicing in reality, we can achieve this braking through our hands' controllability.  Oh, re-thinking about this design, we can know how great Dr. Chou Chou was - as a real physics expert but across multiple subjects. Meanwhile, associated by Sir Debussy, what a beautiful music universe with many imagery landscapes they have discovered for our learners. 

'''Larger our horizon:'''
Finally, a sudden standing has been made with 4 bars' long notes - 'B73, B74, B75 and B76' terminating everything right now. 'F-A: major third' matching 'C-E: major third' was solved to be a transformed major triad in key C(C-G-C-E). We can hear significant &amp; accumulated powers have been totally externalized and summarized (with a mischief joyfulness) to several 'block chords'. Meanwhile, dynamics got the highest level 'ff', long notes (chords) told us everything in terms of this work. In playing it, you will feel your fingers were almost broken by vibrational energy (Wikipedia introduction: W = W potential + W Kinetic  [https://en.wikipedia.org/wiki/Sound_energy]) owing to Resonance (Wikipedia introduction: [https://en.wikipedia.org/wiki/Resonance]) associated by Pedalling (Wikipedia introduction: [https://en.wikipedia.org/wiki/Piano_pedals]; here, it's better a Tremolo pedalling (shaking), about whose story we will discuss in future), after strongly standing on keyboard. This tail can also been seen as a projection summarizing all powers of the whole work. Don't forget the composition of '_' and 'Λ' taught us its special technique - enough time value of each note (and over a little bit) should be kept with a depth reflecting Sharpen senses (dynamics) of the loudness. From forearms, to wrists, till palms and then the edges of fingers, all forces need to be applied there for 'standing' strongly. The dramatic atmosphere created by our hands' controllability even made us out of breathing and 'sweating out rainy'. Taking a full-shot look, I still think it was in an analogy with the ending of our universe - Black hole's  'Gravitational singularity' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Black_hole]). You see, all gravitational laws materialized to be landscapes (notes) have been collapsed, concluded, and compressed into one dimension points-chain, as a stopping 'electrocardiogram'. Is it to say: everything has been talked over and the darkness is still our universe's final fate - no lights, no hopes and being in infinite silence again. If so, what were meanings of life, materials and our prosperous being? ... still to a quiet self-deconstruction... used to be stronger, but final nothing left...

'''Chou Chou's Doctored voice (awarded):'''
'No', Dr. Chou Chou gives us a strong answer in the final note - Big Bang C (Wikipedia introduction: [https://en.wikipedia.org/wiki/Big_Bang]) which will have bombed out everything again, as flowers blooming from 'Dark hole' flowerpot, ranging upon from one-dimension channel to two octaves and more. Yes, it is another branch (Post-Channel) of multiverse tree. Tightly following this note, our story will have been renewed and spread out, with new hope, good wish, lovely vitality, and bright lights penetrated from Imagination. Will it be another Impressionist Spring? It may... or other things...

Thanks to all!

Yours [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:11, 5 July 2017 (UTC)

[[File:Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg|thumb|Doctor Gradus ad Parnassum - Doctorial trainings in Children's Corner (5th draft - New, 3rd draft - preferred. About Each draft's comment, please see beside; About each draft in growth three, please see WIKIMEDIA COMMONS)]]
'''Supplemental Words: Comments for the Main Sound File 'Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg' created in WIKIMEDIA COMMONS and Impressionism analysed here'''

(''' Comments for the 5th draft:''': It is the fifth draft with three advantages, being heard better than before (Almost, I didn't want me so sensitive about certain performance-lacks, and till now, still I thought the third version was the best; but, I cannot stop to try better versions, as for love and respect to this work in this period.):
1. Binary Stars-system B24-B27 showed more unbalanced sound-fluctuations around its axis; tightly following this part, the fluency of Chou Chou's self-reasoning has been performed more naturally;
2. My willing of Fairy Legend in Cloudy heaven has been expanding (B33-B44), with more sounds-reverberations occurring in the bass of lightning door-knocking (left hand of B35-b36), much extending impressionist arpeggio-braches growing of happiness three and more bright lights penetrating joints cloud-blocks from higher peaks.     
3. More coherences and fluencies of the second universal travelling was kept (B55-B57).
Therefore, to me, I thought it has much more meanings of Education Research, which I would like to share)

(''' Comments for the 4th draft:''' This version is with a better and expressive B22-B32, as what demonstrated besides - much like being in impressionism)

('''Comments for the 3rd draft:''' Till now, this version was of the most fluentness I had played, but a little bit stable. I would like theme of impression much clearer and expressive. )

('''The analysis for the 2nd draft:''' You see, in this draft, naughty Chou Chou and his father are playing clouds and lights in the heaven and waiting for a happy Christmas, what they have done are creating imaginational impressions of sky. Then, we saw tools formed by clouds were sometimes like dogs, sometimes like boats, sometimes like drops and sometimes directly floating down like a spring. Oh, they are all only Chou Chou's games. Especially the minutes (from 0.48 to 1.18), she was attempting her best to push aside two pieces of blocked dark-clouds through her arms and let holly lights shine out by being floating directly upon our earth. She did get it (but I haven't really gotten it in my play). It was in the minutes (from 1.08 to 1.18). We can also hear her dances presented by his father hands-running in the heaven are so expressive being after an assemble of clouds-animals to the peak of mountains, which is in the minutes (from 1.33 to 1.50). Oh, finally, after so many adventures, a big bang was applied that our dream was awaken and our soul was taken back to the reality.
Then, we knew: it's only a dream Debussy and Chou Chou have played in our sleeping time. 
Indeed, I felt very sad to hear this sentence 'Claude-Emma was born on 30 October 1905 in Paris, and is described as a lively and friendly child who was adored by her father. She died of diphtheria on 14 July 1919, scarcely a year after her father's death.' Then, we can understand: so beautiful a musical world which is full of vivid landscapes there created by his father and for this only and small daughter. But, how can Chou Chou bear the fact that she needed to make the eternal departure on this earth with this lovely and magic father - on 14 July 1918. I thought it was why only a year after that she had also gone out of her single. Wikipedia Introduction: https://en.wikipedia.org/wiki/Children%27s_Corner 
I knew, in this draft, there are still many lacks far away from my artistic dream. However, in preparing for it, I learned more; and hopefully, it can be heard by you, than before.
Bringing it here is for thanking all the members of Wiki-family, who have been dedicated working for a whole year in different corners of our earth. In this case, we are trying to send Christmas gifts to Chou Chou and his father, for their contributions of human beings' musicality and imagination.)
'''Main Words'''
This version is a life rough data-collection for the exposition of  piano techniques. To be honest, the existing of it is in a little bit far distance from my art dream, but as in respects of Sir Debussy's impressionist universe. It is based on my current energy, time and ability. If possible, I would like to soon modify this draft to further better ones. In that dreaming pure 'snow-land', the paint-brush, transformed by hands and threaded by forces from mechanics and anti-mechanics, can magically draw lights, clouds, bubbles and steam to be the colourful Spaces &amp;Times of a mirrored universe. Then, Chou Chou can freely and naughtily play her games forever. If the final bang is a waking-up sound breaking Chou Chou's beautiful sleep. I would rather we never come back to the reality from this childish dream. If you would like to make better understandings of this melody, you can come to Wikipedia introduction[https://en.wikipedia.org/wiki/Children%27s_Corner].

==== Students' learning effects &amp; progresses from piano pedagogical reasonability (reasonableness): &quot;Kids' Performances in children's corner&quot;  ====

''Jason, why did you submit this edition, is it yours?'' No, no, this sound file was made by myself, but the content was from 'my kid's' learning progress' of Sir Debussy's 'Doctorial' in Children's corner. You knew, Sir Debussy has his own daughter; but till this year - my age of 30 year's old, I haven't gotten any. Therefore, in this period, I saw my students as my kids. Oh, it was by accident that I had recorded one piece of a little girl's exercises in classroom (around 13 or 14). Her name was Xue Meng, Hu and her 'little doctor' Live voicing in this place.
Oh, it was a long long story... Every time thinking was going here, I would be emotional and sensitive. As her piano family tutor (one traditional teaching way carrying a dream of piano fine art from commons), I have been watching her growth - almost from her 5 year's old. During this period, time has changed lots of things, including people's experiences, perspectives of value, willing, and some true hearts ; good or bad, but our dream of piano education and self-aesthetics (the appreciations of musical beauties) has never changed.  In my fragmental memories of consciousness stream, I can remember when I made the departure from 'my kids' for my dreaming educational rationality (I like 'reasonability' this world, because when you were reasoning, you can get the ability to be in pure logics and review world's beauties) in UK ( and Newcastle), she has never given up her self-practices of piano techniques, preparations for national grading tests in China and improve her literacies of music. There were also some times we felt hard to insist on going on, and some times her 'little uncle - Jason' might be so serious about her daily exercises and about himself... And, some times people surrounding us wouldn't quite understand why these guys were dreaming so hard... But, no matter what situations were there, still, she didn't give up; and I have been participant-observing and accompanying her growth in educational reasonability (reasonableness) of piano. 
'Jason, are you a big dream of your educational approach?' Yes, I don't want to deny it but ... not really... I used to say to her facing her family: 'little guy, one day I could teach world's most beautiful melodies of those Masters, and you could learn and get nutrition from them for your creative life fashion. You had the love of piano and a dreaming heart of perfection. That's your giftedness.' But, in that time, her family members told me: we had never thought she could play them... you knew, generations after generations, we had gotten food - fruits, and vegetables ... from our fields... we had been working for it... That's our fate... Just, some interests out of schooling, if she like, she can...
After getting back from UK (or to say, my mind has been alive bilingually through the internet; especially, thanks to my wiki-family, some online platforms of education), alongside the logics chain threaded in the section 2.3.2.9 of this page[https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han#.2A_Children_are_doctors_for_adults.2C_as_the_reason_that_they_can_create_some_most_advanced_techniques_than_your_imaginations.2C_but_with_the_purpose_only_for_happily_playing_their_games._I_guess:_Chou_Chou_must_know_it.2C_and_father_Debussy_also._Then.2C_heaven_is_near:], I began to tidy my minds and my daily practices of teaching and my theoretical modes from education researching.  After a year's time of grade 9th's preparation and her wonderful passing-through, we began to research Sir Debussy's this work - 'Doctor in children's corner'. 

'''Stages as:'''
1st Rough draft for primarily getting its shape;
2nd  Background knowledge collections for understanding Sir Debussy and his Chou Chou's life 
(this was a continuing process by myself that I mainly began from Wikipedia, and then made paper works regarding with it, and carefully observed its manuscripts);
3rd  Analysis of basic points and techniques requirements of its keyboard-touching;
4th  Critical weaving imaginations and impressions to be painting imageries wandering upon techniques;
5th, Collecting languages from both Chinese and English for binary classroom 
(There were several sessions totally in English and some key words of music theory &amp; background knowledge in English I had frequently presented to her, which I could say I made this procedure in binary languages. Though she was in primary level of English, I found music, especially our love of piano, had transformed to be a bridge across hearts' gap and brought us inspirations; Furthermore, I promised every impressionist imageries and scenes I had taught her, but simplified in languages of her age and her ways. Though still, it was very hard for her to understand, she took the challenge and achieve some points through her own sweats)
gave us powers.

'''Two weeks ago, she was able to make this edition from learning progress:''' 
Then, there were some conflictions in terms of whether or not I should submit it, which was from my own heart and experiences. I said to myself: Jason, be brave! What gift can you create for your 'little guy'? What did you own, nothing or something...?  What place, in your mind, is beautiful and pure for your piano education, after so many years' explorations, some dreams, some good memories and some sufferings...? Then, I thought here...My conflictions were also about some small mistakes, 'sliding notes'  &amp; 'breaks' without purpose, the incompletely expressed musicality and some ignored keyboard-touching ways caused by nervous moods made by her... which made her edition lose some 'natural landscapes', such as B26-B28's left hand, the emotional reasoning in B37-B44 and a peak sliding fault &amp; dynamics fall in B65-B66,B71.... And, they were also about ethics issues I wasn't an expert in. But, finally, considering educational reasonability, her long time love of piano, her giftedness, basic completion of key points and some impressionist sessions, and from inheritance (you can see there were small gaps between my first edition and hers' that it sounded like her piano tutor - mine. Her advantage was from a girl's slim hands), I thought I should send out my gift, and era should leave more developing zones &amp; opportunities to young generations' growth, no matter where they were and who there were...) Hopefully, she are able to achieve much more beautiful editions and cheers in her own future for our worlds, than her ' big comprehensive case carrier and a strange kindhearted uncle -  Tutor &amp; Learner (me).

'''One week before examination - a near-closing case of piano education:''' &quot;This classroom edition was recorded a week before her examination of Grade Test. Thinking of it, it's really a hard job for us having gone over a long period to get the basic knowledge of notation, to train hands-manners and necessary techniques of piano, to know some masters of piano and finally to understand Sir Debussy's impressionism and make some possible self-expressions... Before the examination, I wished to give her more confidences, thereby, recorded this edition - to let her know how powerful currently her hands were heard like and how good she could self-reason out her own 'Children's Corner'... Alongside hearing this edition, so many beautiful moments, hard times and imaginable scenes glanced over my brain, in which our growths (including my own - a piano tutor) were recorded sparking the vitality out. Were there still some small problems, Jason? Yes, to a critical tutor, I found it was a little bit later in her right hand when going through the 'Binary System' and the 'highlighted-shinning stars' on sky-celling were lighted by wrongly sliding out other notes a little bit (B24-B30). But I was very happy to hear that she tried her best to play out two 'Impressionism Butterflies' (B65-B66) and linked them to a beautiful Fountain (B67-B69) . Yes, the techniques-stability was enhanced. Thanks, Meng Meng! I used to think last edition was your best... but... this one was further better. Wish a beautiful spring holiday of your 2018, after the examination, will come to your heart and your life!&quot; (Jason M. C., Han in Wikimedia Commons, 2018)

Here and now, throughout a 'text-book writing' of Sir Debussy's Doctorial in Children's Corner,  a reviewing of work-analyses of some techniques-points, many times of fulfilled practicing in virtual and real classrooms, many time of cases-recording of both tutor (me) and student (Meng Meng) in sound-files with words-descriptions, currently, in the new spring holidays of 2018, this teaching procedure was nearly closed, as a final student's good effect was recorded before examination, and further she was going out of 'our children's corner' and to face her examination and her own future. What, I need to say: thanks to all! Thanks to 'being known - a nature of human beings'! And, thanks to this Era who gave a chance to this multiple-channeling teaching &amp; learning procedure of piano! Future... maybe still unknown, especially for this little girl... But, best wishes! 
[[User:Jason M. C., Han|Jason M. C., Han]] '' (Jason, M. C., Han, 2017)'' &lt;ref&gt;WIKIMEDIA COMMONS (2017) Wiki-entry 'Children's corner of Meng',  Searched from Wikipedia. ，Creative Commons Attribution-Share Alike 4.0 International license. Available at: https://commons.wikimedia.org/wiki/File:Children%27s_corner_of_Meng.ogg. Accessed: 10th, August, 2017&lt;/ref&gt;

[[File:Children's corner of Meng.ogg|thumb| Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons]]
===== '''Arabic Spring bloomed out from impressions of Children's Corner:''' =====
[[File:Claude Monet, Impression, soleil levant.jpg|thumb|Claude Monet, Impression, soleil levant]]
After having learned many techniques of Impressionism, Let us have a try of Sir Claude Debussy's another impressionist work - '1st Arabic Suite - Spring Garden' (DEUX ARABESQUES - 1st Melody).
Here, This paragraph below referenced from the description of my 'Wikimedia Commons' was a 'true-heart' dialogue, which can guide us the music imagination and impressions-forming: 

' I was dreaming of a morning awakening in Hanging Gardens of Babylon (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ). Then, gentle breathes of spring told me stories in my childhood painting sheets which has stood up  several imageries, including a bird-transformed angel-girl and Ali's virtual trip to gods' place for love... which were reminded unclear now... sorry. Oh, I can remember the time was when I opened an old book from my grandpa named One Thousand and One Nights (Wikipedia introduction: https://en.wikipedia.org/wiki/One_Thousand_and_One_Nights) that I can read words in my first time. But, in the following tens years of my life, it's heard that happiness and joyfulness in Islamic Garden，like tune sung away in sky by nightingales, left tears with the sadness becoming a dominate theme running throughout the darkness... Spring is the most beautiful one growing from one long-drought desert-area or 'heart'... people knew(Wikipedia introduction: nightingale - https://en.wikipedia.org/wiki/Common_nightingale;Islamic Garden - https://en.wikipedia.org/wiki/Islamic_garden) I have nearly forgotten how beautiful water 'fireworks' raised up by fountains were projected out green vitalities in sky upon desert and diverse mythical animals living there... Until one morning of later spring, I have been to carefully sight-read the manuscript of Sir Claude Debussy's  'DEUX ARABESQUES - 1st suite' (1888) in piano... I found romantic lines wandering upon impressionism background with nightingale's natural musicality of singing praying back a blooming spring have all been summarized in this 'song', which made it soon become one of my favorites... My father told me: Jason, after I heard it, I can feel the willing of expressing its civilization in freedom, as being recovering, but still, it's with a piece of 'unspoken' sadness... Oh, that's quite correct... I thought.Saying something lighter:Currently, it was a hot summer - though posted in a little bit later but 'hurry' time - I prepared it in only a couple of weeks, and some ideas cannot be fulfilled, when diving under seawater in my hometown and opening my eyes bigger, I still can feel the cool feeling attracted by blue jelly-liked bottom was quite like a spring waiting there - warm but not hot, peaceful and with pains... Just mentioning the feeling, I thought Jacques in the movie The Big Blue (currently, I have watched)  would carry the same complex. But, mine is in piano and life. (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Big_Blue ).Oh, sorry,  so far away, I just wanted to emphasis an element of 'Spring feeling' in this Arabic song (suite). Indeed, when I was in Newcastle, one morning, hearing words from a peer of Iraq (mine) praying on a piece of ground-carpet towards ' The right direction' in his heart, what can also give me a 'spring feeling'...So many words... let us listen to this suite with singing musicality... I would modify it with better techniques in short time...Thanks! '(Han, 2017) Coming back again under the sunshine and softly breezing winds in New Era Time, what I would like to further self-reflexive was:' Thanks to this Time, Hanging Garden was almost seen near my eyes with more blooming flowers... Maybe still some pities that my heart didn't reach too far as from a critical aesthete's eyes; but happiness, in the Babylon Garden of Imagination, as a plant would be growing to the Green Tree in a night of 2018 Lucky Dog's year, under which beautiful voices from a singer, or nightingale would freely wander up and totally relax you long-time ‘tighten nerve’... to welcome a mind wake-up in one 'cool' morning unknown with 'dew-drops', fountains, citruses, and special natural creatures... all in musicality...' (Han, 2018)


Here, I need to set two references, in terms of which one was 'Patrizia Prati's version' which I had heard many time for enlightenments and the other was the manuscript I sight-read for the credibility: 
1. Patrizia Prati's Version: &lt;ref&gt; Prati, P. (2016)''Français : Première Arabesque'', Claude Debussy (Wikipedia article):Creative Commons Attribution-ShareAlike License. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. (Accessed: 11th, July, 2017)&lt;/ref&gt;  
2. Manuscript for Credibility: &lt;ref&gt; Translated: Wang, J. Tang, C. (eds.) (2004) ‘1ère Arabesque - DEUX ARABESQUES’, The Collection of Debussy Piano Imageries, Beijing: People's Music Press.pp.5-9.{{ISBN|978-7-103-02765-3}}&lt;/ref&gt;

'''Self-reflexivity:''' I respected others' versions and appreciated them very much, especially from the reasonability of piano deals. But, if you asked me: Jason, what's your characteristics? Maybe... In brief, I am willing that it was: 'more colours with impressionism techniques reflected from daily life... such as 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' and 'The play of natural light (sound effects) is emphasized. Close attention is paid to the reflection of colours from object to object', etc; and ' my full of emotions have been expressed in ways of Neo-expressionism and Neo-classicalism'. Further more, after real practices in some life scenes out of classroom, I would suggested putting an element of ''''France Romantic'''' based on reviewing other cultures emerged from imagery notation would be an good idea. Please have a try, thanks!
[[File:Claude Debussy - 2nd Arabesque (JMC, Han).oga |thumb|1st Arabic Suite- Spring Garden(in 3rd version: Impressionism Singing - Main natural Lines&amp;Breathes from Sir Debussy)]]

3. '''Later time of spring-New Era''' , a colourful Butterfly is gently flying into your Hanging Gardens of Babylon -1st Arabic Suite (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ) , and taking  your imagination&amp;dream to a flowering life-mountain facing a farland sea...Watching some time of one section inside, you can also hear Monet's 'Quiet Morning' upon the sea...Alongside Butterfly's dance suite, Stories are beginning...Oh, listening... it's the legend of Butterfly in birds' song...

[[File:Claude Debussy - 2nd Arabic Suite (Arabesque) - Spring Butterfly, Performer JMC, Han.wav|thumb|2nd Arabic Suite- Spring Butterfly (Impressionism Singing -Main Natural Lines&amp;Breathes from Sir Debussy)]]

===== About the performance of Debussy works, piano Keyboard's touching pathways, techniques, and effects shown in Wikipedia need to meet some standards of impressionism, Sampling - Clair de Lune =====

https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg -
Though this edition has been studio-produced without some unnecessary noises, It wasn't from the nature of life, and with the reasonability of impressionism. Meanwhile, it carried some mistakes. Therefore, I don't think its notation-reading and Piano touching techniques have met impressionism's standards, such as the seconds (0.46-0.49 note F , and 0.53-0.54 note D) - two long-keeping notes absolutely being made the technique-mistakes by being divided into two single ones which deeply broke melodic harmony. Some other mistakes can also be found, such as (0.57-0.58 root chord Octave E; 2.34-2.35 high pitch C in the middle part, the lost expression of Calmato from Bar 43; The no distinguish of 'pp' and 'ppp' from Tempo I etc.)
Another perspective, from 1:39, the impressionism arpeggios produced by master Debussy, on the middle part by left hand, have been deeply broken into single notes' on-going; then, impressionism music's colour-fizzy impressions borrowed from its painting, which was reflected out by hands' skills have been totally ignored. Yes, every note was clear and run in beats, but impressionism disappeared and hands' abilities in controlling linking notes and running them in certain active speed hadn't been made the accompaniment with the whole theme's development. The very importance is the dynamic level of bass long-keeping notes in lowest part haven't been played with 'tender but highlighted forces' gently, which needed to give people some unconsciousness impressions as deep 'footprints of coming'.  (2.23 - 2.24) - from these seconds， high tide's 'En Animant' hasn't been performed well with the sparkling lights upon the higher pitches linked as in a whole logical line, then required to be tenderly pressed the force into keyboards; meanwhile, it and its following paragraph are also too quiet without deep thoughts and without the dynamics level as motivating to 'f' etc. Rather than only these sampled points I pointed out, indeed, there are also some many keys lost accessing to impressionism, which haven't been performed well.
Therefore, I need to say: I have to recover the original edition as both the respect of master Debussy and respect of fine artist' aesthetics. Though in last edition from wikiversity, some pink noises layer was existing. However, it was true both from life and from past experiences - then it was called deep impressions. Can life be pretended without noises? Impressionism is also. It cared about soul root's purity but fuzzed the details (on purposes as by special techniques) Meanwhile, last edition in Wikipedia has also respected Debussy' original notation-reading and soul-expressions. Meanwhile, player's emotional changes about his own past tens more years regarding with this work had all been applied by tightly participant-observing the universal logical line of Clair de Lune implicitly, just like some symbolizations produced impressionism, overall. Then, you can hear some struggling feelings and self-releasing being deeply hidden from the root, which was also participant-observing Debussy's historical life-line. 
If some better editions can be found, after panelled discussions, we can push further more. Meanwhile, I am continuously researching this field. If some communications focusing on melody itself rather than some unnecessary issue, I am very happy to give my talks. Furthermore, indeed, I was very touched by this player's bravery of playing Fine Art's Digital Literacies earlier, but some details need to be up-to-date and regressed back the Composer Debussy his own thoughts from his historical background and life themselves, as engineering giving beauties to commons. Here, we need to think more ... Thanks!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:05, 10 October 2016 (UTC)

'Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies,[43] and the forms are '''far more irregular and fragmented'''.[44] These chords that seemingly had no resolution were described by Debussy himself as '''&quot;floating chords&quot;,''' and were used to '''set tone and mood''' in many of his works. '''The whole tone scale''' dominates much of Debussy's late music.' (Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

These sentences referenced from Wikipedia was really good for understanding Debussy's piano techniques and Key-board touching skills, wish we can make more understandings. I think 'floating chords' are impressionism arpeggio; meanwhile, emotional depth have been explored, rather than a 'stable lake', but with dynamic levels and even 'hidden struggling of life', then, 'self-releasing finally'.

'Rudolph Reti points out the following features of Debussy's music, which &quot;established a new concept of tonality in European music&quot;:
Glittering passages and webs of figurations which distract from occasional absence of tonality;
Frequent use of parallel chords which are &quot;in essence not harmonies at all, but rather 'chordal melodies', enriched unisons&quot;, described by some writers as non-functional harmonies;
Bitonality, or at least bitonal chords;
Use of the whole-tone and pentatonic scale;
Unprepared modulations, &quot;without any harmonic bridge.&quot;'(Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

This part is really good, which reflected out the necessary that impressionism techniques and skills are needed in dealing with these composing habits and requirements from Debussy mentioned for our players. I think, the floating hands-skills, fizzing details and oppositely pushing out theme in Impressionism arpeggios, are really needed. They can be transformed to techniques we need to give ourselves some trainings.

=== Some theoritical constructions summerizing creative thinking skills, phylosiphical roots, psychological ideas and educational research skills, applied in piano field ===
 '''Button:　(See Besides)　'''　　　　　　　　　　　　　　　　　　　　　　　　　　[[File:LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS.pdf　|thumb|LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS]]
('''Post-comment:'''
After repeatedly exercising, after a procedure from clear division of each stage strictly to entirely usages by fuzzing boundaries with learners, finally, this approach will be naturally merging into teachers, teacher educators and learners' daily classroom-oriented operations. Bearing 6 stages always in mind to comprehensively think out practical solutions for problems ranging from simple ones to much complicated ones is always very important, which can help us clarify your thinking in piano and musical education.)

=== Piano Exercises (PE): Postmodern Piano Teacher's (Performance &amp; Keyboard-touching) Continuing Developmental Zone with a crystal heart as Kid's  ===
==== Improvisations for Future====
Main files: Please see the Portal 'Blues &amp; Jazz learnt for fun and a fast brain' in the Portal section above
==== Reorganizations &amp; Solo-rehearsals for Some 'unbelievable &amp; dreaming' melodies in Life-long 'Music-Journey' ====
Friends, Life journey is so long that many emotion-landscapes are going up and down. To be a Happiness Piano-teacher (Piano-teacher for dreaming and sharing the Happiness-land), we are always on the way... When beauties of a flower or a river are touching our heart, we preferred to make out (catch) them buy hands. Then... Have you heard annual Vienna New Year's Concert? From born time? Yes, in 2018, it's mostly like a fantastic Southland Rose, under Italian conductor's hands. But, in 2019, under Germany 'Big Bear' Composer's hands, it's like impressions of North-sea waves. 
So rich views, they were like, varying on the trip... However, there is a piece of waltz never faded, which? Yes, the Perfectionism Waltz - Blue Danube Waltz, flowing from Heaven-spring or from the pure harmonic part of your heart. In so long a life journey, I have been dreaming for many years..., but really hard for piano... The year 2019 told me: Jason, you can play some not all, even like a smaller collection; and remember Sir Chopin's suggestions - 'Very independent Waltz Fingering techniques and fioriture ornamentation'... Further back, in I a little girl student's teaching plan, I added a small task - 'having a try of Blue Danube' through a notation textbook - 'Brilliant Pearls on the Keyboard'. Now, in the End of May, I gave a reorganized &amp; re-integrated edition of piano, myself: 
[[File:Blue Denube in my heart.jpg|thumb| Piano life is like the travelling Blue Danube, let us see]]
[[File:Blue Danube (Exercise and variations-collections in piano) JMC, Han.ogg|thumb|Blue Danube Waltz in piano,  JMC, Han]]
Though many details were still rough in my ears (compared with some perfect editions), I never heard it played in solo-piano and what structure collected was much suitable for piano techniques-training: 

 '''Introduction (Andantino) - A. Waltz (Main) - B. Waltz (Development and Peak 1) - C. Waltz (Development and Relaxation 2) - Coda (Repetition and End)'''
Blue Danube Waltz is still dancing &amp; going on... 
This procedure taught me: '''For some beloved melodies beyond piano's ability, we can cut and pick up some sections not all, then reorganize them in a much suitable form for piano - introduction, development, coda.... ''' I will train myself further more...

=== Small breaks to relax yourself... in Neo-expressionism &amp; Neo-classic of Pop-piano ===
=== 2018 Spring-Echo - Dreamed Flowers-blooming, Cruise-ship trip to Sasebo in holidays and a Self-Doctorial public performance (5 days and 10 times) in 'Children's Corner' (mind-recognized and notations-above collected) Restaurant ===
* [[Portal: 2018 Spring-Echo trip to Sasebo and a Self-Doctorial travelling Performance  | 2018 Spring-Echo trip to Sasebo and a Self-Doctorial Travelling Performance]]

== The Postmodernist functions of tertiary education in Jason's views ==

In my mind, tertiary educational system need to benefit ordinary people's daily lives, and also can continuously absorb the nutrition from them for growing further. 
Imagining the coming of one beautiful day when waking up in the morning: 
all the aging people, middle age people, young adults, young teenagers and children -
no matter where you are living in, 
you will not feel hollowed emptily in mind with hopelessness.
Oppositely, 
through shuttling in your Postmodernist channels to accept the fresh knowledge freely (contracting with the global society digitally）, 
you can know what you are going to do, 
how you could realize your dreams by fulfilling your daily plans, 
and what contributions you will be making for the worlds.
Then, your life would be valuable with the blue hopes 
under the free sunshine of pure knowledge. 
This Postmodernist Regressing-situation should have already been predicted by a classical painting - 
The School of Athens 
'''(https://en.wikipedia.org/wiki/The_School_of_Athens).'''
 All the people internally can freely research their Life and knowledge in their own 'channels'.

At that time, every young person and child's giftedness (even very different from what we have already known) 
will not be ignored, forgiven, or blocked by the society
merely because of the limitations occurred from their special problems, their private difficulties and their disorders (mental or physical) which might be hard to tell others. 
The reason is that plenty universal citizens online would associate them to realize their dreams. 
I knew this vison is towards one huge project for all and somehow a little bit lonely way for me, 
however, I strongly believed in: if every person everyday attempt to travel one step friendly (even very small) for others, 
'tomorrows' will be the beautiful days for all!


== '''The daily collections of Jason's Postmodernist Language''' ==
=== Introduction of this part ===
In my mind, the pieces of fragmental consciousness and some unconscious roots have been inspiring your life-strategies and decisions. However, they are somehow emerging easily in your short-time memories and also broken easily.  How could us frequently collect them and contribute to our postmodernist civilization immediately. I think: collecting your daily internal and external language might be a good pathway.  

=== Contents ===

==== Some words from 2016 ====

1. Sciences &amp; Technologies can better the materialist standards of ordinary people's life; meanwhile, philosophy can give people the wisdom to self-reflexive their life standards for dreaming an idealist future; meanwhile, theology can keep their well-being situation be peacefully maintained. In postmodernist life, after constructing the channel threading the Trinity, I cannot see the conflicts, but the cooperation and negotiation. (7th/June/2016)

2. When navigating in the sea, the directions of sun somehow are depending on your own heart. Whether it is sunrise or sunset, you should ask yourselves(There used to be a philosophical debate about where is the centre of your worlds - heart or brain, about which we can search some information in Wiki-team's 'channels' online).
(7th/June/2016)

3. Children's eyes are prettily beautiful, which can bring holly peace and heavenly love into your mind. Watching them, touching the universal harmony and postmodernist imaginary-regressing to your own childhood; in what channel, I almost forgot some pieces of  unnecessariness, such as hates, boring issues and hostile emotions, and only leaved one pure dream in mind - being together with them to play, and play with smiles hung upon faces. In psychology, it was to say: people would pick up their childish in the later life as the intelligence's regression to be innocence as time's passing by. But, but, I'd rather picking it up in my middle ages, or even from my childhood itself. In that case, my postmodernist trip would not be painfully or singly enough, but with full of sunshine. Oh, good night, my worlds! hoping children in their channels including these generations and the next and the next after the next ones - would enjoy their peacefulness and joyfulness all the time. I will have been praying for all in this channel - mine, yours and theirs - time after time, until the numberless recycles upon.
(16th/September/2016)

4. Today, watching the autumn-leaves here - falling from the higher place to the ground greyly, my memory was also falling and falling to certain part named 'self-reflexivity', or 'mind-independent land' as in the past:
Three years before, I had been a very peaceful and ashamed boy, of whom, even made any arguments with others, the face will turn red. On those days, I just wanted to enjoy my own small joyfulness with my family. Currently, I saw he had been very foolish but innocent enough. Sometimes, when I was him, I enjoyed to watch beautiful moonlights, felt its silver love can be compared with Mother's dedications in my education year by year, or someone else who had would like to make the accompaniments with me in my small life-trip. I didn't know how to quarrel with each other, but just follow some ideas to make further thoughts. In that time, peers, relatives and family members all thought I was a good boy. 
Until one day, I began to gain more multiple-disciplinary knowledge, then critically thinking of my life across cultures and subjects. Then, I went abroad for multiple-views of life and academy for the purposes of getting 'bilingually and comparable views' as in philosophical education.   I found: what absolute pieces of knowledge, even language and number themselves, are somehow not enough absolute and peaceful as before. Yeah, someone taught me some keys; then, I thought I can train them very excellent even super-against someone's levels before, especially dialectics itself, depending on which I can make much more trips and see more beautiful views in my channels. I can also travel to more reasonable and purified 'places', somehow, than current, with the foundation only on a huge summery of multiple-subjects of knowledge. I can shift myself from here to there, from now to the future situations after being reasoning about the possible tendencies. But, this isn't my false, which made someone feel really not happy when I took my stances. They began to make various troubles for me, and I began to make various arguments, complaints and appeals with them, just because what I said and dreamed after had been really not wrong, but possibilities for future - even good visions; and, they didn't believe in what they had seen. Oh, I am researching thinking and education for many years in my ways and I am really not a foolish; but why didn't they give me an opportunity in totally expressing the views I thought in certain field, and even the possibilities for themselves? I did really don't know why - I thought it was because Lord Universal Infinite is fair enough that when he gave you somethings to see, he also covered your another eye as the repay. Every time after the argument with others (even I was successful or fall), I felt of the very tiredness and I was somehow a little bit 'dirty' than before. From heart to say: I feared to argue with others and really don't want to give anyone any troubles, I just wanted to enjoy my beauties - the beautiful music, beautiful scientific approaches - thinking and experimenting, and how others are emotional changing and intelligent progressing etc. But, facing the knowledge given freely from universal reasonbilities, I need to show my respects of their beauties, and I need to be more reasonable in thinking. No matter who you are, where you are from and what kind of authorities you conquered. We were all equally sitting on the balanced Scales of Truth freely. Oh, every time after the argument, firstly, I would feel - indeed there is no correct answer, but main tendencies for... but why your eyes were just focusing on my behaviours... what I would like is to tell the truths, but why you are so critiqued upon my ideas ... if you are travelling to my point between the pressures of two cultures, your thinking will not be better than me etc. - somewhat like shown above. I felt really painful, but I enjoyed pursuing the 'big look' of knowledge, its reasonability and purity themselves. However, if I didn't make out my voices, might be no one would know them, or being latter - they are all going to be separated into fragments in their own channels without caring about the connections between them. In other words, worlds objectively inputted in my eyes and my worlds subjectively reflected out in mirrored universe will not unified together. That's a terrible future. Indeed, what my purpose was very simple, for teaching and learning from each other freely. I want to be a good teacher educator whom, if in my later time, can give every suggestion according to someone who turned to me, with the creative zones I can see. Then, I am accumulating more every day and trying more every day.
Oh, I am praying, praying for that innocent Jason's coming back who, this time, is with multiple-subjects’ knowledge but also gentle, and peacefully as before. Oh Lord, we all have been making sins. Please forgive our sins! Let us all feel peaceful as before!

'' ''The Garden Eden:''{{'}}: Then the Lord God planted a garden in Eden, in the East, and there he put the man he had formed... In the middle of the garden stood the tree that gives life and the tree that gives knowledge of what is good and what is bad... '' {{'}}Adam and Eve Are Sent Out of the Garden{{'}} {{'}}So the Lord God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed{{'}}
&lt;ref&gt;Genesis 2: 8 - 10; Genesis 3: 22 - 23 &lt;/ref&gt;

5. Oh, dear. I am hoping this time my moonlight can last for longer time. Then, I am praying for peace. Oh, what is love? someone fell in love with a person, someone with a city and someone with a piece of music. Wishing this time, my dealing way is in good matters.

6. Fine arts need to respect some innovations from common's daily life. As the responds of Talk in Claude Debussy, I still need to point out: Wikipedia still needs to respect commons' so-many-years' training and love of one piece of music. If it was talking about music, we need to respect some facts and don't tell lies.

7. I have clearly shown out my stance' meanwhile, in order to respect others, I put my version in Talk. 
Talk place is for talking this subject with freedom. Even there, someones still want to break these basic recogitions and pricinples. For what? I don't know. If for money or some other ugly things, don't do it!

8. If appeals were too may and still without respects, appeals will be meanless

9. Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed his this impression to peoples all round the worlds. The very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:44, 17 October 2016 (UTC)

10. If there is no teachers and young teenagers researching music for many years and telling what they were seeing in this field with academic styles and in real or virtual classrooms, Musicians' beautiful flowers will lose their colours. Yes, we are Postmodernist commons online, and sometimes, our voices usually were ignored. Yes, maybe, we are not very professional (Indeed, I thought in one thing if you have interests and love, you can be keen on doing it for tens more years and even longer, that's enough good. Education researches and Psychologists told us, we, ourselves, can already be compared with experts.); and sometimes, we are not professional in using some professional technologies. However, we haven't lost ourselves and tried to dream after the beatiful heaven in our hearts all the time. That's what life's meanings existing in. Sometimes, we feared about unnecessary confliects' happening, owing to that we are peaceful. However, this didn't show that we were weak. Children and young teenagers, my Debussy' case told us: no matter when and how, we need to take some stances and insist on doing what we are dreaming. Behind you, there are your supporters - known or unknown. We need to give them our thanks and bravely face our life.

11. Protecting belongings, maintain yourself against cheating deals, and keeping value-reflecting-price business in China: (I didn't want to make this talk so explicit, just as a daily talk from a common Wiki-member. Then, in this case, I am very carefully to use languages, even my emotion is shaking with unhappiness. I don't want to hurt anyone and don't want anyone hurt my family.) 
Firstly, I love my country and feel good to be a common citizen. However, from long-time's participant-observations, somethings unhappy I still need to say: To be a kindhearted Chinese and don't feel tiredness about some unnecessary issues against some unfair deals are somehow two hard jobs, even only in life. From central TV channel, to local channels, to Internet digital world's channels, and to some newspapers, usually, notices were all written - Please taking care about your belongings, keeping a very clear mind when treating some deals, and trying your best to take a value-reflecting-price business, in China. Yes, 'in China', every time hearing this high-lightening, my heart always felt a little bit sorrowful, especially about 'cheating deals'. From my childhood, I used to feel strange 'why just Chinese was mentioned, why it was towards Chinese, why did we be mentioned shaping our behaviours when making some deals, even in daily life'; yes, if there weren't some unhappy things occurred before, this special 'notices' shouldn't be highlighted, even our own channels, for really protecting some honesty people's practical benefits. But I really have to say: it was a real fact. That's why Education and Daily Notices awaked us everyday. Indeed, 'price running around the true value' - this principle is what keeping things going well. Even being over or below in certain controllable situations, it shouldn't be so exaggerated too much - to over or below certain degree too much, such as 8 times or 10 times more. Meanwhile, it shouldn't be existing without getting the other side's (buyers) permissions, or finally just waiting 'the process of the cheating deal' having nearly been completed to the final step (buyers have wasted so much energy and time in this case), then presented out as excuse to set out the responsibilities. In those cases, they can all be called 'cheating deals'. 
'Stealing belongs' are what really cannot be accepted by the civilizations. In china, some people, especially some being-threated aging people and children have to become members of certain criminal groups. They were sent to some public places including transportation-tools , such as buses. In these public traffics, usually, it was very crowed and the distances among people couldn't be accepted by a humanised civilization. 'Too many people, and too crowed' and 'driver's attitude somehow was really bad' - Those are the real facts lasting for tens more years. Depending on these unmoral distances among different people, these thieves can naturally 'attach' to some persons' shoulders, elbows, waists and hands, which are somewhere your wallets, bags or satchels placed. Then, their hands will wander towards zippers. Even worse, someone would use knife to break your waists, in order to get your belongings. The ages gave them the 'hidden conditions' to make crimes and would become their excuses to set out the responsibilities. They would make the attempts to steal your belongs for many times. After your turning heads back and found their cases, if you are an adult and strong man or woman and pointed them out directly and would like to notice others' care-taking, they would make quarrels with you in the public places. They would draw moral powers to attack your notices directly, in order to 'hide' their crimes or dispersing your attentions; then, they can get out from their situations (Yes, somehow, they are aging people and you are younger.) If they haven't achieve the successes and you founded it, they can also 'slide' away, depending on their public misleading. Then, they could disappear in the crowed 'people sea', and would focus on the next; or get out from this bus for the next. Usually, they weren't working for their own benefits depending on their own willing; but behind, there should be some darkness groups, which has almost been a public secret. Their crimes, if small, can be forgiven by your mercy (Indeed, we really want to ignore them, but ...), which are also understood and grasped by these groups. Their health-care and education are really concerned by people, especially towards some children. &lt;small&gt;(Taking some samples from my own participant-observations: when I was a undergraduate student in Dalian, I used to encounter a child steeling my bag in the market when I was buying a piece of delicious Xinjiang cake (Really very delicious; thereby, I enjoyed to buy some). This is a fact that I have lost my ID card, all the belongings and the money; but today, this case repeatedly occurring upon me, after the time of ten years, when I was in a bus. This time, it was an aging woman that she attempted so many times towards my satchel, which made my attentions. I wasn't a fool, but somehow like a fool. Secretly struggling with her, I attempted 3 times to avoid bad things' happening, by twisting my satchel in front from aside. Then, she turned to the next- my mother, beside me. I turned my body to the other side to block her pathway, but it was unsuccessfully in get back her evil mind. I have to directly point out this unhappy fact to all, in public. What I wanted to do is just awaking people's care-taking of their own belongs in this crowed and unhappy bus. However, my mother wanted me to keep a secret. Why? she didn't know how many people in her groups are in that bus and she didn't know how to deal with some moral blames and misleading towards her son, if being trapped with this aging woman in this crowed bus for so long time (the distances among people have been over too much upon normal people's physics endurances.)   Yes, I can, and almost, I need to. In China, there is a traditionally thinking way - 'Keeping your own businesses without caring about others' issues, especially when this issue wasn't about your own matters, or, you or your family can avoid or escape from taking hurts, signally' - this one usually kept the right one who wanted to notice people in the 'mouth-closure' and let some 'unhappy issues' happened in public as the secret, time after time...)&lt;/small&gt; But taking a perspective from Education: if all the people in public kept what they encountered as secrets, what situations  will be like in the future. If letting aging people or child to steel belongs can be taught to our next generations from their parents or thief-teachers, what will happen in the mind of our next generations. What they think would be: I don't need to take any labours, just depending on cheating deals through some words-confusion skills or steeling belongings from others, then, in risks, somehow, we can get 8 or 10 times more values than before from others, or from nothing I have directly upon to all. In the other side, buyers or belongings-losers will immediately lost what they used to own without being honest treated or being merciful dealt, even in their own life. What-like will our next generations be made as?
Therefore, in my mind, in postmodernist globalized civilization, these are really several Red lines which were touching bottom of Education, and we need to tell children and young teenagers what are right or wrong; so that, I written this recording to bear somethings in mind.
(I make an apology about this language collection's quality is a little bit rough - the fluency is between bilingually oral and academy, because of the very unhappy emotional participant-observations during its completion and its instability with anger. Therefore, lots of details and several small events have been personally ignored, including　one opportunist price bid-up (10 times more)in street market and another half-weight-added relationship-selling without clarifying the quality and quantity of products. They all happened in my hometown, which made me feel really sad. If merely seeing it as one in my self-researches of life-language phenomenon for language-improvement  and taking it from educational perspective, my heart might not feel so painful. Hopefully, they can still be fragments without being threaded together; and hopefully, a night after, I can totally forget them. Yes, after watching child's face and hearing her melody-playing, my mind was calmed down. Okay, I would like to take it as one bad educational material in case for teaching good)
('''Suggestions:''' 
(1) To common people ourselves, in order to live, it's better to prepare a Anti-cheating-deal-protection Booklet by collecting various pieces of information from News online, TV channels and Newspaper. To be honest, there are too many pieces provided in China everyday. When watching them, you would feel evil and how can things be like those... Recently, I repeatedly heard some disorders in southern part of China have been grouped and organized to steal belongings. Oh, they are disorders with special needs. How can things be like those! Yes, we don't want to harm others, but we need to protect our own belongings.   
(2) systematical Market order and monitoring for commons' daily lives need to be re-constructed and standardized. I insisted the Value-to-price - this principle should be highlighted, even more over, it shouldn't be much than 8 to 10 times - over this dangerous red-line. 
(3) Materials-saving and re-cycling ideas in own-dream's realization, as only for, need be taught and learnt by more people, depending on which corruption situation would be reduced and unpractical bad emotions influencing commons' daily well-being would be modified.)

==== Words with annual renewable freshness for 2017====

12. Oh, I should feel much free talking something in Jason's Postmodernist Language Part. In my mind, sorry, maybe - my mind has been self-traveling to the future too far. Taking back a step, this one is still and always a holly place for my self-reasoning and self-purification in my own worlds.   
Firstly, Happy Spring Festival of Chinese Area and please enjoy the first day of a very merry Rooster Year - 2017! 


13. Then, today, following 11st point, I want to talk about another phenomenon experienced on Public bus, which I really don't want to mention but have to. How could I organize my languages more clearly like, after encountering this angry experience? I don't want and never want to tell lies, but certain basic trust &amp; honesty was still gotten lost about its diver. Things should go like those below:
Indeed, it hasn't been a current problem but somewhat lasting for long time since my family's returning to my hometown. Facing this problem, usually, it's my mum who over-stressed me too much -  pressing down may stance and don't want me to say out  my participant-observations. However, today, it is the first day of Rooster Year, everyone should apply polite attitude in dealing with and interactively treating each other, as the gift for a lucky year. My family's gift has gotten lost; and thereby, I don't want to give my gift to some individuals in my city. 
In China, as one part of public welfare, aging people, over the age of 60, have been enjoying a condition of public welfare - over 60, they can get half-discount tickets in public bus; and over 70, aging people can enjoy free tickets. You knew, behind the fast constructions of China, so many people have contributed all their life, all their youth time, all their family-working opportunities or all their family-volunteering contributions and all their patriotic health &amp; energy to each city they are living in; till now, they had to (not to say they are on purposes) be aging over 60 or over 70. Compared with what contributions they made to this country's development in their life and youth time, this welfare is really what they should get, as a balance of their value. In my big family, many people got to this life stage; and in my small family, my parents have all come into the opportunity of first stage - age 60  to age 70. (Wikipedia Introductions: https://en.wikipedia.org/wiki/Social_welfare_in_China) Towards people in this group, I found some divers' bad attitudes and behaviours had been really too cruel, need some criticisms, too inhumanity and lost their basic trusts (to commons) &amp; honesty (to their own working opportunities). 
From 1900s to 2000s, in my family, public bus used to be a main way for travelling outside, depending on the technologies. In order to suit this public tool, We have cultivated too many good habits (you knew, in some extreme overloading situations - sometimes, over too much being even without space for merely one person's two feet which was painfully enough carved in my memory that I didn't want to mention  since my childhood - treated with inhumanity and only for money.). Among them, one is very useful relatively linking to today's case - coins-checking: (1)Before getting onto public buses, my father usually checked each coin and arranged them to me and my mum one by one; (2)and evolving from it, to me, before it, I have been together with my mum in checking about money for many times, in order not to trouble divers and keep our good manners in public bus. However, including today's and another one several months ago and several other times' before, though I really saw my mother's five Jiao (half ticket-fee) had been inserted into tickets-selling machine, and before it, I had really self-checked or father--checked, or saw she herself carefully checked the money, to ensure the correct money having been counted out, and in order not to trouble divers or others, for all times (I dared to say so. We really don't want to be trapped in this case). But still, when it came to this weak and slim lady, many times she was tangled by drivers by impolite questioning how much being inserted for many times. Indeed, if just being questioned many times, this case is also of no matter. Every time, in that very narrowed and only feet-inserted space (today, the situation is better), I or my father will be together associating my mother to take explanations - at the beginning, it's very gentle. However, this time, after saying sentences one time, two times, and three times:' we can confirm that she has really put the right money', some individual drivers, like today's in 28, still used very rude manners, down-looking attitude (with somewhat can be called discriminations. I understood psychology and knew what types of actions reflecting thinking ways behind these actions they showed can be called discriminations after so many years' experiences), questioning and impolite pronunciations to treat this poor lady - my mother. If letting me to attribute the reason of his actions, I would say: in societal activities and trips outside, my mother usually didn't care about her appearance and usually being with normal or even non-good-looked and old-fashioned clothes. She was also an aging teacher dedicating all her energy and time into serving next generations, and really didn't want to pay more attentions to the fashion of her out-looks - she didn't care about it and somehow considering it to be a waste of time and would rather pay things on more useful fields for other family members, family constructions or students (Money she and my family made earned is really not easy). Some individual Chinese have a problem: usually, what they behaved aren't according to people's souls, minds, contributions and good manners with beauties, but somewhat outside appearances. To strong or rich people, some individuals didn't want to trouble too much (because of the reason that they are strong or rich or even being clothed as almost rich), but some persons weak or poor or even just being looked as in poor situations and someone who really want to follow principles to behave (they also reasoned it as because of their poor or weak situations that they have to follow, rather than from heart that they respect principles and universal reasonability), they turned to use bad attitudes (from the angles of their down-looking eyes, bad Chinese pronunciation and many times 'suspicious questions - as if thinking everyone is crime) which you can directly feel about. 
Every time, facing this situation, if I was there I would associate my mother to make things clear and if things weren't really caused by our faults, after many times' explanations made like today, I had to bravely stand out: Every coin should be paid for your own labours, if you thought your labours were valued lower than this money, depending on your 'gentle attitudes', you can enjoy it happily. I knew on the first day of Spring Festival you wouldn't feel happy to take your tasks in working. However, you had chosen it you also need to take the responsibilities. Without interests, working experiences would let you feel in hell. Meanwhile, this point is also not following society principles. if you thought it was a burden, you can abandon it without disturbing others' holiday joyfulness; other divers who love it can take as from their own interests. Did you forget the traditional Chinese customs of Spring Festival? They are aging people, do you have parents and did you treat them like this on Spring Festival? Did you treat other aging people like this who are clothed well? Did you want to send every your bad face as 'the gift' to passengers all the day? ... Did you lose your basic trust and honesty to your customers? Without them, how do you want to get others' back? If you didn't respect your own working, how could others respect yours'?
In Rooster Year's Spring Festival Gala (Wikipedia introduction: https://en.wikipedia.org/wiki/CCTV_New_Year%27s_Gala ), 
'basic societal trusts' deeply rooted in hearts (to our own workings, our family members, our guests, our customers, our friends and our relatives ) has just been mentioned as from Chinese people' moral tradition, about which commons want to send some pieces of the positive information and Chinese Civilization to the worlds. Then, in the first day of Rooster - daily life and around people, it was still lost on you. 
Further, lots of aging people, like my mother, facing this situation, usually tried to pressure down her own son or family members, which transformed outside troubles into family conflicts - this is also one traditional custom without the openness to the world. Why? I wanted to make some much careful explanations: facing it, on the way outside, aging people knew they were weak and didn't want to trouble others or trouble their own family members by being pouched or hated by others. They thought this way was a good solution to avoid something's happening. Therefore, if things they can endeavour, they will. Even my father wanted to insert another 5 Jiao to calm down this situation quietly. Indeed, it was wrongly enough. After being educated, we knew another 5 Jiao cannot get back a lost trust and cannot pay for the whole societal justice. More aging people - in this group - may still need to unfairly pay another one time, two times or even more for being in their weak. That isn't according to moral principles and Education. Even more, taking Christianity's view: God, as Provider, trusts in everyone with the equality for many times. And, the balancing procedure made has already started from everyone's young time, even the childhood, till now, and then. 

'''Enlightenments and Educational suggestions for future:'''
(Children and young teenagers, please don't follow this uncle's bad example. If at the beginning, the diver would smile firstly and say: ’Aunt, Happy Spring Festival! I am sorry but I am not sure about your inserted ticket-fee, please have a check. You knew, my job wasn't easy on holidays‘. And, after gotten the answer once, he would choose to trust in this aging aunt and others’ explanations, for keeping holiday joyfulness and following traditional customs of Spring Festival. How fine an end of this case would be! )

14. Following the 13rd point (transportation management), today, I would like to accumulate one piece as for Jason's language. Currently, the situation of transportation is really better than before - last year and even longer time for tens years. However, in this point, about some cases of round-cycling bus in certain zones , I still need to give a very brief summary (I don't want to be trapped in certain unhappy mood too much): (1) If one job, or life-task, or volunteering, or event, you don't like to do, or even without any interests in, please forgive yourselves and others by choose another one. If you can't choose it, please try to fall in love with it. Yet, please just don't cry out your boring words about your careers all the way on bus. It would trouble others' moods while hearing; (2)When talking about some passengers in weak groups, or some pedestrians (walkers), especially aging people and children, passing by zebra crossing, please be merciful! It's because that cars are everywhere - they are parking, but without caring about principles of transportation. Weak groups, even walked out one line, shouldn't need to pay (responsibilities) for the disordered situation of transportation (sometimes). It's also because that you also have parents and children; meanwhile you also have times to be a child or an aging people. (3) Bell, for bus, is very important, especially for round-cycling bus(if 'really' being set and not broken). If you cannot hear it, please have some attempts; but, if causing by continuous talks with another passenger about some other issues regardless with your jobs, please try to stop... lives of passengers on this bus have all be grasped in your hand... (4) Please bring a good attitude to serve people on your bus and forget their social classes and identities (especially in a country run by principles of Marxism &amp; named for commons and when you can't make sure others' situations - such as whether or not someone has already pressed button of bell, but you didn't hear) and take care of your application of oral language and face expressions - at least, it's your job. Only a gentle smile can solve a conflict, shouting can only get back further louder shouting with anger, but nothing else. (5) About meanings of round-cycling bus: In my store of educational knowledge of transportation, round-cycling bus is designed for motivating the economic development of certain areas - tours to appreciate landscapes, short-distance working demands, local visits, local businesses, relaxing leisure and holiday joyfulness etc. Indeed, at the beginning, there were very small regions importing this type of buses. Then, with the economic development and openness, round-cycling bus became popular and common in some economically developing zones. Rather than this type, two-destinations &amp; each-stop bus was in tradition and  always normal usages for crows of people's daily running, which stopped in every station with no bell being set(or being set, but never being used), but for long-distance travelling across one city, from one to the other, or from city center to countryside , whose problems I have also pointed out in 13rd. They have different functional purposes and should be distinguishable.(2021 views: I still feel sorry to see the situation of 3 routine bus in Golden Pebble Beach of Dalian hasn't change any as a true round-circle bus it has planed, and also the bad attitude of its diver I came aross and his language... It's said China's Cloud-data counting way of new technologies can solve it that people will check their card twice-one for the beginning and the other for the end. When being out of a circle, the end one check will report 2 times of price. We are waiting...for commons) [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:39, 5 October 2021 (UTC) We knew the worldwide famous city-tour bus is London bus, which has already been one symbol of the city and has developed a systemic mechanism for various purposes (Wikipedia introduction: https://en.wikipedia.org/wiki/Buses_in_London). Someone may argue: Jason, you are joking, how can small local bus routines be compared with London Bus and this system - so higher standards; and, we are in China with some different conditions, limitations, local habits of behaviours and cultural customs. Yes, that's quite right. But, I tell you the truth: a big and advanced system, such as 'London specification' to meet specific London requirements' (as a world-wide international city), was also developed from local demands. Just in solving practical problems, dividing functional differences with the distinguishability, storing good developing factors, serving people with more humanities and conveniences (you can see: 'All these buses conform to the Disability discrimination act, and can accept passengers in wheelchairs and other mobility impaired passengers'- how this system did serve people in weak groups that we have no need to mention aging people, women with babies, students, or others etc. ), it can get hundreds years' developments without doubts. Indeed, some reasonable solutions have already been seeded in commons' minds - very sample to say: facing bells of bus, the reasonability deeply in minds has already taught us how, where and when to use, which could be seen as the self-willing of being civilized, being reasonable, being following principles, and really enjoying good-qualified life of own purposes. Without needs to mention whether or not certain driver is able to talk with passengers all the way for boring words towards their own careers and weak groups even ignoring others' bells, here, we can get a brief conclusion across cultures: Don't like, won't do; If like, fulfilling in; if lacking, improving it; if bettering, keeping fine; if boring, forgiving in. 
oh, Jason's life task has no enough time and energy applied in this field; and to be honest, after that event, several weeks' participant-observations were better than before - I can feel: on one bus, air-conditioning was opened in cold days for commons; on one bus, a group of aging people can enjoy their travelling; on one bus, bell can work again, etc. Those are good-qualities, please keep on ... Education should trust people's abilities of self-awareness, self-learning, and self-discipline that we can better. Education can give suggestions from various researching pathways but cannot make decisions of anyone. That's what my learning taught me. I prefer to leave a developing zone here for future ...

Maybe, Public transportation has great relationships with commons' daily life and can give a direct impression of how a city is going on. That is why I had wasted a huge paragraph in talking about some principles as common knowledge in educational purpose. I really don't want to be trapped in this case and some troubles outside computer. However, the reasonability of Education (so long time) taught me I needed to do. Indeed, 'The daily collections of Jason's Postmodernist Language' - this session was designed for collections of language's beauties and creations. The original purpose of it is for the accumulation of good-qualified writing materials and educating languages, with philosophical ideas, fashions of musical aesthetics, fine arts, and bilingually cultural elements.  
I am hopping: as the bettering situations of transportation around my living place, my languages will make a post-regression back to original beauties; and my attentions would be drawn back to what fields I should be in. For it, everyday, I am praying everyday.

15. Strongly condemning the terrorist attack occurring in Houses of Parliament in London today - March 23rd 2017, and also any other terrorist attacks (including Paris', Brussels's and all countries in modern civilization), and abusive &amp; Coward's behaviours and hurts towards commons: 
Life and health are the rights, being blessed by lord and given to all the people equally, without the differences of races, genders, ages. Whoever, if hurting them, are commons' enemies and should be blamed; whatever behaviours, if attempting to damage them or succeeding in doing so, should sin so many and be punished.
Let us prayer for peace and commons' security; meanwhile, mourn those brothers and sisters died in terrorist attacks!

16. Sir Debussy's great contribution to impressionism rooted in his application of impressionism to express impressionist imageries generalized from 'Mind-landscapes' which have already been there - another romantic bank. In brief, we can conclude it as ''''Impressionism only for Impressionism''''.  The later impressionism is a generalized definition adding his willing-landscapes abstracted upon certain real natural landscapes in experiences, dreaming scenes, societal events together with family members &amp; relatives, and most importantly - some emotional joyfulness and love's Neo-expressions, which can be post-tasted for long...
17. Oh, I suddenly found: currently, on some good platforms I was in, about Educational research for music, I have gotten deep senses of Wiki-family' creative powers in various aspects, including documents, comments, self-medias, diaries, images... in life and for commons learners. Depending on them, I can solve many problems easily. It's just about me - my own habits' cultivation and from my experiences, regardless with any unnecessary issues. I need say: thanks, I can be a member.

18. 'May, 30th, 2017' - today, it is the traditional folk festival '端午节' in Great China Area (Normal Wikipedia introduction: [https://en.wikipedia.org/wiki/Dragon_Boat_Festival]), as the remembrance of Patriotism poet &amp; musician (Folk Songs) - Qu Yuan (Wikipedia introduction: [https://en.wikipedia.org/wiki/Qu_Yuan]). From academic perspective, how can we make some senses of this 'cultural signal maker', and how can western friends deeply understand this master and his festival? Two branches of orientations - Western culture and Eastern culture gave me a comparison, which can transcendentalist taught us somethings from their similar natures - probably as a universal communication. When Qu Yuan came into my mind, another Patriotism Poet &amp; Musician from Western world was usually emerging too - Frédéric Chopin (Wikipedia introduction: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]). If you ask me: how can I get this sense, I would firstly emphasize the appreciation of Qu yuan's great work - Li Sao (Wikipedia introduction: [https://en.wikipedia.org/wiki/Li_Sao]).After being heard (language with Chu Ci music), your will find the deep impression - the sadness, madness and anger motivated up directly floating above head - would be harmonic with another piano work of Frédéric Chopin - 'Étude Op. 10, No. 12 (so-called Revolutionary)' in each of their series (Wikipedia introduction: [https://en.wikipedia.org/wiki/File:Frederic_Chopin_-_Opus_10_-_Twelve_Grand_Etudes_-_c_minor.ogg]). Yes, they are under the similar emotional (personal) &amp; historical backgrounds and with the similar expressive mood-streams (even a little bit angry sometimes), for each of their own idealistic, peaceful, and dreaming countries but being going to die near-days, and for their deep loves of common peoples &amp; their lives, and were willing to save their nearly broken hearts from dangers and outside threats - yes, in their different eras, there would also have been suffering strong Terrorism attacks from outside (we can definite them as terrorism attacks, causing lots of innocent commons' lives were lost from anti-governments' powers rather than public's historical willing, which were all unblessed and unfair... especially some public harms and inhumanity they faced, from academy, would have already met the main characteristics of terrorism attacks) to damage local peoples' lives - so many people were killed from numberless wars... (Wikipedia introduction: [https://en.wikipedia.org/wiki/Terrorism]). Therefore, in commons' and so many generations' eyes following, they were heroes and their works can be called 'National works', and there should be some days annually ranged out from the respects. In another similarity, they all represented each different ideas from mother-tongue music traditions - 'their national characteristics' - Qu Yuan carried Chu Ci (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chu_Ci]) as the pattern for his artist innovation; while, Frédéric Chopin pushed Mazurek to the historical stage of world music; all for their loves of own countries. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Mazurka]) Therefore, they can all be called 'Poetic masters in both language and music'; just, Qu Yuan was quite near politician &amp; philosopher, but Chopin was quite near musician &amp; romanticist. 
Furthermore, I have found another historical similarity in materialism: in order to make the remembrances of them, generations all applied the symbolic objects standing for their bodies into custom and culture. This point was hard to be understood. Let me make it clear: In Duan Wu Festival (Dragon Boat Festival), people living in Great China Area usually ate Zongzi (Wikipedia Introduction: [https://en.wikipedia.org/wiki/Zongzi]) Do you know why it was done? After ' he committed suicide by wading into the Miluo River' - oh, he was so sad and angry about the death of his country, people was afraid of his body's destroy in the river by fish's bites. They researched out 'a traditional Chinese food made of glutinous rice stuffed with different fillings and wrapped in bamboo, reed, or other large flat leaves' (Wikipedia introduction: [https://en.wikipedia.org/wiki/Zongzi], 2017), which was made in the shape of body-liked diets, and if being thrown into the river, can attract fish's attentions away from Qu Yuan's body; thereby, his body can be alive and stored always in the river, as for the dependence of his spirit - to be a real river god. Oh, you can find it was also a romantic story merging into commons' customs for food and life. You knew, in traditional Chinese culture, if someone had made great contributions, commons would inductively research out one food of a festival in fairy legends, for deep respects and mind expressions. This was for their material's (body's ) immortal lasting. Very interesting, I found 'Chopin's death mask and a cast of his left hand' and 'Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin], 2017) were also represented people's loves, respects, and remembrances of their lives through carving, protecting or storing parts of their bodies. In some degrees, their lives and spirits were still existing in 'Mind-Independence worlds' of our civilizations through enjoyable festivals and customs, on paper and in music multiscript, and in patriotic expressions and poetic romanticism. 
Tonight of this festival, I was quietly sight-reading them - their minds upon words, and read out the same hot-beating heart, the independent judgement of societal bad &amp; good and universal reasonability, a good willing from our pasted academic masters and intelligences, and the interactive loves from commons in our common root of customs and cultures. Now, on this commercial and changing-lot earth, please try to keep them, for bettering human beings' future.

19. Taking a glance, 2017's hot summer has been arrived. Very happy, Round-channeling bus, I mentioned before, can be in a real cycle with so many landscapes; and some situations of transportation have also and almost modified. Take an example: Near my home, I can also see some endeavors (not being totally solved) have been applied, such as facilities (barriers and separated areas)for keeping emergency Exit throughout and cars' parking in order, though it is really a complicated system and the effect is waiting to be tested. The situation of crowed bus has also been modified in certain degree, by adding some seats from back-place (In this case, I can see some experiments have been applied in terms of whether seats should be added in front, in the middle or at back. Finally, almost being at back was a good way.) But, sometimes, it was still crowed, and choosing different ways would be a good choice. You knew, soooo many people. After reviewing most of my life in this period, I decided to make a Consciousness Stream for summarizing my fuzzing impressions and beauties in this period. Meanwhile, I would like to visualize them through my eyes and technologies. As a result: it came out in self-educational views -

'Where to begin this visualized journey? Where could I have myself extracted from various ends of a life thread-ball and wrote down something for a quite brilliant and rather graceful, but still with 'deepest blue dropping lightest grey' summer of my 2017? A monologue, or a self-dialogue with someone unknown in universe, or an implicit symbolization representing lots of life indications, or projections from two mirrors to numberless futures... should land to a super-ego behaviour that I made over my abilities:Pushing against the wall of a strong cable-bridge's Pier (Wikipedia introduction: https://en.wikipedia.org/wiki/Pier_(architecture); https://en.wikipedia.org/wiki/Cable_Bridge) just above water-ground in sea's middle,  water then was soon raising up to one to two buildings' height beyond your head, and a huge eddy (Wikipedia introduction: https://en.wikipedia.org/wiki/Eddy_(fluid_dynamics) ; you knew, Cable Bridge's pier, in sea, can be thought as  'large emergent rocks' presenting this fluid dynamics ), swirling water around you, was forming out.  It's several minutes that you lost yourself in it,  and just were watching light blue water under sunshine penetrating your soul, as if your tomb will be closed in a core lonely darkness out of sight-focus from this purified colour. (I cannot directly express this feeling in my photography portfolio, owing to no camera in my hands at that moment. But, the middle downstairs photo was made in another time when I was passing by that cable bridge and watching the far beach I was right swimming from... Combined with other water colours in this photography portfolio, we can try to make some senses ...)As in order, then, a hope of resurrection emerging from your mind and from the nature of your physics. Breaststroke,(Wikipedia introduction: https://en.wikipedia.org/wiki/Breaststroke), out of my unconsciousness, automatically pick me up from that dive depth. My mind began a argument about which gesture was better for Swift water rescue in Whitewater areas(Wikipedia introduction: https://en.wikipedia.org/wiki/Swift_water_rescue; https://en.wikipedia.org/wiki/Whitewater). Absolutely, my stance was on Breaststroke, because of my personal problems - my nature turned to this one freely and I didn't like so competitive swimming ways. Meanwhile, I thought self swift water rescue - this activity met my tendency that it needed people to keep themselves safe in water, rather than completive purposes. Furthermore, tell you a small secret of my self-training: It's two more years since I began to research some inputs of Tai chi thinking elements, such as self-making an energy ball through water, presenting a &quot;white crane spreading its wings&quot; in water, imitating with a 'merman's jumping', and walking out a 'octopus' wandering', rushing out a 'Tiger's mountain down-climbing'... into the modifications of traditional competitive ways, for self-rescuing and self-appreciations in life. I found 'frog's breaststroke' and 'whale's Backstroke' (It's another story that we can try to apply whale's 'arms-switching' , breathing rhythm and 'frog's up-wards legs' to transform backstroke. It has the possibilities to carry more nature elements. And, you can also make it in the similarity with personally moving a boating machine -in gyms- by arms, I thought) were much easier to be divided (elements), re-composed, transformed and reused by Tai Chi philosophy.By thinking of those special gestures, alongside Jason's automatic 'frog-kick', I was suddenly left into an imaginational world full of sea creatures from the deep sea beneath my face. You can see, a huge red-mouth-opening frog, a giant octopus and my aunt's eating-crab were externalized out of Jason's mind, appearing in the middle-up corner of this photography portfolio, as in the nightmare. Regarding with more documentary researches and discussions of Sea Monsters &amp; Hell, I has already presented in my comments of 'Chinese encyclopedias of Strange things'' in the analysing article of  'Dream Of the Red Chamber' (Portal: Chinese literature: https://en.wikiversity.org/wiki/Portal:Chinese_literature). Thinking of those, a deep fear got out from the bottom of my heart. I told myself: 'Jason, hurry up, move faster, get away from this area...'After swimming to the beach, I found I was born from water, to enjoy a presenting life on both virtualized and realized birthday, with my family members and friend. Under the blue sky, it's only your family members - your parents, your relatives... who will never give up you, and would like to hold some birthday parties for you; and by together, you can eat some feasts with. Thinking here, in my imaginational world, a whole seaside was bombed out by many Beach Tents and people's smiling faces. As if, they were all together celebrating my birthday. You can see: It was real that in the middle corner of this portfolio's left side, there were a celebrating scene composed by many beach tents throughout woods. 'Jason, please don't say those mad words to anyone else! It's dangerous on earth, rather than on Mars. there was no relationships between other people's holiday-happiness and your birthday party. You should understand. Yet, if you told it to anyone, you will be sent to Well-being Centre...'  Every time, mother would feel angry and cry out...  'But, this time, there should be some relationships between my birth and universe's collective joyfulness... Yet, how lonely we came to this earth...' Every time, I would argue words as so... finally, a quarrel or in silence, we made a choice together... ''Bingo...'  However, in this year, My small aunt and big uncle's visitations made my birthday hasn't been so boring. Eating self-helped Western Steaks in this birthday feast (Wikipedia introduction:https://en.wikipedia.org/wiki/Steak) was what event motivating my mood to a magic level. Yes, I had also eaten some traditional Sichuan Cuisines, as regularly on birthday. (Wikipedia introduction: https://en.wikipedia.org/wiki/Sichuan_cuisine)  . To be honest, in my Trinity Postmodernism philosophy, I really didn't know whether it carries some relationships - myself, with international conditions, or universal organizations - it's said China had imported many beef meats from America at that time. I meant it.'  'Don't say those mad words !' Mother's logics... Oh, okay, no matter how, as a common's lonely Educational Researcher, I felt happy to bury myself under those joyful noises surrounded by my family members and friend. At least, I was in a virtualized&amp; realized group, and couldn't never be given up by human beings...Following it, please pay more attentions to those blue mussels (Wikipedia introduction: https://en.wikipedia.org/wiki/Blue_mussel) besides my Cross Birthday picture on the left top. They were picked up from one of my swimming beach, which made me feel happy to see the ecological friendship with Nature, rather than merely in mouth tastes.  And then, on the right top corner of this photography portfolio, Jason has been dreaming himself into a blue outlook for future: currently, the Open Day of Sea Agriculture is coming. Many fishing boats in North Pacific Ocean were waiting to ship themselves out for seafood. As an educational observer, I was praying Lord in Nature would bless them good lucks!  Finally, a consciousness-streaming channel has broken out throughout the axis of this photography portfolio. It's a 'Ironman' composed by Metro &amp; Railway system dug out of this visualization, to a further brightness. It's also said it could be connected with City International Airport, directly from my home doorway, to anywhere on this earth... It would still need some time to re-adjust situations... But, before moving to Mars from this life... there will be still sometime that I can wait... wait for our relationships (even a little bit with the universe)  can be fixed, or wait someone's coming into my visualized &amp; realized LIFE... or wait for nothing but only waiting... IN  a WIKI-Consciousness Stream of a never-ended hot summer2017' 
'''(Notice: Words referenced from WIKIMEDIA COMMONS for Educational Purpose in Wikiversity)'''

20. About the attitude of kids' or young teenagers' piano-practices: This topic was also a hardly-talked and easily-ignored one with many arguments. In very brief and normally, piano-learning should be from a kid's nature, rather than being required by or being forced to by their parents. 'Nature' means: when hearing sounds, you feel happy rather than painful; when touching keyboard, your heart is comfortable, rather than worry; while some problems are existing, you have the willing to solve and don't want to easily give up; When it is a long period you haven't met it, you will miss piano very much; and when it comes to your responsibility, you should bravely take. And, this learn was as one of your own matters, regardless with fame, money, competition, relationship, or other unnecessary factors (About this point, I would like to say more: some people argued that playing piano should bring those unnecessary factors your mentioned, Jason. Yet, in a commercialism reality, without them, do you think still some people would like to play it? Friends, I tell you the truth: they should in a good order that the primary thing you play piano should be for your nature - your interest and love; then, others would follow you nature and as some beautiful supplements surrounding making your experiences much happier. Therefore, it's not to say I play piano for money, fame, relationship, competition...; then, I have to cultivate my interests and my love from nature... If making it of an inversion, you will find the procedure of piano-practices is rather painful and boring.) Some parents might argue that: Jason, how could we see whether or not our kids have this ''''nature'''' you mentioned? 
* Firstly, at very earlier time (maybe 1-3 years old; here, you can review some exact knowledge and timetable from infant perception, such as hearing; Wikipedia introduction: https://en.wikipedia.org/wiki/Developmental_psychology#Lifespan_development; but please don't make it so mechanized, and just see him or her, after hearing some pieces of significantly emotional music, can smile or feel unhappy, and his or her movements, sometimes, can make according to the rhythm, and even, when touching piano keyboard he or she can show the curiosity and interest for a lasting time of attention...) 
* Secondly, alongside his or her growth, you will find his or her games appearing more elements from music and keyboard-touching (3-5 years old). 
* Thirdly, when you have a try suggesting him or her to learn piano, he or she show great interests;
* And when it comes to some tasks of practices and even challenges teachers would give, they can stay besides piano to research and explore some possible solutions and show his or her endurance for a long time... Yes, no matter what situations results will be like, he or she can show the willing and the endurance upon time. Congratulation! Till now, he or she is a good piano learner. 
Some kids told me: little uncle Jason, I really '''love piano''' very much, even in one day I cannot be apart from thinking of it...But, my dear, what is the love of piano? please don't say 'love', just 'to like'. Just in thinking, without playing? 
In one week's interval, 
if you don't want to pay even more than one hour's time for training your hands flexibly according to some tasks' requirements; 
and if as from traditions of piano family-tutorials since Bach, Mozart, Beethoven, Chopin and Debussy's times, you even didn't want to take your responsibilities to pay the basic tutoring fee, didn't want to say anything clearly or later it for more than 5 times until the next time as if nothing has happened that you only need to pay the next 5 times, or make some plots on purpose to miss it in each time, such as forgetting recording notebook, writing on another sheet &amp; then losing it in next time,  as if fooling your tutor, until your tutors' endurance really cannot hold on it anymore 
(If you have some problems in the reality, please say things clearly to your tutors by seeking a secret time as you know or I know, and if helps I can give, based on my all-inclusive educational perspective, I must research out a solution. Indeed, just focusing on piano tasks, I added lots of extra time following each session for problems-solving and asking questions of your piano practices and showing out effective solutions, if needed... Therefore, please make your attentions just on knowledge and skills, and don't waste your wisdoms on how I can set out your responsibilities. If for money, making good usages of your tutor is better than wasting time to think of avoiding fees. Please thinking like that: if I can learn 2 sessions' content in only one session, show my giftedness out to my tutor and get senses of achievements from learning,  will I have save much money for my family? You knew, you tutor also needs to survive!); 
and right in tutorial, if you even didn't want to focus all your attentions on piano learnings, but thought of other things projected from your eyes-touching, and showed very lazy movements on some locations and very slow responses, but required by your tutor's instructions and guides;
how could you say you '''love piano'''? 
Oh, my dears, you knew, the interactions between you and your tutors, if being motivated out and sustaining well, are beneficial for both your learning and your teacher's teaching. If recycling well, it will also be very funny and constructive for your developments that some interesting games, activities, solo parties, realia-explorations, visualizations (painting together), language descriptions and even visitations to some landscapes can all be magically organized, which were what I continuously learnt from British Council. And, every piano teacher also has his or her own magic to make classroom funny, if he or she feels happy to teach. Without interactive motivations, without a interest, and even a small respect as to your classmate (Western world) or to your own parents (Eastern world), how can things be good for you?
By sending those words above to my field, what my purpose was for a good wish that someday we (tutors and kids) could really join together as peers to touch beauties of fine arts, without any unnecessary desires and only for a true heart from nature. Till then, you will find what a beautiful world piano in music will be...Thanks!


'''21. Case study in Appealing: From this page https://commons.wikimedia.org/wiki/User_talk:Jason_M._C.,_Han, which I used in Wikimedia Commons, we can see the list proved some individuals have plotted for long time (Yet, it cannot make out a so detailed list with many visualizations and sounds used in Wikiversity) to against formal and good purposes in educational views. Otherwise, it cannot be so detailed. But, those educational designs were made for more kids' learning of piano through their watching, listening and reading... I felt sad and confused very much. You knew, I had a dream that one day, if there were internet in any corner, our next generations can all enjoy equal rights to watch some beautiful learning materials and make some arrangements for teaching and learning. What I applied were my most beautiful languages in English and piano techniques since my 4 years old learning which I could write. I didn't want their disappearance, but I really disliked those people who, I don't know why, plotted to delete others' contributions...without caring about their reasons.It would be from nature... You knew, I even live on those materials and put all I can give from my life as action plans, life tests, participant-observations, and visualizations of Wiki-knowledges. If some individuals didn't understand some future learning styles, they can ask and discuss with me... But, why?  I really didn't know how to deal with this terrible issue. This place was a peaceful one I felt comfortable to appeal. Hopefully it will be fine...  Thanks'''

22. Case study in Appealing: https://commons.wikimedia.org/wiki/File:Globalized_impression_of_London.JPG
Sorry, I had to use this type of reference, owing to my ability influenced by emotion, currently. I didn't want to do somethings out of control. 
You knew, this type of Photography Portfolio has described my heart-road with poem-liked languages and translations to meet those requirements of postmodernist Fine art's teaching and learning in globalized visualization. (I tried my best to think out and make in learners' most familiar formations - Words and PPT)
Inductively say: in my eyes, it was so beautiful recording my travelling through that great city. Though I wasn't a famous person but a small common,  my eyes with curiosities about different cultures lighted my ways throughout that city to the higher gracefulness of its architecture. It was also like music spring flowing throughout my thinking and learning. And also, I applied most beautiful words I can think out in Chinese language to describe what happened in my minds. All energies and time I all applied into thinking those educational 'heart-road painting' and sometimes their reflections in music. But currently, it faced dangers that it might &amp; will be deleted (Sorry, in this condition, my languages heard would be broken functioned by emotional changes) I really didn't want its disappearance, as in one of my beautiful memorized trips. 
Similar situations would also happen in those pictures:
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:2017_Spring_Impression_-_Butterfly.pdf
https://commons.wikimedia.org/wiki/File:International_Cherry_Blossom_Festival_of_L%C3%BCshunkou_in_Dalian.JPG
https://commons.wikimedia.org/wiki/File:Metiral-way_in_Jason%27s_life.gif
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-1.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-8.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-7.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-5.jpg
Someone might say: Jason, they included some your individual or even private life fashions.
Yes, peers, they can be seen as one teaching &amp; learning way applying personal senses of life to participant-observe knowledge's applications in life practices and their variously expressive forms. By collecting all points of beauties, we can teach our learners in fine arts and ourselves how to appreciate landscapes and cultivate our own positive moods in lives. You knew, in our world, there was even no one historical event, great architecture, pieces of colourful music and paintings can get away from commons' personal endeavors of aesthetics (our senses). Sometimes, they were in pictures, sometimes they were in dynamics (a moving procedure with loudness and lightness), and sometimes, they were hidden behind. Without those, it seems salt is without salty and bodies without souls, especially in education. We need to teach someone somethings. It is better that we put ourselves in it, to feel and to think. Without them, how can we say we are teaching commons, as who we ourselves are? I think some people usually made me like a gun, and foolish (clever) me usually was used. But, please trust me, my heart was kind... Oh, so many words and... pains in memories. So tired... Hopefully, my explanations can make some people re-think of and understand those issues...
===== Editing -: Words for 2018 from Spring Festival =====
23. '''Processing a Spring Festival in Lucky Dog Year'''
* [[Portal: 2018 Spring Festival|To spend the Spring Festival of Lucky Dog Year]]
Comment: Now, to think...how great that spring festival was! Unless, who can expect the coming of COVID-19? Who can?

===== Editing -: Words for 2021 COVID-19 Recovery Time =====
24. No matter what type of piano Grade Tests, a pupil's ability should be matching with the grade level signed on the certificate he or she got...It records how much endurance he or she had paid on this interest, and the achievement he or she gained depending on his or her own endurance, rather than any other unnecessary or different ways...That's the meaning. I thought in COVID 19-Recovery time we should also emphasizes this point for the positive power and health of this field.

=== Supplements: ===

'''1. For the 10th case:'''
A small summary and Further talk of 10th case in Educational way:
Some standards were not made by only one person but from long-time daily educational practices, and then documentary summaried in Wikipedia. The root should be from commons. Therefore, We need to respect some basic impressionism techniques, skills, hand-abilities' trainings, the teachers and young teenagers' hard-working for many years. Without these respects, experts cannot be called experts and freedom will be lost. Meanwhile, Talk place is for commons and with freedom voices. Please don't damage it. Peace and freedom are existing when others treated you with them. No one wants to lose them. Thinking about it, if formal article don't let commons express their ideas, and talk place lose its freedom, commons will be away from Wikipedia. That's a very terrible future vision. Entrance-door-stone has already been put into our hands, which just depended on what you are thinking and how you are thinking.  If you change your minds to think it as a good way to motivate much beatiful moonlight's silvery coming and further studies, it was also going to be. '''If we have enough time and energy, please put them into researching a further and perfect version of Moonlight, then push it out into the formal article neibouring. Talk place is free for commons.''' This is also said to myself.

'''2. For the 20th case:'''
Good attitudes and characteristics of a life-long piano-learner:
He or she should -
(1) have a sincere attitude and long-lasting willing for exploring new things;
(2) have a desire of accepting more techniques and knowledge points in piano and music;
(3) not feel bored in repeatedly trainings, but with great curiosities in discovering new improvements in each time;
(4) have a positive heart of aesthetics about the coordination of exercises and rests;
(5) work hard and critical think of every question, for problem-solving and lacks' fulfilling;
(6) Challenge authorities and prove ourselves by one life's time;
(7) seek and create possible chances for performances and not give up plays;
(8) not fear about each time of failure and dare to correct self-mistakes and others' mistakes honestly;
(9) have strong self-discipline - when one day comes that no one give you requirements, you can give yourselves some standards in single learning and teaching;
(10)attempt to save yourselves from troubles, and always willing to give people feelings of beauties 
  '''3. For Sir Bach's Reasonability mentioned in English-Suites Analysis above:'''
Recently, I have read some books said: Compared with music form before, Baroque music is like 'Extremely &amp;Dramatically Collected Emotions'. How to understand this question? Not all...in a larger view including the following some styles, many of Baches are actually like 'The Self-being Reasonability of Externalizating Emotional Fields'. I would use some real scences and educational pieces to explain it.([[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:00, 1 May 2020 (UTC))

[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:04, 17 October 2016 (UTC) &lt;!-- Template:Unsigned --&gt;&lt;small class=&quot;autosigned&quot;&gt;—&amp;nbsp;Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han#top|talk]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 00:56, 17 October 2016 (UTC)&lt;/small&gt; &lt;!--Autosigned by SineBot--&gt;
Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed this impression to peoples all round the worlds. In my opinion, the very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:43, 17 October 2016 (UTC)

'''2.Case study from Jason's language -2021:'''
I am surely about all what I have talked about. Now,some have been modified and progressing to be better...But, we all know the difficulty of COVID-19 Time...
One thing I need to ask a overall question:
Could the pure world of music wandering for long (free and beautiful) make the communication with the reality? To make sure a true heart in music? And to make the likely people together? To overcome the hardness of the real life-time? And to be helpful and  understandable for the hearted someone between each other and their common life-going?
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 13:47, 6 June 2021 (UTC)

== The never-ended Postmodernist concluding ==
=== Report of Binary piano-teaching 2019 Wiki-conclusion for the attendance of World Teachers' Day Web Conference in British Council collaboration with IATEFL (article storage) ===
In recent several days, '2019 World Teachers' Day web conference' is coming soon. Time, here, is better to conclude the road having been walking on for many years, what good particularly happened this year,  and further suggest to future. In the consideration of so above, my report is shown as below:
1. English, as my daily tool of 'knowledge &amp; Skills-Acquiescence and Information-Seeking of piano, has already associated me make the teaching-arrangement and write the framework of teaching materials and the total curriculum. Academic journals, news, Wikipedia-searching, and documentaries... have already been the main approaches... Take an example, as a member of Wiki-family, in my main research-blog (portal) page: https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han , the main approach of knowledge-identification &amp; pedagogy-planing are 'English-seeking through Wikipedia, Wikiversity, Wikimedia Commons... Afterwards, materials and ideas were integrated, through the critical thinking skills,  with my past teaching &amp; learning experiences of Piano (from childhood). Furthermore, practising actions were drawn out to guide my daily lessons for 'Piano-kids'.
2. Teaching self-reflexivity, comments and assessment-conclusions can also be found in the link above, which fixed my family-based piano-training methodology up.
3. In piano field, making personal 'Performing-works Show' is always a great way to assess teaching results and present people's 'Artist fashion'.  In these many years, how is mine working for myself and students?  Through sound-images making,  photography and English description... Take an example for this procedure, there are some collected single Work-Show pages - https://commons.wikimedia.org/w/index.php?title=File%3AMM_Good_classroom_F_major_1838_Grande_valse_brillante.ogg https://commons.wikimedia.org/w/index.php?title=File%3AUnder_the_sunshine_-_Kim_Hui_1st_draft.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ADove_in_the_eyes_of_Young_Teenager_girl_Xinyi%2C_Hua.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ASure%2C_Ma's_Version_of_'Turkish_March'_in_piano_classroom_for_piano_education.ogg  Firstly, after getting the best performing works, I shared my credits to help those 'piano kids' to get the submitting license (Non-profit and Creative Commons from the originality) - 'single page', and make the very careful descriptions of classroom-training procedure (through participant-observation). Following, after many years' accumulation and growth, a whole English educational portal (Platform) can be founded, as shown: https://en.wikiversity.org/wiki/Portal:Piano-kids%27_Corner_from_classroom_and_virtually_online Together with the photography, piano-kids' most beautiful moments of the real classroom progress were virturally but vividly shown in front of us, which have been also motivating them to continuously improve in their 'Piano-Life' to future... Give great thanks to Wikiversity who have pushed up this type of my portals - in this year as News for the promotion for many years among native speakers and experts for many times (almost 7 to 8 times).
4. In this year - 2019, I found a fresh way to present what I knew regarding with the classical music, piano and many brilliant composers in list... -  Holding Library Salon-Presentation &amp; Concert. Through many English-seeking approaches in encyclopedia, notation sight-reading and library-notebooking (Chinese and English language)... (Shown as the first point above), primarily, I got information and knowledge of those masters. Then after, through information-processing, I joined them with my own piano-growth road in the memories, and 'thread those beautiful pearls into a whole necklace' (what my thinking skills' professor taught me). Finally, after another many times' rehearsing, I can present my heart-roads of those masters in a beautiful Musical  Library in Dalian. Indeed, this 'fashion' experienced many times' translations, ideas-switching and presentations, which tested a teacher's level greatly. These several photos showed this procedure: https://commons.wikimedia.org/wiki/File:Presenting_Mozart-Forever_in_Dalian_Library.jpg  https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpghttps://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_3rd.jpg https://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_2nd.jpg https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpg
Now, '2019 World Teachers' Day web conference' is coming soon. It's a beautiful and relax day for teachers all around the world. In this global conference, we can share, enjoy and developing our teaching skills. Professional experts in our fields can also give us some suggestions for future. Hopefully, young teachers and teachers with 'never-aging' hearts can all come together, in which hand in hand, we are brothering and sistering each other, with love and friendship! O(∩_∩)O

Jason's second way, Han Acount is also used as the emergency edition channel[[User:Jason&amp;#39;s second way, Han|Jason&amp;#39;s second way, Han]] ([[User talk:Jason&amp;#39;s second way, Han|discuss]] • [[Special:Contributions/Jason&amp;#39;s second way, Han|contribs]]) 15:52, 31 December 2025 (UTC)

== References ==</text>
      <sha1>rzry2ajhkvqzudtq81ipu6kmpmo8vvh</sha1>
    </revision>
    <revision>
      <id>2807118</id>
      <parentid>2807117</parentid>
      <timestamp>2026-04-30T14:51:56Z</timestamp>
      <contributor>
        <username>Jason M. C., Han</username>
        <id>2696291</id>
      </contributor>
      <comment>/* Portals for Postmodernist Research Preparations as PhD's Doctor */ fixed</comment>
      <origin>2807118</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="283436" sha1="itpvnem7zk3emhgjzr6ah0fhgkf33ms" xml:space="preserve">[[File:Jason M. C., Han.jpg|thumbnail]]
[[File:Our baby Munson is coming across the new year 2026.jpg|thumb|Jason &amp; Cynthia's Baby (Jixun Han and Yang Gao) - Munson is coming across his new year 2026!]]
On the date 9th of July, Jason M. C., Han (Academic name, Chinese name is Jixun, Han)and Cynthia's new baby was born. Now, he is coming across his first new year's day of 2026.He is the new hope of this Chinese academic family.
'''Voices in Song having been trained companying with piano keyboard since childhood (keeping all technique possibilities of every times in growth)'''
[[File:Always on my heart (An English-language song, sung by myself adapted into men's voices).wav|thumb|This song &lt;Always on my heart&gt;  is one English-language song made by Chinese person originally for ladies. However, I changed it into men's voices covering all parts in my growing times which I can do. Thanks for listening to my voices![[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:16, 31 December 2024 (UTC)]] 
[[File:Jason M. C., Han and his 3 persons' family.jpg|thumb|Piano &amp; Musical Jason M. C., Han and his 3 persons' family, after new baby was born. Still, they fell in love of piano &amp; music, and feel like to teach and learn piano &amp; music generation after generation. ]]


Dear Wiki-friends: 

In the Postmodern era, academy will have returned back (regressed) to the Life with the humanity
for nourishing itself and continuously contributing to the sustainability of our globalized worlds, 
on its multiple-dimensions levels. 
I believed in this developing tendency occurring in our future.

[[File:Wedding Ceremony.jpeg|thumb|Post-modernist Piano Teacher Jason M. C.,Han comes to the next life stage luckily marrying a pretty girl named Cynthia Gao who is a kind-hearted and soft-tender lady in Dalian, China.They falled in love with each other very much. On the date of wedding ceremony - June 4th of 2022, a Piano pupil named Meng Meng played the Wedding Ceremony March and another student named Xuan played The Wedding Ceremony in the Dream for us, as the accompanyment of music background. That's the participate-observation of angels for wedding. Thanks. Let us give our best wishes of a new life and the recovery of our world 2023！
It's the picture of wedding gown for witness. ～～～～]]

== As a Postmodernist-trinity learner == 

who have been post-graduating on Master's from Newcastle University - one global citizens' university 
'''(Introduction: https://en.wikipedia.org/wiki/Newcastle_University)''' 
and binary living &amp; travelling in my mixed Postmodernist 'channel' 
{It is a symbolized philosophical root (as a flexible portfolio with each part integrated tightly) summarizing the properties from Postmodernist City-theory (City-Machines), the Holy Trinity Spirituality with forgiveness in Post-theology and the Materialized Universal Laws discovered by Post-Marxism} 
between my home town Dalian
 '''(https://en.wikipedia.org/wiki/Dalian)'''
and another beautiful postmodern city - Newcastle 
'''(https://en.wikipedia.org/wiki/Newcastle_upon_Tyne)''',
I am working for the freedom and the equality of knowledge with innovation 
shared by all the universal citizens in every corner of our earth. 
This point has meet Wiki Group's fundamental purpose of development. 
Therefore, I have chosen here to test my own knowledge and discuss educational topics with others through special 'channels' implicitly or explicitly, 
collect and create new knowledge for our next generations, 
and company with peers to produce the effectiveness of the learning and teaching.

== As a Postgraduate-ed piano teacher of The Real Master's Master== 
[[File:Piano Lecture of Dalian Library (Music) delivered by Jason (Jixun) on October 13th, 2024.jpg|thumb|Piano Lecture of Dalian Library (Music) Delivered by Jason (Jixun), Han and His Piano Pupils Team Associated by Family members and Library workers]]
[[File:Music-Moving Dalian Piano Active Joined by Jason M. C., Han (playing).jpg|thumb|Music-Moving Dalian Piano Activity (charity) was Joined by Wikiversity Jason M. C. （Jixun), Han (playing) at the subway station of Zhongshan Square, who  is a member of Dalian Piano-Expertized Association, which was pictured by his wife - Cynthia, Gao. Subway Charity of Piano Donation &amp; Activity is a good way for piano pupils' Growth and public piano-eduction, especially in China. Let us support it, thanks!]]

[[File:Crossing Year 2019-2020 Classical Piano Concert.jpeg|thumb| The Self-situation holding Crossing Year 2019-2020 Classical Piano Concert in local library]]
[[File:The beautiful views of Scotti-highlands (Teaching demonstration - video; Jason, Han).webm|thumb| The teaching demonstration of one important melody in Crossing Year 2019－2020 Classical Piano Concert in local library- 'The beautiful views of Scotti-highlands' (Video)]]
Teaching musical knowledge and diverse musical techniques and schools for children and young teenagers, especially being good at studying, learning, researching and teaching impressionist music, such as Sir Claude Debussy's:
Wikipedia introduction of Sir Claude Debussy: https://en.wikipedia.org/wiki/Claude_Debussy#Late_works
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism_in_music

He thought impressionism in music should have already been transformed to be Post-impressionism as some scholars had also believed.
Wikipedia introduction of Post-impressionism: https://en.wikipedia.org/wiki/Post-Impressionism

But this judgement, if being heard standing more loudly, still needs to be tested in musical life and practices by Time.
He thought: if impressionism in music would be developed much vividly and expressively with more musicianship, it should make the post-regression and post-communications back to its root, as 'postmodernism in painting' across subjects and across sensory organs. How the techniques and skills of both can be compared with and shifted by - from the directly visualized senses to some meaningful auditory ones, and how masters in this field would use their musical techniques and notation-knowledge to explicitly express life-impressions in minds. Supported by new technologies and cognitive sciences, there are plenty tasks which need us to take. 
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism
Therefore, hoping more and more enthusiasts of music can learn, research and learn this school from France, from Europe and from some fork-expressions all around the worlds.

Let us leave a developing zone, here ...[Sir Chopin's musical style may content a big love of his own country, the indoor-limitation of behaviors, the sickness-depression from tuberculosis(desire of health but cannot get),
the un-expressive love to his life-partners, and the gentleman thinking-wandering supported by brilliant fingering skills… It's a complex from young...[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:59, 13 August 2021 (UTC) []
But, here and now, please try to relax yourselves - enjoying life impressions (with music's helps).

Experiments of Self-built Learning Resource Portal for guiding the training of impressionist piano techniques:

'''Neo up-picking of '''old memory''': The impressions of Sir Chopin's advanced techniques-training, accompanying with my pasted young-teenager life'''

[[File:Chopin in memory classroom good.ogg|thumb|Chopin in memory classroom - good edition after many attempts]]
('''Self-reflexivity and Comments collected and referenced from the original Wikimedia Comments' file - [https://commons.wikimedia.org/wiki/File:Chopin_in_memory_classroom_good.ogg]''': 
English: It's said: in each heart of every pianist, piano educator, piano teacher, piano dreamer, learner, and enthusiast, there should be a place for Chopin and a melodic theme wandering, dancing and rotating deeply in mind, which is twining around roof of house making you ignore the tastes of cuisines three days without attention (referenced from Confucius' dialogue when encountering amazing music) . 
It should summarize dreams after excellent techniques, unrestrained fashion, gentle expression, noble personality and patriotic heroism, especially standardized for a piano-boy's societal development. 
Oh, Jason, maybe currently, it is a little bit far from your (my) life and age, but you (I) still keep one own piece companying with you (me) for tens more years, which involves lots of fragments of educational experiences, free shares with peers, private or public performances and happy memories, etc. Then, I put it into my philosophy, with a deep impressionism of Chopin growing, blooming, and never-aging in the spirituality and musicality world. (Indeed, Chopin's techniques are far from impressionism and turning to another approach - &quot;Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.&quot;, and One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity - as his writing in Projet de méthode. But, while you are (I am) taking postmodernist impressions to see them accompanying with your tens more years' life participant-observations - oh, and your rough hands, limited energy and shorten time cannot be compared with yesterdays', they fuzzed to be one deep impression of Chopin in your memories with details unclear but heart true. I don't really know how to put it in my postmodernist educational journal. Is it neo-expressionism or neo-classicalism... but not really - so complicated??? Is it my emotional expression...??? ...but techniques trained used to be advanced, then currently, 'Improvisation stands at the centre of Chopin's creative processes' has almost been released in my classroom performance. Therefore, firstly, by releasing here and waiting further considerations, it's still made from a common named Jason, as the respect and remembrance of Sir Chopin and his post-memories in past .) Deeply in my mind, it's not great as Revolutionary, some flowery mazurkas, and Great Waltzes(I also enjoy listening to and exercising them very much), but a small piece learnt from my teacher and my mother and performing for my peers and family members (also requiring advanced techniques in middle tenth-dancing, rhythm-keeping, fioritura-singing, romantics-reasoning) - light, pure, joyful and bright - as a flowing spring. With it, I enjoyed some beautiful life moments, and passed by lots of examinations, and life-tasks, like a happy (used) waterfall. Yes, it is almost named as Trinity-Form
G-flat major Waltz)
Further Wikipedia introductive Reading-list: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]; [https://en.wikipedia.org/wiki/Waltzes_(Chopin)]

===  Post-Piano tutorial progresses from Jason's learners - in honour of Sir Chopin leaving in Prior-memories ===
In the reasonable line of piano family education before and after, I used to be suggested by my tutor and mum: Jason, in the future, you'd better to seek a period felt in some energetic situations, in which you can dedicate yourself in training advanced techniques of your hand in terms of Frédéric François Chopin's Waltzes, especially some from the collection of Grande valse brillante(Wikipedia introduction: [https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin)]). However, it was two dozens more years pasted by that I haven't sought out a right period in which I was full of energy. I thought I should feel the regret.
Thanksgivings! I am a family piano tutor that what my lost 'dreaming stars' I could pick up for my 'kids' in their right stages &amp; progresses, through some educational approaches, such as notation-analysis, background information-introductions,video-observation and fingering &amp; handshape &amp; sound-effect researches... Therefore, prior 'lost' was transforming to be post-benefits, in which the magical powers of education and music were coherently threaded as a whole representing my small happiness of 'inheritance' (Oh, I wasn't dying as Chopin's complaint about doctors' analysis ''Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die '' in December 1839, after his beautiful France Romantics and an England Tour recorded in some works, as what our F major Waltz had recorded. &lt;ref&gt;'George Sand Part' from https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin) &lt;/ref&gt;. That's my lucky. Therefore, here, 'inheritance's' external scope was enlarged to mean 'some beautiful techniques was sustainably passed by, carefully stored and neo-developed in my learner's mind and fingers supported by educational power.) Oh, it was a lovely girl young teenager (around 13rd year old), about whose educational stories, I had a prior talk in my languages, my post-reports of Sir Debussy's classrooms in Children's Corner. Here, you might feel time was a little bit disorder - 'before or after', but from multiple-channels, they were threaded in a pearl chain of subjective initiative where they should have been in. There, prior lost would be re-picked up and recovered in Post-time; though a little bit idealist, kids' dreams could be warmly post-embraced and post-raised up, no matter too small - we will have wished them: 'never fall... never'.
Though still some 'fails' and LIVE recording facilities in tutorial room weren't quite good, let us try to appreciate her edition and think of how many endeavors in terms of each technique-point were behind it:
[[File:MM Good classroom F major 1838 Grande valse brillante.ogg|thumb|Waltzes, Op. 34  No. 3 (Chopin) in Grande valse brillante in F major, player: Xuemeng, Hu (kid's name in children's cornder: Meng Meng). Comments, please refer to the original file in Wikimedia Commons]]

=== Portals for Postmodernist Research Preparations as PhD's Doctor ===
'''Piano Etudes as poems -'''
* [[Portal: Piano Etudes as Poems | Piano Etudes as Poems]]
'''Spanish music with impressionist elements -'''
* [[Portal:Maloguena dream|Maloguena dream]]
'''Impressionism in China -'''
* [[Portal: Impressionist Visualizations (for musical imaginations) and some Sound files | Impressionist Visualizations (for musical imaginations) and some Sound files]]
'''Sonatinas from Kids' corner near heaven -'''
* [[Portal: Sonatinas from Kids' corner near heaven | Sonatinas from Kids' corner near heaven]]
'''Green Sleeves (Impressionist Visualization) -'''
* [[Portal: Green Sleeves (Impressionist Visualization) | Green Sleeves (Impressionist Visualization)]]
'''Blues &amp; Jazz learnt for fun and a fast brain -'''
* [[Portal: Blues &amp; Jazz learnt for fun and a fast brain | Blues &amp; Jazz learnt for fun and a fast brain]]
'''Mozart's Genius Techniques in Kids' Eyes -'''
* [[Portal: Mozart's Genius Techniques in Kids' Eye | Mozart's Genius Techniques in Kids' Eyes]]
'''Special interest - Musicality from Chinese Literature and translations'''
* [[Portal:Chinese literature |Chinese literature]]
'''Oceanic Musicality from Outdoor-Sport - Winter Swimming prepared from Daily Long-distant Swimming'''
* [[Portal:Winter Swimming prepared from Daily Long-distant Swimming |Winter Swimming prepared from Daily Long-distant Swimming]]
'''Piano-kids' Corner from classroom and virtually online'''
* [[Portal:Piano-kids' Corner from classroom and virtually online |Piano-kids' Corner from classroom and virtually online]]
'''Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training'''
* [[Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training|Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training]]
'''Vienna School's Aesthetics - Photography for Musicality Cultivation (Piano Exercises)'''
* [[Portal: Aesthetics from Vienna School (Musicality) | Aesthetics from Vienna School (Musicality)]]

=== Wiki-Documentary collection and Practical exploration of piano techniques in Impressionism on the level of Globalization ===

==== Ideology and Critical thinking from Jason's  Wikiversity-perspective ====

===== Root - Ontology and epistemology =====  
World began from the streaming tendencies as its chaos background, then many twinkling-switching impression-points open their realized-or-not eyes to see out some mainly logical themes (procedures and faithes) upon the atmosphere background. That's the impressionism of universal. Now, we came here and time...
Under the World-Era background of postmodernism, for the purpose of entirely recovering the Impressionism techniques of piano, we need to dig a channel with binary materialist supports from both Internet+ collections and daily Educational accumulations. Yes, we can imaginatively stand on words and phrases online or on paper as virtual materials, then collect them; and, we can also vividly consider educational impressions from piano-practices as spiritual materials, then pickup. Afterwards, mixing and integrating those all through engineering-analysis approaches dialectically, we will began to wander throughout more landscapes and watch more beauties internally this channel, for dreaming after pure musicality and reasonability. Furthermore, this channel, supported by some advanced techniques, will be twinkling the brighten 'stars', outside the 'winders' set upon the waving tides of colourful background, ornamentally but also thematically. Then, imagery purity upon 'Holly snow land' would be jerry-liked, gravitationally, self-reflexively - either  mechanics or even anti-mechanics - constructed out and solidified in, which is deeply carved in Debussy ''Doctors'' eyes but also from globalized Children's Corners (Creative places) around all the worlds. Indeed, about impressions, in my view-horizon, peoples in globalization have already made multiple fragmental fork-explorations, through diverse fork instruments and expressive approaches. Therefore, there would be a paragraph collecting what we can know as some folk treasures. Yes, Impressions, somehow, can be fragmentally distributed from consciousness to unconsciousness of races-diversity especially in Collective Unconsciousness (About this term, depending on Time and Energy's limitation, I found a piece of Wikipedia-introduction, about which we can make a Reading List and collect further pieces of informationhttps://en.wikipedia.org/wiki/Collective_unconscious). But, in my (DWL)Dream's Wandering Legend world, we needed to remember the first leader who has systematically summarized them as a school which has been influencing the field - Music, should be the France in Europe.  This paragraph, collected from Wikipedia - Impressionism (art movement) below, can give a proof of what I have mentioned above: 
'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.' &lt;ref&gt;&lt;div class=&quot;references-small&quot;&gt;Wikipedia (2016) Wiki-entry 'Impressionism' Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Impressionism. Accessed: 4th, December, 2016&lt;/div&gt;&lt;/ref&gt; 
In other aspect, from my practical learning, operations, teaching and participant-observations, Impressionism in piano techniques is dialectically contradictive field, even its contradiction in existing itself is also a contradiction, with some internal or inter-schools' debates. On one side, you need to take care about detailed techniques-carving upon materialized life-walls of Times-spaces-crossed channels you are in; on the other side, generalizing those all, you also need to outline a fantastically existing and dramatically varying universe with supports from spiritual impressions bridging multiple channels from others.

==== Recordings of various Methodological explorations  ====

===== &lt;big&gt;Post-prelude&lt;/big&gt;  =====
You knew, Epistemology, in clearly understanding Ontology of musical impressionism in postmodernist channel, isn't a one-time and easy-going procedure. You will have to give out your proposals, and test them from daily practices and documentary reviews. Sometimes, you find it could have made no function, and had to restart a new approach; and sometimes, you would take a new state by summarizing all the impressions of the past together; and sometimes, you might never want to return back again. Then, in Marxist theory, it would be compared with a spring with its channel rotating upwards, and you are going alongside it. Sometimes, you will have found you almost returned back to the original point. Don't be fear, my friends, indeed depending on your accumulations in the past, you have already been in the upstairs of your Epistemology, causing your contributions of your commons' knowledge and your practices in daily life can be compared with solidified material blocks having already been constructed into historical building and left for all, will give the foundations for your actions and will never be forgotten by historical reasonability ('Universal Lord' - personally thought: it should also possibly be recognized by Hegel' 'Spirit'). 
(More professional materials and about how this recognition can be gotten out, we can review Wikipedia introductions for further learning - Key words: 'Marxist philosophy', 'Marxism' (Epistemology) and 'Post-Marxism')   
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Marxism', 'Marxist philosophy', 'Post-Marxism' Searched from ''Wikipedia'' ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Marxist_philosophy; https://en.wikipedia.org/wiki/Post-Marxism; https://en.wikipedia.org/wiki/Marxism. Accessed: 23rd, December, 2016 &lt;/ref&gt;  
Therefore, in these explorations, various different methodological approaches have been applied, or summarized applied growing from root, and with some digital materials, formations-shaping ways, words-modifying ways and thinking ways critically created or collected from Wiki-family.

===== ''' Educational prelude of Post- English Suites subcategorized under &amp; as Post-prelude ''' =====

God didn't give me the giftedness of composition, but to creatively learn, to reasonably teach and to improvably perform. What my approach was still basic binary post-Marxist practices with critical thinking in and from classroom. I thought I needed to add one prelude in this channel, as a complex in remembrance of a life style I used to own in the past, but for future. It was called 'Post-prelude', caused by the reason: in my life process, it has already gotten 'post-', then to be made into considerations, as things' changing fast towards a time-hooking. It isn't a perfect edition, but in my own hands. I thought, I should have the confidence: alongside time's on-going, one day a well-performed piece will be produced out, beautifully re-appearing colourful imageries in my dream. Therefore, it was also an opening case with developing zone, towards future.
In this time and space, I would like to report some small findings for education 
(Before this small research, I reviewed some pieces of information from English Suites - https://en.wikipedia.org/wiki/English_Suites_(Bach) and some Chinese Grading-test teaching videos, I found the division of its structure were quite useful in daily teaching and learning practices; but furthermore, we can try to reason it much clearer):
1. This 'six parts' suite indeed wove each two as a holistic logic of the modelled pattern, or sometimes across each signal part’s ‘terminating cross' to another middle peak-turn as one pattern.
(like 0.00 - 1.10 minutes, it can be called a holistic logic (Theme-Development-Counterpoint-Small Break-Cannon &amp; dialogue - Weaving body - Terminating code); like in 1.59 minute, it ran to the peak but immediately turn back to repeat the pattern' variation - a hidden new beginning which is usually ignored. We can make it still as in a whole pattern; and after 3:2 'ornamentations', around 3.10, a rush threaded from left hand's motives to right hand's totally began a code repeating ideas of the beginning theme.) 
Afterwards, this suite will be logically and creatively divided into 3 or 4 paragraphs, which would be better for classroom-practices (with the same pattern). Meanwhile, 'one connecting 2 or more' idea of the real suite would be fulfilled, which better realizes English Culture, not only about music, but living custom. We can review an explanation of 'Suite' from Cambridge online dictionary 'a set of connected rooms, especially in a hotel'; yes, so did dance;
2. Each terminating code would be performed out a small 'rit.' as for middle break (rest), or 'curtain call'. I think, this point is also reflected out culture and customs; 
3. In texture, our keyboard touching techniques need to reflect Baroque Counterpoint's requirements', and clearly identify its relationships and differences with another definition 'polyphony'. 

'''Homework Requirements (Self-explorations):'''

(1) Regarding with this point, we can firstly review its reading lists in Counterpoint and polyphony (Wikipedia introduction: [https://en.wikipedia.org/wiki/Counterpoint] and [https://en.wikipedia.org/wiki/Polyphony]);
(2) Then, Please view 'Two-factors analysis' research approach mentioned in its Talk page ([https://en.wikipedia.org/wiki/Talk:Counterpoint#Suggestion]) and other talks there, for the identification of some related definitions, and existing problems in this field;
(3) Try to collect and structuralize all 'Counterpoint' parts of our English Suites from its manuscript, and try to collect and analyse some textures of its polyphonic sessions (especially some difficult fugue parts);
(4) Try to realize requirements of (3) point on your piano through recording sound files or video files. Please pay more attentions to their rhythm, dynamics(especially the loudness of some independent melodic lines) and musicality (in Neo-expressions, such as sentence breaths and emotional changes)
(Answers will be researched out sometime in the future. Then, we can have a check and further discussions.)
4. Gracefulness would be 'tasted' out from natural inspirations &amp; impressions of Baroque architecture, gotten in some childhood or young teenager dreams of your own life. . &lt;ref&gt;Wikipedia(2017). Wiki-entry '''Baroque architecture'''. Creative Commons Attribution-ShareAlike License. Available in: https://en.wikipedia.org/wiki/Baroque_architecture. Accessed: September 6th, 2017&lt;/ref&gt;,  Here, an example was re-picked up in my memory sea was Sir Bach's 14th 2-parts Invention. Friends, we can try to make some senses: 
[[File:Bach Invention 2P 14th.ogg|thumb|Bach Invention 2P 14th]][[File:Invention 2P 14th Sostenuto.ogg|thumb|Invention 2P 14th (Special sound effects in sostenuto pedal and jade beats)]]
5. Smart and skilful treatments of ornamentation should be applied as from colours of Neo-classicism and Neo-expressionism; 
6. Variations of Dynamics should meet Neo-emotional expressions in dancing movements.

===== &lt;small&gt;Postmodern Impressionist Explorations of Baroque Techniques:&lt;/small&gt; =====

'''Debate 1st - Highlighted 7th point: Baroque staccato fingers-technique in piano, for simulating Harpsichord's sound style '''

Since the time of my childhood learning with my teacher from a skillful piano family, she has taught me:
the treatment of Baroque staccato in piano field needs to be specially trained. It shouldn't be played as jumping too much and too heavy but naturally, gently, half-attachment and with some originally beautiful manners of European noble fashion , especially about grouping semiquavers without slurs set upon. Some composers' works, in that period, were highlighted, including some from Domenico Scarlatti's 555 keyboard sonatas (Wiki-introduction: https://en.wikipedia.org/wiki/Domenico_Scarlatti)and some from Johann Sebastian Bach's inventions, suites and fugues ( https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) etc. Yes, they are what pieces piano players encountered so frequently and left deep impression of Baroque music in memory at the primary time. 
In that time, I didn't quite understand why I needed to train my fingers with this keyboard-touching fashion, but merely following and carefully exercising time after time. 
Alongside my growth, my further learning requirements and my own face-to-face tutorial needs for my children (students) in studio, I began to explore and reason it much clearer. 

'''Inherences from Harpsichord Era:'''

* Through documentary reviews, I found the primary reason rooted not in piano' physics structure, but harpsichord's (Wiki-introduction: https://en.wikipedia.org/wiki/Harpsichord). We knew piano was, in certain degree, developed from Harpsichord. There were three reasons can explain why this piano fingers' technique training imitating Harpsichord's structure-oriented sound-effects would be made this fashion (above): Firstly, as in our wiki-article: 'The vertical motion of the jack is then stopped by the jackrail (also called the upper rail), which is covered with soft felt to muffle the impact' - this point made notes played out from Harpsichord hard to be linked together, as the application of piano's fingering legato by 'walking fingers one-attaching tightly following another's raising; Harpsichord's sound-louder facilities - 'the sound-louder box' surrounded by soundboard, upper belly rail, lower belly rail, tail and bottom are usually smaller than modernist piano's; meanwhile, pedals haven't been summarized and developed so advanced as what piano's. 
* However, accompanying with people's make-up style, dressing fashion, postures of performance in solo community and further count-fashion etc., harpsichord's sound-effect became a symbolized remembrance of some Golden times in past and their personality and temperaments. 
* Piano was developed from harpsichord, and some compositions can be played on both. This sustainability gave piano the ability to imitate harpsichord, simulate its beauties and pick up some manners of techniques representing golden fashions, especially in Baroque and Renaissance keyboard music. The treatment of Baroque staccato is one important technique of them. 
* Compared with harpsichord, piano could be of much sensitivity and flexibility in dealing with keyboard-touching and varying relevant sound-effects. That's the timbre difference, which cannot be overcome by changes from structure. But, special training of hands with manners and customs, seen as literacies, would be better for Neo-expressions and New-classicism; meanwhile, can be seen as nowadays' post-modernist constructive regression for Baroque Channel.

'''''Requirements:''''' 

(1)fingers of hand need to be naturally dropped by wrists one by one; (2) when touching keyboard, fingers need to stand upon and attach each for a very tiny 'later' time (a little bit lazy) - not too fast or yet jumping heavily; then, naturally pick up it through a coherent force (motion) vertically upwards, which is given still by wrists; (3)repeatedly shifting this sequence to the next finger; (4) please be gentle and relax in playing, and highlight some grouped heads of phrases. If there were some grouping ornamentations depending on these staccatos, please be more careful, smartly and softly, but with centralized weights upon bigger staccatos, rather than 'small notes'; (5) It's better to appreciate pictures, architectures, pieces of music and life scenes in Baroque era (Yes, Wikimedia commons can give us some associations); then, bring these imaginations into your mind alongside your performances' processing, naturally, gently and finely.)

'''''Practical sound effects:'''''

Regarding with the application of those memories, discussions and requirements of Baroque Staccato above into our Pre-prelude - English Suites, its possible research-effects in sounds, and especially the dance personality in Suites suggested from Gigue(British jig) (Wikipedia introduction: https://en.wikipedia.org/wiki/Gigue), we can get some enlightenments by exploring 8th 2-parts invention in Bach's preparation-works. I have taken a sample for demonstration (it could be bettered in future). 
[[File:G Major - 10th 2-parts Invention, Bach.ogg|thumb|This Invention (No. 10) - G Major 2-parts, happily dancing and existing from my memory of childhood, has woven out my primary love of Baroque custom. Though it applied total Baroque Staccato and long-sentence ornamentations to express a joyful fashion of Baroque Dance (British jig) - Gigue in piano instrumentation, you couldn't feel quite boring and tired, but be willing to move on and on, round and round, until the end of a Golden Era. Alongside your behaviours, holly lights were reasonably shining around the area your dancing steps traced out where an imagination Baroque Suite room of yourself appeared (even only for you single). It was quite right that the decorations of this Baroque Suite room were following principles and patterns of Baroque Era - Canon, Counterpoint, Polyphony, Woven body, dance rhyme and ornamentation...; but still, it left some great developing zones for your own 'inventions'. You see, long-sentence ornamentations can be waving tide by tide; and your body languages can also be designed out a life style of people living there while you were dancing your fingers upon keyboard... Though compared with the natural gracefulness in Invention 14th, 10th was a little bit weak in the praying of immortal spirituality ; it gave a festival celebration of true joyfulness' back-returning and your down-calming mood to hold them in mortal complexes - such as companying your family all day, and tasting an afternoon tea with them in the fall suggested from Grandma's Bible classroom, or something else... But, dear kids and young teenagers, you knew, Baroque staccato - your natural &amp; relaxing wrists, fast-dancing fingering but still with very good &amp; controllable manners, pearls-liked staccato note-quality, sentences' breaths and those highlighted rhyme-heads still need many years' training and your dedicated enthusiasm. You can put it in your piano courses and try to better it, alongside your growth.]]

'''''In addition:'''''

Some students asked me &lt;big&gt;'''the relationship between Baroque architecture and Baroque dance, and how they were reflected out from piano instrumentation in music'''&lt;/big&gt;: oh, it was a hard question that: (Firstly, we can make a first impression of the complication of Baroque architecture (textures) in music through this piece- it`s only a standard texture with 3 parts in Invention, but so layered-out, foundationally-made, musical heads-leading and well-structured in system: [[File:3 Parts Invention 8th- from Sir Bach.ogg|thumb|3 Parts Invention 8th- from Sir Bach]])We would reason out that - a group of people got a fashion of one era (ideas) from their souls that they have the willing to express. They might choose some easiest ways and nearest ways - representing their own ideas through the movements of their bodies - such as singing out from mouth, or dancing out by body languages... We can call them 'first-stage - the self-mirroring of landing reasonability'. (how those ideas can be landed in minds is another story that someday we can discuss) Then, after the atmosphere of fashion by one group or multiple-groups were built up, they would separate the self-mirrored and self-expressed aesthetics-sense from their own operations - they own bodies, and re-projecting those to their performances in reality - such as logically recorded in notation for instruments, or engineering in architectural designs &amp; patterns. Afterwards, human beings' 'aesthetics-self' were separated into two: one were flowing or solidified 'outside', maintained and dying by time; and the other - they own 'self' can be liberated out and repeatedly appreciate &amp; modify &amp; create 'outside' beauties with new curiosities and some renewable minds, which can be passed by generations after generations.

===== Editing - '''Debate 2nd - Highlighted 8th point: Exploring Baroque fingers-techniques of Ornamentation in piano - An introduction of Internal-systematic researching approach ''' =====

'''Background-Knowledge Introduction:'''

In the discussion of Ornamentation treatment, there were many debates, about which main stances were originally centralized into the waving direction from its first note and its rhythmic ranges of other notes. Regarding with its treatments, Baroque traditions VS. Scenery self-expressions of composer gave two opposite sides with some moderate approaches ranging upon its 'scaling variable'. In my philosophy (methodological part), I cannot make a direct and absolute cut for confirming something is right and many others are... indeed, there were really no black-white answer. Somehow, this treatment can be seen as players' personal literacies according to their music educational background - yes, their preferences.  But, in some scenes or to certain reasonability, we can analyse one treatment's possibilities in system and try to make some senses of its aesthetics appreciation.  
Firstly, in order to make senses of ornamentation (trill.)'s different versions, let us set our English Suite aside, and listen to two different versions from Fugue's voice (one of the most complicated contrapuntal forms ): 
The first version of d minor fugue (please see below) is a very nice and sound-effected fugue in Sir Bach's &lt;The Well-Tempered Clavier&gt;. In this version,  pianist Kimiko Ishizaka's softened keyboard-touching techniques are enjoyable to my ears and her flexibility of ornamentation (trill. ) performance is also brilliant, reflecting her higher controllability of fingering and forces, in my views. About the ornamentation, like piece (0.05-0,06), we can hear she has applied traditional understanding of Baroque Ornamentation, which sights 17-18 centuries' Baroque composers as a whole group and makes their grouping expression of fashion as a theory deducting  and guiding the treatment in d minor fugue. Then, we found: the signalized trilling G (big note) was played from its above note A and made a wave - AGAGAGAG-A. This expression is an absolute and simplified version simulating harpsichord's sound effect. Many pianists, when dealing with composers' works in that era, usually generalized this version for simplification and popularization.
* Kimiko Ishizaka's Version:
['''(Wikipedia introduction: https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg )''']
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' ''The Well-Tempered Clavier'', 'd minor fugue' '''In''' Session 'Audio of Book I' '''From''' 'Recordings', Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg. Accessed: 2nd, May, 2017&lt;/ref&gt;

There are also many other versions, among which what I has applied is from an educational approach - from my country's national grading test for advanced level. From my analysis and thinking reasoning, in this version, trilling note G's dominant property, as the main note, has been emphasised by a first semiquaver beat of itself. Then, the trill. took the above note as the second note to wave out a twice vibration between A and G. Finally, it took a rotating opposite and returned to the main note. It was heard like: G-AGAG-FG -A. Yes, this pattern is with more flowering pattern, and somehow complicated and difficult to gain. Someone would not feel like to learn. But, from analysis, we can find it filled two gaps between the main note, its rotating below, and its linked next note, which made the transitions much natural, according to palm's growth. Meanwhile, the Main property has been highlighted. Another point is: you can hear the shade of traditional version (Kimiko's Top-downwards) from the second semiquaver beat. 
* Jason's Teaching version:
[[File:D minor Fugue Bach - Expressnist edition.ogg|thumb|In my depth of mental sea (Mainly about the education of piano), a piece of Fugue is lying there. Yep, it's 'd minor Fugue' in Sir Johann Sebastian Bach's 'The Well-Tempered Clavier' (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Though about the performances of its ornamentation, there are many debates in terms of what fashions Bach's preferences were and whether they were only in certain exact scenes which Bach preferred to make some styles to some exact groups. About this topic, 'western side' and 'eastern side' almost have quite differential ideas - someone prefer Era's fashion as being generalized upon all Baroque composers, then applied to some works of Bach (Top-downwards trill.); while, someone prefer the explanation that it can be seen as Bach's individual fashion in some scenes to individual groups. I think: if the resurrection can be made, Sir Bach would also confuse about why he had performed them as so and how he had thought them out... But, the love of playing Bach's has never changed for many centuries among piano boys and girls. I found some music-score dictionary attributed it to players' personal literacies. I thought somehow it was also reasonable...Therefore, in this version, I played it according to a teaching textbook in a national grading - an moderated and coordinating style, but with techniques and strengths what I preferred. In other aspect, if you ask me: 'Hi, naughty Jason, what's your impression of this piece?', I would say: ' Under my educational background, it was like a piece of sorrow mind's self-expression &amp; self-reflexivity - multiple-thinking dimensions have been threaded together in a very complicated (thick and vertical) texture emotionally and beautifully'. Oh, maybe I am a boy wandering in the middle between binary cultures, then, would carrying this feeling... I don't know... But, in psychologist views, after hearing it or playing it deeply, absolutely, they will say: 'Jason, it can be compared with our psychological consult (treatment), in which - firstly, we were leaded into a dialoging theme (B1-B8); then, 'climbing up a mountain' to collect pathway-principles (fragmental indications) among a huge, maze-like and complicated forest of life (with multiple layers and events) (B9-B20); taking much deeper expression of every mood-chain, their composition and totally ranges under a huge emotion-atmosphere (some whispers, then, life complains, deep reasoning &amp; threading, and even loudly cries would happen during this procedure) (B21-B39); Back-returning to original theme, and then, getting the Release of the extra metal power (B40-B44; especially, it contents a final solution to D major block-root which made it bright and got out of life maze). I enjoyed this music trip in education, though still some lacks in techniques were there waiting my further enhancements, such as a forgotten of B29's trill, - sorry, in that Live Space, I felt a little bit tried. But, I wanted to entirely express my experience of it. It's said: Fugue was one of most complicated  contrapuntal forms (Counterpoint) in engineering approach, which needed some very careful trainings of both thinking and hands' techniques. (Wikipedia introductions: https://en.wikipedia.org/wiki/Counterpoint;  https://en.wikipedia.org/wiki/Fugue).  Yes, thanks, Sir Bach... But, in commons' mind, what the most benefit from its appreciation, I thought, should be 'getting a total mind-Release from multiple mood-chains, and enjoying a final peaceful emotion after reasoning our own sufferings during these several years']]
&lt;ref&gt;MingSun, Zhou. Eds (translated; 2007) 'd minor Fugue' '''In''' The Well-Tempered Clavier, The Works-Collection for National Grading Tests. Beijing: The Press for Commons' Fine Art. {{ISBN|9787802400429}}&lt;/ref&gt;
Therefore, as common learners, I think we can follow at least two versions to make our hands-trainings depending on our preferences and background-understandings of sir Bach and that Golden Baroque Era. We can also postmodernist &amp; explicitly express and attribute those emotional chains hidden behind its surface, which Bach's music wanted to tell us. It's another story, about which we can make some discussions through a review of Jason's English self-reflexivity in this Link [https://commons.wikimedia.org/wiki/File:D_minor_Fugue_Bach_-_Expressnist_edition.ogg] from Wikimedia Commons 

'''In-systematic  Analysis for Our English Suites'''
After a very careful mind-identification and detailed introduction of Ornamentation(trill.), we almost got some senses, afterwards, let us get back English Suites and reason out a possibility of its ornamentation (trill.) treatment inside its music manuscript(transcript). Meanwhile, a type of inductive researching approach - In-systematic Analysis (evidences-collections from signal notes-phenomena, theory-forming, practical application into specific situations) could be understood for reasoning, practice and self-style's cultivation.
In brief, most ornamentation (trill.) ways and techniques in this G Minor English Suites (under flat B major system) have already been clarified and signed above ornamentation signals(tr.). Even, in the peak part ' Interaction-F- Ornamentation (B161-B172)' (Please see 'Structuralism-analysis' below ) of Royal Suite B, our Sir Bach has almost designed a total and clear demonstration of his Baroque fashion and idealist thoughts regarding with the ornamentation fashion in his age.
Please see the referenced music manuscript (transcript) Sample 1st (B62-B63) below:
[[File:Sample 1st from English Suites' Ornamentation (trill.).jpg|thumb|Sample 1st from English Suites' Ornamentation (trill.)]]
In order to emphasis his idea, in some reversed Ornamentations (trill.) (down-waving oppositely), he also gave a head-link and some very careful demonstrations, such as Sample 2nd (B22) below:
[[File:Sample 2nd from English Suites' Ornamentation (trill.).jpg|thumb|Sample 2nd from English Suites' Ornamentation (trill.)]]
Notation-following them, we can research out Sir Bach's basic ideas and principles in the Ornamentation (trill.) treatment of this piece:
1. It was made into semiquaver triplet (three divided and averaged notes) per quaver time;
2. In the first quaver time, it should be played a throughout chain from the downstairs note, threading the main note and up-rising to its upstairs note, like the trill. Flat B: it should be A- Flat B -C first;
3. Then, in the next quaver time, it should wave between main note and it's upstairs, like still the trill. Flat B: it should be Flat B - C -Flat B;
4. Following the 3rd point, if trills was continuing, we need to range another triplet wave and thread it to the next, like still the trill. Flat B: it should be C- Flat B -C;
5. But if a downward line was drawn - the Reversed signal (as Sample 1st for B22), we need to make a quadruplet regression (playing 4 divided and averaged demisemiquaver notes) downward and return to the main note, like in Sample 2nd G - it should be A - G - Sharp F - G;
6. If there was accidental Sharp or Flat, or recovery signal set under the middle of Ornamentation (trill.), it was usually made towards the downstairs note, such as Recovered A in Simple 1st and Sharp F in Simple 2nd.

In my opinion, after those principles reasoned and gained in our hands, when a targeted problem occurred, as what Target shown below, we can make a reasoning application of what we could know but Sir Bach didn't notice us:
[[File:Target from English Suites' Ornamentation (trill.).jpg|thumb|Target from English Suites' Ornamentation (trill.)]]
It should be: G - A - Flat B in the first quaver time and A - Flat B - A in the second semiquaver time (yes, we can make a little bit acceleration to show our fingering flexibility). 

I thought after this In-systematic analysis, we somehow could be near Sir Bach's reasonability in music. Why I call this researching way In-systematic analysis: We knew some golden, traditional, brilliant and perfect Baroque edition, such as pianist Martha Goldstein's harpsichord referenced in our Wikipedia article of English Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/English_Suites_(Bach)]). Indeed, I like it very much, especially when hearing the brilliant keyboard-touching techniques and it's traditional Top-Down deductive Ornamentation (trill.) treatment. But how can we make some reasonable possibility by collecting internal evidences, forming a theory, then applying into some unknown problems? May it be Sir Bach would have thought it like this and implicitly hidden behind the tradition... I thought Neo-expressionism and Neo-classicalism would pick up it. 
Here, some experts would criticism me: Naughty boy Jason, what you mentioned are as so, but it didn't realize it into your classroom recording beside; oppositely, you played the third way - Main rising &amp; waving( A- Flat B - A - Flat B; then, tail A - G  G)     
Yes, I am sorry. Firstly, I had tried many times, but my hands-techniques didn't allow me to add another heading upstairs note (Oh, I am thirty year old. Every time thinking of it, I am a little bit sad and would rather get back to my sixteenth - maybe mother would say: Naughty Jason, even getting back that age, you really haven't fulfilled or dare to yourself in piano; That's quite right I am paying for my lost, but I would try more exercises); Secondly, it's about another story of its simplification. About the second point - its simplification, my stance is: Sir Bach almost wanted it a first raise and wave from the main note for reflecting main note's dominate properties in this Ornamentation (trill.). This point is my idea which would be different from tradition and could be criticised and argued. I think In-systematic analysis above is much stronger than this one. All of them are from the love and respect of Sir Bach's engineering world of music and his so brilliant English expression. Thanks! 

 '''&lt;big&gt;Homework and Exercises (Advanced and Research level)&lt;/big&gt;''' 

* '''&lt;big&gt;Requirements and instructions: (Please see the fourth photograph set besides)&lt;/big&gt;'''
[[File:ES Homework and exercises.jpg|thumb|
Requirements and instructions:
1. Please ignore some bad looks of my characteristics-writing and just focus on the manuscript (sorry, my paper-writing of characteristics and letters were really ugly, in my view. I attributed it to my lazy attitude. Oh, my mother usually told me: Jason, you need to write in good shapes, when facing your peers and students. But, I usually find an excuse: sorry, my energy and time didn't allow me... Peers and kids, don't follow this brother's example. You see, it was like animals' footprints or ghosts' signatures); 
2. Please try to apply knowledge of ISRA (In-systematic Researching Approach ) in self-researching out a possible neo-edition of Ornamentation (trill.) of this piece - how to play and explain in both music and language;
3. Please try to record your own sample after self-reasoning and analysis (Be brave)]]

* '''&lt;big&gt;Sound answer:&lt;/big&gt;'''
[[File:ES answer for HE.ogg]]

* '''&lt;big&gt;Explanations:&lt;/big&gt;''' 
Following our discussions of this approach until now and here, advanced learners (including small Jason) have already gotten the abilities in researching out a possible answer of this unspecified ornamentation (trill.).
let me tell its designs and why I made it like:
1. The first semiquaver rest played by left hand needs to match a very fast demisemiquaver triplet downstairs- upward trill. of right hand which was made throughout the main note - Recovered B and sounded like A- Recovered B - C. About this design, we have already known Sir Bach's implicit willing of 'triplet trill.' - first one in up-going tendency. Yes, you can also make a total '3:2' to cover left hand's semiquaver beats; but afterwards, you will find upstairs C would be repeated 3 times and hand's smart feeling was lost. Therefore, I gave a first demisemiquaver triplet to cover left hand's first semiquaver rest;
2. In the second semiquaver note of left hand, the second demisemiquaver triplet (Recovered B - C - Recovered B) was given to cover it. Then, the third principle above - 'Upstairs' shaking' has been targeted. 
3. Originally, palm's growth (growing with fingers in each order) has been applied as one considerable factor impacting fingering designs; and, it was naturally progressed to the following C without any gap.
Congratulation to your good learn! After training your hands for a period and taking the following highlighted 7th point, MO Version set besides can be made out with much smarter hands for the soul of English Suites. But, if you prefer to keep this technique stably heard, lasting for much longer time and your fingering much smarter &amp; fluent, another self-training of it with engineering approach in daily exercises is quite necessary. Students in advanced level can try to search more evidences from this suites of Sir Bach's or other Suites.


'''Highlighted 9th point - Educational self-reflexivity: Natural Impression of its (Prelude in the third English Suites) Horizontal structure ranged upon Time &amp; Space, according to English Language - 'Suites' ''' 
Programmatic formation is the impression I usually brought with when listening and performing the sampled Prelude in 3rd English Suites. In our common's history, usually, the procedure of programmatic formation, presented regularly, periodically, frequently and reasonably, can associate us deepen some unstable subjective impressions, fashion behaviours, popular languages and societal customs into aesthetics and culture, and fix them for lasting longer. Some evolutionists would dislike this impression, for its usual representation of　conservatism which could block the development of new productivity. But, after certain evolutions or in some post-periods, it is also going to function in accepting, fixing, saving and sustaining 'Evolution-fruits' (Thinking twinkling). In Baroque Era, I thought Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/Suite_(music)]) played this role through 'suits-liked' structuralism. Here, the scope of Suites' definition - its enlargement and development also taught us more about how to deal with its structure-organization and composition-management: from the description of '''Room Suites''' occupying real Times &amp; Spaces, to the description of '''Dance Suites''' summarizing similar behaviours and body languages into symbolized rhythm, till its transformations into 'musical composition for instruments', fresh fashions and expressive expectances have been auditory recorded, as in Programmatic formation alongside civilizational regression and up-picking of golden personalities. Yes, it was 'Dance Suites, was commons' weekend dancing in Suites-liked ball-room, and was also Royal Suites (cells-liked rooms being nested throughout one after another) separating different music paragraphs but with a coherently endless joyfulness for life and future... 'Therefore, when we attempt to perfectly realize this teaching procedure, some abstracted 'Royal Suites' and their impressionist 'souls', rather than several 'small connected rooms', can be carefully analysed out, with details fuzzed, but impressions kept, suggesting where course-designs, exercises-presentations, assessments-achievements should begin with. In the '''''Structuralism-analysis''''' below, semicolon divided a small room (suite) or a series of dancing motions threaded in the sequence; but usually, a real 'Royal Suite', in spiritual impression, contents a thematic small suite (or room) and one or several supplemental small rooms (suites) . Their patterns are forming Suites' basic operations, with customs and matters turning back to 17 century Baroque Era. Therefore, in each repeated small suite, furthermore enlarged to be the whole '3 Royal suites' one by one in sequence, we must keep the basic and frequently re-appeared behaviours, dynamics, expressions and customs regularly, as if following certain predictable principle of stylized and progressive model, for showing the understandings of reasons why in certain pace and interval some techniques would be applied there and what respects of traditional thinking pattern they would show for. In other words, from thinking patterns to hands' techniques, body languages and customs expressions, we should model our daily trainings and exercise to be predictable and fixed. Only based on this engineering approach and seeing structuralism as functions' carrier, Neo-expressionism can get its foundation and make more colourful creations and impressions of a golden age above that. Owing to this ideology, I gave a structuralism-analysis of this piece as following:

'''''Structuralism-analysis''''' (represented by English Letters - full connected Prelude-suites (6 into 3) seen as 1 up-taking 2 small rooms - Royal suite [https://en.wikipedia.org/wiki/Presidential_suite]) :

'''''Royal Suite A:'''''
A (B1-B7) B (B8-B15) C (B16-B21) D1 (B22-B27) E (B28-B32) Middle-Stop;

Interaction-F (B33-B46) Counter-B1 (B47-B54) Counter-B2 (B55-B62)
Code-E (B63-B65)

'''''Royal Suite B:'''''
A (B67-B73) B (B74-B81) C1 (B82-B87) D2 (B88-B95) E (B96-B98) Middle-Stop;
Interaction-F (B99-B111) A (B112-B115) B (B116-B122) Simplified E (B123-B124) Middle-Stop;
Interaction-F (B125-B138) Counter-B1 (B139-B148) Counter-B2 (B149-B156) Misplaced E (B157-BB160) Middle-Stop;
Interaction-F- Ornamentation (B161-B172) Developed C2 (B173-179) 

Transiting D (B180-183)

'''''Royal Suite C - Code:'''''
A (B184-B187) B (B188-B195) C (B196-B201) D1 (B202-B207) E (B208-B213) Termination 


I think these standards created and collected from our information bank would motivate a better draft in its sustainability towards FUTURE.

&lt;big&gt;'''First Draft of English Suites: (For normal Performance; See besides)'''&lt;/big&gt;

[[File:English Suite No. 3 in G minor (Modern piano) First Draft for Education.ogg|thumb|
'''2nd Draft:'''
Briefly say - it's with much fluent sound-effects and strong rhythm,  suitably as a fast dancing suite, in which postmodernism picks up vivid colours from Neo-expressionism to see Neo-classicism's unexpressed, down-pressed, and deep-controllable emotions, then tries to explicit them in dynamics and expressive techniques.
A movie - Pride &amp; Prejudice (2005 film) (Wikipedia introduction: https://en.wikipedia.org/wiki/Pride_%26_Prejudice_(2005_film) ), with beautiful scenes of Baroque-dancing ball-suites, gave many inspirations to this version. Hopefully, it will be heard having met more postmodernist targets, as a Post-prelude. And hopefully, we can enjoy it. Better version can be researched out in future. 

'''1st draft:''' 
To be honest, this draft isn't mature and (far away from) satisfactory in piano performance, according to my dreaming standards. I was hoping it could be in Neo-expressionism (https://en.wikipedia.org/wiki/Neo-expressionism) and Neo-classicism (https://en.wikipedia.org/wiki/Neoclassicism), for reappearing rich colours, continuously varying emotional changes abstracted from formal manners and Royal dance-structuralized movements &amp; scenes in a past Golden time, but through commons' hands. However, in this draft, for the reasons of short-time exercising and practices, I can only push out some basic ideas of Neo-expressions, such as highlighted theme-line with heads, layers and ornamentations etc. 
No matter how, about this draft as a new beginning for my love (I really enjoyed to play it and appreciate its imageries) , I need to give my thanks to some pieces of information provided from Wikipedia - English Suites (https://en.wikipedia.org/wiki/English_Suites_(Bach) ),  Baroque Music (https://en.wikipedia.org/wiki/Baroque_music), and Martha Goldstein's harpsichord Edition; and some inspirations from my and my children's daily classroom-practices.
Hopefully, in a short time, a better draft would come out; and hopefully, more commons would enjoy to share their reasonable works through daily practices on this platform; and hopefully, piano keyboard in this century would create more beautiful 'colours', like thousands flowers' blooming - of richness and vitality.
]]

&lt;big&gt;'''MO Version  ( Besides, for professional performance with more tastes of Baroque Golden Era; Compared with 'First Draft...', this version with the 'Modified Ornamentations' was made according to 9 points disscussed above):'''&lt;/big&gt;

[[File:English Suites MO.ogg|thumb| Jason's Neo-classicism and Neo-expressionism: 'you are standing here, and watching the golden fashion there, with impressions being summarized for our current willing' . 
Emotional complex in words 'when standing here, and watching Sir Bach's 'there-standing' to see a great England (or UK) and its peoples' life fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a Long and Unknown Miss. We (Sir, I and learners...) were all not there... in that time and space... but still... musicality in system can teach us... See more, please turn to its main page in Wikimedia Commons]]

===== '''&lt;big&gt; Creative Homework and Exercises (Advanced and Research level):&lt;/big&gt;''' =====
'''1. Student's Performance as the main teaching &amp; learning result of piano:'''
[[File:English Suites No.3 Prelude Xue Meng Hu.ogg|thumb|Teaching Result for English Suites No. 3 Prelude from Wikiversity to the real practices - Meng Meng's performance a week before examination]]
'''Comments:''' The Connections have all been threaded together with fluent but gentle manners from English traditions, from which brilliant social Ball-liked Dance-suites for commons have been described in the world of imagination. Baroque Ornamentations, in her very smart and slim hands, have been performance greatly when hearing. Main skills were trained good, but skills of some parts beyond her age - around 14 years old would need to be trained frequently, afterwards. 'Fast wasn't too hurry and rough but with down-calmed breathes in rhythm' would needed to be understood well in the future. All in all, Meng Meng has already shown her fashion creatively in this English suites with some differences from the original teaching through her skillful hands. More experiences and knowledge of performance in different scenes were needed for her development. 

'''2. learnt Suites Formation in ...(oh my lord, Jazz &amp; Blues):''' 
'''''Royal Suite A:'''''
A + B (As a 'Supplemental A'; Regarding with samples, you can see the portal: Blues &amp; Jazz learnt for fun and a fast brain above)

+

'''''Royal Suite B:'''''
a Variation C (The 2nd chorus made according to A)

'''(Notice: In this homework, we can participant-observe the functions of Suites thinking in different musical fashions)'''

===== &lt;big&gt;Postmodernist Impressionism - Special Researching approach for music researching in instrumental techniques, which needs to be highlighted&lt;/big&gt; ===== 

In my opinion, we title it: Impressionism '''in music or the field of piano techniques; but originally, painting should be the most visualized expression''', of which I thought, if comparisons and contrasts between this root and other instrumental expressions can be made for further researching and exploring, more deep impressions of this field would be abstracted out as for creative findings. In other simple words, what ''''Painting techniques'''' to describe imageries (Session impressionism techniques of Wikipedia introduction -  [https://en.wikipedia.org/wiki/Impressionism])，such as generalized large-brocks colours-brushing, simultaneous contrast, symbolized meanings borrowed from 'natural lights', spirit's floating directly upon 'rough surface' etc. ,  have been highlighted and some similarities and differentiations with instrumental expressions are of the essential importance in my approach. I thought: when it comes to language descriptions (it's hard), much more detailed Interpretivism　and reasoning would better the situation. Watching throughout them by using 'a pair of glasses', we can see more 'drawing pathways' from piano and musical expressions. And, our channels would be more vividly 'with some intervals of blocked clouds being pressed out and holly lights beautifully sun-shining down through clouds to warm souls'.

===== New Educational Researching formation and some pieces of works-analysis （Techniques collected from the learning of Wiki-operations and sections are set beside the texts） =====

===== * '''''Moonlight is the real moonlight, but being vividly and thoughtfully heard when shining upon the sea and beach of not only the reality but also the poetic imagination:''''' ===== 

[[ File:Moonlight - Clair de Lune (As the rememberance of Sir Debussy.ogg|thumb|Moonlight - Clair de Lune (As the rememberance of Sir Debussy ]]
'''Description of Moonlight's Historical Tree (Editions in Times):''' 
Time would have been changing, always; and, things would have been being fizzed quite unclear, already. Closing my eyes, consciousness integrating with some symbolized unconscious imageries may only transform them to be some deep but easy-broken fragmental impressions (even a breezing sound) in my memories and further left in an area of mind-sea there, about what the experiences of keyboard-touching for this melody and some fantasy landscapes of Sir Debussy's Moonlight, reminding there to be mixed without  clear boundaries for distinguishes, and as a fantasy trinity of spirituality (missing), vitality (growing) and sustainability (blooming). 
Self-comments for third draft:
Then, the third draft came out. Yes, it must still be carrying some faulted details, thereby wasn't perfectly heard. However, 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' - this sentence somehow provided the meanings for its survive as one of commons' impressionism, as what small Jason's. When fragments of memory began to be fading, mixed, rolling up news, rippling out light recycles and interacting fatally orbiting routine, a natural impression was still there - growing vividly, as the root with visual boundaries between itself and universal darkness unclear, reminding some memorialized fuzzes there, thunders-wandering, lights-shaking and energies-spreading, with imaginational elements as the supplemental building materials. Therefore, it was still keeping a far distance from my artistic dream on the other bank of life river. However, in this draft, loves and emotional changes from commons 'life have already been attempted in a better situation (than before).
Analysis with some researched evidences: 
But in my heart... the enthusiasm in trying to understand what Sir Debussy has seen and been willing to express - the imageries on the beach of Poolesville (1915, summer) or other beaches in his past, during his tours in the First World War, has never faded its colours. Oh, the time of dreaming it is from my childhood. 
I am dreaming that he had been wandering alongside one beach and left feet kissed by waves from a mix of moonlight-waving, its projective tides-waving and sound-waving reflected. His mind was then flying throughout the darkness, with breezes as wings and lights as shoes, then sliding upon the surface of sea, directly to the clouds surrounding moon. But before, he had been trapped into a deep confusion about why sound-effects of piano has lost its colours in the world wars and how to awake people's fingers and techniques to recover scores' beauties. That's why in this version, in 'Tempo rubato' - the second mind-presenting part, the ideology represented by root-chords has been expressed so deep and so exploratory. Debussy was like a poet, struggling with heart-conflicts of idealist dream and the reality, to travel to the most peaceful and holly 'En animant' Peak session and pray for what moonlight's gentle-caressing would get away human beings' unstable and dangerous minds, and get back original beauties of the seaside shined by silver-moonlights. 'Deep but light' - yes, two sides of this contradiction, in master's composition, have been unified together, as if forces-mechanism has been oppositely turned back and steaming in a quite magic situation. Yes, he has gotten it freely there - the dreaming silver moonlight-a flower blooming on the other bank.  
Hoping: this draft would be better than before and it could be seen as a Christmas gift to my own heart and to some volunteering members in Wiki-family. Let us create more new senses for peaceful situations of the worlds in the coming 2017!
&lt;translate&gt;On n'est jamais mieux servi que par soi-m^eme.
Cherchons nos doigtes!&lt;/translate&gt;
'If you want to make things better, please depend on yourselves. Let us find our giftedness in more exercises for overcoming some difficulties in fingering (techniques)'

'''Small References for one historical facts and some words mentioned:'''
 Wikipedia (2016) '''Wiki-entry''' 'Claude Debussy' from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. Accessed: 20th, December, 2016
Claude Debussy (1916) eds. (9th) 'Preface' and 'Brief Introduction' of '12 piano melodies for techniques-exercising'. G. Henle Verlag, Munchen (Debussy Douze Etudes): People's Press of China (Bejing). {{ISBN|978-7-103-01632-9}}

Though it was a debate about whether or not the research of Impressionism techniques is needed in dealing with Debussy's Clair De Lune. Maybe, it was a little bit like a fierce argument. However, the respecting and pursing of Sir Debussy and his fine art 'natural dreamland' are truly there, according to the Wikiversity edition above and the comparison edition - https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg . Sir Debussy's 'Musical Imagery paintings' are surely about landscape-beauties of naturalism and people's subjective interactions (mainly the 'Impressions': longer accumulations&amp;re-treatments of perceptions for many years though 'Sensory Touchings' but also with memories and artist imagination), under this whole environment or 'Scenes&amp; tendency'... This point has been confirmed from many researching schools, currently.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 23:03, 24 October 2019 (UTC) Meanwhile, some artist 'touching' techniques in terms of playing Debussy's can be felt out from this debate. Wishing children or young teenagers would make some senses!

===== 'Never-ending &amp; Super-time' Homework for 'Forever Piano-kids': =====
Please make some Contrasts and Comparisons between Sir Debussy's Moonlight and Sir Beethoven's Super-time Metal-Rocking 'Moonlight Sonata 3rd Movement', after getting both fashions (Thanks to technology, you can simply watch Beethoven's fashion): 
[[File:3rd movement of Sonata 'Moonlight' Rocking Video JMC, Han (Jason).webm|thumb|3rd movement of Sonata 'Moonlight'_Sir Beethoven's metal-rock_Performed by JMC, Han (Jason)]]
 '''A reference''' of several sentences from Jason's (mine) Openlearn platform of Open University could give us some '''suggestions''' in Contrast &amp; Comparisons:
'Beethoven's music was postmodernism or to say Super-modernism and abstractionism that moonlights were like many fast-racing silver-knives penetrating Beethoven's painful realistic experiences (own unfair fate) and his never-reached idealist love, somewhere in an extremely-expressing Romanticism-Dreamland.' (Course Review of 'An introduction to music research' in Open University, 2018)
'''Homework Answer in Beethoven's side'''
About Debussy, in my page, there are many in depth and impressionism... 
Regarding With Beethoven in Postmodernism, a possible homework answer (sound) was here, right after a local library presentation: [[File:Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven.ogg|thumb|Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven]] [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:52, 29 April 2019 (UTC)
'''Key words explanations, self-learning ways and further readings''': 
Postmodernism -https://en.wikipedia.org/wiki/Postmodernism;
Abstractionism: https://en.wikipedia.org/wiki/Abstractionism;Romanticism: https://en.wikipedia.org/wiki/Romanticism; 

Beethoven's personal life and love: https://en.wikipedia.org/wiki/Giulietta_Guicciardi; 
Printed manuscripts: No. 9 Symphony - 'Ode To Joy'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 1st No. 9th in d Finle.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie No. 9th in d]], and 'No. 5 Fate'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 2nd No. 5th in c.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - No. 5th Fate]]
'''(Reading by following a DVD of Beethoven symphonies collection carefully)'''

===== &lt;big&gt;* '''''Children are doctors for adults, as the reason that they can create some most advanced techniques than your imaginations, but with the purpose only for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, heaven is near:'''''&lt;/big&gt; ===== 

Idealist dreams - the engineering realization of 'Chou Chou's playing techniques' and imaginary impressions through behaviourist language-descriptions:
(To be honest, it’s not to say I can get these behaviourist targets in practices; but, as in educational perspectives of Wikiversity, we need to set some idealist targets for understanding what are Debussy's impressions, how they were formed by expressive techniques, how to guide our learn-tendencies, practical operations and how to better the situations in which new sound-effects' out-coming would be possible. Depending on my educational research background, it was like a 'check list' for planning practices.)  

'''B1 till the head of B3:'''

(Letter B means the bar of a 5-staff-transcript. What is 5-staff-transcript? we can review the historical knowledge about how 5-staves-transcript has been formed in a long history (It wasn't always a 5-staff, but originally developed from people's willing of coding sound), and about which, our Wikipedia introduction (https://en.wikipedia.org/wiki/Staff_(music)),and some online courses-platforms from academy, such as fields about notation-reading in Future Learn and Music Theory in Open Learn etc., have already made some very clear and detailed introductions):
If you let me describe what imagery impression (or life scene) I have seen and what keyboard-touching feeling I have gotten from this musical phrase, I would like to compare it with a game of children's - Stone-skipping. I guess: maybe Chou Chou has gotten the principles of it. (Information from Wikipedia introduction: https://en.wikipedia.org/wiki/Stone_skipping)
But, you may ask me why and how I extracted this imagery impression. Furthermore, What types of hands-techniques have been applied here?

* Mechanism analysis of forces applied from practices:

It was a pitches-rise of right hand with grouping motifs in modelling running of four-quavers - as the united tiny motif. Forces, applied in dealing with every small motif, isn't in average, but with a centralization (fulcrum) set at each head of these small motifs. Meanwhile, other three are supported by these fulcrums, and slipping the whole hand to each next, as for forming the impressionist background layer in the bottom. Therefore, when playing the other three, your fingers need to touch out the depth, as half degree of these keys to form background sound-effect. Rather than, your '3rd, 4th and 5th' fingers, when making keyboard-touching of these grouping heads of motifs, need to fulfil the whole keys and are like these force-fulcrums, to support left hand's 'slipping' to higher places entirely. After hearing, you will find these grouping heads in a queue (with notes in shape and forces in physics) have been highlighted, as twinkling 'lights' in variations. And, your hand is rotated to rise and slip from point to point, by making keyboard-touching with the touching of water-surface.   

'''Documentary comparisons:''' 

'''Notes:'''   

'...The stone generates lift in the same manner as a flying disc, by pushing water down as it moves across the water at an angle. Surface tension has very little to do with it. The stone's rotation acts to stabilize it against the torque of lift being applied to the back...'&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone Skipping' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping. Accessed: 23rd, December, 2016&lt;/ref&gt;
'''Comments''': That's quite right about rotation acts upon fulcrums - every time being for hands' slipping through surface-touching of water. Yes, keyboard, in Debussy's works, touching keyboard can be compared with touching of the surface of water or a mix among water, lights and clouds, which we can discussed in the talk of Wikipedia. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Children's Corner', 'Talk: Children's Corner' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Children%27s_Corner. Accessed: 23nd, December, 2016&lt;/ref&gt; Furthermore, by a little bit critique, I think the surface tension of water as the background, should also associate with stone's (Supporting fingers') 'slipping', and give the counterforce-supports to other fingers. In this case, water striders' actions for moving on the surface of water can give us further enlightenments (It's because of touching, then rotation is enhanced by counterforce on the surface; and water's tension (expending a little bit extra) is functioning for the entirely movement to the next). &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone skipping’, ‘Surface tension', and 'Water striders' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping, https://en.wikipedia.org/wiki/Surface_tension, and https://en.wikipedia.org/wiki/Gerridae. Accessed: 23nd, December, 2016&lt;/ref&gt; Following above, where is the beginning force? Oh, don't forget the whole head - an octave chord (C2- C3) divided by a depending ornament upon main C3, which is like a throwing force motivating the whole imagery impression.
For brief, here, one of Chou Chou's little games, as from the very beginning, has been vividly described standing upon paper - stone skipping. You can feel the functions of one hand' fingers (right) have been separated into two with centralized fulcrums set on one of your 3rd, 4th and 5th fingers and others as for background, among which forces were transmitted for the whole's slipping. Then, energies, as impressionist paints' applications, have been managed with twinkling light natural emphasised and background half-touched 'Grays and dark tones are produced by mixing complementary colours’. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 23nd, December, 2016&lt;/ref&gt; Oh, don't forget to give A beginning bang transmitting force from the left hand to the right hand. It's a throwing one for all. Following all these techniques above, one piece of technique carrying its sub-properties have been unified together as a whole. 

'''B3-B6 - The directions of forces-application (fulcrums) -  fingers-wiping (Upwards) or forces-pressing(downwards) VS. the relationships between twinkling heads (in the groups of 4 semi-quaver notes which can be compared with 'leading stars') and their dispersal background recycling round by round:'''

* The direction of forces-application (fulcrums) -  fingers-wiping (Upwards):

In this piece, Chou Chou and her father have almost jumped into the lake-liked water-surface which they were playing Stone-skipping, but fantastically mirrored and reflected out upon sky into another impressionist scenery like what this painting showed - The Starry Night. Wikipedia introduction:' https://en.wikipedia.org/wiki/The_Starry_Night' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'The Starry Night' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/The_Starry_Night. Accessed: 29nd, December, 2016&lt;/ref&gt; 
But, you would ask me: Why did I state this vision that Chou Chou and her father's journal had been travelling there, and how did Debussy describe it through instrumental techniques? 
My own vision is: Though there were many debates about The starry Night's expressionistic symbolizations (in my mind, impressionism's extreme side would go to expressionism) - about its galaxy-origin, woman's painful birth-procedure, or religious relations, by simplifying them deeply and only picking up one most useful element interpreting our case which my mind-touching for it can get from the past, I would say: in this night-sky, stars were always magically twinkling as only ornamentations, holistically impressing the whole impression of the universe in dark into our memory and locations-statically heart-beating(moving)in certain interactively-shaking rhythm, which can be compared with numberless eyes shining in the sky - blinking and blinking with the vitality. In this time, Chou Chou, associated by Debussy Clause's advanced instrumental techniques, has lighten these eyes in the sky for us to appreciate impressionist beauties. 
Yes, Scientific approach has already told us: stars' astronomical twinkling is caused by the reason that multiple layers of atmosphere have refracted lights' getting through-in - which were travelling for multiple times &amp; spaces then arriving here on our earth - especially when even a small breath's occurring would change our seeing-angles in atmospheric medium.&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Twinkling' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Twinkling. Accessed: 29nd, December, 2016&lt;/ref&gt; However, when this impression was recorded into the world of subjective imaginations without helps of any machine and only depending on our own willing, it somehow transformed to be every single painting-stroke's pixel-vibration which was also relatively vibrating our mind. By threading numberless 'eyes-vibrations' together, we knew the on-going of its theme - to appreciate the peaceful Glory and the dreamful Harmony presented by the creator, which Chou Chou was angelically singing out. Then, how did Debussy express it in sound-effect world? 
By bearing imagery-impressions of visualization obtained from The Starry Night in mind and by making the deep simplification, we can know two sides of this comparison - from its origin to its target - are all about energy-vibrations - light's vibration → sound's vibration. 
Following it, this hands' technique, landing in the instrument of piano, isn't so difficult as we imagined that Debussy has highlighted several main quaver semi-staccatos as heads of 4-notes-semiquaver groups with each quaver rest followed: (Indeed, this technique has been repeatedly applied in the following part, but sometimes functioning variously, with the main point rooted as this.)
When playing the treble part, the forces-directions of 3rd, 4th and 5th fingers (head-beating) and the rest ones are quite different. The head-beating ones need to create one type of sound-effect as the note-vibrating and eye-blinking, by slipping and wiping backwards (semi-staccato) upon keyboard's water-surface (it's a little bit like making the rolling-jumping alongside its force-orbit.) By matching it with left hand's opposite fingering wave-approach &amp; associating accompaniment and pedal's breathily smoothness(intervals), the soul was described out summarizing the spirituality of all 'eyes-twinkling'. We can know, in this systematic mechanism, several mains can represent the tendency of all. This double lines (Mainly in higher part of right hand, but associated by left hand) are weaving together as the framework of The Starry Night and for 'giving texture to the painting'. In this case, the technique of painting - Impasto applied in impressionism (Wikipedia introduction: https://en.wikipedia.org/wiki/Impasto) can somehow make interpretations cross fields; while further, in terms of what impressionist effects reflected out from the field music and piano, I prefer a scientific explanation fulfilling its abstracted mechanism of stars-twinkling - 'Diffuse reflection' (Wikipedia introduction: https://en.wikipedia.org/wiki/Diffuse_reflection), which we can try to make more senses in the future.

* The directions of forces-application (fulcrums) -  forces-pressing(downwards):

If things what Chou Chou and her father wanted to idealist express which are understandably required musicians' hands-performances only have reached there as what paragraphs above have been shown, this story cannot be called a legend journal and an advanced impressionist description.
In the second half tightly followed, force-direction of grouping head-beats have suddenly turned oppositely downwards. It was almost that Chou Chou wanted to press a sequence of lights-vibrating bubbles which are mirroring the twinkling eyes in our Starry Night into a deep place under our water-surface-liked keyboard. Oh, this effect is that she collected them into one big accumulated bubble under our memory sea. We can find: the direction of fingers (3rd, 4th and 5th) has been totally changed - to press notes down smoothly with the full value of a crotchet attaching with others upon keyboard and standing there. At the same time, other fingers have been meanwhile playing the role of background-making - fuzzy without clear details of sound-effects, but as the totally floating impression-streams, wave after wave. In this case, energies have been accumulated by two hands as a whole, then waiting for a further breaking-out tide. Here, we can feel how fineness Debussy has designed the applications of forces and their textures into his works. He can even totally reverse forces mechanics in the immediacy. But, when it came to us - the players and appreciators, we need to train the controllability of our hands, the distinguish-abilities of our ears and attempt to express it better and more vividly. That's the job of continuous learning throughout life, which we can dream after and practise. Every time, a little bit more progress would make me feel happy and smile - just because the distance between dream's realization and my position has been shortening. 

* The demonstration of the dispersal background (the rest 3 semi-quaver notes attaching with their 'leading stars' in front) recycling round by round and their relationship with quaver heads:

Final part of this session, I want to say something extra about impressionist background. Indeed, this is really a charitable and contributive job. It wasn't the 'blooming followers' but 'volunteering grasses' for setting 'head-beatings' off more vividly. However, special keyboard-touching technique is also required that we need to make more preparations. Sometimes, the depths of 1/2, 3/4 or 1/4　are required alongside the changes of dynamics and vibrations of 'eyes-blinking'. Preparing for it can be compared with 'Colours are applied side-by-side with as little mixing as possible' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 29nd, December, 2016&lt;/ref&gt;, which is for describing the degree what a fineness it is. But, finally, the purpose of all our background-preparations are only for auditors' self-ignorance of its 'much more details', their willing of 'singing-out' the vivid framework in multiple-layers' texture, their possible appreciation of the impressionist theme with the supports from background atmosphere, their self-summarization upon some fragments of impressionism and further integrations with their own experiences, and their participant-observation of an entirely dispersed and fantastically floating universe emerging from own hearts and from the windows of our own channels. Hopefully, it would be of the understandability.     

'''B7 - 10: Classical Dynamics system VS. Anti-classical expressions: Master's requirements for some techniques of imaginational impressions (magical fictions)'''

* B7: Classical Energy-tide and its expression in Dynamics 

In the normal situations, music was compared with the floating water (or certain imagery joining basic elements from liquid, clouds or lights). It is because that they have the similar mechanical system (In music, we call it Dynamics system). The very simple impression, when we are watching them, is like the waving tide carrying energy (twinkling in visual system, or vibrating in sound system). In other words, it can be called 'energy-tide'. It is said floating matters, rather than solidified ones, are good at expressing energy's changes during the time tide is coming, as what music, liquid, and clouds have shown. About their expressions, 'forces' pressed down from outside into their mechanisms can work and motivate the whole phenomenon's varying. Accepted into subjective senses through sensory organs, the total impression without much clear details will motivate our mental energy and deeply push our emotional 'tide' wave by wave. This is the normal situation, as what the oceanic tide on our earth are motivated by the gravitational forces in spaces. (interacted by earth' core, moon and sun) &lt;ref&gt;Wikipedia (2016)''the section 'Forces' of 'Physics''', '''Wiki-entry''' 'Tide' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Tide. Accessed: 1st, January, 2016&lt;/ref&gt; 
In nature, the highest point of liquid's movements is usually where the application of the extreme force, to show the internal energy's centralization and externalization. We can call that point the energy-peak. In order to get it, there should be a continuous rising of forces' level for climbing to it, and a continuous decreasing of forces' level for landing back to the originally quiet surface. That is the procedure of energy-tide's coming and passing-by. Because of the dramatic energy-changing and energy-moving inside, huge forces are usually expressed out with the huge and apparent powers (to objects). In order to get this sense, we can review a piece of material from Wikipedia - 2010 Mentawai earthquake and tsunami (Wikipedia introduction:　https://en.wikipedia.org/wiki/2010_Mentawai_earthquake_and_tsunami )
In music and sound-effects field, it was also working, but by fulfilling the performance of dynamics with hands (piano). Usually, the highest note (mouth), as B7's middle E, is also the peak of energy-tide. Besides it, we can find two same wings - a 'crescendo' impressionist scale and a 'decrescendo' scale being continuously produced and attached upon each side. By analogy, from formations to content, we can know it belongs to the family of 'energy-tide'. This one should be a significant peak-run, because of its lowest beginning and ending were the same at 'pp'. Then, through two hands' (fingers) tightly matching and dramatically climbing up and landing back, the natural impression of powerful tide has been realized beautifully, which Chou Chou must understand how to play it from heaven onto the ocean. 

* B8: Anti-classical Energy-tide in Dynamics and its realization by hands' controllability

As what we have discussed above, B7 is designed in classical mechanics system - higher pitches' rising alongside natural forces' impotence  more deeply, which can be compared with tide-energy's passing by. However, in my heart, if things are merely arriving there, it cannot be called the application of advanced techniques. Afterwards, Doctor Chou Chou has played another fantastical game from heaven. She totally pressed down tidy's peaking tendency into one channel under musical sea, and let it go in a regular way, without indications floated up to the surface and being seen clearly. On the surface, what impression we have obtained is a winds-calming and waves-peaceful sea-face with light smiles. Originally, B8's quiet and 'normal' scene should be from people's 'normal' expects; but, nature taught us 'envelope-liked climbing to the peak then falling down to the ground, alongside dynamics' 'attack (dramatically increasing) and release (dramatically decreasing)', is energy's systematically spreading out and needs much heavier forces' pressing down then departing away continuously, which are required from our fingers' controllability and for re-appearing natural imagery. This impression is summarized by people's empirical interpretations from Second law of thermodynamics, about which we can review much learning details from Wikipedia and its reading list (Wikipedia introduction: [[Second law of thermodynamics]]　　　　　　　　　　　https://en.wikipedia.org/wiki/Second_law_of_thermodynamics). Therefore, we can say this case was an expressive contradiction - 'pretended normal is truly anti-normal' and 'classical naturally births anti-classical'. Doctor Chou Chou must understand it quite well. Even further, thinking about: in which case, forces would lose their weights and energy would be anti-naturally pressed down in certain channels of our universe. Yes, if we want to theoretically reason it much clearly, around one year, we still need to go back to gravitation, but in a very different field - sound effect (Indeed, through the analysis of what sound sent here, we can make the judgements of what types of materials, endeavours and forces originally applied in the beginning - sound sources through engineering approach - to build subjective connections through training our sensory organs of body.) - ears and fingers' 'anti-gravity' need to be frequently trained for the expression with the accuracy. I am sorry to say: in my second draft, beauties of this bar haven't been expressed perfectly. Then, if in energy-signal's ending part - sound effect and for perfect controllability (Tiny single note's accumulation), it would be the term 'gravitational waves'. In my opinion, it isn't to say, our hands (arms and fingers) need to be so advanced - 'creating a black hole', but to say they need to make some very simple anti-gravitational moves, in terms of which the entire effect is seen as normal, but under the surface, forces applied are somehow anti-normal. To be honest, Chou Chou's doctorial expressions with this style, in ''Children's Corner'', are ranged upon many places. It is one magically artist description of certain '''symbolized imagery''' representing the relationship between natural phenomenon and their controllable gravity, energy-impacts, 'energy-escapes', and energy-simulations of, from or for gravitational waves; then, by joining them above all together, we need to explore: in what types of situation, gravitational reversibility (or as some interval stages of waving) would happen. (Wikipedia introductions: [[Gravity]] https://en.wikipedia.org/wiki/Gravity;  https://en.wikipedia.org/wiki/Gravitational_wave)
All in all, B8 and some like it needs to make some anti-normal endeavours to control your hands' nature and realize a quiet and peaceful sea-face, directly after energy-tide's passing by in B7. (About further explanation, we can review more pieces of information from the Comment of File History in Wikimedia Commons (Third Edition - 16:10, 15 January 2017), but the true music was wrongly placed at the position in which fourth edition should take (16:27, 15 January 2017). I am sorry. 
( Wikimedia Files-storing: https://commons.wikimedia.org/w/index.php?title=File%3AImpressionist_Data_for_technique_analysis_-_Doctor_Gradus_ad_Parnassum.ogg )

* The mechanism of B9 and B10 (motif) is designed as to follow B7-B8's impressionist fashion, too

'''B11-B12: A simulation of the release of a sequence of bubbles (rising up) from underwater and to the surface '''

* Impressionist description:

Tightly following the anti-gravitationally down-pressed Bar B10, another advanced technique has been magically produced out, which can be heard by us in revealing Chou Chou's extraordinary doctoral imagination and her transcendentalist operations. This technique is regarding with a natural phenomenon - Bubbles' rising up in water.
Let me make a careful explanation: After a great amount of classical forces have been anti-gravitationally pressed down for recovering a peaceful 'sea-surface', we knew, in order to overcome jelly-liked Times &amp; Spaces' multiple- limitations, a hidden 'black hole' has been set in the centre of our 'hands' with a channel sending (escaping) the extra energy to the 'parallel universe'. It can be compared with the situation of being fixed in the depth of ocean, as a Aladdin's lamp sealing the damageable power of an 'energy-monster' in. However, in the other side - the white hole (or being mirrored in a occasion which would be compared with what Chou Chou has magically done - to release the huge power of a tide( or a tsunami)), Times &amp; Spaces' jelly-liked holding-back function has played the role of shaping its escaping routine into a wave-like up-rising channel, in which the whole energy has been divided into small pieces by Times &amp; Spaces, as gases in bubbles, staged flowing up at intervals (in rhythm). We can review some pieces of information about the changes of a sequence of bubbles' speeds in the procedure of flowing up, the reason why they can go but remain intact, and the equation for counting their pulsations (in rhythm) in our Wikipedia introduction: https://en.wikipedia.org/wiki/Bubble_(physics). Indeed, my explanation of this imagery impression is: the energy wants to escape in a very fast speed but cannot, because of Times &amp; Spaces' anti-forces in holding it back through changing angles of its pathway (deeply say: it is a result of interactive fighting between each other), which can also be compared with the situation Chou Chou's small hands are plugging bubble-liked energy-pieces back to the original mouth. I think this is also from one of the reasons why gravitational waves are 'heard' like waves - energy is staged divided and held back at staged as bubbles carrying gases to flow up under the pressure of fighting against Times &amp; Spaces. From this case, we can see how many pieces of knowledge doctoral Chou Chou in the heaven with her father have already known, especially understood their abstractions and applications in keyboard's practices and our fingers' descriptions, with their creative imagination.

* Fingers' realisation:

In this case, two hands of us need to be tightly matching together in order to behave as one hand. This procedure is made through one hand's tightly following with the other. We can hear 4 notes each in one group, as a small unit across two hands, which are forming a staged bubble-projection in the waving pathway; then there are four bubble-projections upon Times &amp; Spaces. From the bottom to the surface, it's the left hand which gives the power to motivate the whole mechanism' working in the fingering; then, the right hand is following after, but exploring further high-ways and leading the waving angles' changes. In other words, it's the right hand leading out the shape of waving pathway upon keyboard and guiding their progress to further step. It's better to play out an acceleration of our impressionist arpeggio alongside the cresc. of loudness, for simulating out the situation in which bubble-pulsation in rise requires. The final 'sf' and its dying out, alongside the procedure of the semibreve' standing upon a full time value of one bar, is an entire peak, as if rushing up to the surface of 'sea water', and bombing out there with full energy' release influencing in a large scope and lasting for long time. 

Thanks for this case, through reviewing which we can know how beautiful and what a magical world in Dr. Chou Chou's eyes in Children' Corner. On purpose or not on purpose, that's a problem. I think: just because of Chou Chou's childish ignorance of this complicate problem and totally behaving the full-hearted dedication of herself into creating universal beauties, (just for playing it happily, or being even without any thought of how and why to make them out) currently, through many times' excising and techniques-reasoning, we can find our hands' improvement, and the impressionist wandering to the purity after frequently trainings.  

'''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)'''

After travelling alongside a sequence of bubbles rising-up till being above sea-surface (B11-B12), we can find the forces' application realized by transformed staccatos has turned to a fresh field: how could us make the joyfulness through surface motions? Oh, smart Chou Chou's music-spirituality has chosen an amazing activity -playing a surface-chasing with her lovely pet - Exocoetidae (Flying fish). 

* Flying fish's flying mechanism:

In order to understand how Chou Chou can play so happily, but without self-ignorance of our own hands abilities. We can make this thinking: for making things clear, through accurate notation-reading, we need to get back to Flying fish's biophysics mechanism: 

In identifying Wikipedia introduction's words recordings of Flying fish' flight mechanism, we can know all flying fish's body parts - 'muscles, connective tissues, and ligaments in a fish’s skeleton; totally generalized: the vertebral column and cranium' - have been threaded internally by Neural arches, as a 'strong bow'. The shrinking of this 'strong bow', by accepting a signal from brain-linked Neural arches, would suddenly produce a strong force directly beating upon sea-surface with the direction back-forward. As a respond, the counter-force given by water surface would shoot up this streamlined fish - threaded all body parts - into air, with light swings overcoming resistances. In this procedure, tail fins (as grouped staccato-heads) play the direct back-forward motivation; meanwhile, higher-placed fish wings (as mind-borne huge slurs) play the function as gliding this movement from the beginning accelerations. Depending on this mechanism, Chou Chou's lovely pet - Exocoetidae (Flying fish) can realize its bird-flight. Indeed, small 'tides' surrounding its flight trace are like being wheeled, with back-forward streams counter-pushing fish's shooting, which are also projecting body parts' out shapes. In order to keep in air for longer time, middle re-forcing as another strong standing-point is needed during this interval flight, by its 'strong bow' with tail fins touching the surface. That's the whole flight which my recognition can get. About further researches and information, we can review Wikipedia introduction.https://en.wikipedia.org/wiki/Flying_fish . &lt;ref&gt;Wikipedia (2017)''the section 'Distribution and description' of 'Flying fish''', '''Wiki-entry''' 'Flying fish' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Flying_fish. Accessed: 13rd, February, 2017&lt;/ref&gt;

* Fingers' realisation:

1. In B13 - B21, you can hear left hand's staccato-heads back-forwarded wheeling and leading another linked 3 notes distributed upon right hand of each group plays each small shooting flight;
(Yes, the direction of left hand's staccato-head threaded with the wheeling 3 notes of right hand need to be played back forward and wheeling, as pedaling water's surface stream by stream. Then, flying fish, supported by courter-forces, can fly to the front air.)

2. Each 'slur' set upon these staccato groups should be seen as mind-borne 'wing fins' for keeping in air longer time and farther distance;

3. In each second bar covered by slurs, there are dynamics peaks between two wings - a crescendo signal and a decrescendo signal, supported by a 'post-' foot pedaling, counter-shooting flying fish's middle re-flight and re-acceleration for being kept in air longer time;(B14 and B16)

4. Oh, what a giftedness you can hear that Chou Chou sets several tenuto quaver heads distinguished with staccato ones to later their time values for more sturdier standings counter-reflected upon water surface. (Each second and fourth notes of B17 and B19).
It's like: in this lovely chasing, naughty Chou Chou suddenly rides upon flying fish, or grasps its' tail fins for delaying its time, and making some fun things. You can also hear 'hairpins' of dynamics - sudden softer signal, accompanied by posted right pedals tried to enhance this effect for the real joyfulness. (But, the effect still needs to be improved in future);

5. Finally, in this session, 'In Peu Retenu' makes a back-drawn and continuing 'slow motion' of flying fish's flight, which can be seen as the sprint stage of this race. There should be a back-drawn force slowing down the whole Times &amp; Spaces, which can be compared with the transformation of all these cases above to be a 'slingshot' - flying fish's 'strong bow' , being later down, but for a fresh beginning in NEXT 'a tempo'.


'''B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwards for enjoying a beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together '''

[[File:Educational sample for demonstrating techniques of B22-32 (Sir Debussy's Children Corner - Doctor).ogg|thumb|This is a small piece of educational sample for the demonstration of piano techniques, belonging to the session 'B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwardsfor enjoyinga beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together ' of one journal article researching Sir Debussy's Children's Corner - Doctor. As one techniques-sample, it's tempo was expressively slowed down a little bit, but oppositely reflected out more emotional changes when watching impressions of binary system's progressing under background of CMB (Unbalanced balance surrounding hidden gravitational axis - turning round and turning back - waving by waving). Meanwhile, you can also hear the parts of deep self-reasoning and down-falling towards clouds. I thought basic principles of impressionism, according to Sir Debussy's notation-transcript, had been kept. Better edition based on classroom background, will be researched out for commons' free shares and usages .]]

Tightly following the end of last session, we can see flying fish's 'strong bow' (a rit. &amp; a recovering force applied for another new beginning) has been magically transformed to be a Slingshot (Wikipedia introduction: https://en.wikipedia.org/wiki/Slingshot) in Chou Chou's hands directly shooting up the melodic theme into a holly snow-land. In my opinion, this session can be called the second peak and pure exploration of heavenly snow-land.
Why can we say it is the second peak? We can find this session's preparative functions for the other top trip in the later part, in which more achievements of landscapes-appreciations have been succeeded by our Dr. Chou Chou. Therefore, this one is the first 'attempt'.
How can Chou Chou achieve it? I thought this session can be divided into 4 sub-steps (stages) carrying functional meanings. About their titles, I can conclude them as: 
Thematic variation in small fingering changes latterly with shooting forces-tendency rocketed-upwards, 
Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling, 
Holly purification and self-reasoning in an angelically crystal universe full of brighten galaxies, 
Falling back to a earth cloud with Bass-thunders and Sun-lights' penetrations providing senses of light's warmth.  

&lt;small&gt;'''B22-B23: Thematic variation through small fingering changes (B23) with shooting forces-tendency rocketed-upwards'''&lt;/small&gt;

To be honest, this model, as each beginning of three sessions (B1-B2, B22-B23, B45-B46), wasn't unfamiliar by us. It's like every beginning part of children race, with an acceleration of fingers' running to rise pitches to treble part and prepare for further adventures. However, this part is special with a distinguishable variation in B23. In B23, left hand played a guiding function with expanding fingering pathway to climb up mountains and leading 4-notes grouped right hand to a further sky. Meanwhile, it was carefully designed according to Orbital eccentricity (Wikipedia introduction:[https://en.wikipedia.org/wiki/Orbital_eccentricity ]) , expressed through forces' increasing in dynamics-changing. You knew, under the background of gravity, if one object wants to improve its height to a far distant, it must recover its tempo to a continuing faster rate, in overcoming air fictions. During this procedure, its acceleration associates the transformation of kinetic energy to be gravitational energy; meanwhile, changing r (radius), collected as its height representing for gravitational energy's increasing, can be seen as vertical indicator (towards core)meaning the 'embracement' of further 'landscapes' in curvature horizon. Therefore, in my vision, four root-notes (intervals: third, fourth, third, fourth, finally towards sunny E in C major) played by right hand, with a expanding sense, gave the guides as ''Orbital eccentricity'' for rock's flying into further sky and realm. About them, We can give a self-range of its dynamics (4 levels) of pitches' rising, fingers-forces' inputting, loudness' increasing, to realize this effect. Here, a very naturally designed fingering pathway, as 'sky climbing-ladder', is of the importance, which Sir Debussy has referenced Mozart's 'nose-application' to give us some suggestions. ''''Natural' means that its design can follow the direction of accelerating tendency and hand's expanding pathway.''' In a fuzzing view, four root-notes are 'staring positions' of the curvature orbit leading a small-waving impression-belt orbiting to our higher snow-land in the space above clouds.

&lt;small&gt;'''B24-B26: Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling'''&lt;/small&gt;

What would happen further and what will us see tightly after last accelerated session? 
You can feel a pure universally holly snow-land have been formed (travelled to, or discovered) with amazingly astronomical phenomena magically existing summarizing different impressions of 'landscapes'. 
1. Binary stars system (yes, we can compare situations of two hands here with Spectroscopic binaries and a beginning of energy's integration. ) in piano expression and its hands' realization: from B24, left hand's leading energy has been totally released out that it flies by and orbits right hand in certain significant rhythm of position-occurrences. The observation of interactive 'Algol B orbits Algol A' in relative Wikipedia page gave me some inspirations of this situation. Here, through melodic analysis through our own hands, we can guess this stage in binary stars system's history - earlier time can be seen as still in a higher, enough and fulfilled energy level. However, the range of two sides are in one specially orbiting balance, with a ''equally-ranged'' merging tendency between each other - they cannot die out each other by gravitational attraction, but with energy system as a whole one including a major axis. Thereby, they were orbiting with each other in a special rhythm with one (indeed, it's interactive two) forcedly drawn by from one down-slowing peak to the other up-fasting peak. Indeed, it wasn't made out by 'left hand' only, but an interactive two sides with one accelerated merging into the other from one peak, then sliding out to the other peak; and the other influenced as energy-waving or even shape-penetrated floating small　Nebulas (impressionist background; about the effect, please see Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) It's really a beautiful universal phenomenon in higher energy level.   
   
&lt;small&gt;'''Fingering realization:'''&lt;/small&gt;

Signature 'l.h.' of left hand associates us to realize it. Depending on the acceleration, natural inertia and higher level energy-atmosphere pushed through B23,  We can see that left hand was making the frequently travelling (penetrating) throughout right hand's waving rage, in a distance about one octave; and about each wave (divided into two turned penetrations), two peaks from highest to lowest have been clearly twinkling out by left hand, as two crystal pearls hung by tenuto and a intervallic middle-shifting staccato (and both sharp C in the middle peak of B25, as a special tenuto-ing staccato). Meanwhile, dynamics range are naturally pushed though up and down with mouth as the middle main axis. In other words, let us divide this paragraph into points and see what basic standards here: 

1. As in one binary star system, the timbres of both hands need to be heard as if only in one hand without any differentiations, especially when left hand was travelling to treble part to fulfill a back-turning peak ;
2. However, tenuto semibreve and minim bass root-notes (in B24 it was a minor third effect - CE, and in B25 it was a single E) also need to create a whole impressionism atmosphere of bars, with time value being fulfilled enough. It's for the distinguishability of a stable higher energy level, contrasting to the accelerating part before. Oh, I knew maybe it was heard in crazy contradiction; But, indeed, on certain degree, they were dialectically unified together, as one for driving out this system, but when left hand was through out, the other back-turning peak for drawing back (braking) the energy of binary system. Then, they were keeping on going in balance;
3. Tempo in bass part (first half of B24 and B25)needs to make a accelerating accumulation (continuing faster) of force for driving the whole system to higher energy level. But, when left hand was across right higher to touch treble peak, a down-slowing and harder (continuing to slower) sense needs to be expressed out for braking and drawing back in binary stars system ( worked by eccentricity);
4. Following points 2nd and 3rd, a oppositely rotated middle axis will have been interactively revealed out with a Sharp C impressionism twinkling beautiful lights on the mirrored sky 'ceiling'. Oh, Debussy has totally anti-gravitationally (but also relatively in gravitational attraction's influences) reversed the axis in Bass part, which can be seen as a challenge of classical physics mechanism requiring more of hands' self-controllability;
5. However, there is also a contrast between B24's middle main axis and B25's that one is a staccato, but the other is a semi-staccato. How could us see this differentiation? I thought it should be one type of natural transformation from binary stars system to Eclipsing binary. Yes, alongside time's on-going, they are near and their energies merging into one whole that staccato's brightness evolving to be down-pressing root-notes and joining the group with B and Sharp A in scale. In other words, two peaks on each side have been integrated as only one notion and all in bass root with significant impressions pressed out;
6. Dears, what about our right hand? Caused by higher energy's stretching power and the other planet's frequent penetrations, it lost its star-shape and was generalized as energy Nebula (still, Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) fuzzing a tiding impressionism background waving by waving.
7. Here, How can us thread all those above coherently and harmonically? sustain pedal of piano has played a very important role in creating a crystallized Reverberation effect representing for a holly, peaceful and pure  energy-environment (Snow-land) with various sub-level touching-effects according to time,  to support the realization of techniques, about which we can pre-review some pieces of information from Wikipedia introductions. (Sustain Pedal -[https://en.wikipedia.org/wiki/Sustain_pedal] and Reverberation - [https://en.wikipedia.org/wiki/Reverberation]). Yes, indeed it should be heard as being pushed from nature and according to energy's being upon Times &amp; Spaces ; but, when we try to realize them in the cooperation of feet and hands, the idealist effects are not easy that we need to research more about their interactions.
Here, some peers and students would ask me - Jason, how could us press out good sound effects of piano pedaling to support impressionist expressions of hands, in the realization of imageries we had described above? 
That's a quite great but very hard question in piano that different schools have gotten different ideas, and some have concluded out several theoretical systems. Here, we can try to reflect out and summarize some of my small practical experiences and some appreciations of different pianists in educational approaches, according to notation-reading and practical performance effects. From the view of impressionism and Neo-expressionism in piano, just leave a brief sentence: please bear in mind, natural breathing in rhythm according to slurs and dynamics is quite important. In postmodernist impressionism for commons, we mainly support Post-set (later a little bit time, compared with notes' finger down-pressing) pedalling pathways for Education Research. In other session, we can make careful and reasonable self-reflexivity from tens years' exercising, some information-collections from documentary materials, and some comments of effects from classroom recordings. 
(Leaving a developing zone)

&lt;small&gt;'''B27-B30: Deep self-reasoning and self-exploring when gaining impressionism of a infinite CMB Universe'''&lt;/small&gt;

Till now, after running after binary star system and feeling about its special rotating rhythm caused by  gravity ( being with two peaks of orbit and a inclined middle axis; then, merging into a eclipsing binary star system), Chou Chou's sight was travelling to the deepest part of her universal horizon - maybe inflation with light's primary breaking-out, a delicious sweet &amp; hot particles-soup in dark, , or some far more unknowns... ; meanwhile, Dr. Chou Chou's subjective worlds was dropping into a special situation - self-reasoning, self-questioning and self-exploring.
How can me hear those? in B27, the upon-travelling left hand, associated with sustain Pedalling created a special sound-effect - slurred semi-staccatos were making twinkling 'eyes' breaking-through right hand's hot hydrogen recombination background; in a wide and profound space, they created later back-turned, slowly-decaying and longer-lasting reverberations, which are shaking as three supernova stars (Wikipedia introduction: https://en.wikipedia.org/wiki/Supernova ) hanging upon chaotic and after 'binary system's combination in sessions before. So beautiful vitality Chou Chou did, which also reminded  me the post-impressionist painting Starry Night [https://en.wikipedia.org/wiki/The_Starry_Night] mentioned before. It's also a question flowing from G, to Sharp F, till E in G major system (or its attached e minor tone), deeply and expressively asking human beings 'who am I (compared with the never-ended and long-lasting universe from big bang)? or what are (our) meanings (with a short life as so)?' That's quite right that Loevgren calls The Starry Night &quot;an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos&quot;, which revealed a little bit sorrow when the seventh of G major appeared (as if in minor e) directly asking universe our being's final meanings - to feed and light the unknown darkness? Chou Chou almost knew the answer that in next bars B28 and B29 two small slurs beneath two huge threading slurs made through left hand described two self-exploration and self-climbing - D, E and Sharp F (5th, 6th and 7th of e minor). We can hear the reasoning feet of the two repeated motifs have all been landing upon sharp F with the instability and uncertainty as universal fluctuation and left sound-effects energy-waving in vacuum. Those self-reasoning motifs were so deep from true heart, which are bravely expressing the dream of a truly peaceful heaven with imageries of freedom to appreciate symbolic 'landscapes' made by Creator. 

&lt;small&gt;'''B30-B32: Dramatically Channelling back through scale-fingering from deep universe to Snow-land built upon cloud-blocks of earth's atmosphere'''&lt;/small&gt; 
Final part of this session, in B30, all astronomical landscape-paintings ceilinged upon Chou Chou's Multiverse sky-roof have been summarized as a self-comfortable confirm for life and peace, with three semi-staccatos shining back the rising acceleration, and taking a downward tendency through a slur-breath - naturally and beautifully. Meanwhile, a smooth curvature line of dynamics -decrescendo, implicitly drawing out star fireworks' resting-pulse upon 4 dimensions, turned down the tempo of Chou Chou's whole universe and make her fall into a huge waterfall of energy, back to the original heaven. 
Yes, B31 is that waterfall with a continuing and dramatic dim. requiring two hands tightly matching together as a whole flow; by attracting all matters, it internally dug out a landing channel, to somewhere as Chou chou's willing to go. We can call it a wormhole, rather than black hole's leading towards another sky.(Wormhole - Wikipedia introduction: [https://en.wikipedia.org/wiki/Wormhole]) Though B31's waterfall of F major, Chou Chou got back to an assembly of cloudy blocks seemed heavy as castles, but floating upon our earth's atmosphere. 'Retenu' of B32  - down-slowing associated us realize this successful landing, which can be compared with a　parachute covering three slur-legato-ing pitches - D, E and C - longer-lasting (as up-hanging crotchets), associated by Bass's fluctuations in sound-effect, to keep parts' distinguishability in texture and　to simulate braking soft-land.


 '''B33-B44 :  Fairy Legend -  The 'Expressif' of natural spirits: 'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks; The pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then spreading all-directions - alongside impressionist arpeggio's climbing and above the upside landscapes of clouds-made heaven (B37-B40); Holly lights are shining and intervallic penetrating throughout the joints of cloudy blocks, as in a continuously weaving pattern to future (B41-B44)''' 

* 'Wormhole Door' was opened by drumming spring lightening '''(B33-B36)''', which is charged and expanding in the middle of cloudy blocks

In this part, the ''impressionist Arpeggio'' was expendably climbing to higher place through alternate applications of both hands, as if lightening was formed and wandering among clouds-layer. Why did I highlight the term 'impressionist Arpeggio'? 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto' - this impressionist technique (Wikipedia introduction: Section 'Impressionist Techniques' [https://en.wikipedia.org/wiki/Impressionism])taught us: not all notes need to represent properties of motives, but some grouped heads. They should be brighten than others with longer time-values and support the existing of certain textural parts, right as ''Short, thick strokes of paint''. Meanwhile, other notes would be touched much softer without too many attentions, quite as 'improvisational  details' streaming out an expanding tendency slowly tearing out 'clouds-background' from middle. You can hear: from Bass flatten B to long notes middle D, till treble D, a solidified cloudy structure was built upon sky involving 'impressionist point-pixels', for leaving 'essence of the subject' - yes, the soul. Then, lightening streams were climbing alongside this frame with details half-touched unclear, but spiritual powers accumulated and pushed to higher level. If only in this case, we cannot state Chou Chou's piano techniques are advanced. I can remember: in previous sections, we have discussed the anti-gravitational characteristics of Debussy's compositions- down-pressed peak forces with higher-energy vibrating, such as the comparison between B7, B9 and B8, B10. Here, still, this requirement of hands' controllability has been mentioned again, with two hairpin left-opened decrescendos and a middle piu (more)painted on. Therefore, a significant energy was down-pressed, finally being fuzzed to be a broken chordal impression left in atmosphere. Among cloudy blocks, it can be a vacuum, created and lasting for a small interval. Tightly beneath it, please see charged lightening streams rolled struck ground through bass-part's switches between flatten B and flatten E. Here, longer-lasted, pearl-rolled and charge-vibrating 5 notes (B35-B36) with special reverberations in sound effects, perfectly express lightning's expanding and strength when being down-pressed into certain channel Cloud-to-ground (CG). In order to make better understandings of this case, we can review some pieces of information, in analogy of lightning. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Lightning]) 
Those notes can also be understood as Chou Chou's lightning-strikes knocking at the door (on the other side of wormhole) for opening a fresh heavenly realm upon clouds. 
* The weaved pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then was spreading all-directions - alongside impressionist arpeggios' climbing and above the upside landscapes of clouds-made heaven '''(B37-B40)'''

It's hard to describe this session, titled with an emotional signal of 'Animez un peu' (continuing to be lovely and vivid). 
Technique-requirements:
1. Still, the right hand was simulating a cloud-weaved tree's growth, branches-climbing and area-expanding by following 'impressionist arpeggios'. It's a slow but enjoyable procedure, with the depths of keyboard-touching increasing one by one, but very naturally. 
2. Accompanying with the first point, the warmth of atmosphere and the lights of sun were emerged out and hollowed throughout repeatedly, which are in the dislocated positions of aesthetics of clouds-tree shade. How could us understand it? Usually, in our minds, there are normal expectations that the most brighten lights should be shined upon peak-poles; then, warmth pushed by dynamics can be reflected out. However, in this case, the posted-pedalling diffused warms in the atmosphere and from bottom; meanwhile, 'l.h.' across the right hand to simulate the sunshine, holly over, and hollowing clouds-made tree-shade. Owned to the reason the hollowing points (Two major thirds of flatten G-flatten B) were out of our expectations, but set a little bit later compared with peaks of dynamics. They are weaved with the imbalance, but symbolized as beautiful surprises. Therefore, We can call it 'Dislocated aesthetics'. Indeed, in the history of aesthetics and covering some fantastical landscapes, there were many beauties seen as some amazing surprises, but placed wherever out of expectations (even wrongly enough). We got the sense - oh they are beautiful- mostly because of their deep impressions of the imbalance. We can call this imbalance - happiness. Oh, it's a symbolized and weaved pattern of happiness tree (clouds-made) growing upon our heads. Souls have almost been hollowed by warm streams of happiness.  
3. May it be, the weights of treble sky gave us many pressures; in order to control this situation, our left hand had  also traveled back to set a weight in middle part (tenuto  minuet long-third between flatten E and flatten G ); then, flying back to light the clouds-made heaven through another dislocated joint. 
We can make our imaginations through watching more visualized imageries and introductions from clouds and know more discussions of beauties' contents from aesthetics. (Wikipedia introductions: [https://en.wikipedia.org/wiki/Cloud]; [https://en.wikipedia.org/wiki/Aesthetics] )    

'''* Holly lights are totally shining and intervallic penetrating throughout the joints of cloud-liked block-made happiness tree, as in a continuously weaving pattern processing to the future(B41-B44)''' 

Techniques for this session have already been introduced, as above. Yes, among what we have learned before, many points were symbolized out by our thought experiments, including some elements from analysing and reasoning. Thereby, an omission can be left here. However, this part was also one of the most expressive, reasoning, fantastical, warm, holly, brighten and peaceful sections in the whole composition, requiring us to apply more engineering exercises, careful forces and fantastical musicality. Based on those fundamental trainings , we can fly our fingers with more enjoyably impressionist freedoms. Here, you can see: The right hand has expanded a long regression-analysed D-flatten arpeggio-chain (heard similarly in a Pentatonic scale) - stating from D Flat' Perfect Fourth and climbing across the sky-horizon to touch another peak-peal of this work. You can clearly hear its simulation of our universal expansion through dynamics-climbing, which can be compared with a transcendentalist push (prior designed from universal nature ) of both materials and spirits in logical pace (rhythm) to touch another 'brighten ring' (around black hole) or a hidden eye channeling black hole (seeing or attracting all brighten 'lights' there, then '''oppositely''' (felt) as a dark fallen eye from the singularity), with gravity's increasing (while hand was expanding upward) which brought Times &amp; Spaces' continuing  down-slown - yes, leaving some natural out-breaking holes for holly lights' shining down from worlds with high dimensions, which was relatively heard as the signaled peak 'Retenu' contenting full imaginations self-created and penetrating out (continuously rhythmic down-slowing for some deep expressions).

[Extra explanation: Scientific observations have already proofed us - when we would traveled a lot (climbed too much) throughout a sky with wormhole to a nearby neutron star, or somewhat a black hole, gravitational waves produced by them would twist our senses of Times &amp; Spaces, especially down-slowing and expanding them to certain unbelievable peak-points. I believed one day, manufactural time-controllability with powers drawn from them can be re-produced out; then some amazing senses , rather than terrible ones can be motivated by our consciousness when channeling them - some holly, reasonable, purified, joyful, amazing and heavenly senses would be motivated out (on the other bank of our trip), as a naturalist regression threading all fragmental memory pieces of our life in a chain. And, we can finally make them meaningful, as the appreciation of Sir Debussy's Doctor in children's corner. Therefore, I still believe it's a 'up-picking' of  flowers blooming from childhood by a huge &amp; unconscious regression-analysis of our own life trip. Recommending one movie - Interstellar (Wikipedia introduction: https://en.wikipedia.org/wiki/Interstellar_(film)) , which is among my top list, especially its virtualized final-part of black hole's gravitational senses, though still some rough points which Joseph's subjective regression alongside gravity's increasing in dark hole was towards his own mental history rather than earth or solar system's entire history &amp; meanings, and further I didn't think book-liked square-dimensions hidden behind his daughter's bookshelf would be his own life or all people's regression points as universal truth ; but currently, lots of reasonable imageries from this movie have been reasonably created out and visualized out, which both met scientific purposes of Space-exploration, theological humanity - loving and respecting commons' life blessed by Lord even ending from black hole, and also in little Jason's journal, would motivate our musicality (imagination field) for more romantic understandings, some neo-expressions and a generalized impressionist-coding of Universal Epic in Sir Debussy's eyes. In my eyes, as Joseph's bookshelf, about Sir Debussy, if predictable and after his own Event Horizon [https://en.wikipedia.org/wiki/Event_horizon], his universe and subjective regression point across Times &amp; Spaces would be going toward the mutual music-impressions keyboard-touched in diverse works between his dreams and landscapes with beloved Chou Chou's landscapes heavenly upon innocent children's universal corner.] 

Therefore, as seen above, it's also a gravitational regression of universe, but not easy for our own hand's training about the case whether or nor we can make the expanding of right hand's climbing-liked Arpeggio and finally light the senses of most peak in Times &amp; Spaces' Retenu and the shinned depth of singularity in dynamics (to get the solution of general relativity Equation in gravitational waves),  was going to depend on our own levels and endeavours in hands-exercising. 
Please see: when peak - the '''flatten A''' was totally reached and lighten on 'ceiling', a sky was opened above all clouds-made landscapes and holly lights are peacefully shinning upon all corners of our earth. We can know our endeavors were worthy.  Chou Chou's childish &amp; innocent smile-face with good wishes for future appeared there, warming all people's heart and make them powerful and joyful. Facing so significant an universal impressionist painting there from kid's eyes, don't forget put an element of ''''France Romantic'''' gently &amp; relaxable wandering upon those curiously&amp;unusual universal observations: you knew, so small we were when facing... but we can reason ourselves to much 'deeper places', then, our emotion would be comforted &amp; released from this procedure experienced -joining the reasoning and self-expression together from something in emotion - not clearly known but felt...'''romantically and peacefully'''.  Though our hands were still rough (in my mind), let us take more idealist imaginations (how things and hands-techniques would reasonably be like) to make more tastes of this session and our own endeavors - sweet, sweaty, but worthy ... I thought it would be the educational purpose of music.

'''Tempo I: The awakening of pasted memories through thematic repetition but twinkling elements from new accumulations ('''B45 - B54''')'''

After travelling into a brighten ring with 'a dark fallen eye in singularity', we can find it contents a summery of most beautiful impressionist landscapes in a only note of '''flatten A''' decorated upon Sky ceiling, the unconsciousness of Sir Debussy with his beloved Chou Chou has almost gotten back to the past - their  'Original dreaming heart (willing)' (B1-B10). Yes, the review of your 'Original Dreaming Heart' is very important as a reference to correct the navigational direction, pick up 'lost flowers (imageries)' from its morning, accumulate more energies and make further adventures in this trip. You knew, the boundaries of a dream somehow content original powers rooting from your unconsciousness and linking to universal nature fatal designed already, thereby, is called transcendentalism. Awareness or unawareness, you are following its channel to be somewhere, with some people, and doing somewhat. Sometimes, you would lose yourself alongside complication's increasing. But like 'Mustard Seeds which have already been grown around you', only your down-bowing for picking up your originally true heart and cherish it again, you can travel to your peaceful heaven. '''(The Parable of the Sower and the Parable of the Mustard Seed and the Yeast,  ch 1-43, MATTHEW 13).''' I thought it's the reason why Sir Debussy has made this repetition in later middle part. Till now, the power of our hands has been increased and the techniques have been brilliant which would give us more confidences to face new situations. Let us go! 
In piano performance, usually, when a repetition occurs, we need to make different expressions in Dynamics, though techniques would be out of the similarity. It's for keep the diversity of music. One approach for this point is to research tiny differences from new piano scores (though some of them are either modified, or hard to find or later-posted by others) which content different experiences and impressions rather than Sir Debussy's own impressionism. The other approach is from natural root to self-construct, depending on your freedom of reasoning, musicality and universal participant-observation. I would like to remind several changes appeared with differentiation in this piece:
1. The whole dynamics background has been totally reduced from 'p' to 'pp', which means less forces would be applied here; meanwhile, oppositely, the scope of dynamics was enlarged in which much space can be left for Neo-expression of impressionism . Indeed, I would rather to compare it with a '''hanging valley''' above higher altitudes and cloud-blocks (Wikipedia introduction: [https://en.wikipedia.org/wiki/Valley]), air atmosphere became thinner represented by 'pp', but the whole height was improved . In the other view, why did I apply 'Hanging valley' to describe this repetition? Don't forget we have already climb a peak of this expanding tree with a signature - 'Renenu belt' leading to a Black (unknown) inside-Fallen Eye channeling to another beautiful &amp; infinite happiness universe. In this time, from the nature of a dream after beautiful landscapes, let us climb another peak within the events-horizon more symbolized beauties were hidden there. In other view, it's also a rest of our hands' energy and an accumulation of new energy, after so depth the forces we have applied for climbing that brighten happiness tree above clouds. A fast light-review of Originally True heart, as a reference set beside, might help us find the 'solution' and open 'another sky'.
2. Compared with B3-B6's twinkling-head stars under The Impressionist background of Starry Night and various keyboard-touching techniques for supporting fingers' fluent arrangement, it's a very small difference that the scope of (crescendo-decrescendo-formed) (date-core-liked) dynamics-progression has been enlarged until  two Bars' covering (B49-B50), rather than before - only occurred in half bar of B5. How could us explain this change? Dramatic change was transformed to be a leisurely emotional expression. Following it, more energies can be accumulated and more tastes of musical beauties hanging and dropping under the Starry Night would be slowly reflected out. It's still for the preparation of another Peak-climbing alongside the Cloud-blocking, Snowland-upon, happiness-tree upward-expanding channel to the universal purification and reasonability, which can also be seen as the heaven Debussy picked up for his Chou Chou in musical patterns.
3. Bass change: 'Small depending note' attached to Octave C which was forming a progressive chord has been transformed as a octave block-chord - G; then, slurred Perfect fifth (Deep C - G2)mirrored from this change(B45-B46). I think it was an evolution, which makes the distinguishes between before and current. It can also be seen as a proof of 'Hanging Valley' above higher altitude joining two peaks in transition.

After these accumulations, fast reviews, small modifications and new expressions on 'Hanging Valley' above clouds and under The Starry Night, another shooting trip will be going to soon begin...

 '''B55-B56: Expanding Heaven-Ladder out-breaking the other branch channeling wormhole which was created by fantastical materials borrowed from old story - bubbles (rising up) throughout the underwater of atmosphere (developed from B11) '''

By notation-reading, we can find this bubbles' on-going channel is developed from B11 (bubbles-rising), but differentiating in length (Time interval: one → two bars), 
tiny note-differences in recycling pattern
{This time, in each　tracking pattern (Originally, basic unit-recycling was wheeled by a bottom-top movement - each time, the next note will be the first: E- Recovered B-E-Sharp G → Recovered B-E-Sharp G-B  →  E-Sharp G-B-E, Sharp G-B-E-Sharp G), B was raised to be C, Sharp G to be flatten A and a highlighted repetition occupying the middle intervallic linking two bars together ('Flatten A-C-E-Flatten A') was designed there to build a '''buffer platform''' curvedly twisting the whole tendency of this upwards on-going channel to be in another higher-rising branch.},
and accurate fingering locating
(You will feel that your fingering needs to make a very smart and exact change (rise) - especially the second finger of left hand - moving from B to C, for opening an expanding gap; and further, carry this gap inserting into woven pattern alongside two hands' tightly following in Arpeggio-playing way: E-C-E-flatten A → C-E-flatten A-C → E-flatten A-C-E→ flatten A-C-E → '''flatten A-C-E-flatten A → flatten A-C-E-flatten A''' ...).
From directions, our right hand (like　navigator) needs to lead and match left hand' back-pushes (giving motivations like engine) to go higher places together. Somehow, when playing very fast, they were together siding out a pathway up and down. In turns of two hands, a wave-pattern with gravitational expression has been woven out (I have mentioned it before in B11 - B12 session) as this channel's outside form. Then, 8 recycling bubbles (motives) were travelling throughout this channel one by one. 
when we try to recover its beauties, it's better to send a very small Exocoetidae (Flying fish) back-forwarded (reversed) force (about this term, please see the session - '''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)''' above) directly upon our 'buffer platform'. Oppositely, we (as in one bubble) will fly (being shoot) higher up onto a joyful, purified &amp; holly heaven land. During this procedure, special music background 'colours' (separated and) motivated from the frictions of this channeling movement made the whole space &amp; time shining amazing lights fantastically. Appreciating it, we can also imagine a surrounding atmosphere with crystal diffuse reflection (Wikipedia introduction: [https://en.wikipedia.org/wiki/Diffuse_reflection]) magically embracing our channel in the middle, which summarized spiritualties of landscapes' most beautiful elements and impressionist reflexed out of our 'channel windows'. I think, that's the magic power of impressionism, in which we can both detailed analyse its components &amp; techniques as a solidified foundation; and meanwhile, alongside its post-channels, special colours and lights, as souls without shapes, can be generalized and abstracted out what were wandering, spreading, occupying and surrounding the boundaries of specialist operations - lasting tasty in our mind for long time without disappearance. Yes, in childhood, we can also see special 'colours' from bubbles in air under sunshine. In order to support this impression, a dynamics 'cresc.' was dramatically set here, for simulating special lights &amp; colours' scattered transparence. Since happening in a higher hanging valley, this climb has been channeling to a true Peak situation - heavenly snow-land crystal-liked existing in Chou Chou and Sir Debussy's mutual memories, their imageries, their beautiful wishes, and their universal regression for future. Oh, it's also in Angelic Children's Corner. Therefore, in my opinion, '''Heaven Ladder''' is a good title for this channel.  

 '''B57-B64: Dualism to see Chou Chou's Universal Heaven-Slide travelling throughout landscapes for joyfulness - techniques VS imagination '''

[[File:Better demostration B55-64.ogg|thumb| Minutes 0.03-0.15 was B57-B64's demonstration]]

Dears, close your eyes, try to imagine which places were there - in your imageries-sea, as for the occurrence of the most joyful experiences? And, after your endeavors of climbing a '''hanging valley'''; and then, bubble-settled &amp; exocoetidae-shooting up to a long distant channel heavenly dropping to another true peak-land with crystal dreams scattering over purified snow-flowers fuzzing beauties of landscapes all around you past experiences , what are your heart then truly willing to see?  
Don't forget, Doctor Chou Chou was still unconsciously a child in her Children's Corner (may it be an lazy daydreaming afternoon lying on a rock watching heaven lights shining throughout gaps of forest, highly there...). Sir Debussy recognized this point and set a most beautiful &amp; infinite Children's Slide there - in the center of universe and back to the beginning - to the most imaginational first light, and the deep impression of the birth. (Wikipedia introduction: Slide in playground [https://en.wikipedia.org/wiki/Playground_slide]) Then, in Chou Chou's heaven, she can always operate her joyfulness by slide-travelling in which passing by universe &amp; mind landscapes 'besides and under her feet'. But what does this 'Children Slide' in her corner (playground) looked like? I think Dualism of 'piano techniques level in physics world' and ' the links of imaginational level' would help us:
* The identification of piano techniques applied here as the foundation simulating '''Children's Slide''':
Here, we can see 'slurs' grouping each four semiquavers in every beat of a 4 beats' bar, which range both left hand and right hand. Left hand played each tenuto of long note (crotchet) at the beginning of each group (note which needs to be played out enough or over a little bit time value), then being counted out 4 heads leading each group waving upwards till left hand, spreading by spreading. In a larger view, several huge slurs, linking each 8 heads in a breath,  are totally downwards going. They are forming 4 sentences with a smooth progress continuously landing to our earth. Then, post-set 4 pieces of pedalling are there alongside 4 sentences' down-landing, matching out two octaves' data-core liked interactions which apply forces in dynamics channels - each between a ‘Crescendo’ and a 'Decrescendo'. 
* The links of imagination
Then, a breathable heaven with crystal landscapes, supported by pedalling, as the fairy background twinkling and embracing Chou Chou's  Slide theme in the middle, which are formed out the impressionism orienting the history of universe. Chou Chou feels so happy sliding in this channel reviewing fast by-passed landscapes and her own consciousness experiences. Oh, I forget to say: it was also a rotating Slide while you were playing, the degrees of bending &amp; stretching of your fingers told you angles need to be changed periodically. Currently, I think, to some philosophical degrees, the mechanism of universe in particular Planck epoch era, or then spreading out here (Wikipedia introduction: Universe [https://en.wikipedia.org/wiki/Universe];[https://en.wikipedia.org/wiki/Planck_units#Cosmology]), can also be in a analogy of universal Children's Slide, set from a far beginning, down-landing out &amp; down-sliding towards us and this earth - then, till now and here. In brief, this time Chou Chou has really well-done a great universal climb, upwards to so top, fantastic and holly a place, then sliding downwards to us. The beautiful heavenly sound effects made us drunk in the appreciations and imaginations of unknown beauties deeply in universal heaven, which indeed are truly from children's nature - playing only from the curiosity and for the joyfulness.

===== Editing- '''B65-B70: Impressionist Texture - Main streams VS. Fuzzing background - After repeatedly sliding to 'double-turns' '''hanging valley''', Chou Chou found another 'New Toy' -  a vibrating '''Crystal Fountain''' emerging from gravitationally cloud-waves '''=====

Currently, we are going to enter into 'Coda' part of this Doctorial Suite of Children's Corner, melodically reported by  Chou Chou and his father from heaven. firstly, putting it aside, I would like say something extra. There used to be one discussion: what emotion should a 'Doctor' from Children's Corner be carrying? After having reviewed so many fields of knowledge bridging communications between western worlds and eastern worlds, and having travelled so far from 'Big bang' occurring from universe's beginning to 'Black hole' channeling to somewhere unknown parallel universal branch , or in other words, to the depth of his or her own mental unconsciousness part regressing back to those moments that astronaut and his or her symbolized 'daughter' can never make the departure with each other but being together facing happy and unhappy life-imageries in life, and then landing back to the 'solidified' impressionist background with dialectically fuzzing gravitationally-waving 'lights' twinkled from 'The Starry night'...; doctors' contributions have already achieved many what being dreamed for long - a 'crystal castle' built upon 'Mind-independent Snow-land' and colourful clouds, mapping new Era's beginning from Nations' Cartography generalizing 'New natural landscapes with vitalities' (yes, and some societal languages)up to the symbolizations of 'spirituality indications' for future (- Postmodernist Constructionism) (Wikipedia introduction: [https://en.wikipedia.org/wiki/Cartography]); or oppositely thinking, it seems that things still meant nothing or very few gains, after a systematic running of the whole universe - normally, beautifully and peacefully inherited from before, and future was sill continuing to 'there bank' rather than 'here lands' (- Postmodernist Deconstructionism) upon unsure foundations. 
What kind of a 'Coda' part would Sir Debussy and his beloved Chou Chou have writen for our 'Doctors' in 'Children's Corner'? Directly say, I think: so many fields of knowledge from human beings' worlds which were bombing in his or her mind that shouldn't make people from children's corner as a tool inserted into a evil machine or device, working merely for the hopes-losing operation of a negative future; but positively, as a back-returned discover, he or she need to see their 'original heart' and hear some 'harmonic voices' sung from the heavenly corner of children. In other words, the purified attitude of worlds' future, the curious eyes to discover universal beauties and the love of childishness &amp; innocence shouldn't die, but oppositely support the freedom of minds' wandering, expanding, and new links' construction, for harmonically embracing more people and more possibilities. More simplified, by 'returning to be a kid' and 'working only for pure play well in the future', we can keep the root of a young heart with the creativity. Yeah, it is the freedom of minds, and also the curiosity with the creativity - to see more, to solve more, to discover more and to appreciate more... shouldn't be killed. 

By carrying this impressionist emotion ( and make it a deep internalization of ourselves), we are able to appreciate Sir Debussy and Chou Chou's 'Coda' part:
Indeed, Chou Chou was so exciting about Coda's coming, which was firstly noticed from B67's score requirement -'Très animé' (very lively with full vitalities). Then, this exciting mood was also realized through the vertically in-textural matching with a impressionist thematic arpeggio-part (several bright channels were dug out up-through travelling from downstairs - bass &amp; middle parts) and the impressionist background of a accompaniment set putted upstairs (treble's small voices which were short waving &amp; fuzzing there, gave a overall gravitational atmosphere, for holding all expressions thereby beneath it). To my understandings, here Chou Chou's exciting mood came from her willing of an another fantastic performance carrying some brilliantly impressionist techniques about keyboard-touching. It was almost that She had frequently asked us: 'can you distinguish the main channel of thematic arpeggio from the twinkling background in impressionism? and, can you make it out?' Even here, in this case (B67 and B69) your two hands for both theme and background need to interactively &amp; commonly share with the same positions of keyboard and the same notes? Yes, even though it would happen, the distinguishable senses still need to be clearly made out for both audiences and your own heart, which was a quite hard job for our exercises. You can see: in this requirement, the long note - middle C needs to be kept and attached upon the keyboard, leaving a chain: G (crotchet)- A(quaver)- B (quaver) slur-liked  breathing the impressionist air upwards-waving after waving. But, the fact was that they were taking the same area of a piano with each movement set beside each other. Could it be possible, or possibly disordering each other's running order, especially when the same B reasoning from left hand's upwards tail-breath , but also reflected as a normal middle third beat of right hand (in a group shaped as being among a rest-composed 4-semiquavers group in the accompanying background ) , which tightly posted your hands' flexibility in a disordered situation, and furthermore, the longer-lasted middle C bass enhanced this situation to much worse. That's not the most difficult thing, but compared with it: in the next bar, several 'ʌ' signatures - Louder-Sharpening signatures  - emphasizing all heads of groups, were set there alongside an 'opening mouth' in dynamics, which continued her exciting dream to much wider horizons. Though heard good, it needed your fingers' keyboard-touching directions (left hand) be immediately rotated down... to be frequent pressed in the style of stronger 'Up-Down towards' patting of 'Perfect fifths', without even a moment of thinking.. Out of your hands' controllability, do you think so... do you have a willing of giving-up and being broken? Is there a feeling of you, after a long journey, being here with the total tiredness? Yes, but hi, my guys, don't give up, and hold it on for a little bit much time, situations would change better, and to a forever impression. We can say: this treatment was still in beautiful breathes, though hot and exciting. 

Then, a question came out: what was it really heard like - in those fantastic impressionist imageries? what I did analogize it was one of Chou Chou's heavenly toys - a crystal fountain set among multiple-dimensions of spaces &amp; times in our universe. Yes, it was also a symbolized expression of the gravitational system. We can review more historical recordings of fountain's functions in human beings' entertainment life and products-creation from this Wiki-article (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fountain]). I think: you hear, in minutes (1.52-2.00), the left hand's expression - frequently up-streaming main thematic chains - was like　main water-jets shot up frequently in its significant situations, which made the distinctions with other water in basin (impressionist background)clear and recognizable. Yes, they are made by the 'same material' as basin's water beneath, but differentially in stronger powerful forces - being shot up some up-raising streams in music motifs (Middle C as a root of water-jet in basin, with G-A-B style streams flying up towards the sky), which simulated a fountain's beautiful situations. Afterwards, we took a long-distant view, and then, would find  B68 and B70 tightly followed are in a much more macroscopic impression upon the rhythm of spaces &amp; times, for the purpose of summarizing 'Universal Fountain's' beauties. If you let me seek an astronomical phenomena representing the mechanism of this Chou Chou's 'new toy', I would still mention Supernova Shooting (jetting) as Chou Chou's fountain in our universe: (Wikipedia introduction: [https://en.wikipedia.org/wiki/Supernova]; [https://en.wikipedia.org/wiki/Supernova_remnant]). But if you want me make a much sweeter analogy from kids' nature, I would mention Chocolate Fountain with 'water-fall' surrounding - a favourite and enjoyable 'landscape' of my delicious foods. (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chocolate_fountain]). No matter the real fountain, universal fountain or chocolate fountain, I think Doctor Chou Chou's true purpose was for happily 'playing' out one innocent future with the freedom of creativity and new hopes. Let us respect her willing and the nature of a doctor in children's Corner.

Suddenly, you would have found: 'Jason, you haven't mentioned B65-B66!; and you haven't fulfilled yourself in this session!' 'Oh, dears, please forgive me that in the final part of this session would make a clear effect of the explanation, I thought...' To be honest, they were in a Spaces-Times vibrating treatment (with a half-bar's gravitational breath in normal slur-shape - a Louder-weakening signature, but the other as an anti-gravitational expression for 'water's' up-climbing and energy's accumulation )set as a motivating  mechanism inserted into the fundamental basin of our fountain. Seeking words, you will find a device-term 'Siphon' with a series of parts would give you better impressions about what Chou Chou's 'New Toy' was working like (Wikipedia introduction: [https://en.wikipedia.org/wiki/Siphon]). In order to overcome some anti-gravitational difficulties brought to your hands, you must keep them in very small shape and in very careful channels. Following it, music 'water' can pour up 'more pure than a soul', and many beautiful imageries can be created out upon Chou Chou's 'universal landscapes'. In shape, '› ‹' can also be compared with a butterfly, and a kid's pure soul was channeling in this pattern for 'flying higher' with joyfulness. After this supplemental illustration, I think things would be much clearer for the realization of piano techniques and musical appreciation.

===== 'Braking! Braking! A Consciousness-streaming': ''' Back-turned Braking from Peak force' application - in a doctor kid's post-regression  - as a 'black hole' travelling - with new 'big bang notes' up-waking people's minds '''=====

Finally, it's a real 'coda' part our journey will arrive in, about which Sir Debussy and his beloved little doctor Chou Chou in Children's corner were looking forwards to giving us a significant impression, as for the remembrance of 'each beautiful landscape' on the travelling of our journey, and the innocent childishness we were carrying in hearts together. I guess this pair of 'father-daughter-union' composers, from spiritual subject being to universal physics existing, must have discussed this case for long time: 'Father, what type of long-effecting impression we would leave to our learners - the listeners, the keyboard-realizers, further composers who were willing to take our approach, the notation-readers and some self-learners of piano...? By designing out a good coda-fashion?' Indeed, if we review transcripts of Debussy's works, normally, Sir Debussy turned to make two choices in coda parts - one was a romantic up-sliding way flying away our dream's disappearing alongside a fading of its vivid colours gently and pleased, like what 'a let-going spring' imagery 'islandic disappearing' (imagining, when our boat passed by an round island in mind desert-sea,...oh, it was with Arabic fountains, green plants, night birds...only in dream... and continuously...it was disappearing... that's quite right you got it!) from our horizon in Première Arabesque (Arabic Suite - Spring; it's another story in new life we will talk further...)and what Clair de Lune (Moonlight)showed - a silver channel fragmentary slivery upon the surface of a forgotten sea somewhere in our universe and strings of lute lighting it upon to heaven (More information, we can review from Wikipedia introduction: [https://en.wikipedia.org/wiki/Claude_Debussy]. I think, this time, two demonstrating samples can somehow meet some standards of my critical ears, but I would also try classroom samples from wikiversity and wikicommons' views, I thought... Oh, waiting time, it will have been another story in my life) ; and, the other type was a sudden and half-opened termination near postmodernism &amp; postimpressionism -leaving more imaginations to learners ourselves. In this case, Sir Debussy gave more respects to Chou Chou's own choice. She smiled joyfully with her eyes full of curiosities and probably said: ' Papa, I preferred a sudden stop leaving more imaginations to others' Somehow, from sound effects, it would also be compared with a 'childish mischief' with 'a Braking throughout a peak force', but then, knocking out a renewable 'universal door' big-banging a fresh vision of future'. 
Thinking till here, two questions emerged: It's the time to say goodbye, but how did they realize a universal braking in coda? And, what type of analogy can we make according to it?  

'''Techniques Description:'''
Firstly, let us present a participating-observation of its texture in B70-B71, then follow a talk about its techniques-training. Indeed, parts-formation of this piece was quite simple. Overall, it just contents a second-transformed major-triad ( C-E-G) with a range of Perfect fifth (G-C) separately covering your left hand (lower part) which can be seen as its main impressionist chain - heavier and stronger, but the rest part of major chord structure floating up a impressionist background waved by right hand- lighter and higher. For this, logically matching &amp; grouping two hands together as a whole was also the basic technique, with the leading heads (left) joining impressionist background (right) tightly presenting the equal intervallic pace on average. It gave us an aesthetic feeling of well-distributed texture in which harmonic 'Perfect fifths' were repeatedly measuring the keyboard throughout a C major triad impression, which motivated waves by waves (oh, dears, did you forget, waves would be from Chou Chou's new toy - our crystal fountain?). Then by multiple dimensions, it reverberates itself in spaces &amp; times - octave by octave (octave as a cycle), and curve by curve (down-falling). Be careful that 'Gs' here in perfect fifths (B71) were highlighted twice in  minims (long notes) with two 'Λs' (sharpen stronger in loudness) telling us which were heads. Then, parts (spaces) in texture (universe)were separated, with twinkling mind threaded to be pearl chains breezing out colourful energy-waves upon fuzzing materials of background.  But following again, B72's main chain was naughtily jumping up, as happier as Chou Chou's dancing with child's interests. Breaths realized by slurs linking texture together were also short-time jumping. Another possible explanation was that frictions from braking have sparking out dreaming flowers in short-time stopping, about whose story we could see in the following paragraph.  But, transformed from two ''hills'' landing (B71), here, in dynamics, impressionist background has been totally connected out a continuing ‘Crescendo’ - louder after louder.

'''Imageries forming:'''
Secondly, why do we make an analogy 'braking'? Article 'Brake' [https://en.wikipedia.org/wiki/Brake]in our Wikipedia introduction can teach us more about some similarities: After another 'Peak' strongly played through the first G of B71 - the first factor of braking - 'Peak force' has been targeted and accumulated from our fountain's shootings. Sentences like 'The peak force is often greater than the traction limit of the tires', and 'braking can cause a wheel skid' referenced, showed the similarities projected in Sir Debussy's work requiring hands' controllability for controlling 'significant force' in channel. Following this logics, what about those 'heading points' left hand has created out? I think they were like 'shoes' of 'frictional brakes', increasing touching-areas of 'wear surfaces' with 'the rotating drums' for stopping (or we can call it: 'the rotating waves of impressionism'); alongside, 'kinetic energy' has been converted into 'potential energy' memorized in our dynamics score - yes, hotter (louder) and hotter (louder). But, why was the frequency of those highlighted 'Λ heads' continuing faster and faster, from B71 to B72? Imagining a fast metro or light-way train was now coming facing your face on a station, it needs to prepare a braking even far in long distance... until its nearness, the 'inertia' makes out a huge destroyable influence out control of its released 'peak force' - yes, being transformed to the 'kinetic energy' in acceleration, with which 'angels' and 'evils' joined together . In this case, the frequency of 'braking heads' from repeatedly set 'Λ heads' heated the atmosphere dramatically by dramatically . Owing to this operation of 'stopping', much 'kinetic energy' has been transformed to the 'potential energy' and stored in our 'hands machine'. Then, in principles, it was hotter(louder) and hotter (louder). Practicing in reality, we can achieve this braking through our hands' controllability.  Oh, re-thinking about this design, we can know how great Dr. Chou Chou was - as a real physics expert but across multiple subjects. Meanwhile, associated by Sir Debussy, what a beautiful music universe with many imagery landscapes they have discovered for our learners. 

'''Larger our horizon:'''
Finally, a sudden standing has been made with 4 bars' long notes - 'B73, B74, B75 and B76' terminating everything right now. 'F-A: major third' matching 'C-E: major third' was solved to be a transformed major triad in key C(C-G-C-E). We can hear significant &amp; accumulated powers have been totally externalized and summarized (with a mischief joyfulness) to several 'block chords'. Meanwhile, dynamics got the highest level 'ff', long notes (chords) told us everything in terms of this work. In playing it, you will feel your fingers were almost broken by vibrational energy (Wikipedia introduction: W = W potential + W Kinetic  [https://en.wikipedia.org/wiki/Sound_energy]) owing to Resonance (Wikipedia introduction: [https://en.wikipedia.org/wiki/Resonance]) associated by Pedalling (Wikipedia introduction: [https://en.wikipedia.org/wiki/Piano_pedals]; here, it's better a Tremolo pedalling (shaking), about whose story we will discuss in future), after strongly standing on keyboard. This tail can also been seen as a projection summarizing all powers of the whole work. Don't forget the composition of '_' and 'Λ' taught us its special technique - enough time value of each note (and over a little bit) should be kept with a depth reflecting Sharpen senses (dynamics) of the loudness. From forearms, to wrists, till palms and then the edges of fingers, all forces need to be applied there for 'standing' strongly. The dramatic atmosphere created by our hands' controllability even made us out of breathing and 'sweating out rainy'. Taking a full-shot look, I still think it was in an analogy with the ending of our universe - Black hole's  'Gravitational singularity' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Black_hole]). You see, all gravitational laws materialized to be landscapes (notes) have been collapsed, concluded, and compressed into one dimension points-chain, as a stopping 'electrocardiogram'. Is it to say: everything has been talked over and the darkness is still our universe's final fate - no lights, no hopes and being in infinite silence again. If so, what were meanings of life, materials and our prosperous being? ... still to a quiet self-deconstruction... used to be stronger, but final nothing left...

'''Chou Chou's Doctored voice (awarded):'''
'No', Dr. Chou Chou gives us a strong answer in the final note - Big Bang C (Wikipedia introduction: [https://en.wikipedia.org/wiki/Big_Bang]) which will have bombed out everything again, as flowers blooming from 'Dark hole' flowerpot, ranging upon from one-dimension channel to two octaves and more. Yes, it is another branch (Post-Channel) of multiverse tree. Tightly following this note, our story will have been renewed and spread out, with new hope, good wish, lovely vitality, and bright lights penetrated from Imagination. Will it be another Impressionist Spring? It may... or other things...

Thanks to all!

Yours [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:11, 5 July 2017 (UTC)

[[File:Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg|thumb|Doctor Gradus ad Parnassum - Doctorial trainings in Children's Corner (5th draft - New, 3rd draft - preferred. About Each draft's comment, please see beside; About each draft in growth three, please see WIKIMEDIA COMMONS)]]
'''Supplemental Words: Comments for the Main Sound File 'Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg' created in WIKIMEDIA COMMONS and Impressionism analysed here'''

(''' Comments for the 5th draft:''': It is the fifth draft with three advantages, being heard better than before (Almost, I didn't want me so sensitive about certain performance-lacks, and till now, still I thought the third version was the best; but, I cannot stop to try better versions, as for love and respect to this work in this period.):
1. Binary Stars-system B24-B27 showed more unbalanced sound-fluctuations around its axis; tightly following this part, the fluency of Chou Chou's self-reasoning has been performed more naturally;
2. My willing of Fairy Legend in Cloudy heaven has been expanding (B33-B44), with more sounds-reverberations occurring in the bass of lightning door-knocking (left hand of B35-b36), much extending impressionist arpeggio-braches growing of happiness three and more bright lights penetrating joints cloud-blocks from higher peaks.     
3. More coherences and fluencies of the second universal travelling was kept (B55-B57).
Therefore, to me, I thought it has much more meanings of Education Research, which I would like to share)

(''' Comments for the 4th draft:''' This version is with a better and expressive B22-B32, as what demonstrated besides - much like being in impressionism)

('''Comments for the 3rd draft:''' Till now, this version was of the most fluentness I had played, but a little bit stable. I would like theme of impression much clearer and expressive. )

('''The analysis for the 2nd draft:''' You see, in this draft, naughty Chou Chou and his father are playing clouds and lights in the heaven and waiting for a happy Christmas, what they have done are creating imaginational impressions of sky. Then, we saw tools formed by clouds were sometimes like dogs, sometimes like boats, sometimes like drops and sometimes directly floating down like a spring. Oh, they are all only Chou Chou's games. Especially the minutes (from 0.48 to 1.18), she was attempting her best to push aside two pieces of blocked dark-clouds through her arms and let holly lights shine out by being floating directly upon our earth. She did get it (but I haven't really gotten it in my play). It was in the minutes (from 1.08 to 1.18). We can also hear her dances presented by his father hands-running in the heaven are so expressive being after an assemble of clouds-animals to the peak of mountains, which is in the minutes (from 1.33 to 1.50). Oh, finally, after so many adventures, a big bang was applied that our dream was awaken and our soul was taken back to the reality.
Then, we knew: it's only a dream Debussy and Chou Chou have played in our sleeping time. 
Indeed, I felt very sad to hear this sentence 'Claude-Emma was born on 30 October 1905 in Paris, and is described as a lively and friendly child who was adored by her father. She died of diphtheria on 14 July 1919, scarcely a year after her father's death.' Then, we can understand: so beautiful a musical world which is full of vivid landscapes there created by his father and for this only and small daughter. But, how can Chou Chou bear the fact that she needed to make the eternal departure on this earth with this lovely and magic father - on 14 July 1918. I thought it was why only a year after that she had also gone out of her single. Wikipedia Introduction: https://en.wikipedia.org/wiki/Children%27s_Corner 
I knew, in this draft, there are still many lacks far away from my artistic dream. However, in preparing for it, I learned more; and hopefully, it can be heard by you, than before.
Bringing it here is for thanking all the members of Wiki-family, who have been dedicated working for a whole year in different corners of our earth. In this case, we are trying to send Christmas gifts to Chou Chou and his father, for their contributions of human beings' musicality and imagination.)
'''Main Words'''
This version is a life rough data-collection for the exposition of  piano techniques. To be honest, the existing of it is in a little bit far distance from my art dream, but as in respects of Sir Debussy's impressionist universe. It is based on my current energy, time and ability. If possible, I would like to soon modify this draft to further better ones. In that dreaming pure 'snow-land', the paint-brush, transformed by hands and threaded by forces from mechanics and anti-mechanics, can magically draw lights, clouds, bubbles and steam to be the colourful Spaces &amp;Times of a mirrored universe. Then, Chou Chou can freely and naughtily play her games forever. If the final bang is a waking-up sound breaking Chou Chou's beautiful sleep. I would rather we never come back to the reality from this childish dream. If you would like to make better understandings of this melody, you can come to Wikipedia introduction[https://en.wikipedia.org/wiki/Children%27s_Corner].

==== Students' learning effects &amp; progresses from piano pedagogical reasonability (reasonableness): &quot;Kids' Performances in children's corner&quot;  ====

''Jason, why did you submit this edition, is it yours?'' No, no, this sound file was made by myself, but the content was from 'my kid's' learning progress' of Sir Debussy's 'Doctorial' in Children's corner. You knew, Sir Debussy has his own daughter; but till this year - my age of 30 year's old, I haven't gotten any. Therefore, in this period, I saw my students as my kids. Oh, it was by accident that I had recorded one piece of a little girl's exercises in classroom (around 13 or 14). Her name was Xue Meng, Hu and her 'little doctor' Live voicing in this place.
Oh, it was a long long story... Every time thinking was going here, I would be emotional and sensitive. As her piano family tutor (one traditional teaching way carrying a dream of piano fine art from commons), I have been watching her growth - almost from her 5 year's old. During this period, time has changed lots of things, including people's experiences, perspectives of value, willing, and some true hearts ; good or bad, but our dream of piano education and self-aesthetics (the appreciations of musical beauties) has never changed.  In my fragmental memories of consciousness stream, I can remember when I made the departure from 'my kids' for my dreaming educational rationality (I like 'reasonability' this world, because when you were reasoning, you can get the ability to be in pure logics and review world's beauties) in UK ( and Newcastle), she has never given up her self-practices of piano techniques, preparations for national grading tests in China and improve her literacies of music. There were also some times we felt hard to insist on going on, and some times her 'little uncle - Jason' might be so serious about her daily exercises and about himself... And, some times people surrounding us wouldn't quite understand why these guys were dreaming so hard... But, no matter what situations were there, still, she didn't give up; and I have been participant-observing and accompanying her growth in educational reasonability (reasonableness) of piano. 
'Jason, are you a big dream of your educational approach?' Yes, I don't want to deny it but ... not really... I used to say to her facing her family: 'little guy, one day I could teach world's most beautiful melodies of those Masters, and you could learn and get nutrition from them for your creative life fashion. You had the love of piano and a dreaming heart of perfection. That's your giftedness.' But, in that time, her family members told me: we had never thought she could play them... you knew, generations after generations, we had gotten food - fruits, and vegetables ... from our fields... we had been working for it... That's our fate... Just, some interests out of schooling, if she like, she can...
After getting back from UK (or to say, my mind has been alive bilingually through the internet; especially, thanks to my wiki-family, some online platforms of education), alongside the logics chain threaded in the section 2.3.2.9 of this page[https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han#.2A_Children_are_doctors_for_adults.2C_as_the_reason_that_they_can_create_some_most_advanced_techniques_than_your_imaginations.2C_but_with_the_purpose_only_for_happily_playing_their_games._I_guess:_Chou_Chou_must_know_it.2C_and_father_Debussy_also._Then.2C_heaven_is_near:], I began to tidy my minds and my daily practices of teaching and my theoretical modes from education researching.  After a year's time of grade 9th's preparation and her wonderful passing-through, we began to research Sir Debussy's this work - 'Doctor in children's corner'. 

'''Stages as:'''
1st Rough draft for primarily getting its shape;
2nd  Background knowledge collections for understanding Sir Debussy and his Chou Chou's life 
(this was a continuing process by myself that I mainly began from Wikipedia, and then made paper works regarding with it, and carefully observed its manuscripts);
3rd  Analysis of basic points and techniques requirements of its keyboard-touching;
4th  Critical weaving imaginations and impressions to be painting imageries wandering upon techniques;
5th, Collecting languages from both Chinese and English for binary classroom 
(There were several sessions totally in English and some key words of music theory &amp; background knowledge in English I had frequently presented to her, which I could say I made this procedure in binary languages. Though she was in primary level of English, I found music, especially our love of piano, had transformed to be a bridge across hearts' gap and brought us inspirations; Furthermore, I promised every impressionist imageries and scenes I had taught her, but simplified in languages of her age and her ways. Though still, it was very hard for her to understand, she took the challenge and achieve some points through her own sweats)
gave us powers.

'''Two weeks ago, she was able to make this edition from learning progress:''' 
Then, there were some conflictions in terms of whether or not I should submit it, which was from my own heart and experiences. I said to myself: Jason, be brave! What gift can you create for your 'little guy'? What did you own, nothing or something...?  What place, in your mind, is beautiful and pure for your piano education, after so many years' explorations, some dreams, some good memories and some sufferings...? Then, I thought here...My conflictions were also about some small mistakes, 'sliding notes'  &amp; 'breaks' without purpose, the incompletely expressed musicality and some ignored keyboard-touching ways caused by nervous moods made by her... which made her edition lose some 'natural landscapes', such as B26-B28's left hand, the emotional reasoning in B37-B44 and a peak sliding fault &amp; dynamics fall in B65-B66,B71.... And, they were also about ethics issues I wasn't an expert in. But, finally, considering educational reasonability, her long time love of piano, her giftedness, basic completion of key points and some impressionist sessions, and from inheritance (you can see there were small gaps between my first edition and hers' that it sounded like her piano tutor - mine. Her advantage was from a girl's slim hands), I thought I should send out my gift, and era should leave more developing zones &amp; opportunities to young generations' growth, no matter where they were and who there were...) Hopefully, she are able to achieve much more beautiful editions and cheers in her own future for our worlds, than her ' big comprehensive case carrier and a strange kindhearted uncle -  Tutor &amp; Learner (me).

'''One week before examination - a near-closing case of piano education:''' &quot;This classroom edition was recorded a week before her examination of Grade Test. Thinking of it, it's really a hard job for us having gone over a long period to get the basic knowledge of notation, to train hands-manners and necessary techniques of piano, to know some masters of piano and finally to understand Sir Debussy's impressionism and make some possible self-expressions... Before the examination, I wished to give her more confidences, thereby, recorded this edition - to let her know how powerful currently her hands were heard like and how good she could self-reason out her own 'Children's Corner'... Alongside hearing this edition, so many beautiful moments, hard times and imaginable scenes glanced over my brain, in which our growths (including my own - a piano tutor) were recorded sparking the vitality out. Were there still some small problems, Jason? Yes, to a critical tutor, I found it was a little bit later in her right hand when going through the 'Binary System' and the 'highlighted-shinning stars' on sky-celling were lighted by wrongly sliding out other notes a little bit (B24-B30). But I was very happy to hear that she tried her best to play out two 'Impressionism Butterflies' (B65-B66) and linked them to a beautiful Fountain (B67-B69) . Yes, the techniques-stability was enhanced. Thanks, Meng Meng! I used to think last edition was your best... but... this one was further better. Wish a beautiful spring holiday of your 2018, after the examination, will come to your heart and your life!&quot; (Jason M. C., Han in Wikimedia Commons, 2018)

Here and now, throughout a 'text-book writing' of Sir Debussy's Doctorial in Children's Corner,  a reviewing of work-analyses of some techniques-points, many times of fulfilled practicing in virtual and real classrooms, many time of cases-recording of both tutor (me) and student (Meng Meng) in sound-files with words-descriptions, currently, in the new spring holidays of 2018, this teaching procedure was nearly closed, as a final student's good effect was recorded before examination, and further she was going out of 'our children's corner' and to face her examination and her own future. What, I need to say: thanks to all! Thanks to 'being known - a nature of human beings'! And, thanks to this Era who gave a chance to this multiple-channeling teaching &amp; learning procedure of piano! Future... maybe still unknown, especially for this little girl... But, best wishes! 
[[User:Jason M. C., Han|Jason M. C., Han]] '' (Jason, M. C., Han, 2017)'' &lt;ref&gt;WIKIMEDIA COMMONS (2017) Wiki-entry 'Children's corner of Meng',  Searched from Wikipedia. ，Creative Commons Attribution-Share Alike 4.0 International license. Available at: https://commons.wikimedia.org/wiki/File:Children%27s_corner_of_Meng.ogg. Accessed: 10th, August, 2017&lt;/ref&gt;

[[File:Children's corner of Meng.ogg|thumb| Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons]]
===== '''Arabic Spring bloomed out from impressions of Children's Corner:''' =====
[[File:Claude Monet, Impression, soleil levant.jpg|thumb|Claude Monet, Impression, soleil levant]]
After having learned many techniques of Impressionism, Let us have a try of Sir Claude Debussy's another impressionist work - '1st Arabic Suite - Spring Garden' (DEUX ARABESQUES - 1st Melody).
Here, This paragraph below referenced from the description of my 'Wikimedia Commons' was a 'true-heart' dialogue, which can guide us the music imagination and impressions-forming: 

' I was dreaming of a morning awakening in Hanging Gardens of Babylon (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ). Then, gentle breathes of spring told me stories in my childhood painting sheets which has stood up  several imageries, including a bird-transformed angel-girl and Ali's virtual trip to gods' place for love... which were reminded unclear now... sorry. Oh, I can remember the time was when I opened an old book from my grandpa named One Thousand and One Nights (Wikipedia introduction: https://en.wikipedia.org/wiki/One_Thousand_and_One_Nights) that I can read words in my first time. But, in the following tens years of my life, it's heard that happiness and joyfulness in Islamic Garden，like tune sung away in sky by nightingales, left tears with the sadness becoming a dominate theme running throughout the darkness... Spring is the most beautiful one growing from one long-drought desert-area or 'heart'... people knew(Wikipedia introduction: nightingale - https://en.wikipedia.org/wiki/Common_nightingale;Islamic Garden - https://en.wikipedia.org/wiki/Islamic_garden) I have nearly forgotten how beautiful water 'fireworks' raised up by fountains were projected out green vitalities in sky upon desert and diverse mythical animals living there... Until one morning of later spring, I have been to carefully sight-read the manuscript of Sir Claude Debussy's  'DEUX ARABESQUES - 1st suite' (1888) in piano... I found romantic lines wandering upon impressionism background with nightingale's natural musicality of singing praying back a blooming spring have all been summarized in this 'song', which made it soon become one of my favorites... My father told me: Jason, after I heard it, I can feel the willing of expressing its civilization in freedom, as being recovering, but still, it's with a piece of 'unspoken' sadness... Oh, that's quite correct... I thought.Saying something lighter:Currently, it was a hot summer - though posted in a little bit later but 'hurry' time - I prepared it in only a couple of weeks, and some ideas cannot be fulfilled, when diving under seawater in my hometown and opening my eyes bigger, I still can feel the cool feeling attracted by blue jelly-liked bottom was quite like a spring waiting there - warm but not hot, peaceful and with pains... Just mentioning the feeling, I thought Jacques in the movie The Big Blue (currently, I have watched)  would carry the same complex. But, mine is in piano and life. (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Big_Blue ).Oh, sorry,  so far away, I just wanted to emphasis an element of 'Spring feeling' in this Arabic song (suite). Indeed, when I was in Newcastle, one morning, hearing words from a peer of Iraq (mine) praying on a piece of ground-carpet towards ' The right direction' in his heart, what can also give me a 'spring feeling'...So many words... let us listen to this suite with singing musicality... I would modify it with better techniques in short time...Thanks! '(Han, 2017) Coming back again under the sunshine and softly breezing winds in New Era Time, what I would like to further self-reflexive was:' Thanks to this Time, Hanging Garden was almost seen near my eyes with more blooming flowers... Maybe still some pities that my heart didn't reach too far as from a critical aesthete's eyes; but happiness, in the Babylon Garden of Imagination, as a plant would be growing to the Green Tree in a night of 2018 Lucky Dog's year, under which beautiful voices from a singer, or nightingale would freely wander up and totally relax you long-time ‘tighten nerve’... to welcome a mind wake-up in one 'cool' morning unknown with 'dew-drops', fountains, citruses, and special natural creatures... all in musicality...' (Han, 2018)


Here, I need to set two references, in terms of which one was 'Patrizia Prati's version' which I had heard many time for enlightenments and the other was the manuscript I sight-read for the credibility: 
1. Patrizia Prati's Version: &lt;ref&gt; Prati, P. (2016)''Français : Première Arabesque'', Claude Debussy (Wikipedia article):Creative Commons Attribution-ShareAlike License. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. (Accessed: 11th, July, 2017)&lt;/ref&gt;  
2. Manuscript for Credibility: &lt;ref&gt; Translated: Wang, J. Tang, C. (eds.) (2004) ‘1ère Arabesque - DEUX ARABESQUES’, The Collection of Debussy Piano Imageries, Beijing: People's Music Press.pp.5-9.{{ISBN|978-7-103-02765-3}}&lt;/ref&gt;

'''Self-reflexivity:''' I respected others' versions and appreciated them very much, especially from the reasonability of piano deals. But, if you asked me: Jason, what's your characteristics? Maybe... In brief, I am willing that it was: 'more colours with impressionism techniques reflected from daily life... such as 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' and 'The play of natural light (sound effects) is emphasized. Close attention is paid to the reflection of colours from object to object', etc; and ' my full of emotions have been expressed in ways of Neo-expressionism and Neo-classicalism'. Further more, after real practices in some life scenes out of classroom, I would suggested putting an element of ''''France Romantic'''' based on reviewing other cultures emerged from imagery notation would be an good idea. Please have a try, thanks!
[[File:Claude Debussy - 2nd Arabesque (JMC, Han).oga |thumb|1st Arabic Suite- Spring Garden(in 3rd version: Impressionism Singing - Main natural Lines&amp;Breathes from Sir Debussy)]]

3. '''Later time of spring-New Era''' , a colourful Butterfly is gently flying into your Hanging Gardens of Babylon -1st Arabic Suite (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ) , and taking  your imagination&amp;dream to a flowering life-mountain facing a farland sea...Watching some time of one section inside, you can also hear Monet's 'Quiet Morning' upon the sea...Alongside Butterfly's dance suite, Stories are beginning...Oh, listening... it's the legend of Butterfly in birds' song...

[[File:Claude Debussy - 2nd Arabic Suite (Arabesque) - Spring Butterfly, Performer JMC, Han.wav|thumb|2nd Arabic Suite- Spring Butterfly (Impressionism Singing -Main Natural Lines&amp;Breathes from Sir Debussy)]]

===== About the performance of Debussy works, piano Keyboard's touching pathways, techniques, and effects shown in Wikipedia need to meet some standards of impressionism, Sampling - Clair de Lune =====

https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg -
Though this edition has been studio-produced without some unnecessary noises, It wasn't from the nature of life, and with the reasonability of impressionism. Meanwhile, it carried some mistakes. Therefore, I don't think its notation-reading and Piano touching techniques have met impressionism's standards, such as the seconds (0.46-0.49 note F , and 0.53-0.54 note D) - two long-keeping notes absolutely being made the technique-mistakes by being divided into two single ones which deeply broke melodic harmony. Some other mistakes can also be found, such as (0.57-0.58 root chord Octave E; 2.34-2.35 high pitch C in the middle part, the lost expression of Calmato from Bar 43; The no distinguish of 'pp' and 'ppp' from Tempo I etc.)
Another perspective, from 1:39, the impressionism arpeggios produced by master Debussy, on the middle part by left hand, have been deeply broken into single notes' on-going; then, impressionism music's colour-fizzy impressions borrowed from its painting, which was reflected out by hands' skills have been totally ignored. Yes, every note was clear and run in beats, but impressionism disappeared and hands' abilities in controlling linking notes and running them in certain active speed hadn't been made the accompaniment with the whole theme's development. The very importance is the dynamic level of bass long-keeping notes in lowest part haven't been played with 'tender but highlighted forces' gently, which needed to give people some unconsciousness impressions as deep 'footprints of coming'.  (2.23 - 2.24) - from these seconds， high tide's 'En Animant' hasn't been performed well with the sparkling lights upon the higher pitches linked as in a whole logical line, then required to be tenderly pressed the force into keyboards; meanwhile, it and its following paragraph are also too quiet without deep thoughts and without the dynamics level as motivating to 'f' etc. Rather than only these sampled points I pointed out, indeed, there are also some many keys lost accessing to impressionism, which haven't been performed well.
Therefore, I need to say: I have to recover the original edition as both the respect of master Debussy and respect of fine artist' aesthetics. Though in last edition from wikiversity, some pink noises layer was existing. However, it was true both from life and from past experiences - then it was called deep impressions. Can life be pretended without noises? Impressionism is also. It cared about soul root's purity but fuzzed the details (on purposes as by special techniques) Meanwhile, last edition in Wikipedia has also respected Debussy' original notation-reading and soul-expressions. Meanwhile, player's emotional changes about his own past tens more years regarding with this work had all been applied by tightly participant-observing the universal logical line of Clair de Lune implicitly, just like some symbolizations produced impressionism, overall. Then, you can hear some struggling feelings and self-releasing being deeply hidden from the root, which was also participant-observing Debussy's historical life-line. 
If some better editions can be found, after panelled discussions, we can push further more. Meanwhile, I am continuously researching this field. If some communications focusing on melody itself rather than some unnecessary issue, I am very happy to give my talks. Furthermore, indeed, I was very touched by this player's bravery of playing Fine Art's Digital Literacies earlier, but some details need to be up-to-date and regressed back the Composer Debussy his own thoughts from his historical background and life themselves, as engineering giving beauties to commons. Here, we need to think more ... Thanks!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:05, 10 October 2016 (UTC)

'Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies,[43] and the forms are '''far more irregular and fragmented'''.[44] These chords that seemingly had no resolution were described by Debussy himself as '''&quot;floating chords&quot;,''' and were used to '''set tone and mood''' in many of his works. '''The whole tone scale''' dominates much of Debussy's late music.' (Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

These sentences referenced from Wikipedia was really good for understanding Debussy's piano techniques and Key-board touching skills, wish we can make more understandings. I think 'floating chords' are impressionism arpeggio; meanwhile, emotional depth have been explored, rather than a 'stable lake', but with dynamic levels and even 'hidden struggling of life', then, 'self-releasing finally'.

'Rudolph Reti points out the following features of Debussy's music, which &quot;established a new concept of tonality in European music&quot;:
Glittering passages and webs of figurations which distract from occasional absence of tonality;
Frequent use of parallel chords which are &quot;in essence not harmonies at all, but rather 'chordal melodies', enriched unisons&quot;, described by some writers as non-functional harmonies;
Bitonality, or at least bitonal chords;
Use of the whole-tone and pentatonic scale;
Unprepared modulations, &quot;without any harmonic bridge.&quot;'(Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

This part is really good, which reflected out the necessary that impressionism techniques and skills are needed in dealing with these composing habits and requirements from Debussy mentioned for our players. I think, the floating hands-skills, fizzing details and oppositely pushing out theme in Impressionism arpeggios, are really needed. They can be transformed to techniques we need to give ourselves some trainings.

=== Some theoritical constructions summerizing creative thinking skills, phylosiphical roots, psychological ideas and educational research skills, applied in piano field ===
 '''Button:　(See Besides)　'''　　　　　　　　　　　　　　　　　　　　　　　　　　[[File:LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS.pdf　|thumb|LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS]]
('''Post-comment:'''
After repeatedly exercising, after a procedure from clear division of each stage strictly to entirely usages by fuzzing boundaries with learners, finally, this approach will be naturally merging into teachers, teacher educators and learners' daily classroom-oriented operations. Bearing 6 stages always in mind to comprehensively think out practical solutions for problems ranging from simple ones to much complicated ones is always very important, which can help us clarify your thinking in piano and musical education.)

=== Piano Exercises (PE): Postmodern Piano Teacher's (Performance &amp; Keyboard-touching) Continuing Developmental Zone with a crystal heart as Kid's  ===
==== Improvisations for Future====
Main files: Please see the Portal 'Blues &amp; Jazz learnt for fun and a fast brain' in the Portal section above
==== Reorganizations &amp; Solo-rehearsals for Some 'unbelievable &amp; dreaming' melodies in Life-long 'Music-Journey' ====
Friends, Life journey is so long that many emotion-landscapes are going up and down. To be a Happiness Piano-teacher (Piano-teacher for dreaming and sharing the Happiness-land), we are always on the way... When beauties of a flower or a river are touching our heart, we preferred to make out (catch) them buy hands. Then... Have you heard annual Vienna New Year's Concert? From born time? Yes, in 2018, it's mostly like a fantastic Southland Rose, under Italian conductor's hands. But, in 2019, under Germany 'Big Bear' Composer's hands, it's like impressions of North-sea waves. 
So rich views, they were like, varying on the trip... However, there is a piece of waltz never faded, which? Yes, the Perfectionism Waltz - Blue Danube Waltz, flowing from Heaven-spring or from the pure harmonic part of your heart. In so long a life journey, I have been dreaming for many years..., but really hard for piano... The year 2019 told me: Jason, you can play some not all, even like a smaller collection; and remember Sir Chopin's suggestions - 'Very independent Waltz Fingering techniques and fioriture ornamentation'... Further back, in I a little girl student's teaching plan, I added a small task - 'having a try of Blue Danube' through a notation textbook - 'Brilliant Pearls on the Keyboard'. Now, in the End of May, I gave a reorganized &amp; re-integrated edition of piano, myself: 
[[File:Blue Denube in my heart.jpg|thumb| Piano life is like the travelling Blue Danube, let us see]]
[[File:Blue Danube (Exercise and variations-collections in piano) JMC, Han.ogg|thumb|Blue Danube Waltz in piano,  JMC, Han]]
Though many details were still rough in my ears (compared with some perfect editions), I never heard it played in solo-piano and what structure collected was much suitable for piano techniques-training: 

 '''Introduction (Andantino) - A. Waltz (Main) - B. Waltz (Development and Peak 1) - C. Waltz (Development and Relaxation 2) - Coda (Repetition and End)'''
Blue Danube Waltz is still dancing &amp; going on... 
This procedure taught me: '''For some beloved melodies beyond piano's ability, we can cut and pick up some sections not all, then reorganize them in a much suitable form for piano - introduction, development, coda.... ''' I will train myself further more...

=== Small breaks to relax yourself... in Neo-expressionism &amp; Neo-classic of Pop-piano ===
=== 2018 Spring-Echo - Dreamed Flowers-blooming, Cruise-ship trip to Sasebo in holidays and a Self-Doctorial public performance (5 days and 10 times) in 'Children's Corner' (mind-recognized and notations-above collected) Restaurant ===
* [[Portal: 2018 Spring-Echo trip to Sasebo and a Self-Doctorial travelling Performance  | 2018 Spring-Echo trip to Sasebo and a Self-Doctorial Travelling Performance]]

== The Postmodernist functions of tertiary education in Jason's views ==

In my mind, tertiary educational system need to benefit ordinary people's daily lives, and also can continuously absorb the nutrition from them for growing further. 
Imagining the coming of one beautiful day when waking up in the morning: 
all the aging people, middle age people, young adults, young teenagers and children -
no matter where you are living in, 
you will not feel hollowed emptily in mind with hopelessness.
Oppositely, 
through shuttling in your Postmodernist channels to accept the fresh knowledge freely (contracting with the global society digitally）, 
you can know what you are going to do, 
how you could realize your dreams by fulfilling your daily plans, 
and what contributions you will be making for the worlds.
Then, your life would be valuable with the blue hopes 
under the free sunshine of pure knowledge. 
This Postmodernist Regressing-situation should have already been predicted by a classical painting - 
The School of Athens 
'''(https://en.wikipedia.org/wiki/The_School_of_Athens).'''
 All the people internally can freely research their Life and knowledge in their own 'channels'.

At that time, every young person and child's giftedness (even very different from what we have already known) 
will not be ignored, forgiven, or blocked by the society
merely because of the limitations occurred from their special problems, their private difficulties and their disorders (mental or physical) which might be hard to tell others. 
The reason is that plenty universal citizens online would associate them to realize their dreams. 
I knew this vison is towards one huge project for all and somehow a little bit lonely way for me, 
however, I strongly believed in: if every person everyday attempt to travel one step friendly (even very small) for others, 
'tomorrows' will be the beautiful days for all!


== '''The daily collections of Jason's Postmodernist Language''' ==
=== Introduction of this part ===
In my mind, the pieces of fragmental consciousness and some unconscious roots have been inspiring your life-strategies and decisions. However, they are somehow emerging easily in your short-time memories and also broken easily.  How could us frequently collect them and contribute to our postmodernist civilization immediately. I think: collecting your daily internal and external language might be a good pathway.  

=== Contents ===

==== Some words from 2016 ====

1. Sciences &amp; Technologies can better the materialist standards of ordinary people's life; meanwhile, philosophy can give people the wisdom to self-reflexive their life standards for dreaming an idealist future; meanwhile, theology can keep their well-being situation be peacefully maintained. In postmodernist life, after constructing the channel threading the Trinity, I cannot see the conflicts, but the cooperation and negotiation. (7th/June/2016)

2. When navigating in the sea, the directions of sun somehow are depending on your own heart. Whether it is sunrise or sunset, you should ask yourselves(There used to be a philosophical debate about where is the centre of your worlds - heart or brain, about which we can search some information in Wiki-team's 'channels' online).
(7th/June/2016)

3. Children's eyes are prettily beautiful, which can bring holly peace and heavenly love into your mind. Watching them, touching the universal harmony and postmodernist imaginary-regressing to your own childhood; in what channel, I almost forgot some pieces of  unnecessariness, such as hates, boring issues and hostile emotions, and only leaved one pure dream in mind - being together with them to play, and play with smiles hung upon faces. In psychology, it was to say: people would pick up their childish in the later life as the intelligence's regression to be innocence as time's passing by. But, but, I'd rather picking it up in my middle ages, or even from my childhood itself. In that case, my postmodernist trip would not be painfully or singly enough, but with full of sunshine. Oh, good night, my worlds! hoping children in their channels including these generations and the next and the next after the next ones - would enjoy their peacefulness and joyfulness all the time. I will have been praying for all in this channel - mine, yours and theirs - time after time, until the numberless recycles upon.
(16th/September/2016)

4. Today, watching the autumn-leaves here - falling from the higher place to the ground greyly, my memory was also falling and falling to certain part named 'self-reflexivity', or 'mind-independent land' as in the past:
Three years before, I had been a very peaceful and ashamed boy, of whom, even made any arguments with others, the face will turn red. On those days, I just wanted to enjoy my own small joyfulness with my family. Currently, I saw he had been very foolish but innocent enough. Sometimes, when I was him, I enjoyed to watch beautiful moonlights, felt its silver love can be compared with Mother's dedications in my education year by year, or someone else who had would like to make the accompaniments with me in my small life-trip. I didn't know how to quarrel with each other, but just follow some ideas to make further thoughts. In that time, peers, relatives and family members all thought I was a good boy. 
Until one day, I began to gain more multiple-disciplinary knowledge, then critically thinking of my life across cultures and subjects. Then, I went abroad for multiple-views of life and academy for the purposes of getting 'bilingually and comparable views' as in philosophical education.   I found: what absolute pieces of knowledge, even language and number themselves, are somehow not enough absolute and peaceful as before. Yeah, someone taught me some keys; then, I thought I can train them very excellent even super-against someone's levels before, especially dialectics itself, depending on which I can make much more trips and see more beautiful views in my channels. I can also travel to more reasonable and purified 'places', somehow, than current, with the foundation only on a huge summery of multiple-subjects of knowledge. I can shift myself from here to there, from now to the future situations after being reasoning about the possible tendencies. But, this isn't my false, which made someone feel really not happy when I took my stances. They began to make various troubles for me, and I began to make various arguments, complaints and appeals with them, just because what I said and dreamed after had been really not wrong, but possibilities for future - even good visions; and, they didn't believe in what they had seen. Oh, I am researching thinking and education for many years in my ways and I am really not a foolish; but why didn't they give me an opportunity in totally expressing the views I thought in certain field, and even the possibilities for themselves? I did really don't know why - I thought it was because Lord Universal Infinite is fair enough that when he gave you somethings to see, he also covered your another eye as the repay. Every time after the argument with others (even I was successful or fall), I felt of the very tiredness and I was somehow a little bit 'dirty' than before. From heart to say: I feared to argue with others and really don't want to give anyone any troubles, I just wanted to enjoy my beauties - the beautiful music, beautiful scientific approaches - thinking and experimenting, and how others are emotional changing and intelligent progressing etc. But, facing the knowledge given freely from universal reasonbilities, I need to show my respects of their beauties, and I need to be more reasonable in thinking. No matter who you are, where you are from and what kind of authorities you conquered. We were all equally sitting on the balanced Scales of Truth freely. Oh, every time after the argument, firstly, I would feel - indeed there is no correct answer, but main tendencies for... but why your eyes were just focusing on my behaviours... what I would like is to tell the truths, but why you are so critiqued upon my ideas ... if you are travelling to my point between the pressures of two cultures, your thinking will not be better than me etc. - somewhat like shown above. I felt really painful, but I enjoyed pursuing the 'big look' of knowledge, its reasonability and purity themselves. However, if I didn't make out my voices, might be no one would know them, or being latter - they are all going to be separated into fragments in their own channels without caring about the connections between them. In other words, worlds objectively inputted in my eyes and my worlds subjectively reflected out in mirrored universe will not unified together. That's a terrible future. Indeed, what my purpose was very simple, for teaching and learning from each other freely. I want to be a good teacher educator whom, if in my later time, can give every suggestion according to someone who turned to me, with the creative zones I can see. Then, I am accumulating more every day and trying more every day.
Oh, I am praying, praying for that innocent Jason's coming back who, this time, is with multiple-subjects’ knowledge but also gentle, and peacefully as before. Oh Lord, we all have been making sins. Please forgive our sins! Let us all feel peaceful as before!

'' ''The Garden Eden:''{{'}}: Then the Lord God planted a garden in Eden, in the East, and there he put the man he had formed... In the middle of the garden stood the tree that gives life and the tree that gives knowledge of what is good and what is bad... '' {{'}}Adam and Eve Are Sent Out of the Garden{{'}} {{'}}So the Lord God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed{{'}}
&lt;ref&gt;Genesis 2: 8 - 10; Genesis 3: 22 - 23 &lt;/ref&gt;

5. Oh, dear. I am hoping this time my moonlight can last for longer time. Then, I am praying for peace. Oh, what is love? someone fell in love with a person, someone with a city and someone with a piece of music. Wishing this time, my dealing way is in good matters.

6. Fine arts need to respect some innovations from common's daily life. As the responds of Talk in Claude Debussy, I still need to point out: Wikipedia still needs to respect commons' so-many-years' training and love of one piece of music. If it was talking about music, we need to respect some facts and don't tell lies.

7. I have clearly shown out my stance' meanwhile, in order to respect others, I put my version in Talk. 
Talk place is for talking this subject with freedom. Even there, someones still want to break these basic recogitions and pricinples. For what? I don't know. If for money or some other ugly things, don't do it!

8. If appeals were too may and still without respects, appeals will be meanless

9. Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed his this impression to peoples all round the worlds. The very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:44, 17 October 2016 (UTC)

10. If there is no teachers and young teenagers researching music for many years and telling what they were seeing in this field with academic styles and in real or virtual classrooms, Musicians' beautiful flowers will lose their colours. Yes, we are Postmodernist commons online, and sometimes, our voices usually were ignored. Yes, maybe, we are not very professional (Indeed, I thought in one thing if you have interests and love, you can be keen on doing it for tens more years and even longer, that's enough good. Education researches and Psychologists told us, we, ourselves, can already be compared with experts.); and sometimes, we are not professional in using some professional technologies. However, we haven't lost ourselves and tried to dream after the beatiful heaven in our hearts all the time. That's what life's meanings existing in. Sometimes, we feared about unnecessary confliects' happening, owing to that we are peaceful. However, this didn't show that we were weak. Children and young teenagers, my Debussy' case told us: no matter when and how, we need to take some stances and insist on doing what we are dreaming. Behind you, there are your supporters - known or unknown. We need to give them our thanks and bravely face our life.

11. Protecting belongings, maintain yourself against cheating deals, and keeping value-reflecting-price business in China: (I didn't want to make this talk so explicit, just as a daily talk from a common Wiki-member. Then, in this case, I am very carefully to use languages, even my emotion is shaking with unhappiness. I don't want to hurt anyone and don't want anyone hurt my family.) 
Firstly, I love my country and feel good to be a common citizen. However, from long-time's participant-observations, somethings unhappy I still need to say: To be a kindhearted Chinese and don't feel tiredness about some unnecessary issues against some unfair deals are somehow two hard jobs, even only in life. From central TV channel, to local channels, to Internet digital world's channels, and to some newspapers, usually, notices were all written - Please taking care about your belongings, keeping a very clear mind when treating some deals, and trying your best to take a value-reflecting-price business, in China. Yes, 'in China', every time hearing this high-lightening, my heart always felt a little bit sorrowful, especially about 'cheating deals'. From my childhood, I used to feel strange 'why just Chinese was mentioned, why it was towards Chinese, why did we be mentioned shaping our behaviours when making some deals, even in daily life'; yes, if there weren't some unhappy things occurred before, this special 'notices' shouldn't be highlighted, even our own channels, for really protecting some honesty people's practical benefits. But I really have to say: it was a real fact. That's why Education and Daily Notices awaked us everyday. Indeed, 'price running around the true value' - this principle is what keeping things going well. Even being over or below in certain controllable situations, it shouldn't be so exaggerated too much - to over or below certain degree too much, such as 8 times or 10 times more. Meanwhile, it shouldn't be existing without getting the other side's (buyers) permissions, or finally just waiting 'the process of the cheating deal' having nearly been completed to the final step (buyers have wasted so much energy and time in this case), then presented out as excuse to set out the responsibilities. In those cases, they can all be called 'cheating deals'. 
'Stealing belongs' are what really cannot be accepted by the civilizations. In china, some people, especially some being-threated aging people and children have to become members of certain criminal groups. They were sent to some public places including transportation-tools , such as buses. In these public traffics, usually, it was very crowed and the distances among people couldn't be accepted by a humanised civilization. 'Too many people, and too crowed' and 'driver's attitude somehow was really bad' - Those are the real facts lasting for tens more years. Depending on these unmoral distances among different people, these thieves can naturally 'attach' to some persons' shoulders, elbows, waists and hands, which are somewhere your wallets, bags or satchels placed. Then, their hands will wander towards zippers. Even worse, someone would use knife to break your waists, in order to get your belongings. The ages gave them the 'hidden conditions' to make crimes and would become their excuses to set out the responsibilities. They would make the attempts to steal your belongs for many times. After your turning heads back and found their cases, if you are an adult and strong man or woman and pointed them out directly and would like to notice others' care-taking, they would make quarrels with you in the public places. They would draw moral powers to attack your notices directly, in order to 'hide' their crimes or dispersing your attentions; then, they can get out from their situations (Yes, somehow, they are aging people and you are younger.) If they haven't achieve the successes and you founded it, they can also 'slide' away, depending on their public misleading. Then, they could disappear in the crowed 'people sea', and would focus on the next; or get out from this bus for the next. Usually, they weren't working for their own benefits depending on their own willing; but behind, there should be some darkness groups, which has almost been a public secret. Their crimes, if small, can be forgiven by your mercy (Indeed, we really want to ignore them, but ...), which are also understood and grasped by these groups. Their health-care and education are really concerned by people, especially towards some children. &lt;small&gt;(Taking some samples from my own participant-observations: when I was a undergraduate student in Dalian, I used to encounter a child steeling my bag in the market when I was buying a piece of delicious Xinjiang cake (Really very delicious; thereby, I enjoyed to buy some). This is a fact that I have lost my ID card, all the belongings and the money; but today, this case repeatedly occurring upon me, after the time of ten years, when I was in a bus. This time, it was an aging woman that she attempted so many times towards my satchel, which made my attentions. I wasn't a fool, but somehow like a fool. Secretly struggling with her, I attempted 3 times to avoid bad things' happening, by twisting my satchel in front from aside. Then, she turned to the next- my mother, beside me. I turned my body to the other side to block her pathway, but it was unsuccessfully in get back her evil mind. I have to directly point out this unhappy fact to all, in public. What I wanted to do is just awaking people's care-taking of their own belongs in this crowed and unhappy bus. However, my mother wanted me to keep a secret. Why? she didn't know how many people in her groups are in that bus and she didn't know how to deal with some moral blames and misleading towards her son, if being trapped with this aging woman in this crowed bus for so long time (the distances among people have been over too much upon normal people's physics endurances.)   Yes, I can, and almost, I need to. In China, there is a traditionally thinking way - 'Keeping your own businesses without caring about others' issues, especially when this issue wasn't about your own matters, or, you or your family can avoid or escape from taking hurts, signally' - this one usually kept the right one who wanted to notice people in the 'mouth-closure' and let some 'unhappy issues' happened in public as the secret, time after time...)&lt;/small&gt; But taking a perspective from Education: if all the people in public kept what they encountered as secrets, what situations  will be like in the future. If letting aging people or child to steel belongs can be taught to our next generations from their parents or thief-teachers, what will happen in the mind of our next generations. What they think would be: I don't need to take any labours, just depending on cheating deals through some words-confusion skills or steeling belongings from others, then, in risks, somehow, we can get 8 or 10 times more values than before from others, or from nothing I have directly upon to all. In the other side, buyers or belongings-losers will immediately lost what they used to own without being honest treated or being merciful dealt, even in their own life. What-like will our next generations be made as?
Therefore, in my mind, in postmodernist globalized civilization, these are really several Red lines which were touching bottom of Education, and we need to tell children and young teenagers what are right or wrong; so that, I written this recording to bear somethings in mind.
(I make an apology about this language collection's quality is a little bit rough - the fluency is between bilingually oral and academy, because of the very unhappy emotional participant-observations during its completion and its instability with anger. Therefore, lots of details and several small events have been personally ignored, including　one opportunist price bid-up (10 times more)in street market and another half-weight-added relationship-selling without clarifying the quality and quantity of products. They all happened in my hometown, which made me feel really sad. If merely seeing it as one in my self-researches of life-language phenomenon for language-improvement  and taking it from educational perspective, my heart might not feel so painful. Hopefully, they can still be fragments without being threaded together; and hopefully, a night after, I can totally forget them. Yes, after watching child's face and hearing her melody-playing, my mind was calmed down. Okay, I would like to take it as one bad educational material in case for teaching good)
('''Suggestions:''' 
(1) To common people ourselves, in order to live, it's better to prepare a Anti-cheating-deal-protection Booklet by collecting various pieces of information from News online, TV channels and Newspaper. To be honest, there are too many pieces provided in China everyday. When watching them, you would feel evil and how can things be like those... Recently, I repeatedly heard some disorders in southern part of China have been grouped and organized to steal belongings. Oh, they are disorders with special needs. How can things be like those! Yes, we don't want to harm others, but we need to protect our own belongings.   
(2) systematical Market order and monitoring for commons' daily lives need to be re-constructed and standardized. I insisted the Value-to-price - this principle should be highlighted, even more over, it shouldn't be much than 8 to 10 times - over this dangerous red-line. 
(3) Materials-saving and re-cycling ideas in own-dream's realization, as only for, need be taught and learnt by more people, depending on which corruption situation would be reduced and unpractical bad emotions influencing commons' daily well-being would be modified.)

==== Words with annual renewable freshness for 2017====

12. Oh, I should feel much free talking something in Jason's Postmodernist Language Part. In my mind, sorry, maybe - my mind has been self-traveling to the future too far. Taking back a step, this one is still and always a holly place for my self-reasoning and self-purification in my own worlds.   
Firstly, Happy Spring Festival of Chinese Area and please enjoy the first day of a very merry Rooster Year - 2017! 


13. Then, today, following 11st point, I want to talk about another phenomenon experienced on Public bus, which I really don't want to mention but have to. How could I organize my languages more clearly like, after encountering this angry experience? I don't want and never want to tell lies, but certain basic trust &amp; honesty was still gotten lost about its diver. Things should go like those below:
Indeed, it hasn't been a current problem but somewhat lasting for long time since my family's returning to my hometown. Facing this problem, usually, it's my mum who over-stressed me too much -  pressing down may stance and don't want me to say out  my participant-observations. However, today, it is the first day of Rooster Year, everyone should apply polite attitude in dealing with and interactively treating each other, as the gift for a lucky year. My family's gift has gotten lost; and thereby, I don't want to give my gift to some individuals in my city. 
In China, as one part of public welfare, aging people, over the age of 60, have been enjoying a condition of public welfare - over 60, they can get half-discount tickets in public bus; and over 70, aging people can enjoy free tickets. You knew, behind the fast constructions of China, so many people have contributed all their life, all their youth time, all their family-working opportunities or all their family-volunteering contributions and all their patriotic health &amp; energy to each city they are living in; till now, they had to (not to say they are on purposes) be aging over 60 or over 70. Compared with what contributions they made to this country's development in their life and youth time, this welfare is really what they should get, as a balance of their value. In my big family, many people got to this life stage; and in my small family, my parents have all come into the opportunity of first stage - age 60  to age 70. (Wikipedia Introductions: https://en.wikipedia.org/wiki/Social_welfare_in_China) Towards people in this group, I found some divers' bad attitudes and behaviours had been really too cruel, need some criticisms, too inhumanity and lost their basic trusts (to commons) &amp; honesty (to their own working opportunities). 
From 1900s to 2000s, in my family, public bus used to be a main way for travelling outside, depending on the technologies. In order to suit this public tool, We have cultivated too many good habits (you knew, in some extreme overloading situations - sometimes, over too much being even without space for merely one person's two feet which was painfully enough carved in my memory that I didn't want to mention  since my childhood - treated with inhumanity and only for money.). Among them, one is very useful relatively linking to today's case - coins-checking: (1)Before getting onto public buses, my father usually checked each coin and arranged them to me and my mum one by one; (2)and evolving from it, to me, before it, I have been together with my mum in checking about money for many times, in order not to trouble divers and keep our good manners in public bus. However, including today's and another one several months ago and several other times' before, though I really saw my mother's five Jiao (half ticket-fee) had been inserted into tickets-selling machine, and before it, I had really self-checked or father--checked, or saw she herself carefully checked the money, to ensure the correct money having been counted out, and in order not to trouble divers or others, for all times (I dared to say so. We really don't want to be trapped in this case). But still, when it came to this weak and slim lady, many times she was tangled by drivers by impolite questioning how much being inserted for many times. Indeed, if just being questioned many times, this case is also of no matter. Every time, in that very narrowed and only feet-inserted space (today, the situation is better), I or my father will be together associating my mother to take explanations - at the beginning, it's very gentle. However, this time, after saying sentences one time, two times, and three times:' we can confirm that she has really put the right money', some individual drivers, like today's in 28, still used very rude manners, down-looking attitude (with somewhat can be called discriminations. I understood psychology and knew what types of actions reflecting thinking ways behind these actions they showed can be called discriminations after so many years' experiences), questioning and impolite pronunciations to treat this poor lady - my mother. If letting me to attribute the reason of his actions, I would say: in societal activities and trips outside, my mother usually didn't care about her appearance and usually being with normal or even non-good-looked and old-fashioned clothes. She was also an aging teacher dedicating all her energy and time into serving next generations, and really didn't want to pay more attentions to the fashion of her out-looks - she didn't care about it and somehow considering it to be a waste of time and would rather pay things on more useful fields for other family members, family constructions or students (Money she and my family made earned is really not easy). Some individual Chinese have a problem: usually, what they behaved aren't according to people's souls, minds, contributions and good manners with beauties, but somewhat outside appearances. To strong or rich people, some individuals didn't want to trouble too much (because of the reason that they are strong or rich or even being clothed as almost rich), but some persons weak or poor or even just being looked as in poor situations and someone who really want to follow principles to behave (they also reasoned it as because of their poor or weak situations that they have to follow, rather than from heart that they respect principles and universal reasonability), they turned to use bad attitudes (from the angles of their down-looking eyes, bad Chinese pronunciation and many times 'suspicious questions - as if thinking everyone is crime) which you can directly feel about. 
Every time, facing this situation, if I was there I would associate my mother to make things clear and if things weren't really caused by our faults, after many times' explanations made like today, I had to bravely stand out: Every coin should be paid for your own labours, if you thought your labours were valued lower than this money, depending on your 'gentle attitudes', you can enjoy it happily. I knew on the first day of Spring Festival you wouldn't feel happy to take your tasks in working. However, you had chosen it you also need to take the responsibilities. Without interests, working experiences would let you feel in hell. Meanwhile, this point is also not following society principles. if you thought it was a burden, you can abandon it without disturbing others' holiday joyfulness; other divers who love it can take as from their own interests. Did you forget the traditional Chinese customs of Spring Festival? They are aging people, do you have parents and did you treat them like this on Spring Festival? Did you treat other aging people like this who are clothed well? Did you want to send every your bad face as 'the gift' to passengers all the day? ... Did you lose your basic trust and honesty to your customers? Without them, how do you want to get others' back? If you didn't respect your own working, how could others respect yours'?
In Rooster Year's Spring Festival Gala (Wikipedia introduction: https://en.wikipedia.org/wiki/CCTV_New_Year%27s_Gala ), 
'basic societal trusts' deeply rooted in hearts (to our own workings, our family members, our guests, our customers, our friends and our relatives ) has just been mentioned as from Chinese people' moral tradition, about which commons want to send some pieces of the positive information and Chinese Civilization to the worlds. Then, in the first day of Rooster - daily life and around people, it was still lost on you. 
Further, lots of aging people, like my mother, facing this situation, usually tried to pressure down her own son or family members, which transformed outside troubles into family conflicts - this is also one traditional custom without the openness to the world. Why? I wanted to make some much careful explanations: facing it, on the way outside, aging people knew they were weak and didn't want to trouble others or trouble their own family members by being pouched or hated by others. They thought this way was a good solution to avoid something's happening. Therefore, if things they can endeavour, they will. Even my father wanted to insert another 5 Jiao to calm down this situation quietly. Indeed, it was wrongly enough. After being educated, we knew another 5 Jiao cannot get back a lost trust and cannot pay for the whole societal justice. More aging people - in this group - may still need to unfairly pay another one time, two times or even more for being in their weak. That isn't according to moral principles and Education. Even more, taking Christianity's view: God, as Provider, trusts in everyone with the equality for many times. And, the balancing procedure made has already started from everyone's young time, even the childhood, till now, and then. 

'''Enlightenments and Educational suggestions for future:'''
(Children and young teenagers, please don't follow this uncle's bad example. If at the beginning, the diver would smile firstly and say: ’Aunt, Happy Spring Festival! I am sorry but I am not sure about your inserted ticket-fee, please have a check. You knew, my job wasn't easy on holidays‘. And, after gotten the answer once, he would choose to trust in this aging aunt and others’ explanations, for keeping holiday joyfulness and following traditional customs of Spring Festival. How fine an end of this case would be! )

14. Following the 13rd point (transportation management), today, I would like to accumulate one piece as for Jason's language. Currently, the situation of transportation is really better than before - last year and even longer time for tens years. However, in this point, about some cases of round-cycling bus in certain zones , I still need to give a very brief summary (I don't want to be trapped in certain unhappy mood too much): (1) If one job, or life-task, or volunteering, or event, you don't like to do, or even without any interests in, please forgive yourselves and others by choose another one. If you can't choose it, please try to fall in love with it. Yet, please just don't cry out your boring words about your careers all the way on bus. It would trouble others' moods while hearing; (2)When talking about some passengers in weak groups, or some pedestrians (walkers), especially aging people and children, passing by zebra crossing, please be merciful! It's because that cars are everywhere - they are parking, but without caring about principles of transportation. Weak groups, even walked out one line, shouldn't need to pay (responsibilities) for the disordered situation of transportation (sometimes). It's also because that you also have parents and children; meanwhile you also have times to be a child or an aging people. (3) Bell, for bus, is very important, especially for round-cycling bus(if 'really' being set and not broken). If you cannot hear it, please have some attempts; but, if causing by continuous talks with another passenger about some other issues regardless with your jobs, please try to stop... lives of passengers on this bus have all be grasped in your hand... (4) Please bring a good attitude to serve people on your bus and forget their social classes and identities (especially in a country run by principles of Marxism &amp; named for commons and when you can't make sure others' situations - such as whether or not someone has already pressed button of bell, but you didn't hear) and take care of your application of oral language and face expressions - at least, it's your job. Only a gentle smile can solve a conflict, shouting can only get back further louder shouting with anger, but nothing else. (5) About meanings of round-cycling bus: In my store of educational knowledge of transportation, round-cycling bus is designed for motivating the economic development of certain areas - tours to appreciate landscapes, short-distance working demands, local visits, local businesses, relaxing leisure and holiday joyfulness etc. Indeed, at the beginning, there were very small regions importing this type of buses. Then, with the economic development and openness, round-cycling bus became popular and common in some economically developing zones. Rather than this type, two-destinations &amp; each-stop bus was in tradition and  always normal usages for crows of people's daily running, which stopped in every station with no bell being set(or being set, but never being used), but for long-distance travelling across one city, from one to the other, or from city center to countryside , whose problems I have also pointed out in 13rd. They have different functional purposes and should be distinguishable.(2021 views: I still feel sorry to see the situation of 3 routine bus in Golden Pebble Beach of Dalian hasn't change any as a true round-circle bus it has planed, and also the bad attitude of its diver I came aross and his language... It's said China's Cloud-data counting way of new technologies can solve it that people will check their card twice-one for the beginning and the other for the end. When being out of a circle, the end one check will report 2 times of price. We are waiting...for commons) [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:39, 5 October 2021 (UTC) We knew the worldwide famous city-tour bus is London bus, which has already been one symbol of the city and has developed a systemic mechanism for various purposes (Wikipedia introduction: https://en.wikipedia.org/wiki/Buses_in_London). Someone may argue: Jason, you are joking, how can small local bus routines be compared with London Bus and this system - so higher standards; and, we are in China with some different conditions, limitations, local habits of behaviours and cultural customs. Yes, that's quite right. But, I tell you the truth: a big and advanced system, such as 'London specification' to meet specific London requirements' (as a world-wide international city), was also developed from local demands. Just in solving practical problems, dividing functional differences with the distinguishability, storing good developing factors, serving people with more humanities and conveniences (you can see: 'All these buses conform to the Disability discrimination act, and can accept passengers in wheelchairs and other mobility impaired passengers'- how this system did serve people in weak groups that we have no need to mention aging people, women with babies, students, or others etc. ), it can get hundreds years' developments without doubts. Indeed, some reasonable solutions have already been seeded in commons' minds - very sample to say: facing bells of bus, the reasonability deeply in minds has already taught us how, where and when to use, which could be seen as the self-willing of being civilized, being reasonable, being following principles, and really enjoying good-qualified life of own purposes. Without needs to mention whether or not certain driver is able to talk with passengers all the way for boring words towards their own careers and weak groups even ignoring others' bells, here, we can get a brief conclusion across cultures: Don't like, won't do; If like, fulfilling in; if lacking, improving it; if bettering, keeping fine; if boring, forgiving in. 
oh, Jason's life task has no enough time and energy applied in this field; and to be honest, after that event, several weeks' participant-observations were better than before - I can feel: on one bus, air-conditioning was opened in cold days for commons; on one bus, a group of aging people can enjoy their travelling; on one bus, bell can work again, etc. Those are good-qualities, please keep on ... Education should trust people's abilities of self-awareness, self-learning, and self-discipline that we can better. Education can give suggestions from various researching pathways but cannot make decisions of anyone. That's what my learning taught me. I prefer to leave a developing zone here for future ...

Maybe, Public transportation has great relationships with commons' daily life and can give a direct impression of how a city is going on. That is why I had wasted a huge paragraph in talking about some principles as common knowledge in educational purpose. I really don't want to be trapped in this case and some troubles outside computer. However, the reasonability of Education (so long time) taught me I needed to do. Indeed, 'The daily collections of Jason's Postmodernist Language' - this session was designed for collections of language's beauties and creations. The original purpose of it is for the accumulation of good-qualified writing materials and educating languages, with philosophical ideas, fashions of musical aesthetics, fine arts, and bilingually cultural elements.  
I am hopping: as the bettering situations of transportation around my living place, my languages will make a post-regression back to original beauties; and my attentions would be drawn back to what fields I should be in. For it, everyday, I am praying everyday.

15. Strongly condemning the terrorist attack occurring in Houses of Parliament in London today - March 23rd 2017, and also any other terrorist attacks (including Paris', Brussels's and all countries in modern civilization), and abusive &amp; Coward's behaviours and hurts towards commons: 
Life and health are the rights, being blessed by lord and given to all the people equally, without the differences of races, genders, ages. Whoever, if hurting them, are commons' enemies and should be blamed; whatever behaviours, if attempting to damage them or succeeding in doing so, should sin so many and be punished.
Let us prayer for peace and commons' security; meanwhile, mourn those brothers and sisters died in terrorist attacks!

16. Sir Debussy's great contribution to impressionism rooted in his application of impressionism to express impressionist imageries generalized from 'Mind-landscapes' which have already been there - another romantic bank. In brief, we can conclude it as ''''Impressionism only for Impressionism''''.  The later impressionism is a generalized definition adding his willing-landscapes abstracted upon certain real natural landscapes in experiences, dreaming scenes, societal events together with family members &amp; relatives, and most importantly - some emotional joyfulness and love's Neo-expressions, which can be post-tasted for long...
17. Oh, I suddenly found: currently, on some good platforms I was in, about Educational research for music, I have gotten deep senses of Wiki-family' creative powers in various aspects, including documents, comments, self-medias, diaries, images... in life and for commons learners. Depending on them, I can solve many problems easily. It's just about me - my own habits' cultivation and from my experiences, regardless with any unnecessary issues. I need say: thanks, I can be a member.

18. 'May, 30th, 2017' - today, it is the traditional folk festival '端午节' in Great China Area (Normal Wikipedia introduction: [https://en.wikipedia.org/wiki/Dragon_Boat_Festival]), as the remembrance of Patriotism poet &amp; musician (Folk Songs) - Qu Yuan (Wikipedia introduction: [https://en.wikipedia.org/wiki/Qu_Yuan]). From academic perspective, how can we make some senses of this 'cultural signal maker', and how can western friends deeply understand this master and his festival? Two branches of orientations - Western culture and Eastern culture gave me a comparison, which can transcendentalist taught us somethings from their similar natures - probably as a universal communication. When Qu Yuan came into my mind, another Patriotism Poet &amp; Musician from Western world was usually emerging too - Frédéric Chopin (Wikipedia introduction: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]). If you ask me: how can I get this sense, I would firstly emphasize the appreciation of Qu yuan's great work - Li Sao (Wikipedia introduction: [https://en.wikipedia.org/wiki/Li_Sao]).After being heard (language with Chu Ci music), your will find the deep impression - the sadness, madness and anger motivated up directly floating above head - would be harmonic with another piano work of Frédéric Chopin - 'Étude Op. 10, No. 12 (so-called Revolutionary)' in each of their series (Wikipedia introduction: [https://en.wikipedia.org/wiki/File:Frederic_Chopin_-_Opus_10_-_Twelve_Grand_Etudes_-_c_minor.ogg]). Yes, they are under the similar emotional (personal) &amp; historical backgrounds and with the similar expressive mood-streams (even a little bit angry sometimes), for each of their own idealistic, peaceful, and dreaming countries but being going to die near-days, and for their deep loves of common peoples &amp; their lives, and were willing to save their nearly broken hearts from dangers and outside threats - yes, in their different eras, there would also have been suffering strong Terrorism attacks from outside (we can definite them as terrorism attacks, causing lots of innocent commons' lives were lost from anti-governments' powers rather than public's historical willing, which were all unblessed and unfair... especially some public harms and inhumanity they faced, from academy, would have already met the main characteristics of terrorism attacks) to damage local peoples' lives - so many people were killed from numberless wars... (Wikipedia introduction: [https://en.wikipedia.org/wiki/Terrorism]). Therefore, in commons' and so many generations' eyes following, they were heroes and their works can be called 'National works', and there should be some days annually ranged out from the respects. In another similarity, they all represented each different ideas from mother-tongue music traditions - 'their national characteristics' - Qu Yuan carried Chu Ci (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chu_Ci]) as the pattern for his artist innovation; while, Frédéric Chopin pushed Mazurek to the historical stage of world music; all for their loves of own countries. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Mazurka]) Therefore, they can all be called 'Poetic masters in both language and music'; just, Qu Yuan was quite near politician &amp; philosopher, but Chopin was quite near musician &amp; romanticist. 
Furthermore, I have found another historical similarity in materialism: in order to make the remembrances of them, generations all applied the symbolic objects standing for their bodies into custom and culture. This point was hard to be understood. Let me make it clear: In Duan Wu Festival (Dragon Boat Festival), people living in Great China Area usually ate Zongzi (Wikipedia Introduction: [https://en.wikipedia.org/wiki/Zongzi]) Do you know why it was done? After ' he committed suicide by wading into the Miluo River' - oh, he was so sad and angry about the death of his country, people was afraid of his body's destroy in the river by fish's bites. They researched out 'a traditional Chinese food made of glutinous rice stuffed with different fillings and wrapped in bamboo, reed, or other large flat leaves' (Wikipedia introduction: [https://en.wikipedia.org/wiki/Zongzi], 2017), which was made in the shape of body-liked diets, and if being thrown into the river, can attract fish's attentions away from Qu Yuan's body; thereby, his body can be alive and stored always in the river, as for the dependence of his spirit - to be a real river god. Oh, you can find it was also a romantic story merging into commons' customs for food and life. You knew, in traditional Chinese culture, if someone had made great contributions, commons would inductively research out one food of a festival in fairy legends, for deep respects and mind expressions. This was for their material's (body's ) immortal lasting. Very interesting, I found 'Chopin's death mask and a cast of his left hand' and 'Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin], 2017) were also represented people's loves, respects, and remembrances of their lives through carving, protecting or storing parts of their bodies. In some degrees, their lives and spirits were still existing in 'Mind-Independence worlds' of our civilizations through enjoyable festivals and customs, on paper and in music multiscript, and in patriotic expressions and poetic romanticism. 
Tonight of this festival, I was quietly sight-reading them - their minds upon words, and read out the same hot-beating heart, the independent judgement of societal bad &amp; good and universal reasonability, a good willing from our pasted academic masters and intelligences, and the interactive loves from commons in our common root of customs and cultures. Now, on this commercial and changing-lot earth, please try to keep them, for bettering human beings' future.

19. Taking a glance, 2017's hot summer has been arrived. Very happy, Round-channeling bus, I mentioned before, can be in a real cycle with so many landscapes; and some situations of transportation have also and almost modified. Take an example: Near my home, I can also see some endeavors (not being totally solved) have been applied, such as facilities (barriers and separated areas)for keeping emergency Exit throughout and cars' parking in order, though it is really a complicated system and the effect is waiting to be tested. The situation of crowed bus has also been modified in certain degree, by adding some seats from back-place (In this case, I can see some experiments have been applied in terms of whether seats should be added in front, in the middle or at back. Finally, almost being at back was a good way.) But, sometimes, it was still crowed, and choosing different ways would be a good choice. You knew, soooo many people. After reviewing most of my life in this period, I decided to make a Consciousness Stream for summarizing my fuzzing impressions and beauties in this period. Meanwhile, I would like to visualize them through my eyes and technologies. As a result: it came out in self-educational views -

'Where to begin this visualized journey? Where could I have myself extracted from various ends of a life thread-ball and wrote down something for a quite brilliant and rather graceful, but still with 'deepest blue dropping lightest grey' summer of my 2017? A monologue, or a self-dialogue with someone unknown in universe, or an implicit symbolization representing lots of life indications, or projections from two mirrors to numberless futures... should land to a super-ego behaviour that I made over my abilities:Pushing against the wall of a strong cable-bridge's Pier (Wikipedia introduction: https://en.wikipedia.org/wiki/Pier_(architecture); https://en.wikipedia.org/wiki/Cable_Bridge) just above water-ground in sea's middle,  water then was soon raising up to one to two buildings' height beyond your head, and a huge eddy (Wikipedia introduction: https://en.wikipedia.org/wiki/Eddy_(fluid_dynamics) ; you knew, Cable Bridge's pier, in sea, can be thought as  'large emergent rocks' presenting this fluid dynamics ), swirling water around you, was forming out.  It's several minutes that you lost yourself in it,  and just were watching light blue water under sunshine penetrating your soul, as if your tomb will be closed in a core lonely darkness out of sight-focus from this purified colour. (I cannot directly express this feeling in my photography portfolio, owing to no camera in my hands at that moment. But, the middle downstairs photo was made in another time when I was passing by that cable bridge and watching the far beach I was right swimming from... Combined with other water colours in this photography portfolio, we can try to make some senses ...)As in order, then, a hope of resurrection emerging from your mind and from the nature of your physics. Breaststroke,(Wikipedia introduction: https://en.wikipedia.org/wiki/Breaststroke), out of my unconsciousness, automatically pick me up from that dive depth. My mind began a argument about which gesture was better for Swift water rescue in Whitewater areas(Wikipedia introduction: https://en.wikipedia.org/wiki/Swift_water_rescue; https://en.wikipedia.org/wiki/Whitewater). Absolutely, my stance was on Breaststroke, because of my personal problems - my nature turned to this one freely and I didn't like so competitive swimming ways. Meanwhile, I thought self swift water rescue - this activity met my tendency that it needed people to keep themselves safe in water, rather than completive purposes. Furthermore, tell you a small secret of my self-training: It's two more years since I began to research some inputs of Tai chi thinking elements, such as self-making an energy ball through water, presenting a &quot;white crane spreading its wings&quot; in water, imitating with a 'merman's jumping', and walking out a 'octopus' wandering', rushing out a 'Tiger's mountain down-climbing'... into the modifications of traditional competitive ways, for self-rescuing and self-appreciations in life. I found 'frog's breaststroke' and 'whale's Backstroke' (It's another story that we can try to apply whale's 'arms-switching' , breathing rhythm and 'frog's up-wards legs' to transform backstroke. It has the possibilities to carry more nature elements. And, you can also make it in the similarity with personally moving a boating machine -in gyms- by arms, I thought) were much easier to be divided (elements), re-composed, transformed and reused by Tai Chi philosophy.By thinking of those special gestures, alongside Jason's automatic 'frog-kick', I was suddenly left into an imaginational world full of sea creatures from the deep sea beneath my face. You can see, a huge red-mouth-opening frog, a giant octopus and my aunt's eating-crab were externalized out of Jason's mind, appearing in the middle-up corner of this photography portfolio, as in the nightmare. Regarding with more documentary researches and discussions of Sea Monsters &amp; Hell, I has already presented in my comments of 'Chinese encyclopedias of Strange things'' in the analysing article of  'Dream Of the Red Chamber' (Portal: Chinese literature: https://en.wikiversity.org/wiki/Portal:Chinese_literature). Thinking of those, a deep fear got out from the bottom of my heart. I told myself: 'Jason, hurry up, move faster, get away from this area...'After swimming to the beach, I found I was born from water, to enjoy a presenting life on both virtualized and realized birthday, with my family members and friend. Under the blue sky, it's only your family members - your parents, your relatives... who will never give up you, and would like to hold some birthday parties for you; and by together, you can eat some feasts with. Thinking here, in my imaginational world, a whole seaside was bombed out by many Beach Tents and people's smiling faces. As if, they were all together celebrating my birthday. You can see: It was real that in the middle corner of this portfolio's left side, there were a celebrating scene composed by many beach tents throughout woods. 'Jason, please don't say those mad words to anyone else! It's dangerous on earth, rather than on Mars. there was no relationships between other people's holiday-happiness and your birthday party. You should understand. Yet, if you told it to anyone, you will be sent to Well-being Centre...'  Every time, mother would feel angry and cry out...  'But, this time, there should be some relationships between my birth and universe's collective joyfulness... Yet, how lonely we came to this earth...' Every time, I would argue words as so... finally, a quarrel or in silence, we made a choice together... ''Bingo...'  However, in this year, My small aunt and big uncle's visitations made my birthday hasn't been so boring. Eating self-helped Western Steaks in this birthday feast (Wikipedia introduction:https://en.wikipedia.org/wiki/Steak) was what event motivating my mood to a magic level. Yes, I had also eaten some traditional Sichuan Cuisines, as regularly on birthday. (Wikipedia introduction: https://en.wikipedia.org/wiki/Sichuan_cuisine)  . To be honest, in my Trinity Postmodernism philosophy, I really didn't know whether it carries some relationships - myself, with international conditions, or universal organizations - it's said China had imported many beef meats from America at that time. I meant it.'  'Don't say those mad words !' Mother's logics... Oh, okay, no matter how, as a common's lonely Educational Researcher, I felt happy to bury myself under those joyful noises surrounded by my family members and friend. At least, I was in a virtualized&amp; realized group, and couldn't never be given up by human beings...Following it, please pay more attentions to those blue mussels (Wikipedia introduction: https://en.wikipedia.org/wiki/Blue_mussel) besides my Cross Birthday picture on the left top. They were picked up from one of my swimming beach, which made me feel happy to see the ecological friendship with Nature, rather than merely in mouth tastes.  And then, on the right top corner of this photography portfolio, Jason has been dreaming himself into a blue outlook for future: currently, the Open Day of Sea Agriculture is coming. Many fishing boats in North Pacific Ocean were waiting to ship themselves out for seafood. As an educational observer, I was praying Lord in Nature would bless them good lucks!  Finally, a consciousness-streaming channel has broken out throughout the axis of this photography portfolio. It's a 'Ironman' composed by Metro &amp; Railway system dug out of this visualization, to a further brightness. It's also said it could be connected with City International Airport, directly from my home doorway, to anywhere on this earth... It would still need some time to re-adjust situations... But, before moving to Mars from this life... there will be still sometime that I can wait... wait for our relationships (even a little bit with the universe)  can be fixed, or wait someone's coming into my visualized &amp; realized LIFE... or wait for nothing but only waiting... IN  a WIKI-Consciousness Stream of a never-ended hot summer2017' 
'''(Notice: Words referenced from WIKIMEDIA COMMONS for Educational Purpose in Wikiversity)'''

20. About the attitude of kids' or young teenagers' piano-practices: This topic was also a hardly-talked and easily-ignored one with many arguments. In very brief and normally, piano-learning should be from a kid's nature, rather than being required by or being forced to by their parents. 'Nature' means: when hearing sounds, you feel happy rather than painful; when touching keyboard, your heart is comfortable, rather than worry; while some problems are existing, you have the willing to solve and don't want to easily give up; When it is a long period you haven't met it, you will miss piano very much; and when it comes to your responsibility, you should bravely take. And, this learn was as one of your own matters, regardless with fame, money, competition, relationship, or other unnecessary factors (About this point, I would like to say more: some people argued that playing piano should bring those unnecessary factors your mentioned, Jason. Yet, in a commercialism reality, without them, do you think still some people would like to play it? Friends, I tell you the truth: they should in a good order that the primary thing you play piano should be for your nature - your interest and love; then, others would follow you nature and as some beautiful supplements surrounding making your experiences much happier. Therefore, it's not to say I play piano for money, fame, relationship, competition...; then, I have to cultivate my interests and my love from nature... If making it of an inversion, you will find the procedure of piano-practices is rather painful and boring.) Some parents might argue that: Jason, how could we see whether or not our kids have this ''''nature'''' you mentioned? 
* Firstly, at very earlier time (maybe 1-3 years old; here, you can review some exact knowledge and timetable from infant perception, such as hearing; Wikipedia introduction: https://en.wikipedia.org/wiki/Developmental_psychology#Lifespan_development; but please don't make it so mechanized, and just see him or her, after hearing some pieces of significantly emotional music, can smile or feel unhappy, and his or her movements, sometimes, can make according to the rhythm, and even, when touching piano keyboard he or she can show the curiosity and interest for a lasting time of attention...) 
* Secondly, alongside his or her growth, you will find his or her games appearing more elements from music and keyboard-touching (3-5 years old). 
* Thirdly, when you have a try suggesting him or her to learn piano, he or she show great interests;
* And when it comes to some tasks of practices and even challenges teachers would give, they can stay besides piano to research and explore some possible solutions and show his or her endurance for a long time... Yes, no matter what situations results will be like, he or she can show the willing and the endurance upon time. Congratulation! Till now, he or she is a good piano learner. 
Some kids told me: little uncle Jason, I really '''love piano''' very much, even in one day I cannot be apart from thinking of it...But, my dear, what is the love of piano? please don't say 'love', just 'to like'. Just in thinking, without playing? 
In one week's interval, 
if you don't want to pay even more than one hour's time for training your hands flexibly according to some tasks' requirements; 
and if as from traditions of piano family-tutorials since Bach, Mozart, Beethoven, Chopin and Debussy's times, you even didn't want to take your responsibilities to pay the basic tutoring fee, didn't want to say anything clearly or later it for more than 5 times until the next time as if nothing has happened that you only need to pay the next 5 times, or make some plots on purpose to miss it in each time, such as forgetting recording notebook, writing on another sheet &amp; then losing it in next time,  as if fooling your tutor, until your tutors' endurance really cannot hold on it anymore 
(If you have some problems in the reality, please say things clearly to your tutors by seeking a secret time as you know or I know, and if helps I can give, based on my all-inclusive educational perspective, I must research out a solution. Indeed, just focusing on piano tasks, I added lots of extra time following each session for problems-solving and asking questions of your piano practices and showing out effective solutions, if needed... Therefore, please make your attentions just on knowledge and skills, and don't waste your wisdoms on how I can set out your responsibilities. If for money, making good usages of your tutor is better than wasting time to think of avoiding fees. Please thinking like that: if I can learn 2 sessions' content in only one session, show my giftedness out to my tutor and get senses of achievements from learning,  will I have save much money for my family? You knew, you tutor also needs to survive!); 
and right in tutorial, if you even didn't want to focus all your attentions on piano learnings, but thought of other things projected from your eyes-touching, and showed very lazy movements on some locations and very slow responses, but required by your tutor's instructions and guides;
how could you say you '''love piano'''? 
Oh, my dears, you knew, the interactions between you and your tutors, if being motivated out and sustaining well, are beneficial for both your learning and your teacher's teaching. If recycling well, it will also be very funny and constructive for your developments that some interesting games, activities, solo parties, realia-explorations, visualizations (painting together), language descriptions and even visitations to some landscapes can all be magically organized, which were what I continuously learnt from British Council. And, every piano teacher also has his or her own magic to make classroom funny, if he or she feels happy to teach. Without interactive motivations, without a interest, and even a small respect as to your classmate (Western world) or to your own parents (Eastern world), how can things be good for you?
By sending those words above to my field, what my purpose was for a good wish that someday we (tutors and kids) could really join together as peers to touch beauties of fine arts, without any unnecessary desires and only for a true heart from nature. Till then, you will find what a beautiful world piano in music will be...Thanks!


'''21. Case study in Appealing: From this page https://commons.wikimedia.org/wiki/User_talk:Jason_M._C.,_Han, which I used in Wikimedia Commons, we can see the list proved some individuals have plotted for long time (Yet, it cannot make out a so detailed list with many visualizations and sounds used in Wikiversity) to against formal and good purposes in educational views. Otherwise, it cannot be so detailed. But, those educational designs were made for more kids' learning of piano through their watching, listening and reading... I felt sad and confused very much. You knew, I had a dream that one day, if there were internet in any corner, our next generations can all enjoy equal rights to watch some beautiful learning materials and make some arrangements for teaching and learning. What I applied were my most beautiful languages in English and piano techniques since my 4 years old learning which I could write. I didn't want their disappearance, but I really disliked those people who, I don't know why, plotted to delete others' contributions...without caring about their reasons.It would be from nature... You knew, I even live on those materials and put all I can give from my life as action plans, life tests, participant-observations, and visualizations of Wiki-knowledges. If some individuals didn't understand some future learning styles, they can ask and discuss with me... But, why?  I really didn't know how to deal with this terrible issue. This place was a peaceful one I felt comfortable to appeal. Hopefully it will be fine...  Thanks'''

22. Case study in Appealing: https://commons.wikimedia.org/wiki/File:Globalized_impression_of_London.JPG
Sorry, I had to use this type of reference, owing to my ability influenced by emotion, currently. I didn't want to do somethings out of control. 
You knew, this type of Photography Portfolio has described my heart-road with poem-liked languages and translations to meet those requirements of postmodernist Fine art's teaching and learning in globalized visualization. (I tried my best to think out and make in learners' most familiar formations - Words and PPT)
Inductively say: in my eyes, it was so beautiful recording my travelling through that great city. Though I wasn't a famous person but a small common,  my eyes with curiosities about different cultures lighted my ways throughout that city to the higher gracefulness of its architecture. It was also like music spring flowing throughout my thinking and learning. And also, I applied most beautiful words I can think out in Chinese language to describe what happened in my minds. All energies and time I all applied into thinking those educational 'heart-road painting' and sometimes their reflections in music. But currently, it faced dangers that it might &amp; will be deleted (Sorry, in this condition, my languages heard would be broken functioned by emotional changes) I really didn't want its disappearance, as in one of my beautiful memorized trips. 
Similar situations would also happen in those pictures:
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:2017_Spring_Impression_-_Butterfly.pdf
https://commons.wikimedia.org/wiki/File:International_Cherry_Blossom_Festival_of_L%C3%BCshunkou_in_Dalian.JPG
https://commons.wikimedia.org/wiki/File:Metiral-way_in_Jason%27s_life.gif
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-1.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-8.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-7.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-5.jpg
Someone might say: Jason, they included some your individual or even private life fashions.
Yes, peers, they can be seen as one teaching &amp; learning way applying personal senses of life to participant-observe knowledge's applications in life practices and their variously expressive forms. By collecting all points of beauties, we can teach our learners in fine arts and ourselves how to appreciate landscapes and cultivate our own positive moods in lives. You knew, in our world, there was even no one historical event, great architecture, pieces of colourful music and paintings can get away from commons' personal endeavors of aesthetics (our senses). Sometimes, they were in pictures, sometimes they were in dynamics (a moving procedure with loudness and lightness), and sometimes, they were hidden behind. Without those, it seems salt is without salty and bodies without souls, especially in education. We need to teach someone somethings. It is better that we put ourselves in it, to feel and to think. Without them, how can we say we are teaching commons, as who we ourselves are? I think some people usually made me like a gun, and foolish (clever) me usually was used. But, please trust me, my heart was kind... Oh, so many words and... pains in memories. So tired... Hopefully, my explanations can make some people re-think of and understand those issues...
===== Editing -: Words for 2018 from Spring Festival =====
23. '''Processing a Spring Festival in Lucky Dog Year'''
* [[Portal: 2018 Spring Festival|To spend the Spring Festival of Lucky Dog Year]]
Comment: Now, to think...how great that spring festival was! Unless, who can expect the coming of COVID-19? Who can?

===== Editing -: Words for 2021 COVID-19 Recovery Time =====
24. No matter what type of piano Grade Tests, a pupil's ability should be matching with the grade level signed on the certificate he or she got...It records how much endurance he or she had paid on this interest, and the achievement he or she gained depending on his or her own endurance, rather than any other unnecessary or different ways...That's the meaning. I thought in COVID 19-Recovery time we should also emphasizes this point for the positive power and health of this field.

=== Supplements: ===

'''1. For the 10th case:'''
A small summary and Further talk of 10th case in Educational way:
Some standards were not made by only one person but from long-time daily educational practices, and then documentary summaried in Wikipedia. The root should be from commons. Therefore, We need to respect some basic impressionism techniques, skills, hand-abilities' trainings, the teachers and young teenagers' hard-working for many years. Without these respects, experts cannot be called experts and freedom will be lost. Meanwhile, Talk place is for commons and with freedom voices. Please don't damage it. Peace and freedom are existing when others treated you with them. No one wants to lose them. Thinking about it, if formal article don't let commons express their ideas, and talk place lose its freedom, commons will be away from Wikipedia. That's a very terrible future vision. Entrance-door-stone has already been put into our hands, which just depended on what you are thinking and how you are thinking.  If you change your minds to think it as a good way to motivate much beatiful moonlight's silvery coming and further studies, it was also going to be. '''If we have enough time and energy, please put them into researching a further and perfect version of Moonlight, then push it out into the formal article neibouring. Talk place is free for commons.''' This is also said to myself.

'''2. For the 20th case:'''
Good attitudes and characteristics of a life-long piano-learner:
He or she should -
(1) have a sincere attitude and long-lasting willing for exploring new things;
(2) have a desire of accepting more techniques and knowledge points in piano and music;
(3) not feel bored in repeatedly trainings, but with great curiosities in discovering new improvements in each time;
(4) have a positive heart of aesthetics about the coordination of exercises and rests;
(5) work hard and critical think of every question, for problem-solving and lacks' fulfilling;
(6) Challenge authorities and prove ourselves by one life's time;
(7) seek and create possible chances for performances and not give up plays;
(8) not fear about each time of failure and dare to correct self-mistakes and others' mistakes honestly;
(9) have strong self-discipline - when one day comes that no one give you requirements, you can give yourselves some standards in single learning and teaching;
(10)attempt to save yourselves from troubles, and always willing to give people feelings of beauties 
  '''3. For Sir Bach's Reasonability mentioned in English-Suites Analysis above:'''
Recently, I have read some books said: Compared with music form before, Baroque music is like 'Extremely &amp;Dramatically Collected Emotions'. How to understand this question? Not all...in a larger view including the following some styles, many of Baches are actually like 'The Self-being Reasonability of Externalizating Emotional Fields'. I would use some real scences and educational pieces to explain it.([[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:00, 1 May 2020 (UTC))

[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:04, 17 October 2016 (UTC) &lt;!-- Template:Unsigned --&gt;&lt;small class=&quot;autosigned&quot;&gt;—&amp;nbsp;Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han#top|talk]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 00:56, 17 October 2016 (UTC)&lt;/small&gt; &lt;!--Autosigned by SineBot--&gt;
Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed this impression to peoples all round the worlds. In my opinion, the very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:43, 17 October 2016 (UTC)

'''2.Case study from Jason's language -2021:'''
I am surely about all what I have talked about. Now,some have been modified and progressing to be better...But, we all know the difficulty of COVID-19 Time...
One thing I need to ask a overall question:
Could the pure world of music wandering for long (free and beautiful) make the communication with the reality? To make sure a true heart in music? And to make the likely people together? To overcome the hardness of the real life-time? And to be helpful and  understandable for the hearted someone between each other and their common life-going?
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 13:47, 6 June 2021 (UTC)

== The never-ended Postmodernist concluding ==
=== Report of Binary piano-teaching 2019 Wiki-conclusion for the attendance of World Teachers' Day Web Conference in British Council collaboration with IATEFL (article storage) ===
In recent several days, '2019 World Teachers' Day web conference' is coming soon. Time, here, is better to conclude the road having been walking on for many years, what good particularly happened this year,  and further suggest to future. In the consideration of so above, my report is shown as below:
1. English, as my daily tool of 'knowledge &amp; Skills-Acquiescence and Information-Seeking of piano, has already associated me make the teaching-arrangement and write the framework of teaching materials and the total curriculum. Academic journals, news, Wikipedia-searching, and documentaries... have already been the main approaches... Take an example, as a member of Wiki-family, in my main research-blog (portal) page: https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han , the main approach of knowledge-identification &amp; pedagogy-planing are 'English-seeking through Wikipedia, Wikiversity, Wikimedia Commons... Afterwards, materials and ideas were integrated, through the critical thinking skills,  with my past teaching &amp; learning experiences of Piano (from childhood). Furthermore, practising actions were drawn out to guide my daily lessons for 'Piano-kids'.
2. Teaching self-reflexivity, comments and assessment-conclusions can also be found in the link above, which fixed my family-based piano-training methodology up.
3. In piano field, making personal 'Performing-works Show' is always a great way to assess teaching results and present people's 'Artist fashion'.  In these many years, how is mine working for myself and students?  Through sound-images making,  photography and English description... Take an example for this procedure, there are some collected single Work-Show pages - https://commons.wikimedia.org/w/index.php?title=File%3AMM_Good_classroom_F_major_1838_Grande_valse_brillante.ogg https://commons.wikimedia.org/w/index.php?title=File%3AUnder_the_sunshine_-_Kim_Hui_1st_draft.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ADove_in_the_eyes_of_Young_Teenager_girl_Xinyi%2C_Hua.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ASure%2C_Ma's_Version_of_'Turkish_March'_in_piano_classroom_for_piano_education.ogg  Firstly, after getting the best performing works, I shared my credits to help those 'piano kids' to get the submitting license (Non-profit and Creative Commons from the originality) - 'single page', and make the very careful descriptions of classroom-training procedure (through participant-observation). Following, after many years' accumulation and growth, a whole English educational portal (Platform) can be founded, as shown: https://en.wikiversity.org/wiki/Portal:Piano-kids%27_Corner_from_classroom_and_virtually_online Together with the photography, piano-kids' most beautiful moments of the real classroom progress were virturally but vividly shown in front of us, which have been also motivating them to continuously improve in their 'Piano-Life' to future... Give great thanks to Wikiversity who have pushed up this type of my portals - in this year as News for the promotion for many years among native speakers and experts for many times (almost 7 to 8 times).
4. In this year - 2019, I found a fresh way to present what I knew regarding with the classical music, piano and many brilliant composers in list... -  Holding Library Salon-Presentation &amp; Concert. Through many English-seeking approaches in encyclopedia, notation sight-reading and library-notebooking (Chinese and English language)... (Shown as the first point above), primarily, I got information and knowledge of those masters. Then after, through information-processing, I joined them with my own piano-growth road in the memories, and 'thread those beautiful pearls into a whole necklace' (what my thinking skills' professor taught me). Finally, after another many times' rehearsing, I can present my heart-roads of those masters in a beautiful Musical  Library in Dalian. Indeed, this 'fashion' experienced many times' translations, ideas-switching and presentations, which tested a teacher's level greatly. These several photos showed this procedure: https://commons.wikimedia.org/wiki/File:Presenting_Mozart-Forever_in_Dalian_Library.jpg  https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpghttps://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_3rd.jpg https://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_2nd.jpg https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpg
Now, '2019 World Teachers' Day web conference' is coming soon. It's a beautiful and relax day for teachers all around the world. In this global conference, we can share, enjoy and developing our teaching skills. Professional experts in our fields can also give us some suggestions for future. Hopefully, young teachers and teachers with 'never-aging' hearts can all come together, in which hand in hand, we are brothering and sistering each other, with love and friendship! O(∩_∩)O

Jason's second way, Han Acount is also used as the emergency edition channel[[User:Jason&amp;#39;s second way, Han|Jason&amp;#39;s second way, Han]] ([[User talk:Jason&amp;#39;s second way, Han|discuss]] • [[Special:Contributions/Jason&amp;#39;s second way, Han|contribs]]) 15:52, 31 December 2025 (UTC)

== References ==</text>
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      <comment>/* * Children are the better PhD for &amp; than all adults, as the reason that what they can create are some most advanced techniques than you can imaginations, but with the only purpose - for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, Heaven is near: */ Modified the grammar</comment>
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[[File:Our baby Munson is coming across the new year 2026.jpg|thumb|Jason &amp; Cynthia's Baby (Jixun Han and Yang Gao) - Munson is coming across his new year 2026!]]
On the date 9th of July, Jason M. C., Han (Academic name, Chinese name is Jixun, Han)and Cynthia's new baby was born. Now, he is coming across his first new year's day of 2026.He is the new hope of this Chinese academic family.
'''Voices in Song having been trained companying with piano keyboard since childhood (keeping all technique possibilities of every times in growth)'''
[[File:Always on my heart (An English-language song, sung by myself adapted into men's voices).wav|thumb|This song &lt;Always on my heart&gt;  is one English-language song made by Chinese person originally for ladies. However, I changed it into men's voices covering all parts in my growing times which I can do. Thanks for listening to my voices![[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:16, 31 December 2024 (UTC)]] 
[[File:Jason M. C., Han and his 3 persons' family.jpg|thumb|Piano &amp; Musical Jason M. C., Han and his 3 persons' family, after new baby was born. Still, they fell in love of piano &amp; music, and feel like to teach and learn piano &amp; music generation after generation. ]]


Dear Wiki-friends: 

In the Postmodern era, academy will have returned back (regressed) to the Life with the humanity
for nourishing itself and continuously contributing to the sustainability of our globalized worlds, 
on its multiple-dimensions levels. 
I believed in this developing tendency occurring in our future.

[[File:Wedding Ceremony.jpeg|thumb|Post-modernist Piano Teacher Jason M. C.,Han comes to the next life stage luckily marrying a pretty girl named Cynthia Gao who is a kind-hearted and soft-tender lady in Dalian, China.They falled in love with each other very much. On the date of wedding ceremony - June 4th of 2022, a Piano pupil named Meng Meng played the Wedding Ceremony March and another student named Xuan played The Wedding Ceremony in the Dream for us, as the accompanyment of music background. That's the participate-observation of angels for wedding. Thanks. Let us give our best wishes of a new life and the recovery of our world 2023！
It's the picture of wedding gown for witness. ～～～～]]

== As a Postmodernist-trinity learner == 

who have been post-graduating on Master's from Newcastle University - one global citizens' university 
'''(Introduction: https://en.wikipedia.org/wiki/Newcastle_University)''' 
and binary living &amp; travelling in my mixed Postmodernist 'channel' 
{It is a symbolized philosophical root (as a flexible portfolio with each part integrated tightly) summarizing the properties from Postmodernist City-theory (City-Machines), the Holy Trinity Spirituality with forgiveness in Post-theology and the Materialized Universal Laws discovered by Post-Marxism} 
between my home town Dalian
 '''(https://en.wikipedia.org/wiki/Dalian)'''
and another beautiful postmodern city - Newcastle 
'''(https://en.wikipedia.org/wiki/Newcastle_upon_Tyne)''',
I am working for the freedom and the equality of knowledge with innovation 
shared by all the universal citizens in every corner of our earth. 
This point has meet Wiki Group's fundamental purpose of development. 
Therefore, I have chosen here to test my own knowledge and discuss educational topics with others through special 'channels' implicitly or explicitly, 
collect and create new knowledge for our next generations, 
and company with peers to produce the effectiveness of the learning and teaching.

== As a Postgraduate-ed piano teacher of The Real Master's Master== 
[[File:Piano Lecture of Dalian Library (Music) delivered by Jason (Jixun) on October 13th, 2024.jpg|thumb|Piano Lecture of Dalian Library (Music) Delivered by Jason (Jixun), Han and His Piano Pupils Team Associated by Family members and Library workers]]
[[File:Music-Moving Dalian Piano Active Joined by Jason M. C., Han (playing).jpg|thumb|Music-Moving Dalian Piano Activity (charity) was Joined by Wikiversity Jason M. C. （Jixun), Han (playing) at the subway station of Zhongshan Square, who  is a member of Dalian Piano-Expertized Association, which was pictured by his wife - Cynthia, Gao. Subway Charity of Piano Donation &amp; Activity is a good way for piano pupils' Growth and public piano-eduction, especially in China. Let us support it, thanks!]]

[[File:Crossing Year 2019-2020 Classical Piano Concert.jpeg|thumb| The Self-situation holding Crossing Year 2019-2020 Classical Piano Concert in local library]]
[[File:The beautiful views of Scotti-highlands (Teaching demonstration - video; Jason, Han).webm|thumb| The teaching demonstration of one important melody in Crossing Year 2019－2020 Classical Piano Concert in local library- 'The beautiful views of Scotti-highlands' (Video)]]
Teaching musical knowledge and diverse musical techniques and schools for children and young teenagers, especially being good at studying, learning, researching and teaching impressionist music, such as Sir Claude Debussy's:
Wikipedia introduction of Sir Claude Debussy: https://en.wikipedia.org/wiki/Claude_Debussy#Late_works
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism_in_music

He thought impressionism in music should have already been transformed to be Post-impressionism as some scholars had also believed.
Wikipedia introduction of Post-impressionism: https://en.wikipedia.org/wiki/Post-Impressionism

But this judgement, if being heard standing more loudly, still needs to be tested in musical life and practices by Time.
He thought: if impressionism in music would be developed much vividly and expressively with more musicianship, it should make the post-regression and post-communications back to its root, as 'postmodernism in painting' across subjects and across sensory organs. How the techniques and skills of both can be compared with and shifted by - from the directly visualized senses to some meaningful auditory ones, and how masters in this field would use their musical techniques and notation-knowledge to explicitly express life-impressions in minds. Supported by new technologies and cognitive sciences, there are plenty tasks which need us to take. 
Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism
Therefore, hoping more and more enthusiasts of music can learn, research and learn this school from France, from Europe and from some fork-expressions all around the worlds.

Let us leave a developing zone, here ...[Sir Chopin's musical style may content a big love of his own country, the indoor-limitation of behaviors, the sickness-depression from tuberculosis(desire of health but cannot get),
the un-expressive love to his life-partners, and the gentleman thinking-wandering supported by brilliant fingering skills… It's a complex from young...[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:59, 13 August 2021 (UTC) []
But, here and now, please try to relax yourselves - enjoying life impressions (with music's helps).

Experiments of Self-built Learning Resource Portal for guiding the training of impressionist piano techniques:

'''Neo up-picking of '''old memory''': The impressions of Sir Chopin's advanced techniques-training, accompanying with my pasted young-teenager life'''

[[File:Chopin in memory classroom good.ogg|thumb|Chopin in memory classroom - good edition after many attempts]]
('''Self-reflexivity and Comments collected and referenced from the original Wikimedia Comments' file - [https://commons.wikimedia.org/wiki/File:Chopin_in_memory_classroom_good.ogg]''': 
English: It's said: in each heart of every pianist, piano educator, piano teacher, piano dreamer, learner, and enthusiast, there should be a place for Chopin and a melodic theme wandering, dancing and rotating deeply in mind, which is twining around roof of house making you ignore the tastes of cuisines three days without attention (referenced from Confucius' dialogue when encountering amazing music) . 
It should summarize dreams after excellent techniques, unrestrained fashion, gentle expression, noble personality and patriotic heroism, especially standardized for a piano-boy's societal development. 
Oh, Jason, maybe currently, it is a little bit far from your (my) life and age, but you (I) still keep one own piece companying with you (me) for tens more years, which involves lots of fragments of educational experiences, free shares with peers, private or public performances and happy memories, etc. Then, I put it into my philosophy, with a deep impressionism of Chopin growing, blooming, and never-aging in the spirituality and musicality world. (Indeed, Chopin's techniques are far from impressionism and turning to another approach - &quot;Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.&quot;, and One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity - as his writing in Projet de méthode. But, while you are (I am) taking postmodernist impressions to see them accompanying with your tens more years' life participant-observations - oh, and your rough hands, limited energy and shorten time cannot be compared with yesterdays', they fuzzed to be one deep impression of Chopin in your memories with details unclear but heart true. I don't really know how to put it in my postmodernist educational journal. Is it neo-expressionism or neo-classicalism... but not really - so complicated??? Is it my emotional expression...??? ...but techniques trained used to be advanced, then currently, 'Improvisation stands at the centre of Chopin's creative processes' has almost been released in my classroom performance. Therefore, firstly, by releasing here and waiting further considerations, it's still made from a common named Jason, as the respect and remembrance of Sir Chopin and his post-memories in past .) Deeply in my mind, it's not great as Revolutionary, some flowery mazurkas, and Great Waltzes(I also enjoy listening to and exercising them very much), but a small piece learnt from my teacher and my mother and performing for my peers and family members (also requiring advanced techniques in middle tenth-dancing, rhythm-keeping, fioritura-singing, romantics-reasoning) - light, pure, joyful and bright - as a flowing spring. With it, I enjoyed some beautiful life moments, and passed by lots of examinations, and life-tasks, like a happy (used) waterfall. Yes, it is almost named as Trinity-Form
G-flat major Waltz)
Further Wikipedia introductive Reading-list: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]; [https://en.wikipedia.org/wiki/Waltzes_(Chopin)]

===  Post-Piano tutorial progresses from Jason's learners - in honour of Sir Chopin leaving in Prior-memories ===
In the reasonable line of piano family education before and after, I used to be suggested by my tutor and mum: Jason, in the future, you'd better to seek a period felt in some energetic situations, in which you can dedicate yourself in training advanced techniques of your hand in terms of Frédéric François Chopin's Waltzes, especially some from the collection of Grande valse brillante(Wikipedia introduction: [https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin)]). However, it was two dozens more years pasted by that I haven't sought out a right period in which I was full of energy. I thought I should feel the regret.
Thanksgivings! I am a family piano tutor that what my lost 'dreaming stars' I could pick up for my 'kids' in their right stages &amp; progresses, through some educational approaches, such as notation-analysis, background information-introductions,video-observation and fingering &amp; handshape &amp; sound-effect researches... Therefore, prior 'lost' was transforming to be post-benefits, in which the magical powers of education and music were coherently threaded as a whole representing my small happiness of 'inheritance' (Oh, I wasn't dying as Chopin's complaint about doctors' analysis ''Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die '' in December 1839, after his beautiful France Romantics and an England Tour recorded in some works, as what our F major Waltz had recorded. &lt;ref&gt;'George Sand Part' from https://en.wikipedia.org/wiki/Grande_valse_brillante_in_E-flat_major_(Chopin) &lt;/ref&gt;. That's my lucky. Therefore, here, 'inheritance's' external scope was enlarged to mean 'some beautiful techniques was sustainably passed by, carefully stored and neo-developed in my learner's mind and fingers supported by educational power.) Oh, it was a lovely girl young teenager (around 13rd year old), about whose educational stories, I had a prior talk in my languages, my post-reports of Sir Debussy's classrooms in Children's Corner. Here, you might feel time was a little bit disorder - 'before or after', but from multiple-channels, they were threaded in a pearl chain of subjective initiative where they should have been in. There, prior lost would be re-picked up and recovered in Post-time; though a little bit idealist, kids' dreams could be warmly post-embraced and post-raised up, no matter too small - we will have wished them: 'never fall... never'.
Though still some 'fails' and LIVE recording facilities in tutorial room weren't quite good, let us try to appreciate her edition and think of how many endeavors in terms of each technique-point were behind it:
[[File:MM Good classroom F major 1838 Grande valse brillante.ogg|thumb|Waltzes, Op. 34  No. 3 (Chopin) in Grande valse brillante in F major, player: Xuemeng, Hu (kid's name in children's cornder: Meng Meng). Comments, please refer to the original file in Wikimedia Commons]]

=== Portals for Postmodernist Research Preparations as PhD's Doctor ===
'''Piano Etudes as poems -'''
* [[Portal: Piano Etudes as Poems | Piano Etudes as Poems]]
'''Spanish music with impressionist elements -'''
* [[Portal:Maloguena dream|Maloguena dream]]
'''Impressionism in China -'''
* [[Portal: Impressionist Visualizations (for musical imaginations) and some Sound files | Impressionist Visualizations (for musical imaginations) and some Sound files]]
'''Sonatinas from Kids' corner near heaven -'''
* [[Portal: Sonatinas from Kids' corner near heaven | Sonatinas from Kids' corner near heaven]]
'''Green Sleeves (Impressionist Visualization) -'''
* [[Portal: Green Sleeves (Impressionist Visualization) | Green Sleeves (Impressionist Visualization)]]
'''Blues &amp; Jazz learnt for fun and a fast brain -'''
* [[Portal: Blues &amp; Jazz learnt for fun and a fast brain | Blues &amp; Jazz learnt for fun and a fast brain]]
'''Mozart's Genius Techniques in Kids' Eyes -'''
* [[Portal: Mozart's Genius Techniques in Kids' Eye | Mozart's Genius Techniques in Kids' Eyes]]
'''Special interest - Musicality from Chinese Literature and translations'''
* [[Portal:Chinese literature |Chinese literature]]
'''Oceanic Musicality from Outdoor-Sport - Winter Swimming prepared from Daily Long-distant Swimming'''
* [[Portal:Winter Swimming prepared from Daily Long-distant Swimming |Winter Swimming prepared from Daily Long-distant Swimming]]
'''Piano-kids' Corner from classroom and virtually online'''
* [[Portal:Piano-kids' Corner from classroom and virtually online |Piano-kids' Corner from classroom and virtually online]]
'''Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training'''
* [[Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training|Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training]]
'''Vienna School's Aesthetics - Photography for Musicality Cultivation (Piano Exercises)'''
* [[Portal: Aesthetics from Vienna School (Musicality) | Aesthetics from Vienna School (Musicality)]]

=== Wiki-Documentary collection and Practical exploration of piano techniques in Impressionism on the level of Globalization ===

==== Ideology and Critical thinking from Jason's  Wikiversity-perspective ====

===== Root - Ontology and epistemology =====  
World began from the streaming tendencies as its chaos background, then many twinkling-switching impression-points open their realized-or-not eyes to see out some mainly logical themes (procedures and faithes) upon the atmosphere background. That's the impressionism of universal. Now, we came here and time...
Under the World-Era background of postmodernism, for the purpose of entirely recovering the Impressionism techniques of piano, we need to dig a channel with binary materialist supports from both Internet+ collections and daily Educational accumulations. Yes, we can imaginatively stand on words and phrases online or on paper as virtual materials, then collect them; and, we can also vividly consider educational impressions from piano-practices as spiritual materials, then pickup. Afterwards, mixing and integrating those all through engineering-analysis approaches dialectically, we will began to wander throughout more landscapes and watch more beauties internally this channel, for dreaming after pure musicality and reasonability. Furthermore, this channel, supported by some advanced techniques, will be twinkling the brighten 'stars', outside the 'winders' set upon the waving tides of colourful background, ornamentally but also thematically. Then, imagery purity upon 'Holly snow land' would be jerry-liked, gravitationally, self-reflexively - either  mechanics or even anti-mechanics - constructed out and solidified in, which is deeply carved in Debussy ''Doctors'' eyes but also from globalized Children's Corners (Creative places) around all the worlds. Indeed, about impressions, in my view-horizon, peoples in globalization have already made multiple fragmental fork-explorations, through diverse fork instruments and expressive approaches. Therefore, there would be a paragraph collecting what we can know as some folk treasures. Yes, Impressions, somehow, can be fragmentally distributed from consciousness to unconsciousness of races-diversity especially in Collective Unconsciousness (About this term, depending on Time and Energy's limitation, I found a piece of Wikipedia-introduction, about which we can make a Reading List and collect further pieces of informationhttps://en.wikipedia.org/wiki/Collective_unconscious). But, in my (DWL)Dream's Wandering Legend world, we needed to remember the first leader who has systematically summarized them as a school which has been influencing the field - Music, should be the France in Europe.  This paragraph, collected from Wikipedia - Impressionism (art movement) below, can give a proof of what I have mentioned above: 
'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.' &lt;ref&gt;&lt;div class=&quot;references-small&quot;&gt;Wikipedia (2016) Wiki-entry 'Impressionism' Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Impressionism. Accessed: 4th, December, 2016&lt;/div&gt;&lt;/ref&gt; 
In other aspect, from my practical learning, operations, teaching and participant-observations, Impressionism in piano techniques is dialectically contradictive field, even its contradiction in existing itself is also a contradiction, with some internal or inter-schools' debates. On one side, you need to take care about detailed techniques-carving upon materialized life-walls of Times-spaces-crossed channels you are in; on the other side, generalizing those all, you also need to outline a fantastically existing and dramatically varying universe with supports from spiritual impressions bridging multiple channels from others.

==== Recordings of various Methodological explorations  ====

===== &lt;big&gt;Post-prelude&lt;/big&gt;  =====
You knew, Epistemology, in clearly understanding Ontology of musical impressionism in postmodernist channel, isn't a one-time and easy-going procedure. You will have to give out your proposals, and test them from daily practices and documentary reviews. Sometimes, you find it could have made no function, and had to restart a new approach; and sometimes, you would take a new state by summarizing all the impressions of the past together; and sometimes, you might never want to return back again. Then, in Marxist theory, it would be compared with a spring with its channel rotating upwards, and you are going alongside it. Sometimes, you will have found you almost returned back to the original point. Don't be fear, my friends, indeed depending on your accumulations in the past, you have already been in the upstairs of your Epistemology, causing your contributions of your commons' knowledge and your practices in daily life can be compared with solidified material blocks having already been constructed into historical building and left for all, will give the foundations for your actions and will never be forgotten by historical reasonability ('Universal Lord' - personally thought: it should also possibly be recognized by Hegel' 'Spirit'). 
(More professional materials and about how this recognition can be gotten out, we can review Wikipedia introductions for further learning - Key words: 'Marxist philosophy', 'Marxism' (Epistemology) and 'Post-Marxism')   
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Marxism', 'Marxist philosophy', 'Post-Marxism' Searched from ''Wikipedia'' ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Marxist_philosophy; https://en.wikipedia.org/wiki/Post-Marxism; https://en.wikipedia.org/wiki/Marxism. Accessed: 23rd, December, 2016 &lt;/ref&gt;  
Therefore, in these explorations, various different methodological approaches have been applied, or summarized applied growing from root, and with some digital materials, formations-shaping ways, words-modifying ways and thinking ways critically created or collected from Wiki-family.

===== ''' Educational prelude of Post- English Suites subcategorized under &amp; as Post-prelude ''' =====

God didn't give me the giftedness of composition, but to creatively learn, to reasonably teach and to improvably perform. What my approach was still basic binary post-Marxist practices with critical thinking in and from classroom. I thought I needed to add one prelude in this channel, as a complex in remembrance of a life style I used to own in the past, but for future. It was called 'Post-prelude', caused by the reason: in my life process, it has already gotten 'post-', then to be made into considerations, as things' changing fast towards a time-hooking. It isn't a perfect edition, but in my own hands. I thought, I should have the confidence: alongside time's on-going, one day a well-performed piece will be produced out, beautifully re-appearing colourful imageries in my dream. Therefore, it was also an opening case with developing zone, towards future.
In this time and space, I would like to report some small findings for education 
(Before this small research, I reviewed some pieces of information from English Suites - https://en.wikipedia.org/wiki/English_Suites_(Bach) and some Chinese Grading-test teaching videos, I found the division of its structure were quite useful in daily teaching and learning practices; but furthermore, we can try to reason it much clearer):
1. This 'six parts' suite indeed wove each two as a holistic logic of the modelled pattern, or sometimes across each signal part’s ‘terminating cross' to another middle peak-turn as one pattern.
(like 0.00 - 1.10 minutes, it can be called a holistic logic (Theme-Development-Counterpoint-Small Break-Cannon &amp; dialogue - Weaving body - Terminating code); like in 1.59 minute, it ran to the peak but immediately turn back to repeat the pattern' variation - a hidden new beginning which is usually ignored. We can make it still as in a whole pattern; and after 3:2 'ornamentations', around 3.10, a rush threaded from left hand's motives to right hand's totally began a code repeating ideas of the beginning theme.) 
Afterwards, this suite will be logically and creatively divided into 3 or 4 paragraphs, which would be better for classroom-practices (with the same pattern). Meanwhile, 'one connecting 2 or more' idea of the real suite would be fulfilled, which better realizes English Culture, not only about music, but living custom. We can review an explanation of 'Suite' from Cambridge online dictionary 'a set of connected rooms, especially in a hotel'; yes, so did dance;
2. Each terminating code would be performed out a small 'rit.' as for middle break (rest), or 'curtain call'. I think, this point is also reflected out culture and customs; 
3. In texture, our keyboard touching techniques need to reflect Baroque Counterpoint's requirements', and clearly identify its relationships and differences with another definition 'polyphony'. 

'''Homework Requirements (Self-explorations):'''

(1) Regarding with this point, we can firstly review its reading lists in Counterpoint and polyphony (Wikipedia introduction: [https://en.wikipedia.org/wiki/Counterpoint] and [https://en.wikipedia.org/wiki/Polyphony]);
(2) Then, Please view 'Two-factors analysis' research approach mentioned in its Talk page ([https://en.wikipedia.org/wiki/Talk:Counterpoint#Suggestion]) and other talks there, for the identification of some related definitions, and existing problems in this field;
(3) Try to collect and structuralize all 'Counterpoint' parts of our English Suites from its manuscript, and try to collect and analyse some textures of its polyphonic sessions (especially some difficult fugue parts);
(4) Try to realize requirements of (3) point on your piano through recording sound files or video files. Please pay more attentions to their rhythm, dynamics(especially the loudness of some independent melodic lines) and musicality (in Neo-expressions, such as sentence breaths and emotional changes)
(Answers will be researched out sometime in the future. Then, we can have a check and further discussions.)
4. Gracefulness would be 'tasted' out from natural inspirations &amp; impressions of Baroque architecture, gotten in some childhood or young teenager dreams of your own life. . &lt;ref&gt;Wikipedia(2017). Wiki-entry '''Baroque architecture'''. Creative Commons Attribution-ShareAlike License. Available in: https://en.wikipedia.org/wiki/Baroque_architecture. Accessed: September 6th, 2017&lt;/ref&gt;,  Here, an example was re-picked up in my memory sea was Sir Bach's 14th 2-parts Invention. Friends, we can try to make some senses: 
[[File:Bach Invention 2P 14th.ogg|thumb|Bach Invention 2P 14th]][[File:Invention 2P 14th Sostenuto.ogg|thumb|Invention 2P 14th (Special sound effects in sostenuto pedal and jade beats)]]
5. Smart and skilful treatments of ornamentation should be applied as from colours of Neo-classicism and Neo-expressionism; 
6. Variations of Dynamics should meet Neo-emotional expressions in dancing movements.

===== &lt;small&gt;Postmodern Impressionist Explorations of Baroque Techniques:&lt;/small&gt; =====

'''Debate 1st - Highlighted 7th point: Baroque staccato fingers-technique in piano, for simulating Harpsichord's sound style '''

Since the time of my childhood learning with my teacher from a skillful piano family, she has taught me:
the treatment of Baroque staccato in piano field needs to be specially trained. It shouldn't be played as jumping too much and too heavy but naturally, gently, half-attachment and with some originally beautiful manners of European noble fashion , especially about grouping semiquavers without slurs set upon. Some composers' works, in that period, were highlighted, including some from Domenico Scarlatti's 555 keyboard sonatas (Wiki-introduction: https://en.wikipedia.org/wiki/Domenico_Scarlatti)and some from Johann Sebastian Bach's inventions, suites and fugues ( https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) etc. Yes, they are what pieces piano players encountered so frequently and left deep impression of Baroque music in memory at the primary time. 
In that time, I didn't quite understand why I needed to train my fingers with this keyboard-touching fashion, but merely following and carefully exercising time after time. 
Alongside my growth, my further learning requirements and my own face-to-face tutorial needs for my children (students) in studio, I began to explore and reason it much clearer. 

'''Inherences from Harpsichord Era:'''

* Through documentary reviews, I found the primary reason rooted not in piano' physics structure, but harpsichord's (Wiki-introduction: https://en.wikipedia.org/wiki/Harpsichord). We knew piano was, in certain degree, developed from Harpsichord. There were three reasons can explain why this piano fingers' technique training imitating Harpsichord's structure-oriented sound-effects would be made this fashion (above): Firstly, as in our wiki-article: 'The vertical motion of the jack is then stopped by the jackrail (also called the upper rail), which is covered with soft felt to muffle the impact' - this point made notes played out from Harpsichord hard to be linked together, as the application of piano's fingering legato by 'walking fingers one-attaching tightly following another's raising; Harpsichord's sound-louder facilities - 'the sound-louder box' surrounded by soundboard, upper belly rail, lower belly rail, tail and bottom are usually smaller than modernist piano's; meanwhile, pedals haven't been summarized and developed so advanced as what piano's. 
* However, accompanying with people's make-up style, dressing fashion, postures of performance in solo community and further count-fashion etc., harpsichord's sound-effect became a symbolized remembrance of some Golden times in past and their personality and temperaments. 
* Piano was developed from harpsichord, and some compositions can be played on both. This sustainability gave piano the ability to imitate harpsichord, simulate its beauties and pick up some manners of techniques representing golden fashions, especially in Baroque and Renaissance keyboard music. The treatment of Baroque staccato is one important technique of them. 
* Compared with harpsichord, piano could be of much sensitivity and flexibility in dealing with keyboard-touching and varying relevant sound-effects. That's the timbre difference, which cannot be overcome by changes from structure. But, special training of hands with manners and customs, seen as literacies, would be better for Neo-expressions and New-classicism; meanwhile, can be seen as nowadays' post-modernist constructive regression for Baroque Channel.

'''''Requirements:''''' 

(1)fingers of hand need to be naturally dropped by wrists one by one; (2) when touching keyboard, fingers need to stand upon and attach each for a very tiny 'later' time (a little bit lazy) - not too fast or yet jumping heavily; then, naturally pick up it through a coherent force (motion) vertically upwards, which is given still by wrists; (3)repeatedly shifting this sequence to the next finger; (4) please be gentle and relax in playing, and highlight some grouped heads of phrases. If there were some grouping ornamentations depending on these staccatos, please be more careful, smartly and softly, but with centralized weights upon bigger staccatos, rather than 'small notes'; (5) It's better to appreciate pictures, architectures, pieces of music and life scenes in Baroque era (Yes, Wikimedia commons can give us some associations); then, bring these imaginations into your mind alongside your performances' processing, naturally, gently and finely.)

'''''Practical sound effects:'''''

Regarding with the application of those memories, discussions and requirements of Baroque Staccato above into our Pre-prelude - English Suites, its possible research-effects in sounds, and especially the dance personality in Suites suggested from Gigue(British jig) (Wikipedia introduction: https://en.wikipedia.org/wiki/Gigue), we can get some enlightenments by exploring 8th 2-parts invention in Bach's preparation-works. I have taken a sample for demonstration (it could be bettered in future). 
[[File:G Major - 10th 2-parts Invention, Bach.ogg|thumb|This Invention (No. 10) - G Major 2-parts, happily dancing and existing from my memory of childhood, has woven out my primary love of Baroque custom. Though it applied total Baroque Staccato and long-sentence ornamentations to express a joyful fashion of Baroque Dance (British jig) - Gigue in piano instrumentation, you couldn't feel quite boring and tired, but be willing to move on and on, round and round, until the end of a Golden Era. Alongside your behaviours, holly lights were reasonably shining around the area your dancing steps traced out where an imagination Baroque Suite room of yourself appeared (even only for you single). It was quite right that the decorations of this Baroque Suite room were following principles and patterns of Baroque Era - Canon, Counterpoint, Polyphony, Woven body, dance rhyme and ornamentation...; but still, it left some great developing zones for your own 'inventions'. You see, long-sentence ornamentations can be waving tide by tide; and your body languages can also be designed out a life style of people living there while you were dancing your fingers upon keyboard... Though compared with the natural gracefulness in Invention 14th, 10th was a little bit weak in the praying of immortal spirituality ; it gave a festival celebration of true joyfulness' back-returning and your down-calming mood to hold them in mortal complexes - such as companying your family all day, and tasting an afternoon tea with them in the fall suggested from Grandma's Bible classroom, or something else... But, dear kids and young teenagers, you knew, Baroque staccato - your natural &amp; relaxing wrists, fast-dancing fingering but still with very good &amp; controllable manners, pearls-liked staccato note-quality, sentences' breaths and those highlighted rhyme-heads still need many years' training and your dedicated enthusiasm. You can put it in your piano courses and try to better it, alongside your growth.]]

'''''In addition:'''''

Some students asked me &lt;big&gt;'''the relationship between Baroque architecture and Baroque dance, and how they were reflected out from piano instrumentation in music'''&lt;/big&gt;: oh, it was a hard question that: (Firstly, we can make a first impression of the complication of Baroque architecture (textures) in music through this piece- it`s only a standard texture with 3 parts in Invention, but so layered-out, foundationally-made, musical heads-leading and well-structured in system: [[File:3 Parts Invention 8th- from Sir Bach.ogg|thumb|3 Parts Invention 8th- from Sir Bach]])We would reason out that - a group of people got a fashion of one era (ideas) from their souls that they have the willing to express. They might choose some easiest ways and nearest ways - representing their own ideas through the movements of their bodies - such as singing out from mouth, or dancing out by body languages... We can call them 'first-stage - the self-mirroring of landing reasonability'. (how those ideas can be landed in minds is another story that someday we can discuss) Then, after the atmosphere of fashion by one group or multiple-groups were built up, they would separate the self-mirrored and self-expressed aesthetics-sense from their own operations - they own bodies, and re-projecting those to their performances in reality - such as logically recorded in notation for instruments, or engineering in architectural designs &amp; patterns. Afterwards, human beings' 'aesthetics-self' were separated into two: one were flowing or solidified 'outside', maintained and dying by time; and the other - they own 'self' can be liberated out and repeatedly appreciate &amp; modify &amp; create 'outside' beauties with new curiosities and some renewable minds, which can be passed by generations after generations.

===== Editing - '''Debate 2nd - Highlighted 8th point: Exploring Baroque fingers-techniques of Ornamentation in piano - An introduction of Internal-systematic researching approach ''' =====

'''Background-Knowledge Introduction:'''

In the discussion of Ornamentation treatment, there were many debates, about which main stances were originally centralized into the waving direction from its first note and its rhythmic ranges of other notes. Regarding with its treatments, Baroque traditions VS. Scenery self-expressions of composer gave two opposite sides with some moderate approaches ranging upon its 'scaling variable'. In my philosophy (methodological part), I cannot make a direct and absolute cut for confirming something is right and many others are... indeed, there were really no black-white answer. Somehow, this treatment can be seen as players' personal literacies according to their music educational background - yes, their preferences.  But, in some scenes or to certain reasonability, we can analyse one treatment's possibilities in system and try to make some senses of its aesthetics appreciation.  
Firstly, in order to make senses of ornamentation (trill.)'s different versions, let us set our English Suite aside, and listen to two different versions from Fugue's voice (one of the most complicated contrapuntal forms ): 
The first version of d minor fugue (please see below) is a very nice and sound-effected fugue in Sir Bach's &lt;The Well-Tempered Clavier&gt;. In this version,  pianist Kimiko Ishizaka's softened keyboard-touching techniques are enjoyable to my ears and her flexibility of ornamentation (trill. ) performance is also brilliant, reflecting her higher controllability of fingering and forces, in my views. About the ornamentation, like piece (0.05-0,06), we can hear she has applied traditional understanding of Baroque Ornamentation, which sights 17-18 centuries' Baroque composers as a whole group and makes their grouping expression of fashion as a theory deducting  and guiding the treatment in d minor fugue. Then, we found: the signalized trilling G (big note) was played from its above note A and made a wave - AGAGAGAG-A. This expression is an absolute and simplified version simulating harpsichord's sound effect. Many pianists, when dealing with composers' works in that era, usually generalized this version for simplification and popularization.
* Kimiko Ishizaka's Version:
['''(Wikipedia introduction: https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg )''']
&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' ''The Well-Tempered Clavier'', 'd minor fugue' '''In''' Session 'Audio of Book I' '''From''' 'Recordings', Searched from Wikipedia. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg. Accessed: 2nd, May, 2017&lt;/ref&gt;

There are also many other versions, among which what I has applied is from an educational approach - from my country's national grading test for advanced level. From my analysis and thinking reasoning, in this version, trilling note G's dominant property, as the main note, has been emphasised by a first semiquaver beat of itself. Then, the trill. took the above note as the second note to wave out a twice vibration between A and G. Finally, it took a rotating opposite and returned to the main note. It was heard like: G-AGAG-FG -A. Yes, this pattern is with more flowering pattern, and somehow complicated and difficult to gain. Someone would not feel like to learn. But, from analysis, we can find it filled two gaps between the main note, its rotating below, and its linked next note, which made the transitions much natural, according to palm's growth. Meanwhile, the Main property has been highlighted. Another point is: you can hear the shade of traditional version (Kimiko's Top-downwards) from the second semiquaver beat. 
* Jason's Teaching version:
[[File:D minor Fugue Bach - Expressnist edition.ogg|thumb|In my depth of mental sea (Mainly about the education of piano), a piece of Fugue is lying there. Yep, it's 'd minor Fugue' in Sir Johann Sebastian Bach's 'The Well-Tempered Clavier' (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Though about the performances of its ornamentation, there are many debates in terms of what fashions Bach's preferences were and whether they were only in certain exact scenes which Bach preferred to make some styles to some exact groups. About this topic, 'western side' and 'eastern side' almost have quite differential ideas - someone prefer Era's fashion as being generalized upon all Baroque composers, then applied to some works of Bach (Top-downwards trill.); while, someone prefer the explanation that it can be seen as Bach's individual fashion in some scenes to individual groups. I think: if the resurrection can be made, Sir Bach would also confuse about why he had performed them as so and how he had thought them out... But, the love of playing Bach's has never changed for many centuries among piano boys and girls. I found some music-score dictionary attributed it to players' personal literacies. I thought somehow it was also reasonable...Therefore, in this version, I played it according to a teaching textbook in a national grading - an moderated and coordinating style, but with techniques and strengths what I preferred. In other aspect, if you ask me: 'Hi, naughty Jason, what's your impression of this piece?', I would say: ' Under my educational background, it was like a piece of sorrow mind's self-expression &amp; self-reflexivity - multiple-thinking dimensions have been threaded together in a very complicated (thick and vertical) texture emotionally and beautifully'. Oh, maybe I am a boy wandering in the middle between binary cultures, then, would carrying this feeling... I don't know... But, in psychologist views, after hearing it or playing it deeply, absolutely, they will say: 'Jason, it can be compared with our psychological consult (treatment), in which - firstly, we were leaded into a dialoging theme (B1-B8); then, 'climbing up a mountain' to collect pathway-principles (fragmental indications) among a huge, maze-like and complicated forest of life (with multiple layers and events) (B9-B20); taking much deeper expression of every mood-chain, their composition and totally ranges under a huge emotion-atmosphere (some whispers, then, life complains, deep reasoning &amp; threading, and even loudly cries would happen during this procedure) (B21-B39); Back-returning to original theme, and then, getting the Release of the extra metal power (B40-B44; especially, it contents a final solution to D major block-root which made it bright and got out of life maze). I enjoyed this music trip in education, though still some lacks in techniques were there waiting my further enhancements, such as a forgotten of B29's trill, - sorry, in that Live Space, I felt a little bit tried. But, I wanted to entirely express my experience of it. It's said: Fugue was one of most complicated  contrapuntal forms (Counterpoint) in engineering approach, which needed some very careful trainings of both thinking and hands' techniques. (Wikipedia introductions: https://en.wikipedia.org/wiki/Counterpoint;  https://en.wikipedia.org/wiki/Fugue).  Yes, thanks, Sir Bach... But, in commons' mind, what the most benefit from its appreciation, I thought, should be 'getting a total mind-Release from multiple mood-chains, and enjoying a final peaceful emotion after reasoning our own sufferings during these several years']]
&lt;ref&gt;MingSun, Zhou. Eds (translated; 2007) 'd minor Fugue' '''In''' The Well-Tempered Clavier, The Works-Collection for National Grading Tests. Beijing: The Press for Commons' Fine Art. {{ISBN|9787802400429}}&lt;/ref&gt;
Therefore, as common learners, I think we can follow at least two versions to make our hands-trainings depending on our preferences and background-understandings of sir Bach and that Golden Baroque Era. We can also postmodernist &amp; explicitly express and attribute those emotional chains hidden behind its surface, which Bach's music wanted to tell us. It's another story, about which we can make some discussions through a review of Jason's English self-reflexivity in this Link [https://commons.wikimedia.org/wiki/File:D_minor_Fugue_Bach_-_Expressnist_edition.ogg] from Wikimedia Commons 

'''In-systematic  Analysis for Our English Suites'''
After a very careful mind-identification and detailed introduction of Ornamentation(trill.), we almost got some senses, afterwards, let us get back English Suites and reason out a possibility of its ornamentation (trill.) treatment inside its music manuscript(transcript). Meanwhile, a type of inductive researching approach - In-systematic Analysis (evidences-collections from signal notes-phenomena, theory-forming, practical application into specific situations) could be understood for reasoning, practice and self-style's cultivation.
In brief, most ornamentation (trill.) ways and techniques in this G Minor English Suites (under flat B major system) have already been clarified and signed above ornamentation signals(tr.). Even, in the peak part ' Interaction-F- Ornamentation (B161-B172)' (Please see 'Structuralism-analysis' below ) of Royal Suite B, our Sir Bach has almost designed a total and clear demonstration of his Baroque fashion and idealist thoughts regarding with the ornamentation fashion in his age.
Please see the referenced music manuscript (transcript) Sample 1st (B62-B63) below:
[[File:Sample 1st from English Suites' Ornamentation (trill.).jpg|thumb|Sample 1st from English Suites' Ornamentation (trill.)]]
In order to emphasis his idea, in some reversed Ornamentations (trill.) (down-waving oppositely), he also gave a head-link and some very careful demonstrations, such as Sample 2nd (B22) below:
[[File:Sample 2nd from English Suites' Ornamentation (trill.).jpg|thumb|Sample 2nd from English Suites' Ornamentation (trill.)]]
Notation-following them, we can research out Sir Bach's basic ideas and principles in the Ornamentation (trill.) treatment of this piece:
1. It was made into semiquaver triplet (three divided and averaged notes) per quaver time;
2. In the first quaver time, it should be played a throughout chain from the downstairs note, threading the main note and up-rising to its upstairs note, like the trill. Flat B: it should be A- Flat B -C first;
3. Then, in the next quaver time, it should wave between main note and it's upstairs, like still the trill. Flat B: it should be Flat B - C -Flat B;
4. Following the 3rd point, if trills was continuing, we need to range another triplet wave and thread it to the next, like still the trill. Flat B: it should be C- Flat B -C;
5. But if a downward line was drawn - the Reversed signal (as Sample 1st for B22), we need to make a quadruplet regression (playing 4 divided and averaged demisemiquaver notes) downward and return to the main note, like in Sample 2nd G - it should be A - G - Sharp F - G;
6. If there was accidental Sharp or Flat, or recovery signal set under the middle of Ornamentation (trill.), it was usually made towards the downstairs note, such as Recovered A in Simple 1st and Sharp F in Simple 2nd.

In my opinion, after those principles reasoned and gained in our hands, when a targeted problem occurred, as what Target shown below, we can make a reasoning application of what we could know but Sir Bach didn't notice us:
[[File:Target from English Suites' Ornamentation (trill.).jpg|thumb|Target from English Suites' Ornamentation (trill.)]]
It should be: G - A - Flat B in the first quaver time and A - Flat B - A in the second semiquaver time (yes, we can make a little bit acceleration to show our fingering flexibility). 

I thought after this In-systematic analysis, we somehow could be near Sir Bach's reasonability in music. Why I call this researching way In-systematic analysis: We knew some golden, traditional, brilliant and perfect Baroque edition, such as pianist Martha Goldstein's harpsichord referenced in our Wikipedia article of English Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/English_Suites_(Bach)]). Indeed, I like it very much, especially when hearing the brilliant keyboard-touching techniques and it's traditional Top-Down deductive Ornamentation (trill.) treatment. But how can we make some reasonable possibility by collecting internal evidences, forming a theory, then applying into some unknown problems? May it be Sir Bach would have thought it like this and implicitly hidden behind the tradition... I thought Neo-expressionism and Neo-classicalism would pick up it. 
Here, some experts would criticism me: Naughty boy Jason, what you mentioned are as so, but it didn't realize it into your classroom recording beside; oppositely, you played the third way - Main rising &amp; waving( A- Flat B - A - Flat B; then, tail A - G  G)     
Yes, I am sorry. Firstly, I had tried many times, but my hands-techniques didn't allow me to add another heading upstairs note (Oh, I am thirty year old. Every time thinking of it, I am a little bit sad and would rather get back to my sixteenth - maybe mother would say: Naughty Jason, even getting back that age, you really haven't fulfilled or dare to yourself in piano; That's quite right I am paying for my lost, but I would try more exercises); Secondly, it's about another story of its simplification. About the second point - its simplification, my stance is: Sir Bach almost wanted it a first raise and wave from the main note for reflecting main note's dominate properties in this Ornamentation (trill.). This point is my idea which would be different from tradition and could be criticised and argued. I think In-systematic analysis above is much stronger than this one. All of them are from the love and respect of Sir Bach's engineering world of music and his so brilliant English expression. Thanks! 

 '''&lt;big&gt;Homework and Exercises (Advanced and Research level)&lt;/big&gt;''' 

* '''&lt;big&gt;Requirements and instructions: (Please see the fourth photograph set besides)&lt;/big&gt;'''
[[File:ES Homework and exercises.jpg|thumb|
Requirements and instructions:
1. Please ignore some bad looks of my characteristics-writing and just focus on the manuscript (sorry, my paper-writing of characteristics and letters were really ugly, in my view. I attributed it to my lazy attitude. Oh, my mother usually told me: Jason, you need to write in good shapes, when facing your peers and students. But, I usually find an excuse: sorry, my energy and time didn't allow me... Peers and kids, don't follow this brother's example. You see, it was like animals' footprints or ghosts' signatures); 
2. Please try to apply knowledge of ISRA (In-systematic Researching Approach ) in self-researching out a possible neo-edition of Ornamentation (trill.) of this piece - how to play and explain in both music and language;
3. Please try to record your own sample after self-reasoning and analysis (Be brave)]]

* '''&lt;big&gt;Sound answer:&lt;/big&gt;'''
[[File:ES answer for HE.ogg]]

* '''&lt;big&gt;Explanations:&lt;/big&gt;''' 
Following our discussions of this approach until now and here, advanced learners (including small Jason) have already gotten the abilities in researching out a possible answer of this unspecified ornamentation (trill.).
let me tell its designs and why I made it like:
1. The first semiquaver rest played by left hand needs to match a very fast demisemiquaver triplet downstairs- upward trill. of right hand which was made throughout the main note - Recovered B and sounded like A- Recovered B - C. About this design, we have already known Sir Bach's implicit willing of 'triplet trill.' - first one in up-going tendency. Yes, you can also make a total '3:2' to cover left hand's semiquaver beats; but afterwards, you will find upstairs C would be repeated 3 times and hand's smart feeling was lost. Therefore, I gave a first demisemiquaver triplet to cover left hand's first semiquaver rest;
2. In the second semiquaver note of left hand, the second demisemiquaver triplet (Recovered B - C - Recovered B) was given to cover it. Then, the third principle above - 'Upstairs' shaking' has been targeted. 
3. Originally, palm's growth (growing with fingers in each order) has been applied as one considerable factor impacting fingering designs; and, it was naturally progressed to the following C without any gap.
Congratulation to your good learn! After training your hands for a period and taking the following highlighted 7th point, MO Version set besides can be made out with much smarter hands for the soul of English Suites. But, if you prefer to keep this technique stably heard, lasting for much longer time and your fingering much smarter &amp; fluent, another self-training of it with engineering approach in daily exercises is quite necessary. Students in advanced level can try to search more evidences from this suites of Sir Bach's or other Suites.


'''Highlighted 9th point - Educational self-reflexivity: Natural Impression of its (Prelude in the third English Suites) Horizontal structure ranged upon Time &amp; Space, according to English Language - 'Suites' ''' 
Programmatic formation is the impression I usually brought with when listening and performing the sampled Prelude in 3rd English Suites. In our common's history, usually, the procedure of programmatic formation, presented regularly, periodically, frequently and reasonably, can associate us deepen some unstable subjective impressions, fashion behaviours, popular languages and societal customs into aesthetics and culture, and fix them for lasting longer. Some evolutionists would dislike this impression, for its usual representation of　conservatism which could block the development of new productivity. But, after certain evolutions or in some post-periods, it is also going to function in accepting, fixing, saving and sustaining 'Evolution-fruits' (Thinking twinkling). In Baroque Era, I thought Suites (Wikipedia introduction: [https://en.wikipedia.org/wiki/Suite_(music)]) played this role through 'suits-liked' structuralism. Here, the scope of Suites' definition - its enlargement and development also taught us more about how to deal with its structure-organization and composition-management: from the description of '''Room Suites''' occupying real Times &amp; Spaces, to the description of '''Dance Suites''' summarizing similar behaviours and body languages into symbolized rhythm, till its transformations into 'musical composition for instruments', fresh fashions and expressive expectances have been auditory recorded, as in Programmatic formation alongside civilizational regression and up-picking of golden personalities. Yes, it was 'Dance Suites, was commons' weekend dancing in Suites-liked ball-room, and was also Royal Suites (cells-liked rooms being nested throughout one after another) separating different music paragraphs but with a coherently endless joyfulness for life and future... 'Therefore, when we attempt to perfectly realize this teaching procedure, some abstracted 'Royal Suites' and their impressionist 'souls', rather than several 'small connected rooms', can be carefully analysed out, with details fuzzed, but impressions kept, suggesting where course-designs, exercises-presentations, assessments-achievements should begin with. In the '''''Structuralism-analysis''''' below, semicolon divided a small room (suite) or a series of dancing motions threaded in the sequence; but usually, a real 'Royal Suite', in spiritual impression, contents a thematic small suite (or room) and one or several supplemental small rooms (suites) . Their patterns are forming Suites' basic operations, with customs and matters turning back to 17 century Baroque Era. Therefore, in each repeated small suite, furthermore enlarged to be the whole '3 Royal suites' one by one in sequence, we must keep the basic and frequently re-appeared behaviours, dynamics, expressions and customs regularly, as if following certain predictable principle of stylized and progressive model, for showing the understandings of reasons why in certain pace and interval some techniques would be applied there and what respects of traditional thinking pattern they would show for. In other words, from thinking patterns to hands' techniques, body languages and customs expressions, we should model our daily trainings and exercise to be predictable and fixed. Only based on this engineering approach and seeing structuralism as functions' carrier, Neo-expressionism can get its foundation and make more colourful creations and impressions of a golden age above that. Owing to this ideology, I gave a structuralism-analysis of this piece as following:

'''''Structuralism-analysis''''' (represented by English Letters - full connected Prelude-suites (6 into 3) seen as 1 up-taking 2 small rooms - Royal suite [https://en.wikipedia.org/wiki/Presidential_suite]) :

'''''Royal Suite A:'''''
A (B1-B7) B (B8-B15) C (B16-B21) D1 (B22-B27) E (B28-B32) Middle-Stop;

Interaction-F (B33-B46) Counter-B1 (B47-B54) Counter-B2 (B55-B62)
Code-E (B63-B65)

'''''Royal Suite B:'''''
A (B67-B73) B (B74-B81) C1 (B82-B87) D2 (B88-B95) E (B96-B98) Middle-Stop;
Interaction-F (B99-B111) A (B112-B115) B (B116-B122) Simplified E (B123-B124) Middle-Stop;
Interaction-F (B125-B138) Counter-B1 (B139-B148) Counter-B2 (B149-B156) Misplaced E (B157-BB160) Middle-Stop;
Interaction-F- Ornamentation (B161-B172) Developed C2 (B173-179) 

Transiting D (B180-183)

'''''Royal Suite C - Code:'''''
A (B184-B187) B (B188-B195) C (B196-B201) D1 (B202-B207) E (B208-B213) Termination 


I think these standards created and collected from our information bank would motivate a better draft in its sustainability towards FUTURE.

&lt;big&gt;'''First Draft of English Suites: (For normal Performance; See besides)'''&lt;/big&gt;

[[File:English Suite No. 3 in G minor (Modern piano) First Draft for Education.ogg|thumb|
'''2nd Draft:'''
Briefly say - it's with much fluent sound-effects and strong rhythm,  suitably as a fast dancing suite, in which postmodernism picks up vivid colours from Neo-expressionism to see Neo-classicism's unexpressed, down-pressed, and deep-controllable emotions, then tries to explicit them in dynamics and expressive techniques.
A movie - Pride &amp; Prejudice (2005 film) (Wikipedia introduction: https://en.wikipedia.org/wiki/Pride_%26_Prejudice_(2005_film) ), with beautiful scenes of Baroque-dancing ball-suites, gave many inspirations to this version. Hopefully, it will be heard having met more postmodernist targets, as a Post-prelude. And hopefully, we can enjoy it. Better version can be researched out in future. 

'''1st draft:''' 
To be honest, this draft isn't mature and (far away from) satisfactory in piano performance, according to my dreaming standards. I was hoping it could be in Neo-expressionism (https://en.wikipedia.org/wiki/Neo-expressionism) and Neo-classicism (https://en.wikipedia.org/wiki/Neoclassicism), for reappearing rich colours, continuously varying emotional changes abstracted from formal manners and Royal dance-structuralized movements &amp; scenes in a past Golden time, but through commons' hands. However, in this draft, for the reasons of short-time exercising and practices, I can only push out some basic ideas of Neo-expressions, such as highlighted theme-line with heads, layers and ornamentations etc. 
No matter how, about this draft as a new beginning for my love (I really enjoyed to play it and appreciate its imageries) , I need to give my thanks to some pieces of information provided from Wikipedia - English Suites (https://en.wikipedia.org/wiki/English_Suites_(Bach) ),  Baroque Music (https://en.wikipedia.org/wiki/Baroque_music), and Martha Goldstein's harpsichord Edition; and some inspirations from my and my children's daily classroom-practices.
Hopefully, in a short time, a better draft would come out; and hopefully, more commons would enjoy to share their reasonable works through daily practices on this platform; and hopefully, piano keyboard in this century would create more beautiful 'colours', like thousands flowers' blooming - of richness and vitality.
]]

&lt;big&gt;'''MO Version  ( Besides, for professional performance with more tastes of Baroque Golden Era; Compared with 'First Draft...', this version with the 'Modified Ornamentations' was made according to 9 points disscussed above):'''&lt;/big&gt;

[[File:English Suites MO.ogg|thumb| Jason's Neo-classicism and Neo-expressionism: 'you are standing here, and watching the golden fashion there, with impressions being summarized for our current willing' . 
Emotional complex in words 'when standing here, and watching Sir Bach's 'there-standing' to see a great England (or UK) and its peoples' life fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a Long and Unknown Miss. We (Sir, I and learners...) were all not there... in that time and space... but still... musicality in system can teach us... See more, please turn to its main page in Wikimedia Commons]]

===== '''&lt;big&gt; Creative Homework and Exercises (Advanced and Research level):&lt;/big&gt;''' =====
'''1. Student's Performance as the main teaching &amp; learning result of piano:'''
[[File:English Suites No.3 Prelude Xue Meng Hu.ogg|thumb|Teaching Result for English Suites No. 3 Prelude from Wikiversity to the real practices - Meng Meng's performance a week before examination]]
'''Comments:''' The Connections have all been threaded together with fluent but gentle manners from English traditions, from which brilliant social Ball-liked Dance-suites for commons have been described in the world of imagination. Baroque Ornamentations, in her very smart and slim hands, have been performance greatly when hearing. Main skills were trained good, but skills of some parts beyond her age - around 14 years old would need to be trained frequently, afterwards. 'Fast wasn't too hurry and rough but with down-calmed breathes in rhythm' would needed to be understood well in the future. All in all, Meng Meng has already shown her fashion creatively in this English suites with some differences from the original teaching through her skillful hands. More experiences and knowledge of performance in different scenes were needed for her development. 

'''2. learnt Suites Formation in ...(oh my lord, Jazz &amp; Blues):''' 
'''''Royal Suite A:'''''
A + B (As a 'Supplemental A'; Regarding with samples, you can see the portal: Blues &amp; Jazz learnt for fun and a fast brain above)

+

'''''Royal Suite B:'''''
a Variation C (The 2nd chorus made according to A)

'''(Notice: In this homework, we can participant-observe the functions of Suites thinking in different musical fashions)'''

===== &lt;big&gt;Postmodernist Impressionism - Special Researching approach for music researching in instrumental techniques, which needs to be highlighted&lt;/big&gt; ===== 

In my opinion, we title it: Impressionism '''in music or the field of piano techniques; but originally, painting should be the most visualized expression''', of which I thought, if comparisons and contrasts between this root and other instrumental expressions can be made for further researching and exploring, more deep impressions of this field would be abstracted out as for creative findings. In other simple words, what ''''Painting techniques'''' to describe imageries (Session impressionism techniques of Wikipedia introduction -  [https://en.wikipedia.org/wiki/Impressionism])，such as generalized large-brocks colours-brushing, simultaneous contrast, symbolized meanings borrowed from 'natural lights', spirit's floating directly upon 'rough surface' etc. ,  have been highlighted and some similarities and differentiations with instrumental expressions are of the essential importance in my approach. I thought: when it comes to language descriptions (it's hard), much more detailed Interpretivism　and reasoning would better the situation. Watching throughout them by using 'a pair of glasses', we can see more 'drawing pathways' from piano and musical expressions. And, our channels would be more vividly 'with some intervals of blocked clouds being pressed out and holly lights beautifully sun-shining down through clouds to warm souls'.

===== New Educational Researching formation and some pieces of works-analysis （Techniques collected from the learning of Wiki-operations and sections are set beside the texts） =====

===== * '''''Moonlight is the real moonlight, but being vividly and thoughtfully heard when shining upon the sea and beach of not only the reality but also the poetic imagination:''''' ===== 

[[ File:Moonlight - Clair de Lune (As the rememberance of Sir Debussy.ogg|thumb|Moonlight - Clair de Lune (As the rememberance of Sir Debussy ]]
'''Description of Moonlight's Historical Tree (Editions in Times):''' 
Time would have been changing, always; and, things would have been being fizzed quite unclear, already. Closing my eyes, consciousness integrating with some symbolized unconscious imageries may only transform them to be some deep but easy-broken fragmental impressions (even a breezing sound) in my memories and further left in an area of mind-sea there, about what the experiences of keyboard-touching for this melody and some fantasy landscapes of Sir Debussy's Moonlight, reminding there to be mixed without  clear boundaries for distinguishes, and as a fantasy trinity of spirituality (missing), vitality (growing) and sustainability (blooming). 
Self-comments for third draft:
Then, the third draft came out. Yes, it must still be carrying some faulted details, thereby wasn't perfectly heard. However, 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' - this sentence somehow provided the meanings for its survive as one of commons' impressionism, as what small Jason's. When fragments of memory began to be fading, mixed, rolling up news, rippling out light recycles and interacting fatally orbiting routine, a natural impression was still there - growing vividly, as the root with visual boundaries between itself and universal darkness unclear, reminding some memorialized fuzzes there, thunders-wandering, lights-shaking and energies-spreading, with imaginational elements as the supplemental building materials. Therefore, it was still keeping a far distance from my artistic dream on the other bank of life river. However, in this draft, loves and emotional changes from commons 'life have already been attempted in a better situation (than before).
Analysis with some researched evidences: 
But in my heart... the enthusiasm in trying to understand what Sir Debussy has seen and been willing to express - the imageries on the beach of Poolesville (1915, summer) or other beaches in his past, during his tours in the First World War, has never faded its colours. Oh, the time of dreaming it is from my childhood. 
I am dreaming that he had been wandering alongside one beach and left feet kissed by waves from a mix of moonlight-waving, its projective tides-waving and sound-waving reflected. His mind was then flying throughout the darkness, with breezes as wings and lights as shoes, then sliding upon the surface of sea, directly to the clouds surrounding moon. But before, he had been trapped into a deep confusion about why sound-effects of piano has lost its colours in the world wars and how to awake people's fingers and techniques to recover scores' beauties. That's why in this version, in 'Tempo rubato' - the second mind-presenting part, the ideology represented by root-chords has been expressed so deep and so exploratory. Debussy was like a poet, struggling with heart-conflicts of idealist dream and the reality, to travel to the most peaceful and holly 'En animant' Peak session and pray for what moonlight's gentle-caressing would get away human beings' unstable and dangerous minds, and get back original beauties of the seaside shined by silver-moonlights. 'Deep but light' - yes, two sides of this contradiction, in master's composition, have been unified together, as if forces-mechanism has been oppositely turned back and steaming in a quite magic situation. Yes, he has gotten it freely there - the dreaming silver moonlight-a flower blooming on the other bank.  
Hoping: this draft would be better than before and it could be seen as a Christmas gift to my own heart and to some volunteering members in Wiki-family. Let us create more new senses for peaceful situations of the worlds in the coming 2017!
&lt;translate&gt;On n'est jamais mieux servi que par soi-m^eme.
Cherchons nos doigtes!&lt;/translate&gt;
'If you want to make things better, please depend on yourselves. Let us find our giftedness in more exercises for overcoming some difficulties in fingering (techniques)'

'''Small References for one historical facts and some words mentioned:'''
 Wikipedia (2016) '''Wiki-entry''' 'Claude Debussy' from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. Accessed: 20th, December, 2016
Claude Debussy (1916) eds. (9th) 'Preface' and 'Brief Introduction' of '12 piano melodies for techniques-exercising'. G. Henle Verlag, Munchen (Debussy Douze Etudes): People's Press of China (Bejing). {{ISBN|978-7-103-01632-9}}

Though it was a debate about whether or not the research of Impressionism techniques is needed in dealing with Debussy's Clair De Lune. Maybe, it was a little bit like a fierce argument. However, the respecting and pursing of Sir Debussy and his fine art 'natural dreamland' are truly there, according to the Wikiversity edition above and the comparison edition - https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg . Sir Debussy's 'Musical Imagery paintings' are surely about landscape-beauties of naturalism and people's subjective interactions (mainly the 'Impressions': longer accumulations&amp;re-treatments of perceptions for many years though 'Sensory Touchings' but also with memories and artist imagination), under this whole environment or 'Scenes&amp; tendency'... This point has been confirmed from many researching schools, currently.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 23:03, 24 October 2019 (UTC) Meanwhile, some artist 'touching' techniques in terms of playing Debussy's can be felt out from this debate. Wishing children or young teenagers would make some senses!

===== 'Never-ending &amp; Super-time' Homework for 'Forever Piano-kids': =====
Please make some Contrasts and Comparisons between Sir Debussy's Moonlight and Sir Beethoven's Super-time Metal-Rocking 'Moonlight Sonata 3rd Movement', after getting both fashions (Thanks to technology, you can simply watch Beethoven's fashion): 
[[File:3rd movement of Sonata 'Moonlight' Rocking Video JMC, Han (Jason).webm|thumb|3rd movement of Sonata 'Moonlight'_Sir Beethoven's metal-rock_Performed by JMC, Han (Jason)]]
 '''A reference''' of several sentences from Jason's (mine) Openlearn platform of Open University could give us some '''suggestions''' in Contrast &amp; Comparisons:
'Beethoven's music was postmodernism or to say Super-modernism and abstractionism that moonlights were like many fast-racing silver-knives penetrating Beethoven's painful realistic experiences (own unfair fate) and his never-reached idealist love, somewhere in an extremely-expressing Romanticism-Dreamland.' (Course Review of 'An introduction to music research' in Open University, 2018)
'''Homework Answer in Beethoven's side'''
About Debussy, in my page, there are many in depth and impressionism... 
Regarding With Beethoven in Postmodernism, a possible homework answer (sound) was here, right after a local library presentation: [[File:Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven.ogg|thumb|Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven]] [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:52, 29 April 2019 (UTC)
'''Key words explanations, self-learning ways and further readings''': 
Postmodernism -https://en.wikipedia.org/wiki/Postmodernism;
Abstractionism: https://en.wikipedia.org/wiki/Abstractionism;Romanticism: https://en.wikipedia.org/wiki/Romanticism; 

Beethoven's personal life and love: https://en.wikipedia.org/wiki/Giulietta_Guicciardi; 
Printed manuscripts: No. 9 Symphony - 'Ode To Joy'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 1st No. 9th in d Finle.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie No. 9th in d]], and 'No. 5 Fate'[[File:Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - 2nd No. 5th in c.jpg|thumb|Good quality &amp; copyright printed manuscript for reading Beethoven's Symphonie - No. 5th Fate]]
'''(Reading by following a DVD of Beethoven symphonies collection carefully)'''

===== &lt;big&gt;* '''''Children are the better PhD for &amp; than all adults, as the reason that what they can create are some most advanced techniques than you can imaginations, but with the only purpose - for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, Heaven is near:'''''&lt;/big&gt; ===== 

Idealist dreams - the engineering realization of 'Chou Chou's playing techniques' and imaginary impressions through behaviourist language-descriptions:
(To be honest, it’s not to say I can get these behaviourist targets in practices; but, as in educational perspectives of Wikiversity, we need to set some idealist targets for understanding what are Debussy's impressions, how they were formed by expressive techniques, how to guide our learn-tendencies, practical operations and how to better the situations in which new sound-effects' out-coming would be possible. Depending on my educational research background, it was like a 'check list' for planning practices.)  

'''B1 till the head of B3:'''

(Letter B means the bar of a 5-staff-transcript. What is 5-staff-transcript? we can review the historical knowledge about how 5-staves-transcript has been formed in a long history (It wasn't always a 5-staff, but originally developed from people's willing of coding sound), and about which, our Wikipedia introduction (https://en.wikipedia.org/wiki/Staff_(music)),and some online courses-platforms from academy, such as fields about notation-reading in Future Learn and Music Theory in Open Learn etc., have already made some very clear and detailed introductions):
If you let me describe what imagery impression (or life scene) I have seen and what keyboard-touching feeling I have gotten from this musical phrase, I would like to compare it with a game of children's - Stone-skipping. I guess: maybe Chou Chou has gotten the principles of it. (Information from Wikipedia introduction: https://en.wikipedia.org/wiki/Stone_skipping)
But, you may ask me why and how I extracted this imagery impression. Furthermore, What types of hands-techniques have been applied here?

* Mechanism analysis of forces applied from practices:

It was a pitches-rise of right hand with grouping motifs in modelling running of four-quavers - as the united tiny motif. Forces, applied in dealing with every small motif, isn't in average, but with a centralization (fulcrum) set at each head of these small motifs. Meanwhile, other three are supported by these fulcrums, and slipping the whole hand to each next, as for forming the impressionist background layer in the bottom. Therefore, when playing the other three, your fingers need to touch out the depth, as half degree of these keys to form background sound-effect. Rather than, your '3rd, 4th and 5th' fingers, when making keyboard-touching of these grouping heads of motifs, need to fulfil the whole keys and are like these force-fulcrums, to support left hand's 'slipping' to higher places entirely. After hearing, you will find these grouping heads in a queue (with notes in shape and forces in physics) have been highlighted, as twinkling 'lights' in variations. And, your hand is rotated to rise and slip from point to point, by making keyboard-touching with the touching of water-surface.   

'''Documentary comparisons:''' 

'''Notes:'''   

'...The stone generates lift in the same manner as a flying disc, by pushing water down as it moves across the water at an angle. Surface tension has very little to do with it. The stone's rotation acts to stabilize it against the torque of lift being applied to the back...'&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone Skipping' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping. Accessed: 23rd, December, 2016&lt;/ref&gt;
'''Comments''': That's quite right about rotation acts upon fulcrums - every time being for hands' slipping through surface-touching of water. Yes, keyboard, in Debussy's works, touching keyboard can be compared with touching of the surface of water or a mix among water, lights and clouds, which we can discussed in the talk of Wikipedia. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Children's Corner', 'Talk: Children's Corner' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Children%27s_Corner. Accessed: 23nd, December, 2016&lt;/ref&gt; Furthermore, by a little bit critique, I think the surface tension of water as the background, should also associate with stone's (Supporting fingers') 'slipping', and give the counterforce-supports to other fingers. In this case, water striders' actions for moving on the surface of water can give us further enlightenments (It's because of touching, then rotation is enhanced by counterforce on the surface; and water's tension (expending a little bit extra) is functioning for the entirely movement to the next). &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Stone skipping’, ‘Surface tension', and 'Water striders' Searched from ''Wikipedia''. ，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Stone_skipping, https://en.wikipedia.org/wiki/Surface_tension, and https://en.wikipedia.org/wiki/Gerridae. Accessed: 23nd, December, 2016&lt;/ref&gt; Following above, where is the beginning force? Oh, don't forget the whole head - an octave chord (C2- C3) divided by a depending ornament upon main C3, which is like a throwing force motivating the whole imagery impression.
For brief, here, one of Chou Chou's little games, as from the very beginning, has been vividly described standing upon paper - stone skipping. You can feel the functions of one hand' fingers (right) have been separated into two with centralized fulcrums set on one of your 3rd, 4th and 5th fingers and others as for background, among which forces were transmitted for the whole's slipping. Then, energies, as impressionist paints' applications, have been managed with twinkling light natural emphasised and background half-touched 'Grays and dark tones are produced by mixing complementary colours’. &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''，Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 23nd, December, 2016&lt;/ref&gt; Oh, don't forget to give A beginning bang transmitting force from the left hand to the right hand. It's a throwing one for all. Following all these techniques above, one piece of technique carrying its sub-properties have been unified together as a whole. 

'''B3-B6 - The directions of forces-application (fulcrums) -  fingers-wiping (Upwards) or forces-pressing(downwards) VS. the relationships between twinkling heads (in the groups of 4 semi-quaver notes which can be compared with 'leading stars') and their dispersal background recycling round by round:'''

* The direction of forces-application (fulcrums) -  fingers-wiping (Upwards):

In this piece, Chou Chou and her father have almost jumped into the lake-liked water-surface which they were playing Stone-skipping, but fantastically mirrored and reflected out upon sky into another impressionist scenery like what this painting showed - The Starry Night. Wikipedia introduction:' https://en.wikipedia.org/wiki/The_Starry_Night' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'The Starry Night' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/The_Starry_Night. Accessed: 29nd, December, 2016&lt;/ref&gt; 
But, you would ask me: Why did I state this vision that Chou Chou and her father's journal had been travelling there, and how did Debussy describe it through instrumental techniques? 
My own vision is: Though there were many debates about The starry Night's expressionistic symbolizations (in my mind, impressionism's extreme side would go to expressionism) - about its galaxy-origin, woman's painful birth-procedure, or religious relations, by simplifying them deeply and only picking up one most useful element interpreting our case which my mind-touching for it can get from the past, I would say: in this night-sky, stars were always magically twinkling as only ornamentations, holistically impressing the whole impression of the universe in dark into our memory and locations-statically heart-beating(moving)in certain interactively-shaking rhythm, which can be compared with numberless eyes shining in the sky - blinking and blinking with the vitality. In this time, Chou Chou, associated by Debussy Clause's advanced instrumental techniques, has lighten these eyes in the sky for us to appreciate impressionist beauties. 
Yes, Scientific approach has already told us: stars' astronomical twinkling is caused by the reason that multiple layers of atmosphere have refracted lights' getting through-in - which were travelling for multiple times &amp; spaces then arriving here on our earth - especially when even a small breath's occurring would change our seeing-angles in atmospheric medium.&lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'Twinkling' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Twinkling. Accessed: 29nd, December, 2016&lt;/ref&gt; However, when this impression was recorded into the world of subjective imaginations without helps of any machine and only depending on our own willing, it somehow transformed to be every single painting-stroke's pixel-vibration which was also relatively vibrating our mind. By threading numberless 'eyes-vibrations' together, we knew the on-going of its theme - to appreciate the peaceful Glory and the dreamful Harmony presented by the creator, which Chou Chou was angelically singing out. Then, how did Debussy express it in sound-effect world? 
By bearing imagery-impressions of visualization obtained from The Starry Night in mind and by making the deep simplification, we can know two sides of this comparison - from its origin to its target - are all about energy-vibrations - light's vibration → sound's vibration. 
Following it, this hands' technique, landing in the instrument of piano, isn't so difficult as we imagined that Debussy has highlighted several main quaver semi-staccatos as heads of 4-notes-semiquaver groups with each quaver rest followed: (Indeed, this technique has been repeatedly applied in the following part, but sometimes functioning variously, with the main point rooted as this.)
When playing the treble part, the forces-directions of 3rd, 4th and 5th fingers (head-beating) and the rest ones are quite different. The head-beating ones need to create one type of sound-effect as the note-vibrating and eye-blinking, by slipping and wiping backwards (semi-staccato) upon keyboard's water-surface (it's a little bit like making the rolling-jumping alongside its force-orbit.) By matching it with left hand's opposite fingering wave-approach &amp; associating accompaniment and pedal's breathily smoothness(intervals), the soul was described out summarizing the spirituality of all 'eyes-twinkling'. We can know, in this systematic mechanism, several mains can represent the tendency of all. This double lines (Mainly in higher part of right hand, but associated by left hand) are weaving together as the framework of The Starry Night and for 'giving texture to the painting'. In this case, the technique of painting - Impasto applied in impressionism (Wikipedia introduction: https://en.wikipedia.org/wiki/Impasto) can somehow make interpretations cross fields; while further, in terms of what impressionist effects reflected out from the field music and piano, I prefer a scientific explanation fulfilling its abstracted mechanism of stars-twinkling - 'Diffuse reflection' (Wikipedia introduction: https://en.wikipedia.org/wiki/Diffuse_reflection), which we can try to make more senses in the future.

* The directions of forces-application (fulcrums) -  forces-pressing(downwards):

If things what Chou Chou and her father wanted to idealist express which are understandably required musicians' hands-performances only have reached there as what paragraphs above have been shown, this story cannot be called a legend journal and an advanced impressionist description.
In the second half tightly followed, force-direction of grouping head-beats have suddenly turned oppositely downwards. It was almost that Chou Chou wanted to press a sequence of lights-vibrating bubbles which are mirroring the twinkling eyes in our Starry Night into a deep place under our water-surface-liked keyboard. Oh, this effect is that she collected them into one big accumulated bubble under our memory sea. We can find: the direction of fingers (3rd, 4th and 5th) has been totally changed - to press notes down smoothly with the full value of a crotchet attaching with others upon keyboard and standing there. At the same time, other fingers have been meanwhile playing the role of background-making - fuzzy without clear details of sound-effects, but as the totally floating impression-streams, wave after wave. In this case, energies have been accumulated by two hands as a whole, then waiting for a further breaking-out tide. Here, we can feel how fineness Debussy has designed the applications of forces and their textures into his works. He can even totally reverse forces mechanics in the immediacy. But, when it came to us - the players and appreciators, we need to train the controllability of our hands, the distinguish-abilities of our ears and attempt to express it better and more vividly. That's the job of continuous learning throughout life, which we can dream after and practise. Every time, a little bit more progress would make me feel happy and smile - just because the distance between dream's realization and my position has been shortening. 

* The demonstration of the dispersal background (the rest 3 semi-quaver notes attaching with their 'leading stars' in front) recycling round by round and their relationship with quaver heads:

Final part of this session, I want to say something extra about impressionist background. Indeed, this is really a charitable and contributive job. It wasn't the 'blooming followers' but 'volunteering grasses' for setting 'head-beatings' off more vividly. However, special keyboard-touching technique is also required that we need to make more preparations. Sometimes, the depths of 1/2, 3/4 or 1/4　are required alongside the changes of dynamics and vibrations of 'eyes-blinking'. Preparing for it can be compared with 'Colours are applied side-by-side with as little mixing as possible' &lt;ref&gt;Wikipedia (2016) '''Wiki-entry''' 'impressionism' Searched from ''Wikipedia''， Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Impressionism. Accessed: 29nd, December, 2016&lt;/ref&gt;, which is for describing the degree what a fineness it is. But, finally, the purpose of all our background-preparations are only for auditors' self-ignorance of its 'much more details', their willing of 'singing-out' the vivid framework in multiple-layers' texture, their possible appreciation of the impressionist theme with the supports from background atmosphere, their self-summarization upon some fragments of impressionism and further integrations with their own experiences, and their participant-observation of an entirely dispersed and fantastically floating universe emerging from own hearts and from the windows of our own channels. Hopefully, it would be of the understandability.     

'''B7 - 10: Classical Dynamics system VS. Anti-classical expressions: Master's requirements for some techniques of imaginational impressions (magical fictions)'''

* B7: Classical Energy-tide and its expression in Dynamics 

In the normal situations, music was compared with the floating water (or certain imagery joining basic elements from liquid, clouds or lights). It is because that they have the similar mechanical system (In music, we call it Dynamics system). The very simple impression, when we are watching them, is like the waving tide carrying energy (twinkling in visual system, or vibrating in sound system). In other words, it can be called 'energy-tide'. It is said floating matters, rather than solidified ones, are good at expressing energy's changes during the time tide is coming, as what music, liquid, and clouds have shown. About their expressions, 'forces' pressed down from outside into their mechanisms can work and motivate the whole phenomenon's varying. Accepted into subjective senses through sensory organs, the total impression without much clear details will motivate our mental energy and deeply push our emotional 'tide' wave by wave. This is the normal situation, as what the oceanic tide on our earth are motivated by the gravitational forces in spaces. (interacted by earth' core, moon and sun) &lt;ref&gt;Wikipedia (2016)''the section 'Forces' of 'Physics''', '''Wiki-entry''' 'Tide' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Tide. Accessed: 1st, January, 2016&lt;/ref&gt; 
In nature, the highest point of liquid's movements is usually where the application of the extreme force, to show the internal energy's centralization and externalization. We can call that point the energy-peak. In order to get it, there should be a continuous rising of forces' level for climbing to it, and a continuous decreasing of forces' level for landing back to the originally quiet surface. That is the procedure of energy-tide's coming and passing-by. Because of the dramatic energy-changing and energy-moving inside, huge forces are usually expressed out with the huge and apparent powers (to objects). In order to get this sense, we can review a piece of material from Wikipedia - 2010 Mentawai earthquake and tsunami (Wikipedia introduction:　https://en.wikipedia.org/wiki/2010_Mentawai_earthquake_and_tsunami )
In music and sound-effects field, it was also working, but by fulfilling the performance of dynamics with hands (piano). Usually, the highest note (mouth), as B7's middle E, is also the peak of energy-tide. Besides it, we can find two same wings - a 'crescendo' impressionist scale and a 'decrescendo' scale being continuously produced and attached upon each side. By analogy, from formations to content, we can know it belongs to the family of 'energy-tide'. This one should be a significant peak-run, because of its lowest beginning and ending were the same at 'pp'. Then, through two hands' (fingers) tightly matching and dramatically climbing up and landing back, the natural impression of powerful tide has been realized beautifully, which Chou Chou must understand how to play it from heaven onto the ocean. 

* B8: Anti-classical Energy-tide in Dynamics and its realization by hands' controllability

As what we have discussed above, B7 is designed in classical mechanics system - higher pitches' rising alongside natural forces' impotence  more deeply, which can be compared with tide-energy's passing by. However, in my heart, if things are merely arriving there, it cannot be called the application of advanced techniques. Afterwards, Doctor Chou Chou has played another fantastical game from heaven. She totally pressed down tidy's peaking tendency into one channel under musical sea, and let it go in a regular way, without indications floated up to the surface and being seen clearly. On the surface, what impression we have obtained is a winds-calming and waves-peaceful sea-face with light smiles. Originally, B8's quiet and 'normal' scene should be from people's 'normal' expects; but, nature taught us 'envelope-liked climbing to the peak then falling down to the ground, alongside dynamics' 'attack (dramatically increasing) and release (dramatically decreasing)', is energy's systematically spreading out and needs much heavier forces' pressing down then departing away continuously, which are required from our fingers' controllability and for re-appearing natural imagery. This impression is summarized by people's empirical interpretations from Second law of thermodynamics, about which we can review much learning details from Wikipedia and its reading list (Wikipedia introduction: [[Second law of thermodynamics]]　　　　　　　　　　　https://en.wikipedia.org/wiki/Second_law_of_thermodynamics). Therefore, we can say this case was an expressive contradiction - 'pretended normal is truly anti-normal' and 'classical naturally births anti-classical'. Doctor Chou Chou must understand it quite well. Even further, thinking about: in which case, forces would lose their weights and energy would be anti-naturally pressed down in certain channels of our universe. Yes, if we want to theoretically reason it much clearly, around one year, we still need to go back to gravitation, but in a very different field - sound effect (Indeed, through the analysis of what sound sent here, we can make the judgements of what types of materials, endeavours and forces originally applied in the beginning - sound sources through engineering approach - to build subjective connections through training our sensory organs of body.) - ears and fingers' 'anti-gravity' need to be frequently trained for the expression with the accuracy. I am sorry to say: in my second draft, beauties of this bar haven't been expressed perfectly. Then, if in energy-signal's ending part - sound effect and for perfect controllability (Tiny single note's accumulation), it would be the term 'gravitational waves'. In my opinion, it isn't to say, our hands (arms and fingers) need to be so advanced - 'creating a black hole', but to say they need to make some very simple anti-gravitational moves, in terms of which the entire effect is seen as normal, but under the surface, forces applied are somehow anti-normal. To be honest, Chou Chou's doctorial expressions with this style, in ''Children's Corner'', are ranged upon many places. It is one magically artist description of certain '''symbolized imagery''' representing the relationship between natural phenomenon and their controllable gravity, energy-impacts, 'energy-escapes', and energy-simulations of, from or for gravitational waves; then, by joining them above all together, we need to explore: in what types of situation, gravitational reversibility (or as some interval stages of waving) would happen. (Wikipedia introductions: [[Gravity]] https://en.wikipedia.org/wiki/Gravity;  https://en.wikipedia.org/wiki/Gravitational_wave)
All in all, B8 and some like it needs to make some anti-normal endeavours to control your hands' nature and realize a quiet and peaceful sea-face, directly after energy-tide's passing by in B7. (About further explanation, we can review more pieces of information from the Comment of File History in Wikimedia Commons (Third Edition - 16:10, 15 January 2017), but the true music was wrongly placed at the position in which fourth edition should take (16:27, 15 January 2017). I am sorry. 
( Wikimedia Files-storing: https://commons.wikimedia.org/w/index.php?title=File%3AImpressionist_Data_for_technique_analysis_-_Doctor_Gradus_ad_Parnassum.ogg )

* The mechanism of B9 and B10 (motif) is designed as to follow B7-B8's impressionist fashion, too

'''B11-B12: A simulation of the release of a sequence of bubbles (rising up) from underwater and to the surface '''

* Impressionist description:

Tightly following the anti-gravitationally down-pressed Bar B10, another advanced technique has been magically produced out, which can be heard by us in revealing Chou Chou's extraordinary doctoral imagination and her transcendentalist operations. This technique is regarding with a natural phenomenon - Bubbles' rising up in water.
Let me make a careful explanation: After a great amount of classical forces have been anti-gravitationally pressed down for recovering a peaceful 'sea-surface', we knew, in order to overcome jelly-liked Times &amp; Spaces' multiple- limitations, a hidden 'black hole' has been set in the centre of our 'hands' with a channel sending (escaping) the extra energy to the 'parallel universe'. It can be compared with the situation of being fixed in the depth of ocean, as a Aladdin's lamp sealing the damageable power of an 'energy-monster' in. However, in the other side - the white hole (or being mirrored in a occasion which would be compared with what Chou Chou has magically done - to release the huge power of a tide( or a tsunami)), Times &amp; Spaces' jelly-liked holding-back function has played the role of shaping its escaping routine into a wave-like up-rising channel, in which the whole energy has been divided into small pieces by Times &amp; Spaces, as gases in bubbles, staged flowing up at intervals (in rhythm). We can review some pieces of information about the changes of a sequence of bubbles' speeds in the procedure of flowing up, the reason why they can go but remain intact, and the equation for counting their pulsations (in rhythm) in our Wikipedia introduction: https://en.wikipedia.org/wiki/Bubble_(physics). Indeed, my explanation of this imagery impression is: the energy wants to escape in a very fast speed but cannot, because of Times &amp; Spaces' anti-forces in holding it back through changing angles of its pathway (deeply say: it is a result of interactive fighting between each other), which can also be compared with the situation Chou Chou's small hands are plugging bubble-liked energy-pieces back to the original mouth. I think this is also from one of the reasons why gravitational waves are 'heard' like waves - energy is staged divided and held back at staged as bubbles carrying gases to flow up under the pressure of fighting against Times &amp; Spaces. From this case, we can see how many pieces of knowledge doctoral Chou Chou in the heaven with her father have already known, especially understood their abstractions and applications in keyboard's practices and our fingers' descriptions, with their creative imagination.

* Fingers' realisation:

In this case, two hands of us need to be tightly matching together in order to behave as one hand. This procedure is made through one hand's tightly following with the other. We can hear 4 notes each in one group, as a small unit across two hands, which are forming a staged bubble-projection in the waving pathway; then there are four bubble-projections upon Times &amp; Spaces. From the bottom to the surface, it's the left hand which gives the power to motivate the whole mechanism' working in the fingering; then, the right hand is following after, but exploring further high-ways and leading the waving angles' changes. In other words, it's the right hand leading out the shape of waving pathway upon keyboard and guiding their progress to further step. It's better to play out an acceleration of our impressionist arpeggio alongside the cresc. of loudness, for simulating out the situation in which bubble-pulsation in rise requires. The final 'sf' and its dying out, alongside the procedure of the semibreve' standing upon a full time value of one bar, is an entire peak, as if rushing up to the surface of 'sea water', and bombing out there with full energy' release influencing in a large scope and lasting for long time. 

Thanks for this case, through reviewing which we can know how beautiful and what a magical world in Dr. Chou Chou's eyes in Children' Corner. On purpose or not on purpose, that's a problem. I think: just because of Chou Chou's childish ignorance of this complicate problem and totally behaving the full-hearted dedication of herself into creating universal beauties, (just for playing it happily, or being even without any thought of how and why to make them out) currently, through many times' excising and techniques-reasoning, we can find our hands' improvement, and the impressionist wandering to the purity after frequently trainings.  

'''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)'''

After travelling alongside a sequence of bubbles rising-up till being above sea-surface (B11-B12), we can find the forces' application realized by transformed staccatos has turned to a fresh field: how could us make the joyfulness through surface motions? Oh, smart Chou Chou's music-spirituality has chosen an amazing activity -playing a surface-chasing with her lovely pet - Exocoetidae (Flying fish). 

* Flying fish's flying mechanism:

In order to understand how Chou Chou can play so happily, but without self-ignorance of our own hands abilities. We can make this thinking: for making things clear, through accurate notation-reading, we need to get back to Flying fish's biophysics mechanism: 

In identifying Wikipedia introduction's words recordings of Flying fish' flight mechanism, we can know all flying fish's body parts - 'muscles, connective tissues, and ligaments in a fish’s skeleton; totally generalized: the vertebral column and cranium' - have been threaded internally by Neural arches, as a 'strong bow'. The shrinking of this 'strong bow', by accepting a signal from brain-linked Neural arches, would suddenly produce a strong force directly beating upon sea-surface with the direction back-forward. As a respond, the counter-force given by water surface would shoot up this streamlined fish - threaded all body parts - into air, with light swings overcoming resistances. In this procedure, tail fins (as grouped staccato-heads) play the direct back-forward motivation; meanwhile, higher-placed fish wings (as mind-borne huge slurs) play the function as gliding this movement from the beginning accelerations. Depending on this mechanism, Chou Chou's lovely pet - Exocoetidae (Flying fish) can realize its bird-flight. Indeed, small 'tides' surrounding its flight trace are like being wheeled, with back-forward streams counter-pushing fish's shooting, which are also projecting body parts' out shapes. In order to keep in air for longer time, middle re-forcing as another strong standing-point is needed during this interval flight, by its 'strong bow' with tail fins touching the surface. That's the whole flight which my recognition can get. About further researches and information, we can review Wikipedia introduction.https://en.wikipedia.org/wiki/Flying_fish . &lt;ref&gt;Wikipedia (2017)''the section 'Distribution and description' of 'Flying fish''', '''Wiki-entry''' 'Flying fish' Searched from ''Wikipedia'',  Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at:https://en.wikipedia.org/wiki/Flying_fish. Accessed: 13rd, February, 2017&lt;/ref&gt;

* Fingers' realisation:

1. In B13 - B21, you can hear left hand's staccato-heads back-forwarded wheeling and leading another linked 3 notes distributed upon right hand of each group plays each small shooting flight;
(Yes, the direction of left hand's staccato-head threaded with the wheeling 3 notes of right hand need to be played back forward and wheeling, as pedaling water's surface stream by stream. Then, flying fish, supported by courter-forces, can fly to the front air.)

2. Each 'slur' set upon these staccato groups should be seen as mind-borne 'wing fins' for keeping in air longer time and farther distance;

3. In each second bar covered by slurs, there are dynamics peaks between two wings - a crescendo signal and a decrescendo signal, supported by a 'post-' foot pedaling, counter-shooting flying fish's middle re-flight and re-acceleration for being kept in air longer time;(B14 and B16)

4. Oh, what a giftedness you can hear that Chou Chou sets several tenuto quaver heads distinguished with staccato ones to later their time values for more sturdier standings counter-reflected upon water surface. (Each second and fourth notes of B17 and B19).
It's like: in this lovely chasing, naughty Chou Chou suddenly rides upon flying fish, or grasps its' tail fins for delaying its time, and making some fun things. You can also hear 'hairpins' of dynamics - sudden softer signal, accompanied by posted right pedals tried to enhance this effect for the real joyfulness. (But, the effect still needs to be improved in future);

5. Finally, in this session, 'In Peu Retenu' makes a back-drawn and continuing 'slow motion' of flying fish's flight, which can be seen as the sprint stage of this race. There should be a back-drawn force slowing down the whole Times &amp; Spaces, which can be compared with the transformation of all these cases above to be a 'slingshot' - flying fish's 'strong bow' , being later down, but for a fresh beginning in NEXT 'a tempo'.


'''B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwards for enjoying a beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together '''

[[File:Educational sample for demonstrating techniques of B22-32 (Sir Debussy's Children Corner - Doctor).ogg|thumb|This is a small piece of educational sample for the demonstration of piano techniques, belonging to the session 'B22-B32 :  Chou Chou's Slingshot shooting a Rotating force-tendency highway upwardsfor enjoyinga beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together ' of one journal article researching Sir Debussy's Children's Corner - Doctor. As one techniques-sample, it's tempo was expressively slowed down a little bit, but oppositely reflected out more emotional changes when watching impressions of binary system's progressing under background of CMB (Unbalanced balance surrounding hidden gravitational axis - turning round and turning back - waving by waving). Meanwhile, you can also hear the parts of deep self-reasoning and down-falling towards clouds. I thought basic principles of impressionism, according to Sir Debussy's notation-transcript, had been kept. Better edition based on classroom background, will be researched out for commons' free shares and usages .]]

Tightly following the end of last session, we can see flying fish's 'strong bow' (a rit. &amp; a recovering force applied for another new beginning) has been magically transformed to be a Slingshot (Wikipedia introduction: https://en.wikipedia.org/wiki/Slingshot) in Chou Chou's hands directly shooting up the melodic theme into a holly snow-land. In my opinion, this session can be called the second peak and pure exploration of heavenly snow-land.
Why can we say it is the second peak? We can find this session's preparative functions for the other top trip in the later part, in which more achievements of landscapes-appreciations have been succeeded by our Dr. Chou Chou. Therefore, this one is the first 'attempt'.
How can Chou Chou achieve it? I thought this session can be divided into 4 sub-steps (stages) carrying functional meanings. About their titles, I can conclude them as: 
Thematic variation in small fingering changes latterly with shooting forces-tendency rocketed-upwards, 
Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling, 
Holly purification and self-reasoning in an angelically crystal universe full of brighten galaxies, 
Falling back to a earth cloud with Bass-thunders and Sun-lights' penetrations providing senses of light's warmth.  

&lt;small&gt;'''B22-B23: Thematic variation through small fingering changes (B23) with shooting forces-tendency rocketed-upwards'''&lt;/small&gt;

To be honest, this model, as each beginning of three sessions (B1-B2, B22-B23, B45-B46), wasn't unfamiliar by us. It's like every beginning part of children race, with an acceleration of fingers' running to rise pitches to treble part and prepare for further adventures. However, this part is special with a distinguishable variation in B23. In B23, left hand played a guiding function with expanding fingering pathway to climb up mountains and leading 4-notes grouped right hand to a further sky. Meanwhile, it was carefully designed according to Orbital eccentricity (Wikipedia introduction:[https://en.wikipedia.org/wiki/Orbital_eccentricity ]) , expressed through forces' increasing in dynamics-changing. You knew, under the background of gravity, if one object wants to improve its height to a far distant, it must recover its tempo to a continuing faster rate, in overcoming air fictions. During this procedure, its acceleration associates the transformation of kinetic energy to be gravitational energy; meanwhile, changing r (radius), collected as its height representing for gravitational energy's increasing, can be seen as vertical indicator (towards core)meaning the 'embracement' of further 'landscapes' in curvature horizon. Therefore, in my vision, four root-notes (intervals: third, fourth, third, fourth, finally towards sunny E in C major) played by right hand, with a expanding sense, gave the guides as ''Orbital eccentricity'' for rock's flying into further sky and realm. About them, We can give a self-range of its dynamics (4 levels) of pitches' rising, fingers-forces' inputting, loudness' increasing, to realize this effect. Here, a very naturally designed fingering pathway, as 'sky climbing-ladder', is of the importance, which Sir Debussy has referenced Mozart's 'nose-application' to give us some suggestions. ''''Natural' means that its design can follow the direction of accelerating tendency and hand's expanding pathway.''' In a fuzzing view, four root-notes are 'staring positions' of the curvature orbit leading a small-waving impression-belt orbiting to our higher snow-land in the space above clouds.

&lt;small&gt;'''B24-B26: Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling'''&lt;/small&gt;

What would happen further and what will us see tightly after last accelerated session? 
You can feel a pure universally holly snow-land have been formed (travelled to, or discovered) with amazingly astronomical phenomena magically existing summarizing different impressions of 'landscapes'. 
1. Binary stars system (yes, we can compare situations of two hands here with Spectroscopic binaries and a beginning of energy's integration. ) in piano expression and its hands' realization: from B24, left hand's leading energy has been totally released out that it flies by and orbits right hand in certain significant rhythm of position-occurrences. The observation of interactive 'Algol B orbits Algol A' in relative Wikipedia page gave me some inspirations of this situation. Here, through melodic analysis through our own hands, we can guess this stage in binary stars system's history - earlier time can be seen as still in a higher, enough and fulfilled energy level. However, the range of two sides are in one specially orbiting balance, with a ''equally-ranged'' merging tendency between each other - they cannot die out each other by gravitational attraction, but with energy system as a whole one including a major axis. Thereby, they were orbiting with each other in a special rhythm with one (indeed, it's interactive two) forcedly drawn by from one down-slowing peak to the other up-fasting peak. Indeed, it wasn't made out by 'left hand' only, but an interactive two sides with one accelerated merging into the other from one peak, then sliding out to the other peak; and the other influenced as energy-waving or even shape-penetrated floating small　Nebulas (impressionist background; about the effect, please see Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) It's really a beautiful universal phenomenon in higher energy level.   
   
&lt;small&gt;'''Fingering realization:'''&lt;/small&gt;

Signature 'l.h.' of left hand associates us to realize it. Depending on the acceleration, natural inertia and higher level energy-atmosphere pushed through B23,  We can see that left hand was making the frequently travelling (penetrating) throughout right hand's waving rage, in a distance about one octave; and about each wave (divided into two turned penetrations), two peaks from highest to lowest have been clearly twinkling out by left hand, as two crystal pearls hung by tenuto and a intervallic middle-shifting staccato (and both sharp C in the middle peak of B25, as a special tenuto-ing staccato). Meanwhile, dynamics range are naturally pushed though up and down with mouth as the middle main axis. In other words, let us divide this paragraph into points and see what basic standards here: 

1. As in one binary star system, the timbres of both hands need to be heard as if only in one hand without any differentiations, especially when left hand was travelling to treble part to fulfill a back-turning peak ;
2. However, tenuto semibreve and minim bass root-notes (in B24 it was a minor third effect - CE, and in B25 it was a single E) also need to create a whole impressionism atmosphere of bars, with time value being fulfilled enough. It's for the distinguishability of a stable higher energy level, contrasting to the accelerating part before. Oh, I knew maybe it was heard in crazy contradiction; But, indeed, on certain degree, they were dialectically unified together, as one for driving out this system, but when left hand was through out, the other back-turning peak for drawing back (braking) the energy of binary system. Then, they were keeping on going in balance;
3. Tempo in bass part (first half of B24 and B25)needs to make a accelerating accumulation (continuing faster) of force for driving the whole system to higher energy level. But, when left hand was across right higher to touch treble peak, a down-slowing and harder (continuing to slower) sense needs to be expressed out for braking and drawing back in binary stars system ( worked by eccentricity);
4. Following points 2nd and 3rd, a oppositely rotated middle axis will have been interactively revealed out with a Sharp C impressionism twinkling beautiful lights on the mirrored sky 'ceiling'. Oh, Debussy has totally anti-gravitationally (but also relatively in gravitational attraction's influences) reversed the axis in Bass part, which can be seen as a challenge of classical physics mechanism requiring more of hands' self-controllability;
5. However, there is also a contrast between B24's middle main axis and B25's that one is a staccato, but the other is a semi-staccato. How could us see this differentiation? I thought it should be one type of natural transformation from binary stars system to Eclipsing binary. Yes, alongside time's on-going, they are near and their energies merging into one whole that staccato's brightness evolving to be down-pressing root-notes and joining the group with B and Sharp A in scale. In other words, two peaks on each side have been integrated as only one notion and all in bass root with significant impressions pressed out;
6. Dears, what about our right hand? Caused by higher energy's stretching power and the other planet's frequent penetrations, it lost its star-shape and was generalized as energy Nebula (still, Wikipedia introduction: [https://en.wikipedia.org/wiki/Nebula]) fuzzing a tiding impressionism background waving by waving.
7. Here, How can us thread all those above coherently and harmonically? sustain pedal of piano has played a very important role in creating a crystallized Reverberation effect representing for a holly, peaceful and pure  energy-environment (Snow-land) with various sub-level touching-effects according to time,  to support the realization of techniques, about which we can pre-review some pieces of information from Wikipedia introductions. (Sustain Pedal -[https://en.wikipedia.org/wiki/Sustain_pedal] and Reverberation - [https://en.wikipedia.org/wiki/Reverberation]). Yes, indeed it should be heard as being pushed from nature and according to energy's being upon Times &amp; Spaces ; but, when we try to realize them in the cooperation of feet and hands, the idealist effects are not easy that we need to research more about their interactions.
Here, some peers and students would ask me - Jason, how could us press out good sound effects of piano pedaling to support impressionist expressions of hands, in the realization of imageries we had described above? 
That's a quite great but very hard question in piano that different schools have gotten different ideas, and some have concluded out several theoretical systems. Here, we can try to reflect out and summarize some of my small practical experiences and some appreciations of different pianists in educational approaches, according to notation-reading and practical performance effects. From the view of impressionism and Neo-expressionism in piano, just leave a brief sentence: please bear in mind, natural breathing in rhythm according to slurs and dynamics is quite important. In postmodernist impressionism for commons, we mainly support Post-set (later a little bit time, compared with notes' finger down-pressing) pedalling pathways for Education Research. In other session, we can make careful and reasonable self-reflexivity from tens years' exercising, some information-collections from documentary materials, and some comments of effects from classroom recordings. 
(Leaving a developing zone)

&lt;small&gt;'''B27-B30: Deep self-reasoning and self-exploring when gaining impressionism of a infinite CMB Universe'''&lt;/small&gt;

Till now, after running after binary star system and feeling about its special rotating rhythm caused by  gravity ( being with two peaks of orbit and a inclined middle axis; then, merging into a eclipsing binary star system), Chou Chou's sight was travelling to the deepest part of her universal horizon - maybe inflation with light's primary breaking-out, a delicious sweet &amp; hot particles-soup in dark, , or some far more unknowns... ; meanwhile, Dr. Chou Chou's subjective worlds was dropping into a special situation - self-reasoning, self-questioning and self-exploring.
How can me hear those? in B27, the upon-travelling left hand, associated with sustain Pedalling created a special sound-effect - slurred semi-staccatos were making twinkling 'eyes' breaking-through right hand's hot hydrogen recombination background; in a wide and profound space, they created later back-turned, slowly-decaying and longer-lasting reverberations, which are shaking as three supernova stars (Wikipedia introduction: https://en.wikipedia.org/wiki/Supernova ) hanging upon chaotic and after 'binary system's combination in sessions before. So beautiful vitality Chou Chou did, which also reminded  me the post-impressionist painting Starry Night [https://en.wikipedia.org/wiki/The_Starry_Night] mentioned before. It's also a question flowing from G, to Sharp F, till E in G major system (or its attached e minor tone), deeply and expressively asking human beings 'who am I (compared with the never-ended and long-lasting universe from big bang)? or what are (our) meanings (with a short life as so)?' That's quite right that Loevgren calls The Starry Night &quot;an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos&quot;, which revealed a little bit sorrow when the seventh of G major appeared (as if in minor e) directly asking universe our being's final meanings - to feed and light the unknown darkness? Chou Chou almost knew the answer that in next bars B28 and B29 two small slurs beneath two huge threading slurs made through left hand described two self-exploration and self-climbing - D, E and Sharp F (5th, 6th and 7th of e minor). We can hear the reasoning feet of the two repeated motifs have all been landing upon sharp F with the instability and uncertainty as universal fluctuation and left sound-effects energy-waving in vacuum. Those self-reasoning motifs were so deep from true heart, which are bravely expressing the dream of a truly peaceful heaven with imageries of freedom to appreciate symbolic 'landscapes' made by Creator. 

&lt;small&gt;'''B30-B32: Dramatically Channelling back through scale-fingering from deep universe to Snow-land built upon cloud-blocks of earth's atmosphere'''&lt;/small&gt; 
Final part of this session, in B30, all astronomical landscape-paintings ceilinged upon Chou Chou's Multiverse sky-roof have been summarized as a self-comfortable confirm for life and peace, with three semi-staccatos shining back the rising acceleration, and taking a downward tendency through a slur-breath - naturally and beautifully. Meanwhile, a smooth curvature line of dynamics -decrescendo, implicitly drawing out star fireworks' resting-pulse upon 4 dimensions, turned down the tempo of Chou Chou's whole universe and make her fall into a huge waterfall of energy, back to the original heaven. 
Yes, B31 is that waterfall with a continuing and dramatic dim. requiring two hands tightly matching together as a whole flow; by attracting all matters, it internally dug out a landing channel, to somewhere as Chou chou's willing to go. We can call it a wormhole, rather than black hole's leading towards another sky.(Wormhole - Wikipedia introduction: [https://en.wikipedia.org/wiki/Wormhole]) Though B31's waterfall of F major, Chou Chou got back to an assembly of cloudy blocks seemed heavy as castles, but floating upon our earth's atmosphere. 'Retenu' of B32  - down-slowing associated us realize this successful landing, which can be compared with a　parachute covering three slur-legato-ing pitches - D, E and C - longer-lasting (as up-hanging crotchets), associated by Bass's fluctuations in sound-effect, to keep parts' distinguishability in texture and　to simulate braking soft-land.


 '''B33-B44 :  Fairy Legend -  The 'Expressif' of natural spirits: 'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks; The pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then spreading all-directions - alongside impressionist arpeggio's climbing and above the upside landscapes of clouds-made heaven (B37-B40); Holly lights are shining and intervallic penetrating throughout the joints of cloudy blocks, as in a continuously weaving pattern to future (B41-B44)''' 

* 'Wormhole Door' was opened by drumming spring lightening '''(B33-B36)''', which is charged and expanding in the middle of cloudy blocks

In this part, the ''impressionist Arpeggio'' was expendably climbing to higher place through alternate applications of both hands, as if lightening was formed and wandering among clouds-layer. Why did I highlight the term 'impressionist Arpeggio'? 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto' - this impressionist technique (Wikipedia introduction: Section 'Impressionist Techniques' [https://en.wikipedia.org/wiki/Impressionism])taught us: not all notes need to represent properties of motives, but some grouped heads. They should be brighten than others with longer time-values and support the existing of certain textural parts, right as ''Short, thick strokes of paint''. Meanwhile, other notes would be touched much softer without too many attentions, quite as 'improvisational  details' streaming out an expanding tendency slowly tearing out 'clouds-background' from middle. You can hear: from Bass flatten B to long notes middle D, till treble D, a solidified cloudy structure was built upon sky involving 'impressionist point-pixels', for leaving 'essence of the subject' - yes, the soul. Then, lightening streams were climbing alongside this frame with details half-touched unclear, but spiritual powers accumulated and pushed to higher level. If only in this case, we cannot state Chou Chou's piano techniques are advanced. I can remember: in previous sections, we have discussed the anti-gravitational characteristics of Debussy's compositions- down-pressed peak forces with higher-energy vibrating, such as the comparison between B7, B9 and B8, B10. Here, still, this requirement of hands' controllability has been mentioned again, with two hairpin left-opened decrescendos and a middle piu (more)painted on. Therefore, a significant energy was down-pressed, finally being fuzzed to be a broken chordal impression left in atmosphere. Among cloudy blocks, it can be a vacuum, created and lasting for a small interval. Tightly beneath it, please see charged lightening streams rolled struck ground through bass-part's switches between flatten B and flatten E. Here, longer-lasted, pearl-rolled and charge-vibrating 5 notes (B35-B36) with special reverberations in sound effects, perfectly express lightning's expanding and strength when being down-pressed into certain channel Cloud-to-ground (CG). In order to make better understandings of this case, we can review some pieces of information, in analogy of lightning. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Lightning]) 
Those notes can also be understood as Chou Chou's lightning-strikes knocking at the door (on the other side of wormhole) for opening a fresh heavenly realm upon clouds. 
* The weaved pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics）, transformed from lightning, and then was spreading all-directions - alongside impressionist arpeggios' climbing and above the upside landscapes of clouds-made heaven '''(B37-B40)'''

It's hard to describe this session, titled with an emotional signal of 'Animez un peu' (continuing to be lovely and vivid). 
Technique-requirements:
1. Still, the right hand was simulating a cloud-weaved tree's growth, branches-climbing and area-expanding by following 'impressionist arpeggios'. It's a slow but enjoyable procedure, with the depths of keyboard-touching increasing one by one, but very naturally. 
2. Accompanying with the first point, the warmth of atmosphere and the lights of sun were emerged out and hollowed throughout repeatedly, which are in the dislocated positions of aesthetics of clouds-tree shade. How could us understand it? Usually, in our minds, there are normal expectations that the most brighten lights should be shined upon peak-poles; then, warmth pushed by dynamics can be reflected out. However, in this case, the posted-pedalling diffused warms in the atmosphere and from bottom; meanwhile, 'l.h.' across the right hand to simulate the sunshine, holly over, and hollowing clouds-made tree-shade. Owned to the reason the hollowing points (Two major thirds of flatten G-flatten B) were out of our expectations, but set a little bit later compared with peaks of dynamics. They are weaved with the imbalance, but symbolized as beautiful surprises. Therefore, We can call it 'Dislocated aesthetics'. Indeed, in the history of aesthetics and covering some fantastical landscapes, there were many beauties seen as some amazing surprises, but placed wherever out of expectations (even wrongly enough). We got the sense - oh they are beautiful- mostly because of their deep impressions of the imbalance. We can call this imbalance - happiness. Oh, it's a symbolized and weaved pattern of happiness tree (clouds-made) growing upon our heads. Souls have almost been hollowed by warm streams of happiness.  
3. May it be, the weights of treble sky gave us many pressures; in order to control this situation, our left hand had  also traveled back to set a weight in middle part (tenuto  minuet long-third between flatten E and flatten G ); then, flying back to light the clouds-made heaven through another dislocated joint. 
We can make our imaginations through watching more visualized imageries and introductions from clouds and know more discussions of beauties' contents from aesthetics. (Wikipedia introductions: [https://en.wikipedia.org/wiki/Cloud]; [https://en.wikipedia.org/wiki/Aesthetics] )    

'''* Holly lights are totally shining and intervallic penetrating throughout the joints of cloud-liked block-made happiness tree, as in a continuously weaving pattern processing to the future(B41-B44)''' 

Techniques for this session have already been introduced, as above. Yes, among what we have learned before, many points were symbolized out by our thought experiments, including some elements from analysing and reasoning. Thereby, an omission can be left here. However, this part was also one of the most expressive, reasoning, fantastical, warm, holly, brighten and peaceful sections in the whole composition, requiring us to apply more engineering exercises, careful forces and fantastical musicality. Based on those fundamental trainings , we can fly our fingers with more enjoyably impressionist freedoms. Here, you can see: The right hand has expanded a long regression-analysed D-flatten arpeggio-chain (heard similarly in a Pentatonic scale) - stating from D Flat' Perfect Fourth and climbing across the sky-horizon to touch another peak-peal of this work. You can clearly hear its simulation of our universal expansion through dynamics-climbing, which can be compared with a transcendentalist push (prior designed from universal nature ) of both materials and spirits in logical pace (rhythm) to touch another 'brighten ring' (around black hole) or a hidden eye channeling black hole (seeing or attracting all brighten 'lights' there, then '''oppositely''' (felt) as a dark fallen eye from the singularity), with gravity's increasing (while hand was expanding upward) which brought Times &amp; Spaces' continuing  down-slown - yes, leaving some natural out-breaking holes for holly lights' shining down from worlds with high dimensions, which was relatively heard as the signaled peak 'Retenu' contenting full imaginations self-created and penetrating out (continuously rhythmic down-slowing for some deep expressions).

[Extra explanation: Scientific observations have already proofed us - when we would traveled a lot (climbed too much) throughout a sky with wormhole to a nearby neutron star, or somewhat a black hole, gravitational waves produced by them would twist our senses of Times &amp; Spaces, especially down-slowing and expanding them to certain unbelievable peak-points. I believed one day, manufactural time-controllability with powers drawn from them can be re-produced out; then some amazing senses , rather than terrible ones can be motivated by our consciousness when channeling them - some holly, reasonable, purified, joyful, amazing and heavenly senses would be motivated out (on the other bank of our trip), as a naturalist regression threading all fragmental memory pieces of our life in a chain. And, we can finally make them meaningful, as the appreciation of Sir Debussy's Doctor in children's corner. Therefore, I still believe it's a 'up-picking' of  flowers blooming from childhood by a huge &amp; unconscious regression-analysis of our own life trip. Recommending one movie - Interstellar (Wikipedia introduction: https://en.wikipedia.org/wiki/Interstellar_(film)) , which is among my top list, especially its virtualized final-part of black hole's gravitational senses, though still some rough points which Joseph's subjective regression alongside gravity's increasing in dark hole was towards his own mental history rather than earth or solar system's entire history &amp; meanings, and further I didn't think book-liked square-dimensions hidden behind his daughter's bookshelf would be his own life or all people's regression points as universal truth ; but currently, lots of reasonable imageries from this movie have been reasonably created out and visualized out, which both met scientific purposes of Space-exploration, theological humanity - loving and respecting commons' life blessed by Lord even ending from black hole, and also in little Jason's journal, would motivate our musicality (imagination field) for more romantic understandings, some neo-expressions and a generalized impressionist-coding of Universal Epic in Sir Debussy's eyes. In my eyes, as Joseph's bookshelf, about Sir Debussy, if predictable and after his own Event Horizon [https://en.wikipedia.org/wiki/Event_horizon], his universe and subjective regression point across Times &amp; Spaces would be going toward the mutual music-impressions keyboard-touched in diverse works between his dreams and landscapes with beloved Chou Chou's landscapes heavenly upon innocent children's universal corner.] 

Therefore, as seen above, it's also a gravitational regression of universe, but not easy for our own hand's training about the case whether or nor we can make the expanding of right hand's climbing-liked Arpeggio and finally light the senses of most peak in Times &amp; Spaces' Retenu and the shinned depth of singularity in dynamics (to get the solution of general relativity Equation in gravitational waves),  was going to depend on our own levels and endeavours in hands-exercising. 
Please see: when peak - the '''flatten A''' was totally reached and lighten on 'ceiling', a sky was opened above all clouds-made landscapes and holly lights are peacefully shinning upon all corners of our earth. We can know our endeavors were worthy.  Chou Chou's childish &amp; innocent smile-face with good wishes for future appeared there, warming all people's heart and make them powerful and joyful. Facing so significant an universal impressionist painting there from kid's eyes, don't forget put an element of ''''France Romantic'''' gently &amp; relaxable wandering upon those curiously&amp;unusual universal observations: you knew, so small we were when facing... but we can reason ourselves to much 'deeper places', then, our emotion would be comforted &amp; released from this procedure experienced -joining the reasoning and self-expression together from something in emotion - not clearly known but felt...'''romantically and peacefully'''.  Though our hands were still rough (in my mind), let us take more idealist imaginations (how things and hands-techniques would reasonably be like) to make more tastes of this session and our own endeavors - sweet, sweaty, but worthy ... I thought it would be the educational purpose of music.

'''Tempo I: The awakening of pasted memories through thematic repetition but twinkling elements from new accumulations ('''B45 - B54''')'''

After travelling into a brighten ring with 'a dark fallen eye in singularity', we can find it contents a summery of most beautiful impressionist landscapes in a only note of '''flatten A''' decorated upon Sky ceiling, the unconsciousness of Sir Debussy with his beloved Chou Chou has almost gotten back to the past - their  'Original dreaming heart (willing)' (B1-B10). Yes, the review of your 'Original Dreaming Heart' is very important as a reference to correct the navigational direction, pick up 'lost flowers (imageries)' from its morning, accumulate more energies and make further adventures in this trip. You knew, the boundaries of a dream somehow content original powers rooting from your unconsciousness and linking to universal nature fatal designed already, thereby, is called transcendentalism. Awareness or unawareness, you are following its channel to be somewhere, with some people, and doing somewhat. Sometimes, you would lose yourself alongside complication's increasing. But like 'Mustard Seeds which have already been grown around you', only your down-bowing for picking up your originally true heart and cherish it again, you can travel to your peaceful heaven. '''(The Parable of the Sower and the Parable of the Mustard Seed and the Yeast,  ch 1-43, MATTHEW 13).''' I thought it's the reason why Sir Debussy has made this repetition in later middle part. Till now, the power of our hands has been increased and the techniques have been brilliant which would give us more confidences to face new situations. Let us go! 
In piano performance, usually, when a repetition occurs, we need to make different expressions in Dynamics, though techniques would be out of the similarity. It's for keep the diversity of music. One approach for this point is to research tiny differences from new piano scores (though some of them are either modified, or hard to find or later-posted by others) which content different experiences and impressions rather than Sir Debussy's own impressionism. The other approach is from natural root to self-construct, depending on your freedom of reasoning, musicality and universal participant-observation. I would like to remind several changes appeared with differentiation in this piece:
1. The whole dynamics background has been totally reduced from 'p' to 'pp', which means less forces would be applied here; meanwhile, oppositely, the scope of dynamics was enlarged in which much space can be left for Neo-expression of impressionism . Indeed, I would rather to compare it with a '''hanging valley''' above higher altitudes and cloud-blocks (Wikipedia introduction: [https://en.wikipedia.org/wiki/Valley]), air atmosphere became thinner represented by 'pp', but the whole height was improved . In the other view, why did I apply 'Hanging valley' to describe this repetition? Don't forget we have already climb a peak of this expanding tree with a signature - 'Renenu belt' leading to a Black (unknown) inside-Fallen Eye channeling to another beautiful &amp; infinite happiness universe. In this time, from the nature of a dream after beautiful landscapes, let us climb another peak within the events-horizon more symbolized beauties were hidden there. In other view, it's also a rest of our hands' energy and an accumulation of new energy, after so depth the forces we have applied for climbing that brighten happiness tree above clouds. A fast light-review of Originally True heart, as a reference set beside, might help us find the 'solution' and open 'another sky'.
2. Compared with B3-B6's twinkling-head stars under The Impressionist background of Starry Night and various keyboard-touching techniques for supporting fingers' fluent arrangement, it's a very small difference that the scope of (crescendo-decrescendo-formed) (date-core-liked) dynamics-progression has been enlarged until  two Bars' covering (B49-B50), rather than before - only occurred in half bar of B5. How could us explain this change? Dramatic change was transformed to be a leisurely emotional expression. Following it, more energies can be accumulated and more tastes of musical beauties hanging and dropping under the Starry Night would be slowly reflected out. It's still for the preparation of another Peak-climbing alongside the Cloud-blocking, Snowland-upon, happiness-tree upward-expanding channel to the universal purification and reasonability, which can also be seen as the heaven Debussy picked up for his Chou Chou in musical patterns.
3. Bass change: 'Small depending note' attached to Octave C which was forming a progressive chord has been transformed as a octave block-chord - G; then, slurred Perfect fifth (Deep C - G2)mirrored from this change(B45-B46). I think it was an evolution, which makes the distinguishes between before and current. It can also be seen as a proof of 'Hanging Valley' above higher altitude joining two peaks in transition.

After these accumulations, fast reviews, small modifications and new expressions on 'Hanging Valley' above clouds and under The Starry Night, another shooting trip will be going to soon begin...

 '''B55-B56: Expanding Heaven-Ladder out-breaking the other branch channeling wormhole which was created by fantastical materials borrowed from old story - bubbles (rising up) throughout the underwater of atmosphere (developed from B11) '''

By notation-reading, we can find this bubbles' on-going channel is developed from B11 (bubbles-rising), but differentiating in length (Time interval: one → two bars), 
tiny note-differences in recycling pattern
{This time, in each　tracking pattern (Originally, basic unit-recycling was wheeled by a bottom-top movement - each time, the next note will be the first: E- Recovered B-E-Sharp G → Recovered B-E-Sharp G-B  →  E-Sharp G-B-E, Sharp G-B-E-Sharp G), B was raised to be C, Sharp G to be flatten A and a highlighted repetition occupying the middle intervallic linking two bars together ('Flatten A-C-E-Flatten A') was designed there to build a '''buffer platform''' curvedly twisting the whole tendency of this upwards on-going channel to be in another higher-rising branch.},
and accurate fingering locating
(You will feel that your fingering needs to make a very smart and exact change (rise) - especially the second finger of left hand - moving from B to C, for opening an expanding gap; and further, carry this gap inserting into woven pattern alongside two hands' tightly following in Arpeggio-playing way: E-C-E-flatten A → C-E-flatten A-C → E-flatten A-C-E→ flatten A-C-E → '''flatten A-C-E-flatten A → flatten A-C-E-flatten A''' ...).
From directions, our right hand (like　navigator) needs to lead and match left hand' back-pushes (giving motivations like engine) to go higher places together. Somehow, when playing very fast, they were together siding out a pathway up and down. In turns of two hands, a wave-pattern with gravitational expression has been woven out (I have mentioned it before in B11 - B12 session) as this channel's outside form. Then, 8 recycling bubbles (motives) were travelling throughout this channel one by one. 
when we try to recover its beauties, it's better to send a very small Exocoetidae (Flying fish) back-forwarded (reversed) force (about this term, please see the session - '''B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)''' above) directly upon our 'buffer platform'. Oppositely, we (as in one bubble) will fly (being shoot) higher up onto a joyful, purified &amp; holly heaven land. During this procedure, special music background 'colours' (separated and) motivated from the frictions of this channeling movement made the whole space &amp; time shining amazing lights fantastically. Appreciating it, we can also imagine a surrounding atmosphere with crystal diffuse reflection (Wikipedia introduction: [https://en.wikipedia.org/wiki/Diffuse_reflection]) magically embracing our channel in the middle, which summarized spiritualties of landscapes' most beautiful elements and impressionist reflexed out of our 'channel windows'. I think, that's the magic power of impressionism, in which we can both detailed analyse its components &amp; techniques as a solidified foundation; and meanwhile, alongside its post-channels, special colours and lights, as souls without shapes, can be generalized and abstracted out what were wandering, spreading, occupying and surrounding the boundaries of specialist operations - lasting tasty in our mind for long time without disappearance. Yes, in childhood, we can also see special 'colours' from bubbles in air under sunshine. In order to support this impression, a dynamics 'cresc.' was dramatically set here, for simulating special lights &amp; colours' scattered transparence. Since happening in a higher hanging valley, this climb has been channeling to a true Peak situation - heavenly snow-land crystal-liked existing in Chou Chou and Sir Debussy's mutual memories, their imageries, their beautiful wishes, and their universal regression for future. Oh, it's also in Angelic Children's Corner. Therefore, in my opinion, '''Heaven Ladder''' is a good title for this channel.  

 '''B57-B64: Dualism to see Chou Chou's Universal Heaven-Slide travelling throughout landscapes for joyfulness - techniques VS imagination '''

[[File:Better demostration B55-64.ogg|thumb| Minutes 0.03-0.15 was B57-B64's demonstration]]

Dears, close your eyes, try to imagine which places were there - in your imageries-sea, as for the occurrence of the most joyful experiences? And, after your endeavors of climbing a '''hanging valley'''; and then, bubble-settled &amp; exocoetidae-shooting up to a long distant channel heavenly dropping to another true peak-land with crystal dreams scattering over purified snow-flowers fuzzing beauties of landscapes all around you past experiences , what are your heart then truly willing to see?  
Don't forget, Doctor Chou Chou was still unconsciously a child in her Children's Corner (may it be an lazy daydreaming afternoon lying on a rock watching heaven lights shining throughout gaps of forest, highly there...). Sir Debussy recognized this point and set a most beautiful &amp; infinite Children's Slide there - in the center of universe and back to the beginning - to the most imaginational first light, and the deep impression of the birth. (Wikipedia introduction: Slide in playground [https://en.wikipedia.org/wiki/Playground_slide]) Then, in Chou Chou's heaven, she can always operate her joyfulness by slide-travelling in which passing by universe &amp; mind landscapes 'besides and under her feet'. But what does this 'Children Slide' in her corner (playground) looked like? I think Dualism of 'piano techniques level in physics world' and ' the links of imaginational level' would help us:
* The identification of piano techniques applied here as the foundation simulating '''Children's Slide''':
Here, we can see 'slurs' grouping each four semiquavers in every beat of a 4 beats' bar, which range both left hand and right hand. Left hand played each tenuto of long note (crotchet) at the beginning of each group (note which needs to be played out enough or over a little bit time value), then being counted out 4 heads leading each group waving upwards till left hand, spreading by spreading. In a larger view, several huge slurs, linking each 8 heads in a breath,  are totally downwards going. They are forming 4 sentences with a smooth progress continuously landing to our earth. Then, post-set 4 pieces of pedalling are there alongside 4 sentences' down-landing, matching out two octaves' data-core liked interactions which apply forces in dynamics channels - each between a ‘Crescendo’ and a 'Decrescendo'. 
* The links of imagination
Then, a breathable heaven with crystal landscapes, supported by pedalling, as the fairy background twinkling and embracing Chou Chou's  Slide theme in the middle, which are formed out the impressionism orienting the history of universe. Chou Chou feels so happy sliding in this channel reviewing fast by-passed landscapes and her own consciousness experiences. Oh, I forget to say: it was also a rotating Slide while you were playing, the degrees of bending &amp; stretching of your fingers told you angles need to be changed periodically. Currently, I think, to some philosophical degrees, the mechanism of universe in particular Planck epoch era, or then spreading out here (Wikipedia introduction: Universe [https://en.wikipedia.org/wiki/Universe];[https://en.wikipedia.org/wiki/Planck_units#Cosmology]), can also be in a analogy of universal Children's Slide, set from a far beginning, down-landing out &amp; down-sliding towards us and this earth - then, till now and here. In brief, this time Chou Chou has really well-done a great universal climb, upwards to so top, fantastic and holly a place, then sliding downwards to us. The beautiful heavenly sound effects made us drunk in the appreciations and imaginations of unknown beauties deeply in universal heaven, which indeed are truly from children's nature - playing only from the curiosity and for the joyfulness.

===== Editing- '''B65-B70: Impressionist Texture - Main streams VS. Fuzzing background - After repeatedly sliding to 'double-turns' '''hanging valley''', Chou Chou found another 'New Toy' -  a vibrating '''Crystal Fountain''' emerging from gravitationally cloud-waves '''=====

Currently, we are going to enter into 'Coda' part of this Doctorial Suite of Children's Corner, melodically reported by  Chou Chou and his father from heaven. firstly, putting it aside, I would like say something extra. There used to be one discussion: what emotion should a 'Doctor' from Children's Corner be carrying? After having reviewed so many fields of knowledge bridging communications between western worlds and eastern worlds, and having travelled so far from 'Big bang' occurring from universe's beginning to 'Black hole' channeling to somewhere unknown parallel universal branch , or in other words, to the depth of his or her own mental unconsciousness part regressing back to those moments that astronaut and his or her symbolized 'daughter' can never make the departure with each other but being together facing happy and unhappy life-imageries in life, and then landing back to the 'solidified' impressionist background with dialectically fuzzing gravitationally-waving 'lights' twinkled from 'The Starry night'...; doctors' contributions have already achieved many what being dreamed for long - a 'crystal castle' built upon 'Mind-independent Snow-land' and colourful clouds, mapping new Era's beginning from Nations' Cartography generalizing 'New natural landscapes with vitalities' (yes, and some societal languages)up to the symbolizations of 'spirituality indications' for future (- Postmodernist Constructionism) (Wikipedia introduction: [https://en.wikipedia.org/wiki/Cartography]); or oppositely thinking, it seems that things still meant nothing or very few gains, after a systematic running of the whole universe - normally, beautifully and peacefully inherited from before, and future was sill continuing to 'there bank' rather than 'here lands' (- Postmodernist Deconstructionism) upon unsure foundations. 
What kind of a 'Coda' part would Sir Debussy and his beloved Chou Chou have writen for our 'Doctors' in 'Children's Corner'? Directly say, I think: so many fields of knowledge from human beings' worlds which were bombing in his or her mind that shouldn't make people from children's corner as a tool inserted into a evil machine or device, working merely for the hopes-losing operation of a negative future; but positively, as a back-returned discover, he or she need to see their 'original heart' and hear some 'harmonic voices' sung from the heavenly corner of children. In other words, the purified attitude of worlds' future, the curious eyes to discover universal beauties and the love of childishness &amp; innocence shouldn't die, but oppositely support the freedom of minds' wandering, expanding, and new links' construction, for harmonically embracing more people and more possibilities. More simplified, by 'returning to be a kid' and 'working only for pure play well in the future', we can keep the root of a young heart with the creativity. Yeah, it is the freedom of minds, and also the curiosity with the creativity - to see more, to solve more, to discover more and to appreciate more... shouldn't be killed. 

By carrying this impressionist emotion ( and make it a deep internalization of ourselves), we are able to appreciate Sir Debussy and Chou Chou's 'Coda' part:
Indeed, Chou Chou was so exciting about Coda's coming, which was firstly noticed from B67's score requirement -'Très animé' (very lively with full vitalities). Then, this exciting mood was also realized through the vertically in-textural matching with a impressionist thematic arpeggio-part (several bright channels were dug out up-through travelling from downstairs - bass &amp; middle parts) and the impressionist background of a accompaniment set putted upstairs (treble's small voices which were short waving &amp; fuzzing there, gave a overall gravitational atmosphere, for holding all expressions thereby beneath it). To my understandings, here Chou Chou's exciting mood came from her willing of an another fantastic performance carrying some brilliantly impressionist techniques about keyboard-touching. It was almost that She had frequently asked us: 'can you distinguish the main channel of thematic arpeggio from the twinkling background in impressionism? and, can you make it out?' Even here, in this case (B67 and B69) your two hands for both theme and background need to interactively &amp; commonly share with the same positions of keyboard and the same notes? Yes, even though it would happen, the distinguishable senses still need to be clearly made out for both audiences and your own heart, which was a quite hard job for our exercises. You can see: in this requirement, the long note - middle C needs to be kept and attached upon the keyboard, leaving a chain: G (crotchet)- A(quaver)- B (quaver) slur-liked  breathing the impressionist air upwards-waving after waving. But, the fact was that they were taking the same area of a piano with each movement set beside each other. Could it be possible, or possibly disordering each other's running order, especially when the same B reasoning from left hand's upwards tail-breath , but also reflected as a normal middle third beat of right hand (in a group shaped as being among a rest-composed 4-semiquavers group in the accompanying background ) , which tightly posted your hands' flexibility in a disordered situation, and furthermore, the longer-lasted middle C bass enhanced this situation to much worse. That's not the most difficult thing, but compared with it: in the next bar, several 'ʌ' signatures - Louder-Sharpening signatures  - emphasizing all heads of groups, were set there alongside an 'opening mouth' in dynamics, which continued her exciting dream to much wider horizons. Though heard good, it needed your fingers' keyboard-touching directions (left hand) be immediately rotated down... to be frequent pressed in the style of stronger 'Up-Down towards' patting of 'Perfect fifths', without even a moment of thinking.. Out of your hands' controllability, do you think so... do you have a willing of giving-up and being broken? Is there a feeling of you, after a long journey, being here with the total tiredness? Yes, but hi, my guys, don't give up, and hold it on for a little bit much time, situations would change better, and to a forever impression. We can say: this treatment was still in beautiful breathes, though hot and exciting. 

Then, a question came out: what was it really heard like - in those fantastic impressionist imageries? what I did analogize it was one of Chou Chou's heavenly toys - a crystal fountain set among multiple-dimensions of spaces &amp; times in our universe. Yes, it was also a symbolized expression of the gravitational system. We can review more historical recordings of fountain's functions in human beings' entertainment life and products-creation from this Wiki-article (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fountain]). I think: you hear, in minutes (1.52-2.00), the left hand's expression - frequently up-streaming main thematic chains - was like　main water-jets shot up frequently in its significant situations, which made the distinctions with other water in basin (impressionist background)clear and recognizable. Yes, they are made by the 'same material' as basin's water beneath, but differentially in stronger powerful forces - being shot up some up-raising streams in music motifs (Middle C as a root of water-jet in basin, with G-A-B style streams flying up towards the sky), which simulated a fountain's beautiful situations. Afterwards, we took a long-distant view, and then, would find  B68 and B70 tightly followed are in a much more macroscopic impression upon the rhythm of spaces &amp; times, for the purpose of summarizing 'Universal Fountain's' beauties. If you let me seek an astronomical phenomena representing the mechanism of this Chou Chou's 'new toy', I would still mention Supernova Shooting (jetting) as Chou Chou's fountain in our universe: (Wikipedia introduction: [https://en.wikipedia.org/wiki/Supernova]; [https://en.wikipedia.org/wiki/Supernova_remnant]). But if you want me make a much sweeter analogy from kids' nature, I would mention Chocolate Fountain with 'water-fall' surrounding - a favourite and enjoyable 'landscape' of my delicious foods. (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chocolate_fountain]). No matter the real fountain, universal fountain or chocolate fountain, I think Doctor Chou Chou's true purpose was for happily 'playing' out one innocent future with the freedom of creativity and new hopes. Let us respect her willing and the nature of a doctor in children's Corner.

Suddenly, you would have found: 'Jason, you haven't mentioned B65-B66!; and you haven't fulfilled yourself in this session!' 'Oh, dears, please forgive me that in the final part of this session would make a clear effect of the explanation, I thought...' To be honest, they were in a Spaces-Times vibrating treatment (with a half-bar's gravitational breath in normal slur-shape - a Louder-weakening signature, but the other as an anti-gravitational expression for 'water's' up-climbing and energy's accumulation )set as a motivating  mechanism inserted into the fundamental basin of our fountain. Seeking words, you will find a device-term 'Siphon' with a series of parts would give you better impressions about what Chou Chou's 'New Toy' was working like (Wikipedia introduction: [https://en.wikipedia.org/wiki/Siphon]). In order to overcome some anti-gravitational difficulties brought to your hands, you must keep them in very small shape and in very careful channels. Following it, music 'water' can pour up 'more pure than a soul', and many beautiful imageries can be created out upon Chou Chou's 'universal landscapes'. In shape, '› ‹' can also be compared with a butterfly, and a kid's pure soul was channeling in this pattern for 'flying higher' with joyfulness. After this supplemental illustration, I think things would be much clearer for the realization of piano techniques and musical appreciation.

===== 'Braking! Braking! A Consciousness-streaming': ''' Back-turned Braking from Peak force' application - in a doctor kid's post-regression  - as a 'black hole' travelling - with new 'big bang notes' up-waking people's minds '''=====

Finally, it's a real 'coda' part our journey will arrive in, about which Sir Debussy and his beloved little doctor Chou Chou in Children's corner were looking forwards to giving us a significant impression, as for the remembrance of 'each beautiful landscape' on the travelling of our journey, and the innocent childishness we were carrying in hearts together. I guess this pair of 'father-daughter-union' composers, from spiritual subject being to universal physics existing, must have discussed this case for long time: 'Father, what type of long-effecting impression we would leave to our learners - the listeners, the keyboard-realizers, further composers who were willing to take our approach, the notation-readers and some self-learners of piano...? By designing out a good coda-fashion?' Indeed, if we review transcripts of Debussy's works, normally, Sir Debussy turned to make two choices in coda parts - one was a romantic up-sliding way flying away our dream's disappearing alongside a fading of its vivid colours gently and pleased, like what 'a let-going spring' imagery 'islandic disappearing' (imagining, when our boat passed by an round island in mind desert-sea,...oh, it was with Arabic fountains, green plants, night birds...only in dream... and continuously...it was disappearing... that's quite right you got it!) from our horizon in Première Arabesque (Arabic Suite - Spring; it's another story in new life we will talk further...)and what Clair de Lune (Moonlight)showed - a silver channel fragmentary slivery upon the surface of a forgotten sea somewhere in our universe and strings of lute lighting it upon to heaven (More information, we can review from Wikipedia introduction: [https://en.wikipedia.org/wiki/Claude_Debussy]. I think, this time, two demonstrating samples can somehow meet some standards of my critical ears, but I would also try classroom samples from wikiversity and wikicommons' views, I thought... Oh, waiting time, it will have been another story in my life) ; and, the other type was a sudden and half-opened termination near postmodernism &amp; postimpressionism -leaving more imaginations to learners ourselves. In this case, Sir Debussy gave more respects to Chou Chou's own choice. She smiled joyfully with her eyes full of curiosities and probably said: ' Papa, I preferred a sudden stop leaving more imaginations to others' Somehow, from sound effects, it would also be compared with a 'childish mischief' with 'a Braking throughout a peak force', but then, knocking out a renewable 'universal door' big-banging a fresh vision of future'. 
Thinking till here, two questions emerged: It's the time to say goodbye, but how did they realize a universal braking in coda? And, what type of analogy can we make according to it?  

'''Techniques Description:'''
Firstly, let us present a participating-observation of its texture in B70-B71, then follow a talk about its techniques-training. Indeed, parts-formation of this piece was quite simple. Overall, it just contents a second-transformed major-triad ( C-E-G) with a range of Perfect fifth (G-C) separately covering your left hand (lower part) which can be seen as its main impressionist chain - heavier and stronger, but the rest part of major chord structure floating up a impressionist background waved by right hand- lighter and higher. For this, logically matching &amp; grouping two hands together as a whole was also the basic technique, with the leading heads (left) joining impressionist background (right) tightly presenting the equal intervallic pace on average. It gave us an aesthetic feeling of well-distributed texture in which harmonic 'Perfect fifths' were repeatedly measuring the keyboard throughout a C major triad impression, which motivated waves by waves (oh, dears, did you forget, waves would be from Chou Chou's new toy - our crystal fountain?). Then by multiple dimensions, it reverberates itself in spaces &amp; times - octave by octave (octave as a cycle), and curve by curve (down-falling). Be careful that 'Gs' here in perfect fifths (B71) were highlighted twice in  minims (long notes) with two 'Λs' (sharpen stronger in loudness) telling us which were heads. Then, parts (spaces) in texture (universe)were separated, with twinkling mind threaded to be pearl chains breezing out colourful energy-waves upon fuzzing materials of background.  But following again, B72's main chain was naughtily jumping up, as happier as Chou Chou's dancing with child's interests. Breaths realized by slurs linking texture together were also short-time jumping. Another possible explanation was that frictions from braking have sparking out dreaming flowers in short-time stopping, about whose story we could see in the following paragraph.  But, transformed from two ''hills'' landing (B71), here, in dynamics, impressionist background has been totally connected out a continuing ‘Crescendo’ - louder after louder.

'''Imageries forming:'''
Secondly, why do we make an analogy 'braking'? Article 'Brake' [https://en.wikipedia.org/wiki/Brake]in our Wikipedia introduction can teach us more about some similarities: After another 'Peak' strongly played through the first G of B71 - the first factor of braking - 'Peak force' has been targeted and accumulated from our fountain's shootings. Sentences like 'The peak force is often greater than the traction limit of the tires', and 'braking can cause a wheel skid' referenced, showed the similarities projected in Sir Debussy's work requiring hands' controllability for controlling 'significant force' in channel. Following this logics, what about those 'heading points' left hand has created out? I think they were like 'shoes' of 'frictional brakes', increasing touching-areas of 'wear surfaces' with 'the rotating drums' for stopping (or we can call it: 'the rotating waves of impressionism'); alongside, 'kinetic energy' has been converted into 'potential energy' memorized in our dynamics score - yes, hotter (louder) and hotter (louder). But, why was the frequency of those highlighted 'Λ heads' continuing faster and faster, from B71 to B72? Imagining a fast metro or light-way train was now coming facing your face on a station, it needs to prepare a braking even far in long distance... until its nearness, the 'inertia' makes out a huge destroyable influence out control of its released 'peak force' - yes, being transformed to the 'kinetic energy' in acceleration, with which 'angels' and 'evils' joined together . In this case, the frequency of 'braking heads' from repeatedly set 'Λ heads' heated the atmosphere dramatically by dramatically . Owing to this operation of 'stopping', much 'kinetic energy' has been transformed to the 'potential energy' and stored in our 'hands machine'. Then, in principles, it was hotter(louder) and hotter (louder). Practicing in reality, we can achieve this braking through our hands' controllability.  Oh, re-thinking about this design, we can know how great Dr. Chou Chou was - as a real physics expert but across multiple subjects. Meanwhile, associated by Sir Debussy, what a beautiful music universe with many imagery landscapes they have discovered for our learners. 

'''Larger our horizon:'''
Finally, a sudden standing has been made with 4 bars' long notes - 'B73, B74, B75 and B76' terminating everything right now. 'F-A: major third' matching 'C-E: major third' was solved to be a transformed major triad in key C(C-G-C-E). We can hear significant &amp; accumulated powers have been totally externalized and summarized (with a mischief joyfulness) to several 'block chords'. Meanwhile, dynamics got the highest level 'ff', long notes (chords) told us everything in terms of this work. In playing it, you will feel your fingers were almost broken by vibrational energy (Wikipedia introduction: W = W potential + W Kinetic  [https://en.wikipedia.org/wiki/Sound_energy]) owing to Resonance (Wikipedia introduction: [https://en.wikipedia.org/wiki/Resonance]) associated by Pedalling (Wikipedia introduction: [https://en.wikipedia.org/wiki/Piano_pedals]; here, it's better a Tremolo pedalling (shaking), about whose story we will discuss in future), after strongly standing on keyboard. This tail can also been seen as a projection summarizing all powers of the whole work. Don't forget the composition of '_' and 'Λ' taught us its special technique - enough time value of each note (and over a little bit) should be kept with a depth reflecting Sharpen senses (dynamics) of the loudness. From forearms, to wrists, till palms and then the edges of fingers, all forces need to be applied there for 'standing' strongly. The dramatic atmosphere created by our hands' controllability even made us out of breathing and 'sweating out rainy'. Taking a full-shot look, I still think it was in an analogy with the ending of our universe - Black hole's  'Gravitational singularity' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Black_hole]). You see, all gravitational laws materialized to be landscapes (notes) have been collapsed, concluded, and compressed into one dimension points-chain, as a stopping 'electrocardiogram'. Is it to say: everything has been talked over and the darkness is still our universe's final fate - no lights, no hopes and being in infinite silence again. If so, what were meanings of life, materials and our prosperous being? ... still to a quiet self-deconstruction... used to be stronger, but final nothing left...

'''Chou Chou's Doctored voice (awarded):'''
'No', Dr. Chou Chou gives us a strong answer in the final note - Big Bang C (Wikipedia introduction: [https://en.wikipedia.org/wiki/Big_Bang]) which will have bombed out everything again, as flowers blooming from 'Dark hole' flowerpot, ranging upon from one-dimension channel to two octaves and more. Yes, it is another branch (Post-Channel) of multiverse tree. Tightly following this note, our story will have been renewed and spread out, with new hope, good wish, lovely vitality, and bright lights penetrated from Imagination. Will it be another Impressionist Spring? It may... or other things...

Thanks to all!

Yours [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:11, 5 July 2017 (UTC)

[[File:Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg|thumb|Doctor Gradus ad Parnassum - Doctorial trainings in Children's Corner (5th draft - New, 3rd draft - preferred. About Each draft's comment, please see beside; About each draft in growth three, please see WIKIMEDIA COMMONS)]]
'''Supplemental Words: Comments for the Main Sound File 'Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg' created in WIKIMEDIA COMMONS and Impressionism analysed here'''

(''' Comments for the 5th draft:''': It is the fifth draft with three advantages, being heard better than before (Almost, I didn't want me so sensitive about certain performance-lacks, and till now, still I thought the third version was the best; but, I cannot stop to try better versions, as for love and respect to this work in this period.):
1. Binary Stars-system B24-B27 showed more unbalanced sound-fluctuations around its axis; tightly following this part, the fluency of Chou Chou's self-reasoning has been performed more naturally;
2. My willing of Fairy Legend in Cloudy heaven has been expanding (B33-B44), with more sounds-reverberations occurring in the bass of lightning door-knocking (left hand of B35-b36), much extending impressionist arpeggio-braches growing of happiness three and more bright lights penetrating joints cloud-blocks from higher peaks.     
3. More coherences and fluencies of the second universal travelling was kept (B55-B57).
Therefore, to me, I thought it has much more meanings of Education Research, which I would like to share)

(''' Comments for the 4th draft:''' This version is with a better and expressive B22-B32, as what demonstrated besides - much like being in impressionism)

('''Comments for the 3rd draft:''' Till now, this version was of the most fluentness I had played, but a little bit stable. I would like theme of impression much clearer and expressive. )

('''The analysis for the 2nd draft:''' You see, in this draft, naughty Chou Chou and his father are playing clouds and lights in the heaven and waiting for a happy Christmas, what they have done are creating imaginational impressions of sky. Then, we saw tools formed by clouds were sometimes like dogs, sometimes like boats, sometimes like drops and sometimes directly floating down like a spring. Oh, they are all only Chou Chou's games. Especially the minutes (from 0.48 to 1.18), she was attempting her best to push aside two pieces of blocked dark-clouds through her arms and let holly lights shine out by being floating directly upon our earth. She did get it (but I haven't really gotten it in my play). It was in the minutes (from 1.08 to 1.18). We can also hear her dances presented by his father hands-running in the heaven are so expressive being after an assemble of clouds-animals to the peak of mountains, which is in the minutes (from 1.33 to 1.50). Oh, finally, after so many adventures, a big bang was applied that our dream was awaken and our soul was taken back to the reality.
Then, we knew: it's only a dream Debussy and Chou Chou have played in our sleeping time. 
Indeed, I felt very sad to hear this sentence 'Claude-Emma was born on 30 October 1905 in Paris, and is described as a lively and friendly child who was adored by her father. She died of diphtheria on 14 July 1919, scarcely a year after her father's death.' Then, we can understand: so beautiful a musical world which is full of vivid landscapes there created by his father and for this only and small daughter. But, how can Chou Chou bear the fact that she needed to make the eternal departure on this earth with this lovely and magic father - on 14 July 1918. I thought it was why only a year after that she had also gone out of her single. Wikipedia Introduction: https://en.wikipedia.org/wiki/Children%27s_Corner 
I knew, in this draft, there are still many lacks far away from my artistic dream. However, in preparing for it, I learned more; and hopefully, it can be heard by you, than before.
Bringing it here is for thanking all the members of Wiki-family, who have been dedicated working for a whole year in different corners of our earth. In this case, we are trying to send Christmas gifts to Chou Chou and his father, for their contributions of human beings' musicality and imagination.)
'''Main Words'''
This version is a life rough data-collection for the exposition of  piano techniques. To be honest, the existing of it is in a little bit far distance from my art dream, but as in respects of Sir Debussy's impressionist universe. It is based on my current energy, time and ability. If possible, I would like to soon modify this draft to further better ones. In that dreaming pure 'snow-land', the paint-brush, transformed by hands and threaded by forces from mechanics and anti-mechanics, can magically draw lights, clouds, bubbles and steam to be the colourful Spaces &amp;Times of a mirrored universe. Then, Chou Chou can freely and naughtily play her games forever. If the final bang is a waking-up sound breaking Chou Chou's beautiful sleep. I would rather we never come back to the reality from this childish dream. If you would like to make better understandings of this melody, you can come to Wikipedia introduction[https://en.wikipedia.org/wiki/Children%27s_Corner].

==== Students' learning effects &amp; progresses from piano pedagogical reasonability (reasonableness): &quot;Kids' Performances in children's corner&quot;  ====

''Jason, why did you submit this edition, is it yours?'' No, no, this sound file was made by myself, but the content was from 'my kid's' learning progress' of Sir Debussy's 'Doctorial' in Children's corner. You knew, Sir Debussy has his own daughter; but till this year - my age of 30 year's old, I haven't gotten any. Therefore, in this period, I saw my students as my kids. Oh, it was by accident that I had recorded one piece of a little girl's exercises in classroom (around 13 or 14). Her name was Xue Meng, Hu and her 'little doctor' Live voicing in this place.
Oh, it was a long long story... Every time thinking was going here, I would be emotional and sensitive. As her piano family tutor (one traditional teaching way carrying a dream of piano fine art from commons), I have been watching her growth - almost from her 5 year's old. During this period, time has changed lots of things, including people's experiences, perspectives of value, willing, and some true hearts ; good or bad, but our dream of piano education and self-aesthetics (the appreciations of musical beauties) has never changed.  In my fragmental memories of consciousness stream, I can remember when I made the departure from 'my kids' for my dreaming educational rationality (I like 'reasonability' this world, because when you were reasoning, you can get the ability to be in pure logics and review world's beauties) in UK ( and Newcastle), she has never given up her self-practices of piano techniques, preparations for national grading tests in China and improve her literacies of music. There were also some times we felt hard to insist on going on, and some times her 'little uncle - Jason' might be so serious about her daily exercises and about himself... And, some times people surrounding us wouldn't quite understand why these guys were dreaming so hard... But, no matter what situations were there, still, she didn't give up; and I have been participant-observing and accompanying her growth in educational reasonability (reasonableness) of piano. 
'Jason, are you a big dream of your educational approach?' Yes, I don't want to deny it but ... not really... I used to say to her facing her family: 'little guy, one day I could teach world's most beautiful melodies of those Masters, and you could learn and get nutrition from them for your creative life fashion. You had the love of piano and a dreaming heart of perfection. That's your giftedness.' But, in that time, her family members told me: we had never thought she could play them... you knew, generations after generations, we had gotten food - fruits, and vegetables ... from our fields... we had been working for it... That's our fate... Just, some interests out of schooling, if she like, she can...
After getting back from UK (or to say, my mind has been alive bilingually through the internet; especially, thanks to my wiki-family, some online platforms of education), alongside the logics chain threaded in the section 2.3.2.9 of this page[https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han#.2A_Children_are_doctors_for_adults.2C_as_the_reason_that_they_can_create_some_most_advanced_techniques_than_your_imaginations.2C_but_with_the_purpose_only_for_happily_playing_their_games._I_guess:_Chou_Chou_must_know_it.2C_and_father_Debussy_also._Then.2C_heaven_is_near:], I began to tidy my minds and my daily practices of teaching and my theoretical modes from education researching.  After a year's time of grade 9th's preparation and her wonderful passing-through, we began to research Sir Debussy's this work - 'Doctor in children's corner'. 

'''Stages as:'''
1st Rough draft for primarily getting its shape;
2nd  Background knowledge collections for understanding Sir Debussy and his Chou Chou's life 
(this was a continuing process by myself that I mainly began from Wikipedia, and then made paper works regarding with it, and carefully observed its manuscripts);
3rd  Analysis of basic points and techniques requirements of its keyboard-touching;
4th  Critical weaving imaginations and impressions to be painting imageries wandering upon techniques;
5th, Collecting languages from both Chinese and English for binary classroom 
(There were several sessions totally in English and some key words of music theory &amp; background knowledge in English I had frequently presented to her, which I could say I made this procedure in binary languages. Though she was in primary level of English, I found music, especially our love of piano, had transformed to be a bridge across hearts' gap and brought us inspirations; Furthermore, I promised every impressionist imageries and scenes I had taught her, but simplified in languages of her age and her ways. Though still, it was very hard for her to understand, she took the challenge and achieve some points through her own sweats)
gave us powers.

'''Two weeks ago, she was able to make this edition from learning progress:''' 
Then, there were some conflictions in terms of whether or not I should submit it, which was from my own heart and experiences. I said to myself: Jason, be brave! What gift can you create for your 'little guy'? What did you own, nothing or something...?  What place, in your mind, is beautiful and pure for your piano education, after so many years' explorations, some dreams, some good memories and some sufferings...? Then, I thought here...My conflictions were also about some small mistakes, 'sliding notes'  &amp; 'breaks' without purpose, the incompletely expressed musicality and some ignored keyboard-touching ways caused by nervous moods made by her... which made her edition lose some 'natural landscapes', such as B26-B28's left hand, the emotional reasoning in B37-B44 and a peak sliding fault &amp; dynamics fall in B65-B66,B71.... And, they were also about ethics issues I wasn't an expert in. But, finally, considering educational reasonability, her long time love of piano, her giftedness, basic completion of key points and some impressionist sessions, and from inheritance (you can see there were small gaps between my first edition and hers' that it sounded like her piano tutor - mine. Her advantage was from a girl's slim hands), I thought I should send out my gift, and era should leave more developing zones &amp; opportunities to young generations' growth, no matter where they were and who there were...) Hopefully, she are able to achieve much more beautiful editions and cheers in her own future for our worlds, than her ' big comprehensive case carrier and a strange kindhearted uncle -  Tutor &amp; Learner (me).

'''One week before examination - a near-closing case of piano education:''' &quot;This classroom edition was recorded a week before her examination of Grade Test. Thinking of it, it's really a hard job for us having gone over a long period to get the basic knowledge of notation, to train hands-manners and necessary techniques of piano, to know some masters of piano and finally to understand Sir Debussy's impressionism and make some possible self-expressions... Before the examination, I wished to give her more confidences, thereby, recorded this edition - to let her know how powerful currently her hands were heard like and how good she could self-reason out her own 'Children's Corner'... Alongside hearing this edition, so many beautiful moments, hard times and imaginable scenes glanced over my brain, in which our growths (including my own - a piano tutor) were recorded sparking the vitality out. Were there still some small problems, Jason? Yes, to a critical tutor, I found it was a little bit later in her right hand when going through the 'Binary System' and the 'highlighted-shinning stars' on sky-celling were lighted by wrongly sliding out other notes a little bit (B24-B30). But I was very happy to hear that she tried her best to play out two 'Impressionism Butterflies' (B65-B66) and linked them to a beautiful Fountain (B67-B69) . Yes, the techniques-stability was enhanced. Thanks, Meng Meng! I used to think last edition was your best... but... this one was further better. Wish a beautiful spring holiday of your 2018, after the examination, will come to your heart and your life!&quot; (Jason M. C., Han in Wikimedia Commons, 2018)

Here and now, throughout a 'text-book writing' of Sir Debussy's Doctorial in Children's Corner,  a reviewing of work-analyses of some techniques-points, many times of fulfilled practicing in virtual and real classrooms, many time of cases-recording of both tutor (me) and student (Meng Meng) in sound-files with words-descriptions, currently, in the new spring holidays of 2018, this teaching procedure was nearly closed, as a final student's good effect was recorded before examination, and further she was going out of 'our children's corner' and to face her examination and her own future. What, I need to say: thanks to all! Thanks to 'being known - a nature of human beings'! And, thanks to this Era who gave a chance to this multiple-channeling teaching &amp; learning procedure of piano! Future... maybe still unknown, especially for this little girl... But, best wishes! 
[[User:Jason M. C., Han|Jason M. C., Han]] '' (Jason, M. C., Han, 2017)'' &lt;ref&gt;WIKIMEDIA COMMONS (2017) Wiki-entry 'Children's corner of Meng',  Searched from Wikipedia. ，Creative Commons Attribution-Share Alike 4.0 International license. Available at: https://commons.wikimedia.org/wiki/File:Children%27s_corner_of_Meng.ogg. Accessed: 10th, August, 2017&lt;/ref&gt;

[[File:Children's corner of Meng.ogg|thumb| Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons]]
===== '''Arabic Spring bloomed out from impressions of Children's Corner:''' =====
[[File:Claude Monet, Impression, soleil levant.jpg|thumb|Claude Monet, Impression, soleil levant]]
After having learned many techniques of Impressionism, Let us have a try of Sir Claude Debussy's another impressionist work - '1st Arabic Suite - Spring Garden' (DEUX ARABESQUES - 1st Melody).
Here, This paragraph below referenced from the description of my 'Wikimedia Commons' was a 'true-heart' dialogue, which can guide us the music imagination and impressions-forming: 

' I was dreaming of a morning awakening in Hanging Gardens of Babylon (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ). Then, gentle breathes of spring told me stories in my childhood painting sheets which has stood up  several imageries, including a bird-transformed angel-girl and Ali's virtual trip to gods' place for love... which were reminded unclear now... sorry. Oh, I can remember the time was when I opened an old book from my grandpa named One Thousand and One Nights (Wikipedia introduction: https://en.wikipedia.org/wiki/One_Thousand_and_One_Nights) that I can read words in my first time. But, in the following tens years of my life, it's heard that happiness and joyfulness in Islamic Garden，like tune sung away in sky by nightingales, left tears with the sadness becoming a dominate theme running throughout the darkness... Spring is the most beautiful one growing from one long-drought desert-area or 'heart'... people knew(Wikipedia introduction: nightingale - https://en.wikipedia.org/wiki/Common_nightingale;Islamic Garden - https://en.wikipedia.org/wiki/Islamic_garden) I have nearly forgotten how beautiful water 'fireworks' raised up by fountains were projected out green vitalities in sky upon desert and diverse mythical animals living there... Until one morning of later spring, I have been to carefully sight-read the manuscript of Sir Claude Debussy's  'DEUX ARABESQUES - 1st suite' (1888) in piano... I found romantic lines wandering upon impressionism background with nightingale's natural musicality of singing praying back a blooming spring have all been summarized in this 'song', which made it soon become one of my favorites... My father told me: Jason, after I heard it, I can feel the willing of expressing its civilization in freedom, as being recovering, but still, it's with a piece of 'unspoken' sadness... Oh, that's quite correct... I thought.Saying something lighter:Currently, it was a hot summer - though posted in a little bit later but 'hurry' time - I prepared it in only a couple of weeks, and some ideas cannot be fulfilled, when diving under seawater in my hometown and opening my eyes bigger, I still can feel the cool feeling attracted by blue jelly-liked bottom was quite like a spring waiting there - warm but not hot, peaceful and with pains... Just mentioning the feeling, I thought Jacques in the movie The Big Blue (currently, I have watched)  would carry the same complex. But, mine is in piano and life. (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Big_Blue ).Oh, sorry,  so far away, I just wanted to emphasis an element of 'Spring feeling' in this Arabic song (suite). Indeed, when I was in Newcastle, one morning, hearing words from a peer of Iraq (mine) praying on a piece of ground-carpet towards ' The right direction' in his heart, what can also give me a 'spring feeling'...So many words... let us listen to this suite with singing musicality... I would modify it with better techniques in short time...Thanks! '(Han, 2017) Coming back again under the sunshine and softly breezing winds in New Era Time, what I would like to further self-reflexive was:' Thanks to this Time, Hanging Garden was almost seen near my eyes with more blooming flowers... Maybe still some pities that my heart didn't reach too far as from a critical aesthete's eyes; but happiness, in the Babylon Garden of Imagination, as a plant would be growing to the Green Tree in a night of 2018 Lucky Dog's year, under which beautiful voices from a singer, or nightingale would freely wander up and totally relax you long-time ‘tighten nerve’... to welcome a mind wake-up in one 'cool' morning unknown with 'dew-drops', fountains, citruses, and special natural creatures... all in musicality...' (Han, 2018)


Here, I need to set two references, in terms of which one was 'Patrizia Prati's version' which I had heard many time for enlightenments and the other was the manuscript I sight-read for the credibility: 
1. Patrizia Prati's Version: &lt;ref&gt; Prati, P. (2016)''Français : Première Arabesque'', Claude Debussy (Wikipedia article):Creative Commons Attribution-ShareAlike License. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. (Accessed: 11th, July, 2017)&lt;/ref&gt;  
2. Manuscript for Credibility: &lt;ref&gt; Translated: Wang, J. Tang, C. (eds.) (2004) ‘1ère Arabesque - DEUX ARABESQUES’, The Collection of Debussy Piano Imageries, Beijing: People's Music Press.pp.5-9.{{ISBN|978-7-103-02765-3}}&lt;/ref&gt;

'''Self-reflexivity:''' I respected others' versions and appreciated them very much, especially from the reasonability of piano deals. But, if you asked me: Jason, what's your characteristics? Maybe... In brief, I am willing that it was: 'more colours with impressionism techniques reflected from daily life... such as 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' and 'The play of natural light (sound effects) is emphasized. Close attention is paid to the reflection of colours from object to object', etc; and ' my full of emotions have been expressed in ways of Neo-expressionism and Neo-classicalism'. Further more, after real practices in some life scenes out of classroom, I would suggested putting an element of ''''France Romantic'''' based on reviewing other cultures emerged from imagery notation would be an good idea. Please have a try, thanks!
[[File:Claude Debussy - 2nd Arabesque (JMC, Han).oga |thumb|1st Arabic Suite- Spring Garden(in 3rd version: Impressionism Singing - Main natural Lines&amp;Breathes from Sir Debussy)]]

3. '''Later time of spring-New Era''' , a colourful Butterfly is gently flying into your Hanging Gardens of Babylon -1st Arabic Suite (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ) , and taking  your imagination&amp;dream to a flowering life-mountain facing a farland sea...Watching some time of one section inside, you can also hear Monet's 'Quiet Morning' upon the sea...Alongside Butterfly's dance suite, Stories are beginning...Oh, listening... it's the legend of Butterfly in birds' song...

[[File:Claude Debussy - 2nd Arabic Suite (Arabesque) - Spring Butterfly, Performer JMC, Han.wav|thumb|2nd Arabic Suite- Spring Butterfly (Impressionism Singing -Main Natural Lines&amp;Breathes from Sir Debussy)]]

===== About the performance of Debussy works, piano Keyboard's touching pathways, techniques, and effects shown in Wikipedia need to meet some standards of impressionism, Sampling - Clair de Lune =====

https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg -
Though this edition has been studio-produced without some unnecessary noises, It wasn't from the nature of life, and with the reasonability of impressionism. Meanwhile, it carried some mistakes. Therefore, I don't think its notation-reading and Piano touching techniques have met impressionism's standards, such as the seconds (0.46-0.49 note F , and 0.53-0.54 note D) - two long-keeping notes absolutely being made the technique-mistakes by being divided into two single ones which deeply broke melodic harmony. Some other mistakes can also be found, such as (0.57-0.58 root chord Octave E; 2.34-2.35 high pitch C in the middle part, the lost expression of Calmato from Bar 43; The no distinguish of 'pp' and 'ppp' from Tempo I etc.)
Another perspective, from 1:39, the impressionism arpeggios produced by master Debussy, on the middle part by left hand, have been deeply broken into single notes' on-going; then, impressionism music's colour-fizzy impressions borrowed from its painting, which was reflected out by hands' skills have been totally ignored. Yes, every note was clear and run in beats, but impressionism disappeared and hands' abilities in controlling linking notes and running them in certain active speed hadn't been made the accompaniment with the whole theme's development. The very importance is the dynamic level of bass long-keeping notes in lowest part haven't been played with 'tender but highlighted forces' gently, which needed to give people some unconsciousness impressions as deep 'footprints of coming'.  (2.23 - 2.24) - from these seconds， high tide's 'En Animant' hasn't been performed well with the sparkling lights upon the higher pitches linked as in a whole logical line, then required to be tenderly pressed the force into keyboards; meanwhile, it and its following paragraph are also too quiet without deep thoughts and without the dynamics level as motivating to 'f' etc. Rather than only these sampled points I pointed out, indeed, there are also some many keys lost accessing to impressionism, which haven't been performed well.
Therefore, I need to say: I have to recover the original edition as both the respect of master Debussy and respect of fine artist' aesthetics. Though in last edition from wikiversity, some pink noises layer was existing. However, it was true both from life and from past experiences - then it was called deep impressions. Can life be pretended without noises? Impressionism is also. It cared about soul root's purity but fuzzed the details (on purposes as by special techniques) Meanwhile, last edition in Wikipedia has also respected Debussy' original notation-reading and soul-expressions. Meanwhile, player's emotional changes about his own past tens more years regarding with this work had all been applied by tightly participant-observing the universal logical line of Clair de Lune implicitly, just like some symbolizations produced impressionism, overall. Then, you can hear some struggling feelings and self-releasing being deeply hidden from the root, which was also participant-observing Debussy's historical life-line. 
If some better editions can be found, after panelled discussions, we can push further more. Meanwhile, I am continuously researching this field. If some communications focusing on melody itself rather than some unnecessary issue, I am very happy to give my talks. Furthermore, indeed, I was very touched by this player's bravery of playing Fine Art's Digital Literacies earlier, but some details need to be up-to-date and regressed back the Composer Debussy his own thoughts from his historical background and life themselves, as engineering giving beauties to commons. Here, we need to think more ... Thanks!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 06:05, 10 October 2016 (UTC)

'Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies,[43] and the forms are '''far more irregular and fragmented'''.[44] These chords that seemingly had no resolution were described by Debussy himself as '''&quot;floating chords&quot;,''' and were used to '''set tone and mood''' in many of his works. '''The whole tone scale''' dominates much of Debussy's late music.' (Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

These sentences referenced from Wikipedia was really good for understanding Debussy's piano techniques and Key-board touching skills, wish we can make more understandings. I think 'floating chords' are impressionism arpeggio; meanwhile, emotional depth have been explored, rather than a 'stable lake', but with dynamic levels and even 'hidden struggling of life', then, 'self-releasing finally'.

'Rudolph Reti points out the following features of Debussy's music, which &quot;established a new concept of tonality in European music&quot;:
Glittering passages and webs of figurations which distract from occasional absence of tonality;
Frequent use of parallel chords which are &quot;in essence not harmonies at all, but rather 'chordal melodies', enriched unisons&quot;, described by some writers as non-functional harmonies;
Bitonality, or at least bitonal chords;
Use of the whole-tone and pentatonic scale;
Unprepared modulations, &quot;without any harmonic bridge.&quot;'(Wikipedia, 2016) &lt;ref&gt;Wikipedia (05:29, 2016) https://en.wikipedia.org/wiki/Claude_Debussy &lt;/ref&gt;

This part is really good, which reflected out the necessary that impressionism techniques and skills are needed in dealing with these composing habits and requirements from Debussy mentioned for our players. I think, the floating hands-skills, fizzing details and oppositely pushing out theme in Impressionism arpeggios, are really needed. They can be transformed to techniques we need to give ourselves some trainings.

=== Some theoritical constructions summerizing creative thinking skills, phylosiphical roots, psychological ideas and educational research skills, applied in piano field ===
 '''Button:　(See Besides)　'''　　　　　　　　　　　　　　　　　　　　　　　　　　[[File:LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS.pdf　|thumb|LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS]]
('''Post-comment:'''
After repeatedly exercising, after a procedure from clear division of each stage strictly to entirely usages by fuzzing boundaries with learners, finally, this approach will be naturally merging into teachers, teacher educators and learners' daily classroom-oriented operations. Bearing 6 stages always in mind to comprehensively think out practical solutions for problems ranging from simple ones to much complicated ones is always very important, which can help us clarify your thinking in piano and musical education.)

=== Piano Exercises (PE): Postmodern Piano Teacher's (Performance &amp; Keyboard-touching) Continuing Developmental Zone with a crystal heart as Kid's  ===
==== Improvisations for Future====
Main files: Please see the Portal 'Blues &amp; Jazz learnt for fun and a fast brain' in the Portal section above
==== Reorganizations &amp; Solo-rehearsals for Some 'unbelievable &amp; dreaming' melodies in Life-long 'Music-Journey' ====
Friends, Life journey is so long that many emotion-landscapes are going up and down. To be a Happiness Piano-teacher (Piano-teacher for dreaming and sharing the Happiness-land), we are always on the way... When beauties of a flower or a river are touching our heart, we preferred to make out (catch) them buy hands. Then... Have you heard annual Vienna New Year's Concert? From born time? Yes, in 2018, it's mostly like a fantastic Southland Rose, under Italian conductor's hands. But, in 2019, under Germany 'Big Bear' Composer's hands, it's like impressions of North-sea waves. 
So rich views, they were like, varying on the trip... However, there is a piece of waltz never faded, which? Yes, the Perfectionism Waltz - Blue Danube Waltz, flowing from Heaven-spring or from the pure harmonic part of your heart. In so long a life journey, I have been dreaming for many years..., but really hard for piano... The year 2019 told me: Jason, you can play some not all, even like a smaller collection; and remember Sir Chopin's suggestions - 'Very independent Waltz Fingering techniques and fioriture ornamentation'... Further back, in I a little girl student's teaching plan, I added a small task - 'having a try of Blue Danube' through a notation textbook - 'Brilliant Pearls on the Keyboard'. Now, in the End of May, I gave a reorganized &amp; re-integrated edition of piano, myself: 
[[File:Blue Denube in my heart.jpg|thumb| Piano life is like the travelling Blue Danube, let us see]]
[[File:Blue Danube (Exercise and variations-collections in piano) JMC, Han.ogg|thumb|Blue Danube Waltz in piano,  JMC, Han]]
Though many details were still rough in my ears (compared with some perfect editions), I never heard it played in solo-piano and what structure collected was much suitable for piano techniques-training: 

 '''Introduction (Andantino) - A. Waltz (Main) - B. Waltz (Development and Peak 1) - C. Waltz (Development and Relaxation 2) - Coda (Repetition and End)'''
Blue Danube Waltz is still dancing &amp; going on... 
This procedure taught me: '''For some beloved melodies beyond piano's ability, we can cut and pick up some sections not all, then reorganize them in a much suitable form for piano - introduction, development, coda.... ''' I will train myself further more...

=== Small breaks to relax yourself... in Neo-expressionism &amp; Neo-classic of Pop-piano ===
=== 2018 Spring-Echo - Dreamed Flowers-blooming, Cruise-ship trip to Sasebo in holidays and a Self-Doctorial public performance (5 days and 10 times) in 'Children's Corner' (mind-recognized and notations-above collected) Restaurant ===
* [[Portal: 2018 Spring-Echo trip to Sasebo and a Self-Doctorial travelling Performance  | 2018 Spring-Echo trip to Sasebo and a Self-Doctorial Travelling Performance]]

== The Postmodernist functions of tertiary education in Jason's views ==

In my mind, tertiary educational system need to benefit ordinary people's daily lives, and also can continuously absorb the nutrition from them for growing further. 
Imagining the coming of one beautiful day when waking up in the morning: 
all the aging people, middle age people, young adults, young teenagers and children -
no matter where you are living in, 
you will not feel hollowed emptily in mind with hopelessness.
Oppositely, 
through shuttling in your Postmodernist channels to accept the fresh knowledge freely (contracting with the global society digitally）, 
you can know what you are going to do, 
how you could realize your dreams by fulfilling your daily plans, 
and what contributions you will be making for the worlds.
Then, your life would be valuable with the blue hopes 
under the free sunshine of pure knowledge. 
This Postmodernist Regressing-situation should have already been predicted by a classical painting - 
The School of Athens 
'''(https://en.wikipedia.org/wiki/The_School_of_Athens).'''
 All the people internally can freely research their Life and knowledge in their own 'channels'.

At that time, every young person and child's giftedness (even very different from what we have already known) 
will not be ignored, forgiven, or blocked by the society
merely because of the limitations occurred from their special problems, their private difficulties and their disorders (mental or physical) which might be hard to tell others. 
The reason is that plenty universal citizens online would associate them to realize their dreams. 
I knew this vison is towards one huge project for all and somehow a little bit lonely way for me, 
however, I strongly believed in: if every person everyday attempt to travel one step friendly (even very small) for others, 
'tomorrows' will be the beautiful days for all!


== '''The daily collections of Jason's Postmodernist Language''' ==
=== Introduction of this part ===
In my mind, the pieces of fragmental consciousness and some unconscious roots have been inspiring your life-strategies and decisions. However, they are somehow emerging easily in your short-time memories and also broken easily.  How could us frequently collect them and contribute to our postmodernist civilization immediately. I think: collecting your daily internal and external language might be a good pathway.  

=== Contents ===

==== Some words from 2016 ====

1. Sciences &amp; Technologies can better the materialist standards of ordinary people's life; meanwhile, philosophy can give people the wisdom to self-reflexive their life standards for dreaming an idealist future; meanwhile, theology can keep their well-being situation be peacefully maintained. In postmodernist life, after constructing the channel threading the Trinity, I cannot see the conflicts, but the cooperation and negotiation. (7th/June/2016)

2. When navigating in the sea, the directions of sun somehow are depending on your own heart. Whether it is sunrise or sunset, you should ask yourselves(There used to be a philosophical debate about where is the centre of your worlds - heart or brain, about which we can search some information in Wiki-team's 'channels' online).
(7th/June/2016)

3. Children's eyes are prettily beautiful, which can bring holly peace and heavenly love into your mind. Watching them, touching the universal harmony and postmodernist imaginary-regressing to your own childhood; in what channel, I almost forgot some pieces of  unnecessariness, such as hates, boring issues and hostile emotions, and only leaved one pure dream in mind - being together with them to play, and play with smiles hung upon faces. In psychology, it was to say: people would pick up their childish in the later life as the intelligence's regression to be innocence as time's passing by. But, but, I'd rather picking it up in my middle ages, or even from my childhood itself. In that case, my postmodernist trip would not be painfully or singly enough, but with full of sunshine. Oh, good night, my worlds! hoping children in their channels including these generations and the next and the next after the next ones - would enjoy their peacefulness and joyfulness all the time. I will have been praying for all in this channel - mine, yours and theirs - time after time, until the numberless recycles upon.
(16th/September/2016)

4. Today, watching the autumn-leaves here - falling from the higher place to the ground greyly, my memory was also falling and falling to certain part named 'self-reflexivity', or 'mind-independent land' as in the past:
Three years before, I had been a very peaceful and ashamed boy, of whom, even made any arguments with others, the face will turn red. On those days, I just wanted to enjoy my own small joyfulness with my family. Currently, I saw he had been very foolish but innocent enough. Sometimes, when I was him, I enjoyed to watch beautiful moonlights, felt its silver love can be compared with Mother's dedications in my education year by year, or someone else who had would like to make the accompaniments with me in my small life-trip. I didn't know how to quarrel with each other, but just follow some ideas to make further thoughts. In that time, peers, relatives and family members all thought I was a good boy. 
Until one day, I began to gain more multiple-disciplinary knowledge, then critically thinking of my life across cultures and subjects. Then, I went abroad for multiple-views of life and academy for the purposes of getting 'bilingually and comparable views' as in philosophical education.   I found: what absolute pieces of knowledge, even language and number themselves, are somehow not enough absolute and peaceful as before. Yeah, someone taught me some keys; then, I thought I can train them very excellent even super-against someone's levels before, especially dialectics itself, depending on which I can make much more trips and see more beautiful views in my channels. I can also travel to more reasonable and purified 'places', somehow, than current, with the foundation only on a huge summery of multiple-subjects of knowledge. I can shift myself from here to there, from now to the future situations after being reasoning about the possible tendencies. But, this isn't my false, which made someone feel really not happy when I took my stances. They began to make various troubles for me, and I began to make various arguments, complaints and appeals with them, just because what I said and dreamed after had been really not wrong, but possibilities for future - even good visions; and, they didn't believe in what they had seen. Oh, I am researching thinking and education for many years in my ways and I am really not a foolish; but why didn't they give me an opportunity in totally expressing the views I thought in certain field, and even the possibilities for themselves? I did really don't know why - I thought it was because Lord Universal Infinite is fair enough that when he gave you somethings to see, he also covered your another eye as the repay. Every time after the argument with others (even I was successful or fall), I felt of the very tiredness and I was somehow a little bit 'dirty' than before. From heart to say: I feared to argue with others and really don't want to give anyone any troubles, I just wanted to enjoy my beauties - the beautiful music, beautiful scientific approaches - thinking and experimenting, and how others are emotional changing and intelligent progressing etc. But, facing the knowledge given freely from universal reasonbilities, I need to show my respects of their beauties, and I need to be more reasonable in thinking. No matter who you are, where you are from and what kind of authorities you conquered. We were all equally sitting on the balanced Scales of Truth freely. Oh, every time after the argument, firstly, I would feel - indeed there is no correct answer, but main tendencies for... but why your eyes were just focusing on my behaviours... what I would like is to tell the truths, but why you are so critiqued upon my ideas ... if you are travelling to my point between the pressures of two cultures, your thinking will not be better than me etc. - somewhat like shown above. I felt really painful, but I enjoyed pursuing the 'big look' of knowledge, its reasonability and purity themselves. However, if I didn't make out my voices, might be no one would know them, or being latter - they are all going to be separated into fragments in their own channels without caring about the connections between them. In other words, worlds objectively inputted in my eyes and my worlds subjectively reflected out in mirrored universe will not unified together. That's a terrible future. Indeed, what my purpose was very simple, for teaching and learning from each other freely. I want to be a good teacher educator whom, if in my later time, can give every suggestion according to someone who turned to me, with the creative zones I can see. Then, I am accumulating more every day and trying more every day.
Oh, I am praying, praying for that innocent Jason's coming back who, this time, is with multiple-subjects’ knowledge but also gentle, and peacefully as before. Oh Lord, we all have been making sins. Please forgive our sins! Let us all feel peaceful as before!

'' ''The Garden Eden:''{{'}}: Then the Lord God planted a garden in Eden, in the East, and there he put the man he had formed... In the middle of the garden stood the tree that gives life and the tree that gives knowledge of what is good and what is bad... '' {{'}}Adam and Eve Are Sent Out of the Garden{{'}} {{'}}So the Lord God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed{{'}}
&lt;ref&gt;Genesis 2: 8 - 10; Genesis 3: 22 - 23 &lt;/ref&gt;

5. Oh, dear. I am hoping this time my moonlight can last for longer time. Then, I am praying for peace. Oh, what is love? someone fell in love with a person, someone with a city and someone with a piece of music. Wishing this time, my dealing way is in good matters.

6. Fine arts need to respect some innovations from common's daily life. As the responds of Talk in Claude Debussy, I still need to point out: Wikipedia still needs to respect commons' so-many-years' training and love of one piece of music. If it was talking about music, we need to respect some facts and don't tell lies.

7. I have clearly shown out my stance' meanwhile, in order to respect others, I put my version in Talk. 
Talk place is for talking this subject with freedom. Even there, someones still want to break these basic recogitions and pricinples. For what? I don't know. If for money or some other ugly things, don't do it!

8. If appeals were too may and still without respects, appeals will be meanless

9. Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed his this impression to peoples all round the worlds. The very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:44, 17 October 2016 (UTC)

10. If there is no teachers and young teenagers researching music for many years and telling what they were seeing in this field with academic styles and in real or virtual classrooms, Musicians' beautiful flowers will lose their colours. Yes, we are Postmodernist commons online, and sometimes, our voices usually were ignored. Yes, maybe, we are not very professional (Indeed, I thought in one thing if you have interests and love, you can be keen on doing it for tens more years and even longer, that's enough good. Education researches and Psychologists told us, we, ourselves, can already be compared with experts.); and sometimes, we are not professional in using some professional technologies. However, we haven't lost ourselves and tried to dream after the beatiful heaven in our hearts all the time. That's what life's meanings existing in. Sometimes, we feared about unnecessary confliects' happening, owing to that we are peaceful. However, this didn't show that we were weak. Children and young teenagers, my Debussy' case told us: no matter when and how, we need to take some stances and insist on doing what we are dreaming. Behind you, there are your supporters - known or unknown. We need to give them our thanks and bravely face our life.

11. Protecting belongings, maintain yourself against cheating deals, and keeping value-reflecting-price business in China: (I didn't want to make this talk so explicit, just as a daily talk from a common Wiki-member. Then, in this case, I am very carefully to use languages, even my emotion is shaking with unhappiness. I don't want to hurt anyone and don't want anyone hurt my family.) 
Firstly, I love my country and feel good to be a common citizen. However, from long-time's participant-observations, somethings unhappy I still need to say: To be a kindhearted Chinese and don't feel tiredness about some unnecessary issues against some unfair deals are somehow two hard jobs, even only in life. From central TV channel, to local channels, to Internet digital world's channels, and to some newspapers, usually, notices were all written - Please taking care about your belongings, keeping a very clear mind when treating some deals, and trying your best to take a value-reflecting-price business, in China. Yes, 'in China', every time hearing this high-lightening, my heart always felt a little bit sorrowful, especially about 'cheating deals'. From my childhood, I used to feel strange 'why just Chinese was mentioned, why it was towards Chinese, why did we be mentioned shaping our behaviours when making some deals, even in daily life'; yes, if there weren't some unhappy things occurred before, this special 'notices' shouldn't be highlighted, even our own channels, for really protecting some honesty people's practical benefits. But I really have to say: it was a real fact. That's why Education and Daily Notices awaked us everyday. Indeed, 'price running around the true value' - this principle is what keeping things going well. Even being over or below in certain controllable situations, it shouldn't be so exaggerated too much - to over or below certain degree too much, such as 8 times or 10 times more. Meanwhile, it shouldn't be existing without getting the other side's (buyers) permissions, or finally just waiting 'the process of the cheating deal' having nearly been completed to the final step (buyers have wasted so much energy and time in this case), then presented out as excuse to set out the responsibilities. In those cases, they can all be called 'cheating deals'. 
'Stealing belongs' are what really cannot be accepted by the civilizations. In china, some people, especially some being-threated aging people and children have to become members of certain criminal groups. They were sent to some public places including transportation-tools , such as buses. In these public traffics, usually, it was very crowed and the distances among people couldn't be accepted by a humanised civilization. 'Too many people, and too crowed' and 'driver's attitude somehow was really bad' - Those are the real facts lasting for tens more years. Depending on these unmoral distances among different people, these thieves can naturally 'attach' to some persons' shoulders, elbows, waists and hands, which are somewhere your wallets, bags or satchels placed. Then, their hands will wander towards zippers. Even worse, someone would use knife to break your waists, in order to get your belongings. The ages gave them the 'hidden conditions' to make crimes and would become their excuses to set out the responsibilities. They would make the attempts to steal your belongs for many times. After your turning heads back and found their cases, if you are an adult and strong man or woman and pointed them out directly and would like to notice others' care-taking, they would make quarrels with you in the public places. They would draw moral powers to attack your notices directly, in order to 'hide' their crimes or dispersing your attentions; then, they can get out from their situations (Yes, somehow, they are aging people and you are younger.) If they haven't achieve the successes and you founded it, they can also 'slide' away, depending on their public misleading. Then, they could disappear in the crowed 'people sea', and would focus on the next; or get out from this bus for the next. Usually, they weren't working for their own benefits depending on their own willing; but behind, there should be some darkness groups, which has almost been a public secret. Their crimes, if small, can be forgiven by your mercy (Indeed, we really want to ignore them, but ...), which are also understood and grasped by these groups. Their health-care and education are really concerned by people, especially towards some children. &lt;small&gt;(Taking some samples from my own participant-observations: when I was a undergraduate student in Dalian, I used to encounter a child steeling my bag in the market when I was buying a piece of delicious Xinjiang cake (Really very delicious; thereby, I enjoyed to buy some). This is a fact that I have lost my ID card, all the belongings and the money; but today, this case repeatedly occurring upon me, after the time of ten years, when I was in a bus. This time, it was an aging woman that she attempted so many times towards my satchel, which made my attentions. I wasn't a fool, but somehow like a fool. Secretly struggling with her, I attempted 3 times to avoid bad things' happening, by twisting my satchel in front from aside. Then, she turned to the next- my mother, beside me. I turned my body to the other side to block her pathway, but it was unsuccessfully in get back her evil mind. I have to directly point out this unhappy fact to all, in public. What I wanted to do is just awaking people's care-taking of their own belongs in this crowed and unhappy bus. However, my mother wanted me to keep a secret. Why? she didn't know how many people in her groups are in that bus and she didn't know how to deal with some moral blames and misleading towards her son, if being trapped with this aging woman in this crowed bus for so long time (the distances among people have been over too much upon normal people's physics endurances.)   Yes, I can, and almost, I need to. In China, there is a traditionally thinking way - 'Keeping your own businesses without caring about others' issues, especially when this issue wasn't about your own matters, or, you or your family can avoid or escape from taking hurts, signally' - this one usually kept the right one who wanted to notice people in the 'mouth-closure' and let some 'unhappy issues' happened in public as the secret, time after time...)&lt;/small&gt; But taking a perspective from Education: if all the people in public kept what they encountered as secrets, what situations  will be like in the future. If letting aging people or child to steel belongs can be taught to our next generations from their parents or thief-teachers, what will happen in the mind of our next generations. What they think would be: I don't need to take any labours, just depending on cheating deals through some words-confusion skills or steeling belongings from others, then, in risks, somehow, we can get 8 or 10 times more values than before from others, or from nothing I have directly upon to all. In the other side, buyers or belongings-losers will immediately lost what they used to own without being honest treated or being merciful dealt, even in their own life. What-like will our next generations be made as?
Therefore, in my mind, in postmodernist globalized civilization, these are really several Red lines which were touching bottom of Education, and we need to tell children and young teenagers what are right or wrong; so that, I written this recording to bear somethings in mind.
(I make an apology about this language collection's quality is a little bit rough - the fluency is between bilingually oral and academy, because of the very unhappy emotional participant-observations during its completion and its instability with anger. Therefore, lots of details and several small events have been personally ignored, including　one opportunist price bid-up (10 times more)in street market and another half-weight-added relationship-selling without clarifying the quality and quantity of products. They all happened in my hometown, which made me feel really sad. If merely seeing it as one in my self-researches of life-language phenomenon for language-improvement  and taking it from educational perspective, my heart might not feel so painful. Hopefully, they can still be fragments without being threaded together; and hopefully, a night after, I can totally forget them. Yes, after watching child's face and hearing her melody-playing, my mind was calmed down. Okay, I would like to take it as one bad educational material in case for teaching good)
('''Suggestions:''' 
(1) To common people ourselves, in order to live, it's better to prepare a Anti-cheating-deal-protection Booklet by collecting various pieces of information from News online, TV channels and Newspaper. To be honest, there are too many pieces provided in China everyday. When watching them, you would feel evil and how can things be like those... Recently, I repeatedly heard some disorders in southern part of China have been grouped and organized to steal belongings. Oh, they are disorders with special needs. How can things be like those! Yes, we don't want to harm others, but we need to protect our own belongings.   
(2) systematical Market order and monitoring for commons' daily lives need to be re-constructed and standardized. I insisted the Value-to-price - this principle should be highlighted, even more over, it shouldn't be much than 8 to 10 times - over this dangerous red-line. 
(3) Materials-saving and re-cycling ideas in own-dream's realization, as only for, need be taught and learnt by more people, depending on which corruption situation would be reduced and unpractical bad emotions influencing commons' daily well-being would be modified.)

==== Words with annual renewable freshness for 2017====

12. Oh, I should feel much free talking something in Jason's Postmodernist Language Part. In my mind, sorry, maybe - my mind has been self-traveling to the future too far. Taking back a step, this one is still and always a holly place for my self-reasoning and self-purification in my own worlds.   
Firstly, Happy Spring Festival of Chinese Area and please enjoy the first day of a very merry Rooster Year - 2017! 


13. Then, today, following 11st point, I want to talk about another phenomenon experienced on Public bus, which I really don't want to mention but have to. How could I organize my languages more clearly like, after encountering this angry experience? I don't want and never want to tell lies, but certain basic trust &amp; honesty was still gotten lost about its diver. Things should go like those below:
Indeed, it hasn't been a current problem but somewhat lasting for long time since my family's returning to my hometown. Facing this problem, usually, it's my mum who over-stressed me too much -  pressing down may stance and don't want me to say out  my participant-observations. However, today, it is the first day of Rooster Year, everyone should apply polite attitude in dealing with and interactively treating each other, as the gift for a lucky year. My family's gift has gotten lost; and thereby, I don't want to give my gift to some individuals in my city. 
In China, as one part of public welfare, aging people, over the age of 60, have been enjoying a condition of public welfare - over 60, they can get half-discount tickets in public bus; and over 70, aging people can enjoy free tickets. You knew, behind the fast constructions of China, so many people have contributed all their life, all their youth time, all their family-working opportunities or all their family-volunteering contributions and all their patriotic health &amp; energy to each city they are living in; till now, they had to (not to say they are on purposes) be aging over 60 or over 70. Compared with what contributions they made to this country's development in their life and youth time, this welfare is really what they should get, as a balance of their value. In my big family, many people got to this life stage; and in my small family, my parents have all come into the opportunity of first stage - age 60  to age 70. (Wikipedia Introductions: https://en.wikipedia.org/wiki/Social_welfare_in_China) Towards people in this group, I found some divers' bad attitudes and behaviours had been really too cruel, need some criticisms, too inhumanity and lost their basic trusts (to commons) &amp; honesty (to their own working opportunities). 
From 1900s to 2000s, in my family, public bus used to be a main way for travelling outside, depending on the technologies. In order to suit this public tool, We have cultivated too many good habits (you knew, in some extreme overloading situations - sometimes, over too much being even without space for merely one person's two feet which was painfully enough carved in my memory that I didn't want to mention  since my childhood - treated with inhumanity and only for money.). Among them, one is very useful relatively linking to today's case - coins-checking: (1)Before getting onto public buses, my father usually checked each coin and arranged them to me and my mum one by one; (2)and evolving from it, to me, before it, I have been together with my mum in checking about money for many times, in order not to trouble divers and keep our good manners in public bus. However, including today's and another one several months ago and several other times' before, though I really saw my mother's five Jiao (half ticket-fee) had been inserted into tickets-selling machine, and before it, I had really self-checked or father--checked, or saw she herself carefully checked the money, to ensure the correct money having been counted out, and in order not to trouble divers or others, for all times (I dared to say so. We really don't want to be trapped in this case). But still, when it came to this weak and slim lady, many times she was tangled by drivers by impolite questioning how much being inserted for many times. Indeed, if just being questioned many times, this case is also of no matter. Every time, in that very narrowed and only feet-inserted space (today, the situation is better), I or my father will be together associating my mother to take explanations - at the beginning, it's very gentle. However, this time, after saying sentences one time, two times, and three times:' we can confirm that she has really put the right money', some individual drivers, like today's in 28, still used very rude manners, down-looking attitude (with somewhat can be called discriminations. I understood psychology and knew what types of actions reflecting thinking ways behind these actions they showed can be called discriminations after so many years' experiences), questioning and impolite pronunciations to treat this poor lady - my mother. If letting me to attribute the reason of his actions, I would say: in societal activities and trips outside, my mother usually didn't care about her appearance and usually being with normal or even non-good-looked and old-fashioned clothes. She was also an aging teacher dedicating all her energy and time into serving next generations, and really didn't want to pay more attentions to the fashion of her out-looks - she didn't care about it and somehow considering it to be a waste of time and would rather pay things on more useful fields for other family members, family constructions or students (Money she and my family made earned is really not easy). Some individual Chinese have a problem: usually, what they behaved aren't according to people's souls, minds, contributions and good manners with beauties, but somewhat outside appearances. To strong or rich people, some individuals didn't want to trouble too much (because of the reason that they are strong or rich or even being clothed as almost rich), but some persons weak or poor or even just being looked as in poor situations and someone who really want to follow principles to behave (they also reasoned it as because of their poor or weak situations that they have to follow, rather than from heart that they respect principles and universal reasonability), they turned to use bad attitudes (from the angles of their down-looking eyes, bad Chinese pronunciation and many times 'suspicious questions - as if thinking everyone is crime) which you can directly feel about. 
Every time, facing this situation, if I was there I would associate my mother to make things clear and if things weren't really caused by our faults, after many times' explanations made like today, I had to bravely stand out: Every coin should be paid for your own labours, if you thought your labours were valued lower than this money, depending on your 'gentle attitudes', you can enjoy it happily. I knew on the first day of Spring Festival you wouldn't feel happy to take your tasks in working. However, you had chosen it you also need to take the responsibilities. Without interests, working experiences would let you feel in hell. Meanwhile, this point is also not following society principles. if you thought it was a burden, you can abandon it without disturbing others' holiday joyfulness; other divers who love it can take as from their own interests. Did you forget the traditional Chinese customs of Spring Festival? They are aging people, do you have parents and did you treat them like this on Spring Festival? Did you treat other aging people like this who are clothed well? Did you want to send every your bad face as 'the gift' to passengers all the day? ... Did you lose your basic trust and honesty to your customers? Without them, how do you want to get others' back? If you didn't respect your own working, how could others respect yours'?
In Rooster Year's Spring Festival Gala (Wikipedia introduction: https://en.wikipedia.org/wiki/CCTV_New_Year%27s_Gala ), 
'basic societal trusts' deeply rooted in hearts (to our own workings, our family members, our guests, our customers, our friends and our relatives ) has just been mentioned as from Chinese people' moral tradition, about which commons want to send some pieces of the positive information and Chinese Civilization to the worlds. Then, in the first day of Rooster - daily life and around people, it was still lost on you. 
Further, lots of aging people, like my mother, facing this situation, usually tried to pressure down her own son or family members, which transformed outside troubles into family conflicts - this is also one traditional custom without the openness to the world. Why? I wanted to make some much careful explanations: facing it, on the way outside, aging people knew they were weak and didn't want to trouble others or trouble their own family members by being pouched or hated by others. They thought this way was a good solution to avoid something's happening. Therefore, if things they can endeavour, they will. Even my father wanted to insert another 5 Jiao to calm down this situation quietly. Indeed, it was wrongly enough. After being educated, we knew another 5 Jiao cannot get back a lost trust and cannot pay for the whole societal justice. More aging people - in this group - may still need to unfairly pay another one time, two times or even more for being in their weak. That isn't according to moral principles and Education. Even more, taking Christianity's view: God, as Provider, trusts in everyone with the equality for many times. And, the balancing procedure made has already started from everyone's young time, even the childhood, till now, and then. 

'''Enlightenments and Educational suggestions for future:'''
(Children and young teenagers, please don't follow this uncle's bad example. If at the beginning, the diver would smile firstly and say: ’Aunt, Happy Spring Festival! I am sorry but I am not sure about your inserted ticket-fee, please have a check. You knew, my job wasn't easy on holidays‘. And, after gotten the answer once, he would choose to trust in this aging aunt and others’ explanations, for keeping holiday joyfulness and following traditional customs of Spring Festival. How fine an end of this case would be! )

14. Following the 13rd point (transportation management), today, I would like to accumulate one piece as for Jason's language. Currently, the situation of transportation is really better than before - last year and even longer time for tens years. However, in this point, about some cases of round-cycling bus in certain zones , I still need to give a very brief summary (I don't want to be trapped in certain unhappy mood too much): (1) If one job, or life-task, or volunteering, or event, you don't like to do, or even without any interests in, please forgive yourselves and others by choose another one. If you can't choose it, please try to fall in love with it. Yet, please just don't cry out your boring words about your careers all the way on bus. It would trouble others' moods while hearing; (2)When talking about some passengers in weak groups, or some pedestrians (walkers), especially aging people and children, passing by zebra crossing, please be merciful! It's because that cars are everywhere - they are parking, but without caring about principles of transportation. Weak groups, even walked out one line, shouldn't need to pay (responsibilities) for the disordered situation of transportation (sometimes). It's also because that you also have parents and children; meanwhile you also have times to be a child or an aging people. (3) Bell, for bus, is very important, especially for round-cycling bus(if 'really' being set and not broken). If you cannot hear it, please have some attempts; but, if causing by continuous talks with another passenger about some other issues regardless with your jobs, please try to stop... lives of passengers on this bus have all be grasped in your hand... (4) Please bring a good attitude to serve people on your bus and forget their social classes and identities (especially in a country run by principles of Marxism &amp; named for commons and when you can't make sure others' situations - such as whether or not someone has already pressed button of bell, but you didn't hear) and take care of your application of oral language and face expressions - at least, it's your job. Only a gentle smile can solve a conflict, shouting can only get back further louder shouting with anger, but nothing else. (5) About meanings of round-cycling bus: In my store of educational knowledge of transportation, round-cycling bus is designed for motivating the economic development of certain areas - tours to appreciate landscapes, short-distance working demands, local visits, local businesses, relaxing leisure and holiday joyfulness etc. Indeed, at the beginning, there were very small regions importing this type of buses. Then, with the economic development and openness, round-cycling bus became popular and common in some economically developing zones. Rather than this type, two-destinations &amp; each-stop bus was in tradition and  always normal usages for crows of people's daily running, which stopped in every station with no bell being set(or being set, but never being used), but for long-distance travelling across one city, from one to the other, or from city center to countryside , whose problems I have also pointed out in 13rd. They have different functional purposes and should be distinguishable.(2021 views: I still feel sorry to see the situation of 3 routine bus in Golden Pebble Beach of Dalian hasn't change any as a true round-circle bus it has planed, and also the bad attitude of its diver I came aross and his language... It's said China's Cloud-data counting way of new technologies can solve it that people will check their card twice-one for the beginning and the other for the end. When being out of a circle, the end one check will report 2 times of price. We are waiting...for commons) [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:39, 5 October 2021 (UTC) We knew the worldwide famous city-tour bus is London bus, which has already been one symbol of the city and has developed a systemic mechanism for various purposes (Wikipedia introduction: https://en.wikipedia.org/wiki/Buses_in_London). Someone may argue: Jason, you are joking, how can small local bus routines be compared with London Bus and this system - so higher standards; and, we are in China with some different conditions, limitations, local habits of behaviours and cultural customs. Yes, that's quite right. But, I tell you the truth: a big and advanced system, such as 'London specification' to meet specific London requirements' (as a world-wide international city), was also developed from local demands. Just in solving practical problems, dividing functional differences with the distinguishability, storing good developing factors, serving people with more humanities and conveniences (you can see: 'All these buses conform to the Disability discrimination act, and can accept passengers in wheelchairs and other mobility impaired passengers'- how this system did serve people in weak groups that we have no need to mention aging people, women with babies, students, or others etc. ), it can get hundreds years' developments without doubts. Indeed, some reasonable solutions have already been seeded in commons' minds - very sample to say: facing bells of bus, the reasonability deeply in minds has already taught us how, where and when to use, which could be seen as the self-willing of being civilized, being reasonable, being following principles, and really enjoying good-qualified life of own purposes. Without needs to mention whether or not certain driver is able to talk with passengers all the way for boring words towards their own careers and weak groups even ignoring others' bells, here, we can get a brief conclusion across cultures: Don't like, won't do; If like, fulfilling in; if lacking, improving it; if bettering, keeping fine; if boring, forgiving in. 
oh, Jason's life task has no enough time and energy applied in this field; and to be honest, after that event, several weeks' participant-observations were better than before - I can feel: on one bus, air-conditioning was opened in cold days for commons; on one bus, a group of aging people can enjoy their travelling; on one bus, bell can work again, etc. Those are good-qualities, please keep on ... Education should trust people's abilities of self-awareness, self-learning, and self-discipline that we can better. Education can give suggestions from various researching pathways but cannot make decisions of anyone. That's what my learning taught me. I prefer to leave a developing zone here for future ...

Maybe, Public transportation has great relationships with commons' daily life and can give a direct impression of how a city is going on. That is why I had wasted a huge paragraph in talking about some principles as common knowledge in educational purpose. I really don't want to be trapped in this case and some troubles outside computer. However, the reasonability of Education (so long time) taught me I needed to do. Indeed, 'The daily collections of Jason's Postmodernist Language' - this session was designed for collections of language's beauties and creations. The original purpose of it is for the accumulation of good-qualified writing materials and educating languages, with philosophical ideas, fashions of musical aesthetics, fine arts, and bilingually cultural elements.  
I am hopping: as the bettering situations of transportation around my living place, my languages will make a post-regression back to original beauties; and my attentions would be drawn back to what fields I should be in. For it, everyday, I am praying everyday.

15. Strongly condemning the terrorist attack occurring in Houses of Parliament in London today - March 23rd 2017, and also any other terrorist attacks (including Paris', Brussels's and all countries in modern civilization), and abusive &amp; Coward's behaviours and hurts towards commons: 
Life and health are the rights, being blessed by lord and given to all the people equally, without the differences of races, genders, ages. Whoever, if hurting them, are commons' enemies and should be blamed; whatever behaviours, if attempting to damage them or succeeding in doing so, should sin so many and be punished.
Let us prayer for peace and commons' security; meanwhile, mourn those brothers and sisters died in terrorist attacks!

16. Sir Debussy's great contribution to impressionism rooted in his application of impressionism to express impressionist imageries generalized from 'Mind-landscapes' which have already been there - another romantic bank. In brief, we can conclude it as ''''Impressionism only for Impressionism''''.  The later impressionism is a generalized definition adding his willing-landscapes abstracted upon certain real natural landscapes in experiences, dreaming scenes, societal events together with family members &amp; relatives, and most importantly - some emotional joyfulness and love's Neo-expressions, which can be post-tasted for long...
17. Oh, I suddenly found: currently, on some good platforms I was in, about Educational research for music, I have gotten deep senses of Wiki-family' creative powers in various aspects, including documents, comments, self-medias, diaries, images... in life and for commons learners. Depending on them, I can solve many problems easily. It's just about me - my own habits' cultivation and from my experiences, regardless with any unnecessary issues. I need say: thanks, I can be a member.

18. 'May, 30th, 2017' - today, it is the traditional folk festival '端午节' in Great China Area (Normal Wikipedia introduction: [https://en.wikipedia.org/wiki/Dragon_Boat_Festival]), as the remembrance of Patriotism poet &amp; musician (Folk Songs) - Qu Yuan (Wikipedia introduction: [https://en.wikipedia.org/wiki/Qu_Yuan]). From academic perspective, how can we make some senses of this 'cultural signal maker', and how can western friends deeply understand this master and his festival? Two branches of orientations - Western culture and Eastern culture gave me a comparison, which can transcendentalist taught us somethings from their similar natures - probably as a universal communication. When Qu Yuan came into my mind, another Patriotism Poet &amp; Musician from Western world was usually emerging too - Frédéric Chopin (Wikipedia introduction: [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin]). If you ask me: how can I get this sense, I would firstly emphasize the appreciation of Qu yuan's great work - Li Sao (Wikipedia introduction: [https://en.wikipedia.org/wiki/Li_Sao]).After being heard (language with Chu Ci music), your will find the deep impression - the sadness, madness and anger motivated up directly floating above head - would be harmonic with another piano work of Frédéric Chopin - 'Étude Op. 10, No. 12 (so-called Revolutionary)' in each of their series (Wikipedia introduction: [https://en.wikipedia.org/wiki/File:Frederic_Chopin_-_Opus_10_-_Twelve_Grand_Etudes_-_c_minor.ogg]). Yes, they are under the similar emotional (personal) &amp; historical backgrounds and with the similar expressive mood-streams (even a little bit angry sometimes), for each of their own idealistic, peaceful, and dreaming countries but being going to die near-days, and for their deep loves of common peoples &amp; their lives, and were willing to save their nearly broken hearts from dangers and outside threats - yes, in their different eras, there would also have been suffering strong Terrorism attacks from outside (we can definite them as terrorism attacks, causing lots of innocent commons' lives were lost from anti-governments' powers rather than public's historical willing, which were all unblessed and unfair... especially some public harms and inhumanity they faced, from academy, would have already met the main characteristics of terrorism attacks) to damage local peoples' lives - so many people were killed from numberless wars... (Wikipedia introduction: [https://en.wikipedia.org/wiki/Terrorism]). Therefore, in commons' and so many generations' eyes following, they were heroes and their works can be called 'National works', and there should be some days annually ranged out from the respects. In another similarity, they all represented each different ideas from mother-tongue music traditions - 'their national characteristics' - Qu Yuan carried Chu Ci (Wikipedia introduction:[https://en.wikipedia.org/wiki/Chu_Ci]) as the pattern for his artist innovation; while, Frédéric Chopin pushed Mazurek to the historical stage of world music; all for their loves of own countries. (Wikipedia introduction: [https://en.wikipedia.org/wiki/Mazurka]) Therefore, they can all be called 'Poetic masters in both language and music'; just, Qu Yuan was quite near politician &amp; philosopher, but Chopin was quite near musician &amp; romanticist. 
Furthermore, I have found another historical similarity in materialism: in order to make the remembrances of them, generations all applied the symbolic objects standing for their bodies into custom and culture. This point was hard to be understood. Let me make it clear: In Duan Wu Festival (Dragon Boat Festival), people living in Great China Area usually ate Zongzi (Wikipedia Introduction: [https://en.wikipedia.org/wiki/Zongzi]) Do you know why it was done? After ' he committed suicide by wading into the Miluo River' - oh, he was so sad and angry about the death of his country, people was afraid of his body's destroy in the river by fish's bites. They researched out 'a traditional Chinese food made of glutinous rice stuffed with different fillings and wrapped in bamboo, reed, or other large flat leaves' (Wikipedia introduction: [https://en.wikipedia.org/wiki/Zongzi], 2017), which was made in the shape of body-liked diets, and if being thrown into the river, can attract fish's attentions away from Qu Yuan's body; thereby, his body can be alive and stored always in the river, as for the dependence of his spirit - to be a real river god. Oh, you can find it was also a romantic story merging into commons' customs for food and life. You knew, in traditional Chinese culture, if someone had made great contributions, commons would inductively research out one food of a festival in fairy legends, for deep respects and mind expressions. This was for their material's (body's ) immortal lasting. Very interesting, I found 'Chopin's death mask and a cast of his left hand' and 'Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850' (Wikipedia introduction:[https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin], 2017) were also represented people's loves, respects, and remembrances of their lives through carving, protecting or storing parts of their bodies. In some degrees, their lives and spirits were still existing in 'Mind-Independence worlds' of our civilizations through enjoyable festivals and customs, on paper and in music multiscript, and in patriotic expressions and poetic romanticism. 
Tonight of this festival, I was quietly sight-reading them - their minds upon words, and read out the same hot-beating heart, the independent judgement of societal bad &amp; good and universal reasonability, a good willing from our pasted academic masters and intelligences, and the interactive loves from commons in our common root of customs and cultures. Now, on this commercial and changing-lot earth, please try to keep them, for bettering human beings' future.

19. Taking a glance, 2017's hot summer has been arrived. Very happy, Round-channeling bus, I mentioned before, can be in a real cycle with so many landscapes; and some situations of transportation have also and almost modified. Take an example: Near my home, I can also see some endeavors (not being totally solved) have been applied, such as facilities (barriers and separated areas)for keeping emergency Exit throughout and cars' parking in order, though it is really a complicated system and the effect is waiting to be tested. The situation of crowed bus has also been modified in certain degree, by adding some seats from back-place (In this case, I can see some experiments have been applied in terms of whether seats should be added in front, in the middle or at back. Finally, almost being at back was a good way.) But, sometimes, it was still crowed, and choosing different ways would be a good choice. You knew, soooo many people. After reviewing most of my life in this period, I decided to make a Consciousness Stream for summarizing my fuzzing impressions and beauties in this period. Meanwhile, I would like to visualize them through my eyes and technologies. As a result: it came out in self-educational views -

'Where to begin this visualized journey? Where could I have myself extracted from various ends of a life thread-ball and wrote down something for a quite brilliant and rather graceful, but still with 'deepest blue dropping lightest grey' summer of my 2017? A monologue, or a self-dialogue with someone unknown in universe, or an implicit symbolization representing lots of life indications, or projections from two mirrors to numberless futures... should land to a super-ego behaviour that I made over my abilities:Pushing against the wall of a strong cable-bridge's Pier (Wikipedia introduction: https://en.wikipedia.org/wiki/Pier_(architecture); https://en.wikipedia.org/wiki/Cable_Bridge) just above water-ground in sea's middle,  water then was soon raising up to one to two buildings' height beyond your head, and a huge eddy (Wikipedia introduction: https://en.wikipedia.org/wiki/Eddy_(fluid_dynamics) ; you knew, Cable Bridge's pier, in sea, can be thought as  'large emergent rocks' presenting this fluid dynamics ), swirling water around you, was forming out.  It's several minutes that you lost yourself in it,  and just were watching light blue water under sunshine penetrating your soul, as if your tomb will be closed in a core lonely darkness out of sight-focus from this purified colour. (I cannot directly express this feeling in my photography portfolio, owing to no camera in my hands at that moment. But, the middle downstairs photo was made in another time when I was passing by that cable bridge and watching the far beach I was right swimming from... Combined with other water colours in this photography portfolio, we can try to make some senses ...)As in order, then, a hope of resurrection emerging from your mind and from the nature of your physics. Breaststroke,(Wikipedia introduction: https://en.wikipedia.org/wiki/Breaststroke), out of my unconsciousness, automatically pick me up from that dive depth. My mind began a argument about which gesture was better for Swift water rescue in Whitewater areas(Wikipedia introduction: https://en.wikipedia.org/wiki/Swift_water_rescue; https://en.wikipedia.org/wiki/Whitewater). Absolutely, my stance was on Breaststroke, because of my personal problems - my nature turned to this one freely and I didn't like so competitive swimming ways. Meanwhile, I thought self swift water rescue - this activity met my tendency that it needed people to keep themselves safe in water, rather than completive purposes. Furthermore, tell you a small secret of my self-training: It's two more years since I began to research some inputs of Tai chi thinking elements, such as self-making an energy ball through water, presenting a &quot;white crane spreading its wings&quot; in water, imitating with a 'merman's jumping', and walking out a 'octopus' wandering', rushing out a 'Tiger's mountain down-climbing'... into the modifications of traditional competitive ways, for self-rescuing and self-appreciations in life. I found 'frog's breaststroke' and 'whale's Backstroke' (It's another story that we can try to apply whale's 'arms-switching' , breathing rhythm and 'frog's up-wards legs' to transform backstroke. It has the possibilities to carry more nature elements. And, you can also make it in the similarity with personally moving a boating machine -in gyms- by arms, I thought) were much easier to be divided (elements), re-composed, transformed and reused by Tai Chi philosophy.By thinking of those special gestures, alongside Jason's automatic 'frog-kick', I was suddenly left into an imaginational world full of sea creatures from the deep sea beneath my face. You can see, a huge red-mouth-opening frog, a giant octopus and my aunt's eating-crab were externalized out of Jason's mind, appearing in the middle-up corner of this photography portfolio, as in the nightmare. Regarding with more documentary researches and discussions of Sea Monsters &amp; Hell, I has already presented in my comments of 'Chinese encyclopedias of Strange things'' in the analysing article of  'Dream Of the Red Chamber' (Portal: Chinese literature: https://en.wikiversity.org/wiki/Portal:Chinese_literature). Thinking of those, a deep fear got out from the bottom of my heart. I told myself: 'Jason, hurry up, move faster, get away from this area...'After swimming to the beach, I found I was born from water, to enjoy a presenting life on both virtualized and realized birthday, with my family members and friend. Under the blue sky, it's only your family members - your parents, your relatives... who will never give up you, and would like to hold some birthday parties for you; and by together, you can eat some feasts with. Thinking here, in my imaginational world, a whole seaside was bombed out by many Beach Tents and people's smiling faces. As if, they were all together celebrating my birthday. You can see: It was real that in the middle corner of this portfolio's left side, there were a celebrating scene composed by many beach tents throughout woods. 'Jason, please don't say those mad words to anyone else! It's dangerous on earth, rather than on Mars. there was no relationships between other people's holiday-happiness and your birthday party. You should understand. Yet, if you told it to anyone, you will be sent to Well-being Centre...'  Every time, mother would feel angry and cry out...  'But, this time, there should be some relationships between my birth and universe's collective joyfulness... Yet, how lonely we came to this earth...' Every time, I would argue words as so... finally, a quarrel or in silence, we made a choice together... ''Bingo...'  However, in this year, My small aunt and big uncle's visitations made my birthday hasn't been so boring. Eating self-helped Western Steaks in this birthday feast (Wikipedia introduction:https://en.wikipedia.org/wiki/Steak) was what event motivating my mood to a magic level. Yes, I had also eaten some traditional Sichuan Cuisines, as regularly on birthday. (Wikipedia introduction: https://en.wikipedia.org/wiki/Sichuan_cuisine)  . To be honest, in my Trinity Postmodernism philosophy, I really didn't know whether it carries some relationships - myself, with international conditions, or universal organizations - it's said China had imported many beef meats from America at that time. I meant it.'  'Don't say those mad words !' Mother's logics... Oh, okay, no matter how, as a common's lonely Educational Researcher, I felt happy to bury myself under those joyful noises surrounded by my family members and friend. At least, I was in a virtualized&amp; realized group, and couldn't never be given up by human beings...Following it, please pay more attentions to those blue mussels (Wikipedia introduction: https://en.wikipedia.org/wiki/Blue_mussel) besides my Cross Birthday picture on the left top. They were picked up from one of my swimming beach, which made me feel happy to see the ecological friendship with Nature, rather than merely in mouth tastes.  And then, on the right top corner of this photography portfolio, Jason has been dreaming himself into a blue outlook for future: currently, the Open Day of Sea Agriculture is coming. Many fishing boats in North Pacific Ocean were waiting to ship themselves out for seafood. As an educational observer, I was praying Lord in Nature would bless them good lucks!  Finally, a consciousness-streaming channel has broken out throughout the axis of this photography portfolio. It's a 'Ironman' composed by Metro &amp; Railway system dug out of this visualization, to a further brightness. It's also said it could be connected with City International Airport, directly from my home doorway, to anywhere on this earth... It would still need some time to re-adjust situations... But, before moving to Mars from this life... there will be still sometime that I can wait... wait for our relationships (even a little bit with the universe)  can be fixed, or wait someone's coming into my visualized &amp; realized LIFE... or wait for nothing but only waiting... IN  a WIKI-Consciousness Stream of a never-ended hot summer2017' 
'''(Notice: Words referenced from WIKIMEDIA COMMONS for Educational Purpose in Wikiversity)'''

20. About the attitude of kids' or young teenagers' piano-practices: This topic was also a hardly-talked and easily-ignored one with many arguments. In very brief and normally, piano-learning should be from a kid's nature, rather than being required by or being forced to by their parents. 'Nature' means: when hearing sounds, you feel happy rather than painful; when touching keyboard, your heart is comfortable, rather than worry; while some problems are existing, you have the willing to solve and don't want to easily give up; When it is a long period you haven't met it, you will miss piano very much; and when it comes to your responsibility, you should bravely take. And, this learn was as one of your own matters, regardless with fame, money, competition, relationship, or other unnecessary factors (About this point, I would like to say more: some people argued that playing piano should bring those unnecessary factors your mentioned, Jason. Yet, in a commercialism reality, without them, do you think still some people would like to play it? Friends, I tell you the truth: they should in a good order that the primary thing you play piano should be for your nature - your interest and love; then, others would follow you nature and as some beautiful supplements surrounding making your experiences much happier. Therefore, it's not to say I play piano for money, fame, relationship, competition...; then, I have to cultivate my interests and my love from nature... If making it of an inversion, you will find the procedure of piano-practices is rather painful and boring.) Some parents might argue that: Jason, how could we see whether or not our kids have this ''''nature'''' you mentioned? 
* Firstly, at very earlier time (maybe 1-3 years old; here, you can review some exact knowledge and timetable from infant perception, such as hearing; Wikipedia introduction: https://en.wikipedia.org/wiki/Developmental_psychology#Lifespan_development; but please don't make it so mechanized, and just see him or her, after hearing some pieces of significantly emotional music, can smile or feel unhappy, and his or her movements, sometimes, can make according to the rhythm, and even, when touching piano keyboard he or she can show the curiosity and interest for a lasting time of attention...) 
* Secondly, alongside his or her growth, you will find his or her games appearing more elements from music and keyboard-touching (3-5 years old). 
* Thirdly, when you have a try suggesting him or her to learn piano, he or she show great interests;
* And when it comes to some tasks of practices and even challenges teachers would give, they can stay besides piano to research and explore some possible solutions and show his or her endurance for a long time... Yes, no matter what situations results will be like, he or she can show the willing and the endurance upon time. Congratulation! Till now, he or she is a good piano learner. 
Some kids told me: little uncle Jason, I really '''love piano''' very much, even in one day I cannot be apart from thinking of it...But, my dear, what is the love of piano? please don't say 'love', just 'to like'. Just in thinking, without playing? 
In one week's interval, 
if you don't want to pay even more than one hour's time for training your hands flexibly according to some tasks' requirements; 
and if as from traditions of piano family-tutorials since Bach, Mozart, Beethoven, Chopin and Debussy's times, you even didn't want to take your responsibilities to pay the basic tutoring fee, didn't want to say anything clearly or later it for more than 5 times until the next time as if nothing has happened that you only need to pay the next 5 times, or make some plots on purpose to miss it in each time, such as forgetting recording notebook, writing on another sheet &amp; then losing it in next time,  as if fooling your tutor, until your tutors' endurance really cannot hold on it anymore 
(If you have some problems in the reality, please say things clearly to your tutors by seeking a secret time as you know or I know, and if helps I can give, based on my all-inclusive educational perspective, I must research out a solution. Indeed, just focusing on piano tasks, I added lots of extra time following each session for problems-solving and asking questions of your piano practices and showing out effective solutions, if needed... Therefore, please make your attentions just on knowledge and skills, and don't waste your wisdoms on how I can set out your responsibilities. If for money, making good usages of your tutor is better than wasting time to think of avoiding fees. Please thinking like that: if I can learn 2 sessions' content in only one session, show my giftedness out to my tutor and get senses of achievements from learning,  will I have save much money for my family? You knew, you tutor also needs to survive!); 
and right in tutorial, if you even didn't want to focus all your attentions on piano learnings, but thought of other things projected from your eyes-touching, and showed very lazy movements on some locations and very slow responses, but required by your tutor's instructions and guides;
how could you say you '''love piano'''? 
Oh, my dears, you knew, the interactions between you and your tutors, if being motivated out and sustaining well, are beneficial for both your learning and your teacher's teaching. If recycling well, it will also be very funny and constructive for your developments that some interesting games, activities, solo parties, realia-explorations, visualizations (painting together), language descriptions and even visitations to some landscapes can all be magically organized, which were what I continuously learnt from British Council. And, every piano teacher also has his or her own magic to make classroom funny, if he or she feels happy to teach. Without interactive motivations, without a interest, and even a small respect as to your classmate (Western world) or to your own parents (Eastern world), how can things be good for you?
By sending those words above to my field, what my purpose was for a good wish that someday we (tutors and kids) could really join together as peers to touch beauties of fine arts, without any unnecessary desires and only for a true heart from nature. Till then, you will find what a beautiful world piano in music will be...Thanks!


'''21. Case study in Appealing: From this page https://commons.wikimedia.org/wiki/User_talk:Jason_M._C.,_Han, which I used in Wikimedia Commons, we can see the list proved some individuals have plotted for long time (Yet, it cannot make out a so detailed list with many visualizations and sounds used in Wikiversity) to against formal and good purposes in educational views. Otherwise, it cannot be so detailed. But, those educational designs were made for more kids' learning of piano through their watching, listening and reading... I felt sad and confused very much. You knew, I had a dream that one day, if there were internet in any corner, our next generations can all enjoy equal rights to watch some beautiful learning materials and make some arrangements for teaching and learning. What I applied were my most beautiful languages in English and piano techniques since my 4 years old learning which I could write. I didn't want their disappearance, but I really disliked those people who, I don't know why, plotted to delete others' contributions...without caring about their reasons.It would be from nature... You knew, I even live on those materials and put all I can give from my life as action plans, life tests, participant-observations, and visualizations of Wiki-knowledges. If some individuals didn't understand some future learning styles, they can ask and discuss with me... But, why?  I really didn't know how to deal with this terrible issue. This place was a peaceful one I felt comfortable to appeal. Hopefully it will be fine...  Thanks'''

22. Case study in Appealing: https://commons.wikimedia.org/wiki/File:Globalized_impression_of_London.JPG
Sorry, I had to use this type of reference, owing to my ability influenced by emotion, currently. I didn't want to do somethings out of control. 
You knew, this type of Photography Portfolio has described my heart-road with poem-liked languages and translations to meet those requirements of postmodernist Fine art's teaching and learning in globalized visualization. (I tried my best to think out and make in learners' most familiar formations - Words and PPT)
Inductively say: in my eyes, it was so beautiful recording my travelling through that great city. Though I wasn't a famous person but a small common,  my eyes with curiosities about different cultures lighted my ways throughout that city to the higher gracefulness of its architecture. It was also like music spring flowing throughout my thinking and learning. And also, I applied most beautiful words I can think out in Chinese language to describe what happened in my minds. All energies and time I all applied into thinking those educational 'heart-road painting' and sometimes their reflections in music. But currently, it faced dangers that it might &amp; will be deleted (Sorry, in this condition, my languages heard would be broken functioned by emotional changes) I really didn't want its disappearance, as in one of my beautiful memorized trips. 
Similar situations would also happen in those pictures:
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:2017_Spring_Impression_-_Butterfly.pdf
https://commons.wikimedia.org/wiki/File:International_Cherry_Blossom_Festival_of_L%C3%BCshunkou_in_Dalian.JPG
https://commons.wikimedia.org/wiki/File:Metiral-way_in_Jason%27s_life.gif
https://commons.wikimedia.org/wiki/
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-1.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-8.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-7.jpg
https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-5.jpg
Someone might say: Jason, they included some your individual or even private life fashions.
Yes, peers, they can be seen as one teaching &amp; learning way applying personal senses of life to participant-observe knowledge's applications in life practices and their variously expressive forms. By collecting all points of beauties, we can teach our learners in fine arts and ourselves how to appreciate landscapes and cultivate our own positive moods in lives. You knew, in our world, there was even no one historical event, great architecture, pieces of colourful music and paintings can get away from commons' personal endeavors of aesthetics (our senses). Sometimes, they were in pictures, sometimes they were in dynamics (a moving procedure with loudness and lightness), and sometimes, they were hidden behind. Without those, it seems salt is without salty and bodies without souls, especially in education. We need to teach someone somethings. It is better that we put ourselves in it, to feel and to think. Without them, how can we say we are teaching commons, as who we ourselves are? I think some people usually made me like a gun, and foolish (clever) me usually was used. But, please trust me, my heart was kind... Oh, so many words and... pains in memories. So tired... Hopefully, my explanations can make some people re-think of and understand those issues...
===== Editing -: Words for 2018 from Spring Festival =====
23. '''Processing a Spring Festival in Lucky Dog Year'''
* [[Portal: 2018 Spring Festival|To spend the Spring Festival of Lucky Dog Year]]
Comment: Now, to think...how great that spring festival was! Unless, who can expect the coming of COVID-19? Who can?

===== Editing -: Words for 2021 COVID-19 Recovery Time =====
24. No matter what type of piano Grade Tests, a pupil's ability should be matching with the grade level signed on the certificate he or she got...It records how much endurance he or she had paid on this interest, and the achievement he or she gained depending on his or her own endurance, rather than any other unnecessary or different ways...That's the meaning. I thought in COVID 19-Recovery time we should also emphasizes this point for the positive power and health of this field.

=== Supplements: ===

'''1. For the 10th case:'''
A small summary and Further talk of 10th case in Educational way:
Some standards were not made by only one person but from long-time daily educational practices, and then documentary summaried in Wikipedia. The root should be from commons. Therefore, We need to respect some basic impressionism techniques, skills, hand-abilities' trainings, the teachers and young teenagers' hard-working for many years. Without these respects, experts cannot be called experts and freedom will be lost. Meanwhile, Talk place is for commons and with freedom voices. Please don't damage it. Peace and freedom are existing when others treated you with them. No one wants to lose them. Thinking about it, if formal article don't let commons express their ideas, and talk place lose its freedom, commons will be away from Wikipedia. That's a very terrible future vision. Entrance-door-stone has already been put into our hands, which just depended on what you are thinking and how you are thinking.  If you change your minds to think it as a good way to motivate much beatiful moonlight's silvery coming and further studies, it was also going to be. '''If we have enough time and energy, please put them into researching a further and perfect version of Moonlight, then push it out into the formal article neibouring. Talk place is free for commons.''' This is also said to myself.

'''2. For the 20th case:'''
Good attitudes and characteristics of a life-long piano-learner:
He or she should -
(1) have a sincere attitude and long-lasting willing for exploring new things;
(2) have a desire of accepting more techniques and knowledge points in piano and music;
(3) not feel bored in repeatedly trainings, but with great curiosities in discovering new improvements in each time;
(4) have a positive heart of aesthetics about the coordination of exercises and rests;
(5) work hard and critical think of every question, for problem-solving and lacks' fulfilling;
(6) Challenge authorities and prove ourselves by one life's time;
(7) seek and create possible chances for performances and not give up plays;
(8) not fear about each time of failure and dare to correct self-mistakes and others' mistakes honestly;
(9) have strong self-discipline - when one day comes that no one give you requirements, you can give yourselves some standards in single learning and teaching;
(10)attempt to save yourselves from troubles, and always willing to give people feelings of beauties 
  '''3. For Sir Bach's Reasonability mentioned in English-Suites Analysis above:'''
Recently, I have read some books said: Compared with music form before, Baroque music is like 'Extremely &amp;Dramatically Collected Emotions'. How to understand this question? Not all...in a larger view including the following some styles, many of Baches are actually like 'The Self-being Reasonability of Externalizating Emotional Fields'. I would use some real scences and educational pieces to explain it.([[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:00, 1 May 2020 (UTC))

[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:04, 17 October 2016 (UTC) &lt;!-- Template:Unsigned --&gt;&lt;small class=&quot;autosigned&quot;&gt;—&amp;nbsp;Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han#top|talk]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 00:56, 17 October 2016 (UTC)&lt;/small&gt; &lt;!--Autosigned by SineBot--&gt;
Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed this impression to peoples all round the worlds. In my opinion, the very important things are love itself and peace itself. Let us try to understand more!
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|talk]]) 01:43, 17 October 2016 (UTC)

'''2.Case study from Jason's language -2021:'''
I am surely about all what I have talked about. Now,some have been modified and progressing to be better...But, we all know the difficulty of COVID-19 Time...
One thing I need to ask a overall question:
Could the pure world of music wandering for long (free and beautiful) make the communication with the reality? To make sure a true heart in music? And to make the likely people together? To overcome the hardness of the real life-time? And to be helpful and  understandable for the hearted someone between each other and their common life-going?
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 13:47, 6 June 2021 (UTC)

== The never-ended Postmodernist concluding ==
=== Report of Binary piano-teaching 2019 Wiki-conclusion for the attendance of World Teachers' Day Web Conference in British Council collaboration with IATEFL (article storage) ===
In recent several days, '2019 World Teachers' Day web conference' is coming soon. Time, here, is better to conclude the road having been walking on for many years, what good particularly happened this year,  and further suggest to future. In the consideration of so above, my report is shown as below:
1. English, as my daily tool of 'knowledge &amp; Skills-Acquiescence and Information-Seeking of piano, has already associated me make the teaching-arrangement and write the framework of teaching materials and the total curriculum. Academic journals, news, Wikipedia-searching, and documentaries... have already been the main approaches... Take an example, as a member of Wiki-family, in my main research-blog (portal) page: https://en.wikiversity.org/wiki/User:Jason_M._C.,_Han , the main approach of knowledge-identification &amp; pedagogy-planing are 'English-seeking through Wikipedia, Wikiversity, Wikimedia Commons... Afterwards, materials and ideas were integrated, through the critical thinking skills,  with my past teaching &amp; learning experiences of Piano (from childhood). Furthermore, practising actions were drawn out to guide my daily lessons for 'Piano-kids'.
2. Teaching self-reflexivity, comments and assessment-conclusions can also be found in the link above, which fixed my family-based piano-training methodology up.
3. In piano field, making personal 'Performing-works Show' is always a great way to assess teaching results and present people's 'Artist fashion'.  In these many years, how is mine working for myself and students?  Through sound-images making,  photography and English description... Take an example for this procedure, there are some collected single Work-Show pages - https://commons.wikimedia.org/w/index.php?title=File%3AMM_Good_classroom_F_major_1838_Grande_valse_brillante.ogg https://commons.wikimedia.org/w/index.php?title=File%3AUnder_the_sunshine_-_Kim_Hui_1st_draft.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ADove_in_the_eyes_of_Young_Teenager_girl_Xinyi%2C_Hua.ogg  https://commons.wikimedia.org/w/index.php?title=File%3ASure%2C_Ma's_Version_of_'Turkish_March'_in_piano_classroom_for_piano_education.ogg  Firstly, after getting the best performing works, I shared my credits to help those 'piano kids' to get the submitting license (Non-profit and Creative Commons from the originality) - 'single page', and make the very careful descriptions of classroom-training procedure (through participant-observation). Following, after many years' accumulation and growth, a whole English educational portal (Platform) can be founded, as shown: https://en.wikiversity.org/wiki/Portal:Piano-kids%27_Corner_from_classroom_and_virtually_online Together with the photography, piano-kids' most beautiful moments of the real classroom progress were virturally but vividly shown in front of us, which have been also motivating them to continuously improve in their 'Piano-Life' to future... Give great thanks to Wikiversity who have pushed up this type of my portals - in this year as News for the promotion for many years among native speakers and experts for many times (almost 7 to 8 times).
4. In this year - 2019, I found a fresh way to present what I knew regarding with the classical music, piano and many brilliant composers in list... -  Holding Library Salon-Presentation &amp; Concert. Through many English-seeking approaches in encyclopedia, notation sight-reading and library-notebooking (Chinese and English language)... (Shown as the first point above), primarily, I got information and knowledge of those masters. Then after, through information-processing, I joined them with my own piano-growth road in the memories, and 'thread those beautiful pearls into a whole necklace' (what my thinking skills' professor taught me). Finally, after another many times' rehearsing, I can present my heart-roads of those masters in a beautiful Musical  Library in Dalian. Indeed, this 'fashion' experienced many times' translations, ideas-switching and presentations, which tested a teacher's level greatly. These several photos showed this procedure: https://commons.wikimedia.org/wiki/File:Presenting_Mozart-Forever_in_Dalian_Library.jpg  https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpghttps://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_3rd.jpg https://commons.wikimedia.org/wiki/File:Jason%27s_Presentation_of_Mozart_in_Dalian_Library_(Local)_-_Series_2nd.jpg https://commons.wikimedia.org/wiki/File:Local_library_presentation_(Dalian)_of_Beethoven%27s_life_and_Moonlight_Sonata_in_bilingualism.jpg
Now, '2019 World Teachers' Day web conference' is coming soon. It's a beautiful and relax day for teachers all around the world. In this global conference, we can share, enjoy and developing our teaching skills. Professional experts in our fields can also give us some suggestions for future. Hopefully, young teachers and teachers with 'never-aging' hearts can all come together, in which hand in hand, we are brothering and sistering each other, with love and friendship! O(∩_∩)O

Jason's second way, Han Acount is also used as the emergency edition channel[[User:Jason&amp;#39;s second way, Han|Jason&amp;#39;s second way, Han]] ([[User talk:Jason&amp;#39;s second way, Han|discuss]] • [[Special:Contributions/Jason&amp;#39;s second way, Han|contribs]]) 15:52, 31 December 2025 (UTC)

== References ==</text>
      <sha1>jt2vc8y72ifh665eous35m06d6ojlps</sha1>
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  </page>
  <page>
    <title>World War II/Related Books</title>
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      <contributor>
        <username>PhilDaBirdMan</username>
        <id>3003027</id>
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      <text bytes="924" sha1="mqaptcp2tx6mb8a5gq0i0w1l4a7ob2b" xml:space="preserve">=== Antony Beevor ===

A great (and one of the most well-known) WWII authors is [[Wikipedia:Antony Beevor|Antony Beevor]]; some of his highest-held works include:

* [[Wikipedia:The Second World War (book)|''The Second World War'']] 
* [[Wikipedia:Berlin: The Downfall 1945|''Berlin: The Downfall 1945'']]
* ''The Spanish Civil War''
* ''Paris After the Liberation, 1944–1949''
* [[Wikipedia:Stalingrad (Beevor book)|''Stalingrad'']]

=== Norman Stone ===

If you find big books too much to digest and prefer a snappier, more to-the-point overview of things, try [[Wikipedia:Norman Stone|Norman Stone]]. He writes shorter books on WWII subjects as well as other interesting historical subjects. Works include:

* ''World War Two: a Short History'' (2013), Allen Lane/Basic Books
* ''Hitler'' (1980); {{ISBN|0-340-24980-3}} (Coronet Publ.)
* ''Czechoslovakia: Crossroads and Crises, 1918-88'' (1989); {{ISBN|0-333-48507-6}}</text>
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        <id>3003027</id>
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==Authors==
=== Antony Beevor ===

A great (and one of the most well-known) WWII authors is [[Wikipedia:Antony Beevor|Antony Beevor]]; some of his highest-held works include:

* [[Wikipedia:The Second World War (book)|''The Second World War'']] 
* [[Wikipedia:Berlin: The Downfall 1945|''Berlin: The Downfall 1945'']]
* ''The Spanish Civil War''
* ''Paris After the Liberation, 1944–1949''
* [[Wikipedia:Stalingrad (Beevor book)|''Stalingrad'']]

=== Max Hastings ===
* [[Wikipedia:All Hell Let Loose|''All Hell Let Loose:  The World at War 1939-1945'']] (2011), released in the US as ''Inferno: The World at War, 1939-1945''
=== Cornelius Ryan ===
* [[wikipedia:The Longest Day (book)|''The Longest Day'']] (1959); {{ISBN|9780671890919}}

=== Norman Stone ===

If you find big books too much to digest and prefer a snappier, more to-the-point overview of things, try [[Wikipedia:Norman Stone|Norman Stone]]. He writes shorter books on WWII subjects as well as other interesting historical subjects. Works include:

* ''World War Two: a Short History'' (2013), Allen Lane/Basic Books
* ''Hitler'' (1980); {{ISBN|0-340-24980-3}} (Coronet Publ.)
* ''Czechoslovakia: Crossroads and Crises, 1918-88'' (1989); {{ISBN|0-333-48507-6}}


[[Category:World War II]]</text>
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      <comment>/* 2026-New Beginning - Celebrating Our New Time */ Added new item about Student's performance</comment>
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      <text bytes="75688" sha1="i95iogk2udo15upk8ngbh0q9rr5qde7" xml:space="preserve">'''No Orders, Beautiful flowers were blooming from Childhood! Let us pick up your most beautiful moments...'''
[[File:Salzburg Cathedral (Inside) - Mozart Baptized place 1. - Mozart-Complexes World under Water (Modernist View).jpg|thumb|Piano Kids, on that day, modern colours, lights and technologies made Mozart's birthplace (Washing) -Salzburg Cathedral like a world (palace) under the biggest water - Blue Sea]]
[[File:Beautiful landscapes surrounding Mozart's birthplace - Heavenly Spring flowing from Alps Moutain.jpg|thumb|Heavenly Ice-spring from Alps Mountain]]
[[File:Mozart from Green Nature 1.jpg|thumb|Mozart comes from Green Mountain and Nature]]
[[File:Models for Chaoshan Family Tourism - Taifo Hall.jpg|thumb|Uncle Han -the piano teacher and his wife Yang, Gao (Cynthia) were volunteeringly pictured outside the door of Taifo Hall in Chaoshan. They are promoting it for Family Tourism there. It's a beautiful time in all family members' memories, as a piano song told in life story...]]
[[File:Beautiful Sunset View of Oceanic City from top building during COVID-19 period.jpeg|thumb|Beautiful Sunset View of Oceanic City during COVID-19 period]]
[[File:Small items in Commons Life of 2019 Spring 2.jpg|thumb|Flaming Katy and piano-peers as Micro-landscape in classroom ]]
[[File:An Oil Painting watched since born.jpeg|thumb|Oil Painting: Forest Cabin in front of Fuji(or Helan) Mountain 'hanging on the wall']]

 Oh, dear piano pupils, we have seen so many beautiful landscapes, across the times and spaces. Now, firstly, getting into East- your nature and self-meditation, let us try to take the Pentatonic Scales Exercises for relaxing you 'busy heart' and focusing your attention back to piano...

*[[Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training]]

'''Afterwards, we can take further great life-tasks in piano...'''

[[File:Piano Lecture of Dalian Library (Music) delivered by Jason (Jixun) on October 13th, 2024.jpg|thumb|2024 Piano Lecture of Dalian Library (Music) Delivered by Jason (Jixun), Han and His Piano Pupils Team Associated by Family members and Library workers]]

''' Lecture Speech Conclusion(Essay)'''
[[File:The Chinese characterastics speech of Piano pupils' art technique training and musicality athletics cultivation (Report Conclusion of Jixun, Han - Jason's team lecture on the date of October 13th, 2024 at Dalian Library).pdf|thumb|The Chinese characterastics speech of Piano pupils' art technique training and musicality athletics cultivation (Report Conclusion of Jixun, Han - Jason's team lecture on the date of October 13th, 2024 at Dalian Library)]]
'''Waiting Translation'''

===='''2026-New Beginning - Celebrating Our New Time'''====
[[File:Attending the Annual Conference of Dalian Gan Jingzi Musicians Association No. 1 Pic.jpg|thumb|Attending the Annual  Conference of Dalian Gan Jingzi Musicians Association and performing on the stage]]
[[File:Attending the Annual Conference of Dalian Gan Jingzi Musicians Association No. 2 Pic.jpg|thumb|Attending the Annual  Conference of Dalian Gan Jingzi Musicians Association and getting the certificate of Trustee, to make a very happy Horse Year's gift for myself.]]
[[File:Attending the Annual Conference of Dalian Gan Jingzi Musicians Association No. 3 Pic.jpg|thumb|Attending the Annual  Conference of Dalian Gan Jingzi Musicians Association and getting to its Horse Year's Title]]
[[File:Attending the Annual Conference of Dalian Gan Jingzi Musicians Association No. 4 Pic.jpg|thumb|Attending the Annual  Conference of Dalian Gan Jingzi Musicians Association and picturing myself before its officially opening]]
[[File:Attending the Annual Conference of Dalian Gan Jingzi Musicians Association No. 5 Pic.jpg|thumb|Cool boy Jason Han's Big face before attending the Annual  Conference of Dalian Gan Jingzi Musicians Association]]
[[File:The Trustee certificate of Dalian Gan Jingzi Musicians Association No. 6 Pic.jpg|thumb|Translation: The letter of Appointment - Honestly recuiting  Jixun (Jason M. C.), Han as the trustee of Dalian Gan Jingzi Musicians Association]]

The melody I played at this conference is &quot;Celebrating Our New Life&quot;. Before its happening, I has taught a lovely girl in my piano classroom for a while. Let us listen to its classroom situation just several days before this conference and as a preparation.

'''Teacher's Demonstration: '''

[[File:Celebrating the New Life (piano Teacher Jixun (Jason) Han).wav|thumb|This audio melody is from Chinese fork music &quot;Celebrating Our New Life&quot; transformed into piano version.The original purpose of its composition is to make the remembrance of the land reform in China(1952 year). It's a piece of extremely happy music with difficult techniques which has been played by Lang Lang heard since my childhood, especially in its octave-measuring ability between two hands and the location-keeping of root-notes in left fingering. I played it just as a classroom demonstration for piano Children's learning of Chinese Fork Piano Music]]
''' Student's Expression of Zichen Tao (That Snow girl who growing up to be a big young girl in her middle school,busy, but still learning of piano after passing her 10th Grade Examination of China Cultural and Tourism Ministry )'''
[[File:Piano Student Zichen Tao's playing of Celebrating the New Life.wav|thumb|Piano Student Zichen Tao's playing of &quot;Celebrating Our New Life&quot;]]
[[File:Sending the trophy of Austria IZAN Music Festival to my piano student Zichen Tao in Dalian.jpg|thumb|By sending the trophy of 2026 Austria IZAN Music Festival to my piano student Zichen Tao in Dalian, I hold a small ceremony.On the day when she won the contest, what melody she did play was &quot;Celebrating Our New Life&quot; on stage, as shown above. ]]

===='''New Time and Fresh Air from 2024'''====
*[[Portal:Fresh Air of Piano after COVID-19 and beginning up a Recovering New Time of Openness from 2024]]

===='''Firstly, passing by a Skyline of Citylife Night-Skyline'''====

[[File:Flowing City (Lin Hai), Player and Teacher JMC,Han (Jason).ogg|thumb| Flowing City from 'Forest Sea', JMC,Han
[[File:Dalian Urban Night Skyline from Xiao Ping Island Mountain-top No.2.jpg|thumb|Dalian Urban Night Skyline from Xiao Ping Island Mountain-top No.2]]  ]]

===='''New Era is coming...:(New Teaching List)'''====
[[File:Skiing Statue made during my rollers-skating.jpg|thumb|Skiing Statue shows Spirit (like piano)]]
[[File:The new situation of bubbles-fish statue.jpg|thumb|Ice &amp; Snow Bubbles-fish are welcoming]]
[[File:Mmexport1614470203508.jpg|thumb|Picture of piano lessons still under Covid-19 situation]]
Etude in the Advanced level - Sir Chopin's famous Black-keys (Flatten G Major) Etude:
[[File:Chopin Black-keys Flat G Etude (Exercise), player JMC, Han.ogg|thumb| Black-keys: An Etude your teacher has no chance in childhood, but still hurries up to be better]]
[[File:Chopin Impromptus Op.29, JMC, Han.ogg|thumb|Chopin Impromptus Op.29, JMC, Han - Deep Fast Waltz-thinking in Quiet Gentleman's Self-Expression (Improvising)]]
[[File:Sogdian whirl with large pipa.jpg|thumb| (Public Domain Work: See original page: https://commons.m.wikimedia.org/wiki/File:Sogdian_whirl_with_large_pipa.jpg#mw-jump-to-license): Could you find some musicality similarly with Chopin's Black-keys' Pentatonic?]]
True Fairland - a piano melody of The Nutcracker (Dance of Sugar Plum Fairy): the advanture from childhood realizes your piano dream-&quot;Fingering Ballet&quot; 
[[File:The Nutcracker (Dance of Sugar Plum Fairy), Piano performer JMC, Han.ogg|thumb|The piano performance of &lt;Dance of the Sugar Plum Fairy&gt; in 'The Nutcracker' (Ballet Re-edited Piano Melody)]]

Czerny 299 etudes were designed for the smart&amp;strong fingering&amp;modelling of hands and a pair of Vienna school's ears for the harmony...such as No.23...
[[File:Czerny 299 No. 23 JMC,Han.ogg|thumb|Czerny 299 No. 23, player JMC,Han]]
A peacefully  praying Sinfonia of Sir Bach is freshly added in the &quot;New exam book's list' during this COVID-19 period, to which you can have a relaxing hear and try (Don't worry, listening, it's enough time, you knew,  'Andatino'-Peacefully walking, and to sing by hands, in a small Baroque place :
[[File:Sinfonia No.11 - 3Ps Invention, Bach, JMC,Han.ogg|thumb|Sinfonia No.11 Andatino- 3Ps Invention, Bach, Teacher JMC,Han (COVID-19 Protection Time)]]

Encouragement in Italy Smart Fashion, but needs the very carefully fingering-techniques training (Long time, advanced), feet-edges' staccato, sentence-Pizzicato, flowing streams...Italian artist techniques always attract our eyeballs... Let us attempt to... make out your own Italy style! Cheer up!
[[File:Domenico Scarlatti G Major Sonata, JMC,Han.ogg|thumb| Domenico Scarlatti G Major Sonata (In COVID-19 Pandemic Period), JMC,Han.ogg]]
'''A good teaching video result played by Yixuan, Wang:'''

http://m.kugou.com/mv/?hash=f00b36624f27b091b79e3f30e158aa03&amp;sruserid=640650901

Baroque staccato techniques were always in a reasonable, confident, relaxing(wrists), fluent and vivid - 'Enough manners' of the Era, which needs us apply very careful fingering trainings. In a view of the whole structure, according to ears' musical suitable habits(psychological), I gave 1st section a twice repetitions, and then a throughout 2nd section to the Code. Hopefully, French Suite would make us brave, confident and relaxed. (but it also need years' accumulation of hand working to let those out and better) Have a try? Good luck!
[[File:BWV.816 Gigue-French Suites No.5 Bach, Player JMC, Han.ogg|thumb|BWV.816 Gigue-French Suites No.5 Bach, Player JMC, Han]]
(By turning to Wikimedia Commons, you will find two versions under its 'historical tree', currently. They are showing different stages we can reach. The first version was kept because it's relatively slower and more stable that in the basic stage we can make notes heard staccato and clear. After feeling suitable in this stage, we need to improve its tempo and get Gigue Dances' happy, vivid,,dialoguing with moods, jumping and  wrists' breathing naturally. It needs time to train your hands frequently, untill relaxing but accurately. Main Difficulties: Stiffen wrists, Cramp and Tiredness... Now, it's the time of yourself...)

Hi! We, piano kids: Imaging a scene, let us hands-dances with the good manners and a earnest mind in a beautiful Baroque palace. It's easy and natural...
[[File:Primary Bach No. 16 March, Player JMC, Han.ogg|thumb|'Primary Bach No. 16 March' -A peaceful Bach-melody for all 'Piano Kids'...]]

Sir Debussy's Arabesque Suites (The second suite) is also in the list.
The musicality in my world is: 
It's the legend of Butterfly in birds' chorus... it took us to a Life-mountain behind our living garden facing a quiet sea...
Watching, in some time of one section, you can also hear Monet's 'Quiet Morning' upon the sea...
Alongside Butterfly's dance-suite, imagination is beginning. Oh, listening... (Main meaning referenced from my main page)
What about it in your world and imagination?
'''Sound teaching demonstration:'''
[[File:Claude Debussy - 2nd Arabic Suite (Arabesque) - Spring Butterfly, Performer JMC, Han.wav|thumb|2nd Arabic Suite- Spring Butterfly (Impressionism Singing -Main Natural Lines&amp;Breathes from Sir Debussy)]]

'''Good video teaching result from  a 12 years' old little girl piano-pupil Mo Zhou:'''
http://m.kugou.com/mv/?hash=b50e133a360fa8d30cdcd9fca4163e73&amp;sruserid=640650901
(Photographer: Ms. Yang, Gao)


Listening! boys and girls, Dvorak's Humor-jumping and Homesick-expressing:
 A true Czech-homeland heart,
but 
Dancing... somewhere in American Countryside
[[File:Flatten G Humoresque Dvorak, Player JMC,Han.ogg|thumb|Flatten G Humoresque, A. Dvorak, Player JMC,Han]]
[[File:One Town-view from Cesky Krumlov Castle.jpeg|thumb| Krumlov Castle-town's view]]

====Xinran, Yu - a lovely Chinese little piano girl's 'Ink-Mountain &amp; Green Rivers' view of &lt;The Cowherd's Flute&gt; ====
'''Comment:'''
&quot;Before taking the national examination and the  exhibition competition, we together listened and learned to the net-editions of young master Lang Lang and Yujia Wang...(regarding with this famous little melody of Chinese tradition)
I think in this melody, she tried out her best for the techniques-training and the musicality in her age... from a little performer's view. Therefore,I gave the comment-Excellent.
Close your eyes, thinking of a little lovely girl happily playing among ink-mountains and the green rivers, with a water buffalo, some birds followed, and her smart flute... let us relax in the Chinese Ink-Landscape and listen to this little melody...(referenced partly from the writing in Wikimedia Commons page)
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:28, 27 May 2021 (UTC)

==== Zichen Tao - A little Chinese snowgirl's hardworking of D Major Sonatina====

'''Comment:'''

D Major Sonatina is still piano Children's favorites to perform and show... taken to the national grade examination, daily performed with each other, and also to city's piano Competition &amp;Exhibition. That's an educational case lasting for many years in Dalian.
This edition is played by a lovely and white Chinese girl - Zichen, Tao. She and her mother took the very responsibility to check the wrong notes, improve the learning progress, and make the performing manners and designs for the stage-show... 
Therefore, in my view as her piano teacher, this edition is already great in her age...(though hand-running details need to improve for her age). Hopefully, her family can enjoy this piano experience, companying with this melody in her childhood. (Partly referenced from her Wikimedia Commons' page)
[[File:D major Sonatina , Piano student Zichen Tao.ogg|thumb| D major Sonatina (Kuhlau's) played by piano pupil Zichen Tao]]

==== Meng's Performance and Comments after learning in the reality from Jason M. C.,Han in Children's Corner: ====
[[File:Children's corner of Meng.ogg|thumb| Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons]]
[[File:MM Good classroom F major 1838 Grande valse brillante.ogg|thumb|MM Good classroom F major 1838 Grande valse brillante]]
'''[[Portal: Part of Comments - 'for students' Examination Performance, Piano tutor's teaching self-reflexivity and possible some requirements of Pedalling Sound-effects with Artist Fashion of Post-impressionism'  | Part of Comments - 'for students' Examination Performance, Piano tutor's teaching self-reflexivity and possible some requirements of Pedalling Sound-effects with Artist Fashion of Post-impressionism']]'''
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 04:15, 12 October 2018 (UTC)

==== Kim Hui's 'Doctoral Training','Under the sunshine' in Children's Corner: ====

'''Comments for Kim Hui's first draft:'''
1. She did the second theme (associated) well 'much deeper like vocally singing out a better life in New Era under the sunshine, on a piece of small area in a rainforest'...

2. Her Korean dance (Wikipedia introduction: https://en.wikipedia.org/wiki/Korean_dance) has been done well, in which I can hear traditional drum-points in bass-part and crossing hand to tremble part. 

3. I can hear Time-travelling and space-shaking to the past through a 'Dark-cave', from..., minutes 1.30-1.40... But, I think: if 'dramatically' and 'significantly' in dynamics (loudness), it would be better to show...

4. I can hear Forest's Evensong in Coda part - 'dim.' to the silence of night and a 'rit.' slowing down to the sleeping dream, and even several night-birds' dreaming voices...But, please make a much gentler taste (not so hurry up and not so strong) of those pictures. Meanwhile, I hope you can get a better &amp; coherent control of the rhythm among different sections.

5. I knew, regarding with 'peak-parts', she had made many attempts 'drumming beats rights and keeping those connections clear'. However, still, in minutes 1.04 and 1.59, I felt it's a little bit 'rough', and needed to be handled in of the solidification... Oh, maybe, I am so severe... sorry, I should give you the encouragement. 

Main comment: 'Under the sunshine' is suitable to Kim Hui's fashion and can be kept in her performance list. Her first draft and its preparation has given me an enjoyable teaching experience and many beautiful memories of life. It's fluent and vivid, expressive and dedicated. Thanks, Kim Hui! More colours and lights would be added from technique details, from her independent fingering and some traditional piano manners, meanwhile, the rhythm should be balanced well in the future. There are many developing zones of 'this painting' she can better and draw out for her future.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 21:22, 17 October 2018 (UTC)
===== Kim Hui's second 'Show-Time' in classroom - Poem of Music (Piano Etude) =====
'''Teacher's Demonstration:''' 
[[File:Poem of music.ogg|thumb|Poem of music  JMC, Han]]
'''Student's Second Performance - Poem of Music: ''' 
[[File:Poem of Music (Piano Etude) - Student Kim Hui.ogg|thumb|Poem of Music (Piano Etude) - Student Kim Hui]]
'''Comments for Kim Hui's first draft:'''
1. She has mainly got the technique-points, but a little bit of rough in some details, such as the minutes 0.30-0.31 - 'Tail-closing part' of a sentence - in the progression of 'Diminished Seventh Chord-Arpeggio'... However, as her first draft and the random collection from a normal classroom, I thought it's well-done. we can wish its further 'Developing Zone', in the view of piano education.
2. In 'Coda Part' of Poem of Music (Piano Etude), she was able to show a great controllability of the 'Legato' between two hands, as the pieces of falling leaves slowly flying-upon the surface of water. Sometimes, it was evenly better than mine. I hoped she could manage it in a better way.
3. She showed some thoughts of musicality... However, 'Techniques-points' still wasted much of her energy. I think the total Dynamics in physics will be improved soon. 
(waiting more)  
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:53, 23 May 2019 (UTC)

===== Kim Hui can reach the  advanced level of piano performance in this 'Little Children's Corner' =====
Though It's still Covid-19 Health-protection Time, after Home-self-Training Time, some classroom face-mask covering &amp; health-good-protection lessons and an examination of China Culture&amp;Tourism Ministry, She can play this 'Doctoral Etude' which is dreamed  many piano pupils, with impressionism style. As her teacher, I didn't think It's a simple Etude which was expressed in many scenes, but with the big universe imagination and impression. Therefore, we have trained it as Meng's approach and further developed it. 
Indeed, I think she performed far greater than this edition, right in that online  national examination. She got it, Congratulation! Let us listen to her ...
[[File:Debussy-Children's Corner-Doctorial Etude, Piano pupil Jinghui Jin (Kim).ogg|thumb|Debussy-Children's Corner-Doctorial Etude, Piano pupil Jinghui Jin (Kim)]]

==== 'Colourful Clouds Running After Moon' impressed into the Heart of Xinyi, Hua (Hua family's Heart-sweet girl from 'Painting Imagery')====
'''Comments for the first draft of Xinyi, Hua:''' 

1. I like her treatment of the prelude part in 'Colourful Clouds Running After Moon'. It's light and soft like silky clouds up-bridging alongside moonlight towards a round moon above the dark-blue sea. However, please try to link each silky pentatonic-arpeggio weave as a smooth whole from the bottom to the top, and from the left hand to the right hand. If so, her progress will be enlarged;

2. I can hear the situation 'Colourful Clouds Running After Moon' appeared in many linking parts before and later. She was attempting to give an acceleration imitating this procedure from a slower speed to a fast one, and between two hands' echo-following from a loose density to a tight one... However, if obviously, it will be better;

3. Like 0.58 to 1.03 minutes, I can hear that in some parts, she would like to make a returning sound-boomerang (Wikipedia introduction: https://en.wikipedia.org/wiki/Boomerang) up-rising 'to the moon' and down-landing upon the sea-surface. If a small time of middle reaction was canceled out by her proficiency, we will appreciate the musical beauty in a much more advanced situation;

4. In 1.22 to 1.30 minutes, I know she would like to make a silky veil, with the colourful clouds as material, upon moon's beautiful face by her right hand. It's a little bit of pity that the controlling ability of relative loudness made she carried this willing but harder to realize. Meanwhile, this veil needed to be smooth. Oh, sorry, I am so critical... indeed, she did not bad;

5. There is a hard hurt in 1.36 minute - it's still a repetition of bass-chord though she has already attempted her best to grasp the bass large chord through left hand's opening degrees (Little girl, I knew you had tried your best. Though the momentum was great, I still need to point it out.);

6. 2.12 - 2.40 minutes is the part - 'Bright Moon up-rising above the harvest sea'. This is a grand scene which needs great forces from students' forearms and a fast reactions for some flexible connections to arpeggio-parts... Congratulations, little girl, she have got it, though it's a little bit slower. She have given out a great momentum;

7. In the Moon-tail part, she has expressed her great musicality to make moon disappear in the dawn of sea;

8. Many ornamentations she has done well, though still some need to be gently breezing in the impressionism of Chinese landscape painting.

[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 12:22, 24 October 2018 (UTC)
===== 'Pure White Dove' in Young Teenager Xinyi's Eyes =====
[[File:Dove in the eyes of Young Teenager girl Xinyi, Hua.ogg|thumb|'Pure White Dove' ('La Paloma' - 'No More' in English) in the eyes of Young Teenager girl Xinyi, Hua]]
'''Congratulation to your beautifully singing of the 'Melodic lines' behind the right hand's octaves-grasping!'''
'''Comments:''' 
1. Four biggest designs appeared: around B50 (Minutes 1.36),  B55 (Minutes 1.48), B58 (Minutes 1.54) and B62 (Minutes 2.01) - four Peak-currents, we'd like to throw (rit.) the 'missing notes' into the air and rotate them a little bit more slowly - like to send, wait and feel Dove's messages across the ocean in a self-holding &amp; self-releasing intoxication. She tried her best to make them out, but not quite clearly and still need much time to grow up... 

2. I liked her coda part (from B65 Minutes 2.08 to the end): She was so sure about two hands' March-doubling, as a confirmation of future and belief; or to say, she transformed her 'missing' in the melody to be a true hope of tomorrow, or someday... Evenly, I thought it's better than mine... 

3. For more than half years, we have worked hard to help her link all octave-grasping pearls out of melodic lines in singing breaths. She almost got it successfully, through small breaks... 

4. Some 'Spanish Dotted notes' and 'Triples-wandering', with the rhythm of Spanish Dance Habanera-Andante (Wikipedia introduction: https://en.wikipedia.org/wiki/Contradanza) can be fulfilled, but some not really... I am happy she recognized them and paid more attentions to... It's waiting time that she could perform much better.

5. Yes, I had to say: still some small faults there... The good usage of pedalling almost hide some, but... also a little bit rough... Oh, I didn't want to be a so severe teacher. Rather than, much more good wishes of her growth should be given. Okay, hopefully, she enjoyed it. 
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 12:57, 4 April 2019 (UTC)

'''Teacher's Demonstration for standards above and Further Progress (Advanced Level):''' [[File:Dove With Spanish Sense in Piano JMC.Han.ogg|thumb|Dove With Spanish Sense in Piano JMC.Han (It was once used by the photography gallery of music friend User:PigeonIP - https://commons.wikimedia.org/wiki/User:PigeonIP/Tauben/2019_April_1-10 and the main page La Paloma in wikipedia )]]
'''More information and reading - articles (list) about 'Dove', please watch:''' https://en.wikipedia.org/wiki/La_Paloma

==== Malagueña Dream from a little Chinese girl - Yinuo's heart (A promise ... to piano) in a small beach-side classroom ====
[[File:Student edition - Malagueña Suite (modified for piano) played by Yinuo, Liu.ogg|thumb|Student edition - Malagueña Suite (modified for piano) played by Yinuo, Liu]]

'''Comments for the first draft of Yinuo, Liu:'''

1. We can hear the impression of Flamenco rhythmic pattern (Compás) (Wikipedia introduction: https://en.wikipedia.org/wiki/Flamenco) diffusing from some simple rhythm-components of a parts in a total ABA structure of Malagueña Suite. This is what I - the tutor and the little girl -learner would like to express through three more different accompaniment bass-forms, including pizzicatos, small slurring breathes and some opposite weights..., which imitated some of Classical Guitar's handling ways. Thanks to the little girl Yinuo, you have realized most of our designs! Congratulations!

2. I really like her beautiful Cante jondo - associated 'vocal' lines by right hand which was balanced &amp; flying above the flamenco accompaniment of the left hand when the second thematic melody began. It's a deep, profound and emotions-rich singing, almost from a beautiful Spanish girl's natural expression for the missing, the reasoning of life &amp; Universe when facing a 'deep and far' sea. Though if the dynamics would be dramatically and the singing would be much deeper, the emotional atmosphere would be better: I thought to only a girl of her 11 years' old age, she has already attempted her best to understand those across cultures;

3. I like the middle B's fantastical view of holiday beach under the sunshine, which was almost formed by white waves from blue sea. It's relaxable, dreamful and graceful, like a girl poet's walk alongside a small sand bay...  (Yinuo, you knew, if you can make the 'rit. - A Tempo' much more nature like the real tides of sea and the speed tiny faster, the progress zone will be enlarged);

4. I know in two middle long 'vocal' ornaments, she would like to show us ' the blackbirds or the nightingales of its gardens...' However, if making it much more smoothly, expressively, and flexibly, even a little bit down-slowed, her Spanish 'tasteful' fashion will be more beautiful; 

5. Repeated A part is better to be different in small details which can show the ability of hands and the variation of music.
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 13:35, 24 October 2018 (UTC)

==== Für Elise in piano boy Zhe's eyes ====
'''Teacher's demonstration in classroom for better:'''[[File:For Elise (Für Elise) Beethoven JMC Han.ogg|thumb|For Elise (Für Elise) Beethoven JMC Han]]
'''Student's performance in classroom:'''
[[File:Für Elise -Student Performance Zhe,Zhang.ogg|thumb|Für Elise in piano boy Zhe's eyes]]
==== D major Sonatina (Kuhlau) - Piano-pupil girl Mengshuang's 'Strong Willpower and Persistence' ====
'''Teacher's demonstration in classroom for better:'''
[[File:D major sonatina 2nd movement Kuhlau (played by Jason).ogg|thumb|D major sonatina 2nd movement Kuhlau - Teacher JMC. Han]]
'''Student's performance in classroom:'''
[[File:D major Sonatina (Kuhlau) - the version from piano-student Meng Shuang, Wang.ogg|thumb|D major Sonatina (Kuhlau) - the version from piano-student Meng Shuang, Wang. This classroom version has been selected by https://commons.wikimedia.org/wiki/User:Rsteen/Artists_from_Denmark/2019_August_1-10]]
'''Comments and Statements:'''
1. Totally to say, the main melody fast-run by the right hand has kept its fluency, transparency and clearance. It's very hard in piano training for herself, owe to that her hands-shape was a little bit of 'frozen'. Thanks for your hard-working in the training. Congratulation!

2. Her musicality in this melody has also been motivated out - unrestrained and natural in the expression.

3. Left hand's accompaniment was in good triplet-treatment, but please light and dedicate a little bit... It's to say: the controllability still needs to improve.

4. Some heads of sentences and smaller phrases need to be match together between two hands in a better way - some parts, because of small ornamentations and dotted notes, weren't quite well...

5. I am very happy that you (in your 12th year of life) were willing to play out the middle 'rit. - A Tempo' in a comparison ('rit.' was slowing down the waiting, then, 'A Tempo' for the Peak expression in return). However, it was still a little bit rough (before its right time). You can try to modify it in a better view. 
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 03:08, 2 August 2019 (UTC)

==== How to play Mozart's Classics? ====
===== Work from Mozart's earlier time - Turkish March =====
 '''Teacher's Demonstration in classroom:'''
'''Video:'''
[[File:Turkey March Video-Mozart-Jason Han.webm|thumb|Turkish March (Video) for Mozart's; JMC, Han]]
'''Sound:'''
[[File:Turkey March for Mozart and Memory JMC, Han.ogg|thumb|Turkish March (Sound) for Mozart's and Memory (many times used in peer Tokfo/Vienna Gallery - such as https://commons.wikimedia.org/wiki/User:Tokfo/Vienna/2019_January_26-28 ); JMC, Han]]

==== Sure, Ma's boy-view of Mozart's 'Turkish March' ====
[[File:Sure, Ma's Version of 'Turkish March' in piano classroom for piano education.ogg|thumb|'Turkish March' - an old mysterious Turkey story in piano student (Jason's piano pupil) boy Sure, Ma's classroom edition. Thanks, this good teaching &amp; Learning result was selected by Tokfo/Vienna Gallery: https://commons.wikimedia.org/wiki/User:Tokfo/Vienna/2019_April_25-27 ]]
'''Further Comments for his first draft:'''
1. It's very difficult for a young boy to manage Turkish March's speed in a smooth way... He tried his best to keep it stable and unified, and almost did achieve it. (Turkish March is easily to make people play faster and faster until crazily broken. He tried to solve it by giving a slower beginning )  But, it's a little bit of too serious,afraid to touch wrong. Indeed, I heard his another time, in which he totally open himself and relax from nature... We could give him more hopes.
2. His melodic flow of scale-phrases (legato) are quite fluent and natural, which shows his scale-playing and fingering were quite great. But, a small break occurred around 1.14 to 1.17 minutes could be caused by the stiff right wrist (too tried) and no-good fingering design. He should frequently move second and third fingers in a much smarter way. To a young boy in his age, it should already be 'okay'.
3. When the theme occurred in the second time, it's better to give a dynamics-difference in contrast. My mother-Ms Song said: it's like an old story (sound) heard from a far distance to near somewhere - mysteriously. However, he gave a very tight connection, as if it was linked with the previous section. 
4. He tried his best to take the Worldwide difficult challenge - 'Broken-chordal Arpeggiated-octaves' (Around 2.00 to 2.14 minutes). I gave him a 'LIKE' that he had taken this challenge which even many pianists or teachers made some 'faults' as their heart pities - You can hear the edition of Romuald Greiss' in Wikipedia and several my previous times... However, this boy achieved it after many trainings time after time... Though later half one, compared with the beginning, might be in lower distinguishing degree, he didn't make any 'breaks', which comforted my teaching way so much. Thanks, boy Sure!
5. The final problem would occur in 'Alberti Bass' (left hand) of Coda part. Coming to it, you will feel easy to give up, which required more endeavors to control your hands in narrow and elaborate dealing way. He did it good, but lost in the counting of number (B111), and further, the connection with the final 'Square-opening Dance' (a small break). other things, such as the strength, are fine in his age.
6. In addition, I am planning to add a 'Turkish Stop' by a final pedaling. I didn't know whether he could, someday. 
Overall, I gave him an Excellent Comment. Hopefully, he will play better after better in his growth. [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:13, 8 March 2019 (UTC)

'''Further Comments for his second draft:'''
1. As his teacher, I am very happy to hear several great designs we have made in classrooms can be achieved in the second draft, according to the background knowledge of 'Turkey March' I taught, such as the final 'Turkey Stop' (not really in modern piano, but a little bit similar) and the Bass-points-layer (simulating the military drum) beneath the long fast running scale-phrases of right hand (middle section)... Cool boy, thanks that you can remember your teacher's words! Congratulation!
2. Yes, right after the chance of Music library Report-performance in local we have made and getting back, you improved the edition's speed and fluency. You can evenly save 15 seconds, contrasted with before, which showed that your fingering &amp; running ability of hands had been greatly improved. However, the disadvantage is that it's easier to make some small motives uneven and rough (touching wrong notes) without purpose, which needs more your careful attention and exactness about details.
3. I knew you tried your best to face the peak challenge Mozart made to all people - making broken-progression of octaves message (middle part) and hearing out its hidden melodic lines. Great! However, it's still a little bit beyond your ability that its distinction with chords-effect weren't so clear. No matter, Sure boy, more exercises, it will be better.
In all, progressing soon which shows the potential, thanks to your performances1 There is still the developing zone waiting for you. 
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 15:08, 25 April 2019 (UTC)

==== Clever Girl Jia Xin's Clever view of Sir Bach's 3-parts Invention ====
'''Teacher's Demonstration for Future Development:''' 
[[File:3 Parts Invention 8th- from Sir Bach.ogg|thumb|3 Parts Invention 8th- from Sir Bach's BWV 794 – Sinfonia No. 8 in F major ]]
''' Jia Xin's Performance:'''
[[File:3-parts Invention No. 8 (F major) in piano-girl Jia Xin's view.ogg|thumb|3-parts Invention No. 8 (F major) in piano-girl Jia Xin's view]]
'''Comments of her first draft:'''
1. Totally, 3 parts are ranged in Bach's harmony, to a girl in her age - 12 years old. It's not easier to make so clear layers out. I was satisfied with this point, after heard every time; 
2. I can hear piano techniques for polyphonic &amp; counterpoint music like Bach's, such as cannon, intimation between two hands, up-climbing shoulder by shoulder, dialogues, long-notes down-pressed for different parts' SHE (sentence-head-enhancement), long-notes kept for parts' division and maintaining, fingering grouping in one hand for 2 parts, parts' continuously melting into one for the summarization, and..., Baroque ornamentation... mentioned for long. For those trainings, and further, the internalization into her own mind-analysis, we had searched information &amp; knowledge through Wikipedia, two more manuscripts, books and other webs online, further, spent classroom time to reason, analyse, train and fix note by note for long time... In this case, I gave her hard-working a 'Like' again; 
3. There would also be some problems regarding with recording pressure and her memory...: some big ones - left hand's relatively weak ability in managing two parts, small mistakes (like B18's f note played as sharp f - around 1.13 minute, B21's final g isn't raised there - around 1.23-1.24 minutes, and others...), small ornaments in a little bit of rough view and a much more graceful manner in Coda part. (sorry, to such a 12 years old girl, my suggestions could be so severe. But when listening, they are directly in my ears...) 
4. She did really pay her attention to Dynamics, but please better - lighter, smarter and more obviously...
5. The speed of later part is better than the slower earlier part. 
Overall, I also gave her an excellent comment for her performance (Live) in classroom. For further development, she can listen to my edition and the one in 'Inventions and Sinfonias (Bach)' - Wikipedia article (I thought it's great, but I didn't like too many speed-variations in Bach's works. It's better more reasonable: https://en.wikipedia.org/wiki/Inventions_and_Sinfonias_(Bach) )
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 07:33, 9 March 2019 (UTC)
==== Yixuan's piano-view and traveling landscapes ====
'''First view (only 9 years old) of Sir Bach's 2-parts Inventions'''

[[File:Bach 2-parts Invention, played by Yixuan Wang (Only 9 years old).ogg|thumb|Bach 2-parts Invention, played by Yixuan Wang (Only 9 years old)]]
'''Comments from teacher:'''
1. Musical parts and space-dimensions were much clearer than before, which reflected the little girl Yixuan's hard-working continuously after her piano examination...
2. I can hear the heads of musical sentences which were highlighted by each hand when required. I can also hear cannon-following, doubling and countermelody which were clearly shown into her performance. It's quite necessary for students in this age - 9 years old. In certain degree, she is already a good and careful student in piano.
3. Still, the controllability and the stability of hands, especially the turn of her 3rd, 4th and 5th fingers, need to be improved, which caused some small faults, such as 0.49-0.50 minutes (Bar 22) - a recovered B in right 3rd finger, 0.54-0.55 minutes (Bar 25) - 3rd, 4th &amp; 5th fingers of left hand, and a small disharmonic note - flatten B in the right hand - 0.32 (Bar 14)...
4. It's great that I can hear Baroque staccatos were in their graceful manners - like imperfect pearls required by its era. She almost did it...
5. Totally saying: it must be a very hard-job for a student in 9 years old to play Bach's 2-parts Invention. She bravely took up this life-task and successfully completed - this point should be affirmed. Congratulation! You can do more further...
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:28, 6 September 2019 (UTC)


'''MARIAGE D'AMOUR (Dreaming Wedding Ceremony) and its Educational Story:''' 

It's only no more than 2 weeks she did get the main techniques, after taking a Covid-19 Protection piano lesson and further test(Face-mask covering and breathe-prevention…).Then, she went back home and made a hard self-working exercise. Afterwards, around 10 days, this edition can come out. Why was she so keen on making it? She told me... One of her family's friends would like a piece of background music for his wedding ceremony, and they knew she was a good piano pupil.They invited her to take this task. She online self found out her long dreaming piece, and felt very happy for them. She thought only hard-working at home can realize this dream in this 'Hard Recovery Time'. She has beautifully taken this life-task for a very short time, and finally I could find a beautiful smile on her face... Though there were still some small faults in teacher's view, such as the biggest 1.02-1.03...
('''Problems:'''
Mentioned one is because of the distance of the Tenth-grasping is out of her hand-shape and ability in this age - rolling but touching a wrong note; In addition, the breathing of each sentence's tail somehow is with a longer responded break... Further, the Pedaling for the coherence from natural breathing need to improve; The final departing dropping notes were too noisy... which needs to be quiet,rit. and peaceful...), 
her hands' ability (especially the big chords-grasping, whole-viewing, locating, and sight-reading) was improved by her own endeavors (Maybe... subjects-divided examination-taking online through self-video-recording,in this special time, motivated her self-management...). This point made me feel happy... Hopefully, the friend of her family enjoyed their wedding ceremony with this own and LIVE background music, luckily as in a fantastic, peaceful and forever-lasting life-dream of happiness.

In future, Hoping: Yixuan, you can play this fantastic wedding song of piano (fluently and heart-touchingly) for more families and share their friendship, love and happiness...
Little girl pupil, thank you!^_^
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:55, 24 September 2020 (UTC)

[[File:CCzerny 299 Etude No. 27, Piano student Yixuan Wang, Tutor Jason Han.oggzerny 299 Etude No. 27, Piano student Yixuan Wang, Tutor Jason Han.ogg|thumb|
Czerny 299 Etude No. 27, Piano student Yixuan Wang, Tutor Jason Han.ogg]]
I have taught two children this Etude-a girl and also a boy (with outcomes). They played all well in very different musicalities. One is like a fast gym meeting 299's standards. The other-hers is with a good sound effect -light and peaceful after her grade examination. Both I all like. 
Regarding with how to train this sound effect with pedal, Please see my etudes'platform:
https://en.m.wikiversity.org/wiki/Portal:Piano_Etudes_as_Poems

'''G major Sonata L.349 - Yixuan Wang's New Attempt of Italian Baroque Style of A. Scarlatti'''
A. Scarlatti's Sonatas are quite hard for young students and young teenagers to train and perform.However, Yixuan is fine, I thought.
It needs a very fast &amp; light fingering of Scale &amp; Arpeggios and different STACCATOing keyboard-touching way, meanwhile, the exaggerating fluency of simple patterns... I thought she somehow had touched at her own little age. Just, more from nature, more details-care and the flexibility of hands&amp;body could make things better. 
At her age, it's already fine.Thanks to the recent striving in this still hard time of COVID-19 Recovery. [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:31, 20 August 2021 (UTC)
[[File:G major Sonata L.349, Piano Pupil Yixuan, Wang.ogg|thumb|A, Scarlatti L.349 Sonata, Piano-pupil Yixuan, Wang]]

It's very hard to train Scarlatti's Italian Style of technique skills... However, Yixuan, Wang has never given up... 
during this COVID-19 Time...-Protecting herself with masks, meanwhile, playing times after times... Finally, we can get some senses of fast, airily,lightly and breezily... Yes, there may also be some problems, like- it's very easy to be stressful and breathless on the stage...But to her age, do you think it's already good... 
Therefore, I recorded it in a video and published it on a musical platform -Kugou, and a educational platform - Youku, as to remember her growth: 

http://m.kugou.com/mv/?hash=f00b36624f27b091b79e3f30e158aa03&amp;sruserid=640650901

====Piano Pupil Mo Zhou's Smart Growth and Hard-working learning of Techniques  ====

The video of Mo Zhou's most beautiful performance of Debussy's work- 2re Arabesque (I call it 'Butterfly's Dream') :
Kugou musical platform -
http://m.kugou.com/mv/?hash=547cb2c1e2f57a9e8ec66e8ecf36c269&amp;sruserid=640650901
Youku educational part -
http://v.youku.com/v_show/id_XNTgxNzA2Njk2MA==.html?x&amp;sharefrom=android&amp;sharekey=9631de9a76de1af3d601221019590cd26

(Published on the musical platform of Kugou and the educational part of Youku; the classroom volunteering photographer is Ms. Yang Gao) 

'''Piano Pupil Mo, Zhou's Violin simulation of Cremer's Etude's Art'''

Catching the hands' positions (somehow borrowed from voilin's) is almost the hardest point to train.One focuses on left hand's Notes-Slipping; the other regards with the interval Position-switching (2 notes) check of right hand frequently.
Though this little girl has a pair of smart&amp;slim hands, she attempted her best. You can hear the most part's effect LIVE in classroom...
In this point, I gave a 'LIKE'.

[[File:Cramer Etude, Performed by Piano Pupil Mo, Zou.ogg|thumb|Cramer Etude, Performed by Piano Pupil Mo, Zhou]]

'''A, Scarlatti L.349 Sonata - A Italian Style Taste of Baroque Music'''
''Comments:''
Mo,Zhou's hands are very smart, regarding with which some very tiny actions she can take, though they aren't quite big. Yes, she has been always willing to enlarge her hands.
This point, but somehow, associate her to take this Italian Baroque Style (Rocca) quite easy. 
Yes, I thought she was fine regarding with much more details.(though it's LIVE that very few unexpected faults could be caused by the stress of the recording).

I thought: to her performance, my teaching is working well. She did many requirements... Let us listen to her.[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 03:25, 20 August 2021 (UTC)
 

[[File:G major Sonata L.349, Piano pupil Mo, Zhou.ogg|thumb|File:G major Sonata L.349, Piano pupil Mo, Zhou.ogg]]

==== Brilliant Snow-ball boy (Yu) of Zhang family is praying for his father working in New Zealand ====
[[File:Pupil Yu,Zhang's edition - e minor sonata of Sir Haydn.ogg|thumb|E minor sonata of Sir Haydn was played by Piano student Yu, Zhang in classroom]]
'''(Waiting better)'''
Could you understand how hard Sir Haydn's &amp; Mozart's mature sonata-structuralism and Classical Countermelody (from String Quartet: https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart) were for the training of such a young boy or some students around this aget? Oh, looking back, I, myself, also did feel hard... However, this boy and another older piano sister did really insist on doing so. Today, they can give their own editions - very different with own personalities and natures. 
Another point I would like to say: It's only one week's time that this boy was fighting for 'a good hearing' of his father. Afterwards, a modified recording edition soon got out, which showed his proficiency and quality...Good boy!
To be honest, reviewing the past year, in order to train Sir Haydn's melody, we researched many ways together, including mathematics... Sometimes, evenly felt hopeless... Playing from childhood, Haydn's style is quite simple to me - models, switching, sonata structure..., but to students, they didn't quite like the sense of thinking being structured... And at the very beginning, I even didn't understand why they felt difficult... Recognizing something, We began to make many games, and evenly counting out some scores for the achievement of his 'fried chicken legs'...
Here, from rhythm to notation, and from melodic interaction to parts-division, I felt it's much clearer, more fluent and stable, than before... His ability of coordination has also been improved, though still some problems. I dared and felt confidential to say: it's a great edition of himself. Hopefully, he can progress further.
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:08, 4 April 2019 (UTC) Now, he made it much more fluent and accurate, and also played out his own fashion, though some details still need to be modified. Honestly to say, I thought somehow he got his progress in this period which we can hear...[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 03:28, 2 August 2019 (UTC)

'''Comments'''

It's the second time of piano boy Yu Zhang's teaching result show. In this time, he chose the melody &lt;Under the Sunshine&gt; - a Chinese fork teaching melody as one subject of national examination and also a performance of one piano competition in Dalian.
In my view as his teacher, he gave a very different view of this melody, compared with girls'. He paid more attentions to the whole view of melody's energy, strength, fluency and the joyfulness in Under the Sunshine, but didn't too much care about the details of some parts. However, on the stage, it showed a very great expression as from boy's situation... Good luck and happy experiment. After some practices, in the classroom we together recorded it and submit it up... (Referenced Partly from his page in Wikimedia Commons)


==== How to play Chinese Folk tune - 'Kids' Dance' with Chinese kids' fashion? Listen to little girl Kunlu's performance ====
'''Teacher's Demonstration in classroom:'''
[[File:Kid's Dance Chinese Folk Piano Player Jason M. C.,Han.ogg|thumb|Kid's Dance - 'Kid's Dance', from a folk piano-tune in China National Grading Book, was personally performed here, as a gift for all piano-kids' 'Happy 2019 Lucky Pig Year']]
'''Student Kunlu's Performance in classroom:'''
[[File:Kid's Dance (Chinese) - Student Kunlu, Han.ogg|thumb|Student Kunlu, Han's (Han family's girl born as bright as dewdrop in Kun - Saturn of Wuxing) good performance of Kid's Dance (Chinese)]]
'''Teacher's Comments:'''
Totally to say: Though She can play better editions (many better ones, last winter), in this sound file, she showed the coherence, fluency, flexibility and stability ( as Chinese fork-tune required). Hearing such a smart Chinese girl playing such a fugue-cannoning song, you will feel: it's a right song designing for a right girl... I think that's one meaning of piano-performance. Though spending much time, We did also research special 'Chinese supplemental positions &amp; Dialogues' in polyphony together, which gave us many beautiful memories... Further more, in this age, her staccatos, slurs and Tenuto have been performed quite well, which helped her to keep a unified speed to the end. 
Taking back a step, there must still be some small faults in classroom (without purposes) that I have to point out: such as B18's  #C blowing to D a little bit, the attention didn't get back in B41 head A which made a small break, and a small mistake of 'Recovered C' rather than #C... In order to dream of its accuracy and pentatonic harmony, it's a hard-working that we have already come over many problems and mistakes... Therefore, I think she fulfilled herself and achieved many things from 'Kid's Dance'. Hopefully, she enjoys the procedure of music-carving. [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 15:07, 4 April 2019 (UTC)
===== Kunlu's Crystal Heart on International Children's Day -  Kleine Kinder Kleine Sorgen (Little Child) =====
'''Teacher's Comments:'''
1. The degrees of proficiency, fluency (and internal speed) have been improved, right on International Children's Day. 
2. I preferred her treble part very much - so cool, pure, clean and refreshing, which reflected her crystal heart in childhood.
3. The grasping of big chords - stronger, that's great - but needs to be more accurately and deep (The word 'deep' wasn't always 'loud' and 'heavy'). Please try to understand this point. Yes, it needs to show the hardness of growth (to young teenager), but also the achievement 'to be stronger and more confident of yourself...' [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 03:32, 28 June 2019 (UTC)
[[File:Internationl Children&amp;#039;s Day Gifts - 2. Kleine Kinder Kleine Sorgen (Little Child, Piano-modification of Germany Song).ogg|thumb| Kleine Kinder Kleine Sorgen (Little Child, Piano-modification of Germany Song), played by Kunlu, Han]]

==== Teacher's Shares of his own home-works from childhood (Open) - Jason, Han====
====='''M. Moszkowsky Etude (Op.72 No.5) - &quot;C major's Fluency, Clarification, Sunshine and Love'''=====
New Beginning with...: M. Moszkowsky Etude (Op.72 No.5) played by Jixun Han (Jason) for piano teaching. It's long time that my piano classroom on the cloud in wikiversity hasn't update its situation. After so many things, now I can partly return to English writing world. The first Etude I would like to upload is still MM Edute which gave me so fluent and clean mind in my childhood. Oh, 38 years old, and after a wedding ceremony with my real lover, my fingers would not be so great as around 15s'... However, I would like to update its situation and new editions untill great someday. Now, let's began with this new melody. It's taught to my good Chinese boy pupil named Guoguo (fruit zeyu, Cui) when I grasped up and recorded. Yes, this little boy will also play well. Let's listen to my version, firstly. Thanks Jason M. C., Han (talk) 13:26, 20 November 2024 (UTC)

More information, please see https://en.wikipedia.org/wiki/List_of_compositions_by_Moritz_Moszkowski

Homework Requirements (challenges):

1. B23-B24(B stands for Musical Bar): By right hand, heads of every 4-notes group make a down-going semi-notes scale, which needs a very careful&amp;exact arpegio-fingering with a whole—palm holded and also thumb-measuring ability. Meanwhile, the left hand is making a whole-tenth measure, but arranged upon every  two chords' link. The semi-notes scale is also its fixed channel accordingly. This point is very different to follow and be made accurately and perfectly, which needs long-time training.

2. B49-50 It's almost a two-hands doubling for playing arpeggio-phrase.But not really!  You can watch the second phrase- fingering! Your left hand need a smallish shape. Meanwhile, the little finger's head of last phrase need to jump out a minor third distance down. It's very hard to control and also not a doubling.
(Hard for playing, but good for sounding, if out. Therefore, dears, have a try like mine...)
Yours little uncle Han [[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:15, 25 November 2024 (UTC) 
[[File:M. Moszkowsky Etude (Op.72 No.5) played by Jixun Han (Jason) for piano teaching.wav|thumb|M. Moszkowsky Etude (Op.72 No.5) played by Jixun Han (Jason) for piano teaching]]

===== '''Beethoven's Moonlight Sonata''' =====
Indeed, Beethoven left a historical challenge (difficulty) but the continuously creative inspiration to understand the techniques &amp; musicality of all his movements, equally to all people. We can attempt different approaches and own personal life-experiences to understand them, and discuss out some possible results.   
[[File:Moonlight Sonata - 3rd Movement of Sharp c minor Sonata Beethoven.ogg|thumb|Moonlight Sonata - 3rd Movement of Sharp c minor Sonata after a library presentation of Beethoven (Further, thanks to the April-collections of Tokfo Gallery (Vienna: https://commons.wikimedia.org/wiki/User:Tokfo/Vienna/2019_April_28-30) and Sir James Gallery (Bonn:https://commons.wikimedia.org/wiki/User:Sir_James/Bonn/2019_April_29) - great encouragements!)]]
'''3rd Movement- 'Moonlights Storming' - Techniques Analysis from Notation-reading ('Presto agitato' of Breitkopf &amp; Hartel Company and Berlin Arts Collage also compared with Old New York Edition - as the remembrance of one monitor):'''
'''Musicality:''' In a grandly general view, it's like...in a crazily running (very fast) race, viewed from the window, moonlights have been dismembered upon deep Lake Lucerne (many fragmental sections composed together). 
[[File:Vienna Beethoven Monument (with angels and children surrounding).jpg|thumb| Beethoven's Monument in Vienna]]
[[File:Beside Beethoven's Musicality.jpg|thumb| A third-person's Watching of Beethoven's Musicality]]
For its musicality cultivation, I could give a similar sense of its situation, like in Picasso's works- such as Picasso's Guernica (Ceridwen's Creative Commons Attribution-Share Alike 2.0 Generic license) For achieving it, a little bit of dark-moods anger and sadness faced from the unfairness and out of control could be inputted, after all technique points were trained in the dexterity. Therefore, from emotion to say, I thought the video right after getting back from UK and the lost one in Newcastle central station were better than this time. [[File:3rd movement of Sonata &amp;#039;Moonlight&amp;#039; Rocking Video JMC, Han (Jason).webm|thumb|3rd movement of moonlight sonata; Rocking Video JMC, Han (Jason)]] However, I satisfied with it, right like in life and after the presentation. From this point, we can see: Beethoven, as a piano master, has super-reached too much before the time - even abstractionism and postmodernism (deconstructionism).
'''2nd Movement - 'a little Fantasy Moonflower blooming between two rocky layers' - Techniques Analysis from Notation-reading (Allegretto of Breitkopf &amp; Hartel Company and Berlin Arts Collage):'''
1. Parts-distinguishing way can be applied to pick up the main melodic points from its background and legato them into lines. 
'''( Notice: Here, from the historical observation, a thing needs to be clarified: Baroque-regression (back-reasoning) was usually made by classical composers (in Vienna school: Mozart, Haydn and Beethoven etc.), especially in their later years of life for calming down the dramatical emotions, and keeping Life's Reasonability. Meanwhile, from Haydn, they discussed and created classical counterpoints from symphony and string quartet together, to modify creative inspirations. Beethoven also inherited it. Therefore, when we play some in piano, we need to analyse and apply some special techniques, commonly used in classical polyphony, to pick up the main from the background, sentence by sentence, as an era-responding.)[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 03:38, 15 May 2019 (UTC)'''
2. Octaves-bridging and chords-connections for big hands, into their hidden melodies, are the most difficulties, which need your frequent exercises, sentence by sentence. (Painful but worthful! Finally, flexible and skillful... )
3. Long keeping-notes, in certain parts, are important for the continuity of the tune and the texture, without broken.
4. It's better in light and tender keyboard-touching way to make melodic lines clear and 'the little flower' smile lightly.
5. 'Rondo' (ABA) formation can be applied to understand its repetitions, responding and structure.    
[[File:Moonlight Sonata (Sharp c minor Sonata) 2nd Movement Beethoven JMC,Han.ogg|thumb|Moonlight Sonata - a little fantasy flower between two rocky layers]][[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:51, 14 May 2019 (UTC)
=====  Blue Danube is always flowing from heart and life, with the vitality as spring: =====
Children and young teenagers, let us swim in this life-long river, to see some beautiful landscapes!
[[File:Blue Denube in my heart.jpg|thumb|Blue Denube in my heart]]
[[File:Blue Danube (Exercise and variations-collections in piano) JMC, Han.ogg|thumb|Blue Danube (Exercise and variations-collections in piano) JMC, Han]]
=====  Pachelbel's Canon is always the canon (polyphonic technique) since Baroque Era, but in '''Modern Piano's Pop Variations''' =====
[[File:Pachelbel&amp;#039;s Canon in Pop Variations (Geoge Winston Notation) Player Jason, Han.ogg|thumb| Pachelbel's Canon in Pop Variations (George Winston Notation) Player Jason, Han]]
'''Story of teaching &amp; learning (from Wikimedia Commons):'''
Regarding with this piano melody, there is a long story in my heart... Oh, did you hear Mag-pie's singing (I like 'pie' in the tail of this word) in the first draft? Yes, it was attracted and landing on the tree outside my balcony... You can clearly hear it at the beginning and in the tail in my first draft... Almost, it would like to share my memory...

Long long ago, my old brother on my mother's side used to be one hero of my life and fashion... On each holiday, he was always able to find great music pieces, MTVs, transcripts , and scientific fictions, from foreign countries, such as American and Japan (Summer)... and brought &amp; shared with me... Then, I attempted my best to exercise them into the reality, which included this song - Canon Variations from pianist George Winston... Those memories have never faded out, but in my deep sea. To now, evenly did I think Canon was from US and a POP song... After seeking the exact information in Wikipedia, I found it's Pachelbel's Canon in D and Baroque Era and German, rather than C and Modern and Pop in American... and with a 'Gigue for Violins and Basso Continuo',  it's not only for piano in many parts than our 3 parts in original piano edition. However either, I still like it very much and would like call it American POP in my music world...

Then after, a male colleague in my working college said to me: Jason, on my wedding ceremony, I would like to play it for a girl... Could you give me a simple one? Then, searching online, I found a simple (middle level) notation and an original (advanced level) notation, I downloaded both, and chose the simple one for him Three months, he was able to play it from 0 level (he wasn't able to read the notation)... I thought piano would have give him a good memory of wedding...

Following, I found a girl felt bored about her piano examination... Then, by choosing the simple transcript and inserting into her lessons... it made my tutoring classrooms really beautiful, relaxable, magical and peaceful... 

Now, I have time to play the original edition out... One long dream of my heart is going to be fullfilled... Though my hands in several points didn't make my perfectionism satisfied contrasted with before, especially the tenth-cross design between the left hand and the right hand, I knew it's my life, and fate?... I prefered to update its situations for bettering continuously... if having time...

Compared with the firstly draft, I thought the second was much down-calmed and peaceful...Somehow, I preferred the first draft, but a little bit of 'fast'... I cannot make the decision...then, kept two. However either, I still felt very happy the little natural friend - mag-pie can join... For this reason, I kept it. Hopefully, you will enjoy...
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 04:50, 16 September 2019 (UTC)
===== KV.265 12 Variations on Ah vous dirai-je, Maman - 'Twinkle Twinkle Little Star' =====
Analysis (Waiting)
[[File:KV.265 12 Variations on Ah vous dirai-je, Maman Mozart JMC, Han.ogg|thumb|KV.265 12 Variations on Ah vous dirai-je, Maman Mozart JMC, Han]]
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 08:43, 7 October 2019 (UTC)
=====''' 'The beautiful views of Scotti-highlands' from Thompson's Book (Advanced Level) - Teaching and demonstration '''=====
[[File:The beautiful views of Scotti-highlands (Teaching demonstration - video; Jason, Han).webm|thumb| After the performance in local Crossing-year 2019-2020 Library Concert and many further exercises, a good edition in classroom got out - Piano kids, always, you knew:  No pains, No gains]]
For its musicality and academic thoughts, please visit Wikiverty's Portal of Piano education(The Section: The beautiful views of Scotti-highlands' in a Far-land Home (Academic thoughts, musicality, literature-writing and case-realization)):
*[[Portal:Green Sleeves (Impressionist Visualization)]]
*[[Portal: Sir J.S.BACH and His contributions to Piano Kids' Reasonable Life]]
[[File:C minor Prelude Bach (BWV847), Performer JMC, Han.wav|thumb|C minor Prelude Bach (BWV847)]]

==== 'Swan's Dream Upon the lake' - Little Girl  'Wenxin's' (Brilliant &amp; Sweet literatures in arts ) Performance====
'''Teacher's Demonstration:''' 
[[File:The Dying Swan - black angel JMC Han.ogg|thumb| Musicality from watching 'The Dying Swan - the black angel', performed by JMC Han]]
'''Wenxin's Performance:''' 
1. Techniques-recovery: The Arpeggio-training of left hand in the accompaniment was the biggest challenge to not only a piano-child at her age - no more than 12 (In Chinese culture, Kid's first year was in mother's womb. Thereby, I asked her - how old are you, and she gave the number '13'...),  to me and evenly some expertise pianists. (Camille Saint-Saëns's 'The Swan' on wikipedia or other social editions). The arpeggio-accompaniment is travelling in rich variations of tunes, which caused left hand much harder to expand, shrink and positions-change. Therefore, it spent us more than half a year to train and recover her hand's dexterity from a small failure of her piano life in the Grade Test, just like 'Princess Swan's' experience. Now, totally to say, she got an excellent situation in which children at her age can perform. Thanks to your hard-working!  
2. Musicality-cultivation: Usually, she showed a very great musicality in the first page - to the minute (Approximately 1.05) - tender, expending, lyrical and expressive... However, it's really a hardness to keep it throughout the second section - a shading &amp; wandering heart-road in the growth. The attention has to be paid too much on the exactness of left hand's arpeggio-travelling. With a pity, still, some notes were beaten wrongly. But oppositely again, we can see: Princess Swan, in her period of Darkness growth - facing Satan, turning into a dark angel and only appearing in night... She really faced a hardness and the difficulty of life, right as beating wrong notes, getting out some noises and travelling a little bit slowly and roughly in a channel. In this view, perhaps that the difficulties can be transformed- in the musical needs and with a small fashion. Congratulation, more exercises, haha!
3. Together, we gave two great designs: one is the 'Big Brightness' began from the minute (Approximately 2.03) when the main theme happens again; and the other is 'Swan's Departure like Sound of Fall-Leaves rotating upon Lake's Surface' (from minute 2.49 to the end)... She almost achieved some - the mood calmed down very much and stably progressed to further with a confidence. However, a little bit of disfluency made the impression fade, somehow. Meanwhile, a 'rit. to a tempo' turned inversely - what a pity. 

Totally to say, musicality, at her age, was preciously showing in this time's performance. The hard-working of recovery and exercises, during many classes, touched my heart very much. (I knew that...)  More trainings of Arpeggio-running (dominate sevenths) and its fluency can help her achieve more in the future. Wenxin, thanks to you for letting us appreciate this world-famous melody in piano.     
 
[[File:Growth of Swan in eyes of the little girl - Wenxi, Zhang.ogg|thumb|Growth of Swan in the eyes of the little girl - Wenxi, Zhang]]
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 16:06, 5 May 2019 (UTC)
==== Listen to Mother's Old Story! - A beautiful and quiet little girl's Good Wish ====
'''Teacher's Demonstration:'''
[[File:Mother&amp;#039;s Old story - China Impression.ogg|thumb| Listen to Mother's Old story - China Impression (JMC, Han - teacher's domenstration)]]
'''Student's Performance:'''
[[File:Listen to Mother&amp;#039;s Old Story - Piano Pupil Yiwen, Cui.ogg|thumb| Listen to Mother's Old Story- Piano Pupil Yiwen, Cui]]
'''Teacher's Comments:'''
Yiwen, Cui (Direct translation of her Chinese name - A beautiful girl who is good at the translation of art and literature, from Cui family), at the age of 10, is a quite and beautiful girl. She got a good life effect from this Chinese piano-kid's song - 'Listen to Mother's Old Story': making her family and parents happy, getting some confidences through this piano song from the examination, showing her fashion in my library concert held for piano kids... After those more above, frequent exercises, and getting her permission, I can submit this classroom-recording edition. Though in the tail I found a note lost... and some parts of her left hand might run much more fluently... , I think her emotional background of this music reached to a good level, and those polyphonic parts can be clearly heard two layers, their cannoning, and so on... Congratulation! 
'''(Words from the description in Wikimedia Commons page)'''
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:04, 8 August 2019 (UTC)

==== Moonlight upon Lotus Pool (Summer) - Letters-Accompaniment Improvising Chinese Pop-song with both Classical Tradition and Pentatonic Scale ====

'''Teacher's Comment:'''
1. I am very excited that you (only 10-years-old) understood Letter-To-Accompaniment Improvising sheet and its approach in a very fast way.
2. It's great you can use both Pentatonic Arpeggios and Tenth-Rolling-Bass-dropping in your accompaniment (You can make Tenth-rolling Bass in a more fluent view, I thought) 
3. We can feel the musical scene from your musicality - In a beautiful summer night, Walking along a lotus pool, you and your family members were enjoying the moonlight and a breeze of cool wind...  
4. In future, hopefully, you can improve your 'new learns' to a higher level.
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 01:04, 8 August 2019 (UTC)

''' Xuan, Lee's Second Attempt - Pearl of the Orient'''

==== 'Mother in the candlelight' - A little girl (Siqi)'s heart-words for her mother's birthday - in the growth and in the dreams...  ====

'''Heart-story:'''
Regarding with this piano-song, there is a little story about this little commons' girl: Usually, her parents were very busy in the family's restaurant... I and my mother saw she had independently managed herself well and grew up alone for many years... In this year - 2019, time was near her mother's birthday. In the KTV (a place like karaoke bar, but for small single groups of people in rooms, with TV in the middle for singing ), she heard this song - 'Mother in the candlelight' and found her parents enjoyed singing it very much. Then, she decided to play it as a gift to her mother, right on mother's birthday. It's my biggest honour to be together sight-reading the notation, making the re-designs and re-editions of this song into piano - like, Prelude, Introduction-theme 1st, theme 2nd, Development and Peak, a small Repetition and Coda... She learnt in a very fast and hard-working way that merely around one month she played it in this level. And finally, she got her heart-sweet - playing it for her mother, as a birthday gift.(Wikimedia Commons' original page, 2019)

'''Comments from teacher:'''
1. The musical emotions were very rich and expressive, especially the 'Peak-Calling for mother' (2.53 minutes - 3.53 minutes). I almost can hear 'Mum...' (or Mumu...) for many times in a kid's tear-drops and in the candlelight... by your right hand's touchable singing...
2. I liked our 'Flanger tr. Ornaments' very much (I thought it's from Mozartian). I am very happy you can put it in for soon time...
3. I am very happy in the Coda-tail, you can get my suggestion - ending by a Major Seventh Progression-Arpeggio. This point should give the thanks to my mentor - Ray. I quite enjoy its special colour... 
4. Your strong and mixed left hand accompaniment must have been trained for many times. I knew it's a hard-working job, but tender and flexible a little bit... better?
5. The singing of right hand and its 'breathing' were quite natural and fine, sentence by sentence..., but the total speed is too slower than normal, which reflect the running ability of the left hand needed to improve. I knew: to your 9-years-old hands, it's a very hard requirement... However,  waiting the up-grown, I have the confidence you can hands-sing it in a much more fluent way...
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 14:10, 5 September 2019 (UTC)

'''Night's Piano-Song - The depth of China Pop-Piano (and Siqi's Heart-Try)'''
''Comments:''
She made the depth of two peak notes but in light touching way. I thought also that she did this Pop-piano's musicality in a poet's Night-thinking... 
She is suitable for the performance of this-type-'songs' and improvising (still at little age and need to prepare in time).
Let us listen to her and feel her expression.

==== The Cowherd's Flute played by a little girl piano pupil - Guo Guo (Nickname: Happy fruits)  ====
This edition has already been her best attempt, regarding with its landscape-painting style, lovely Cowherd's Flute we can refer to Wikipedia introduction (Seeking key words 'The Cowboy's Flute' in). It's recorded as a beautiful memory of her piano-learning and her Childhood. Let us listen to her:
[[File:The Cowboy&amp;#039;s Flute - Yuxuan, Lu (Guo Guo).ogg|thumb|The Cowherd's Flute - Yuxuan, Lu (Guo Guo)]]

====  Clementi Sonata Op35 No. 5 (Movement 1st), played by Piano pupil Yixuan, Qiao ====
Clementi's Sonata-Op35 No. 5 was a so long and difficult piece for students around their ninth year. Therefore, we have divided it into many small sections and taught. She learnt in progress. Meanwhile, this little and beautiful girl (She was beautifully good at dancing, somehow rather than piano.) has already attempted her best in exercising and recording. I thought it recorded her good piano-learning experiences and those memories of childhood. Regarding with further information about this work, please refer to the educational portal: https://en.wikiversity.org/wiki/Portal:Sonatinas_from_Kids%27_corner_near_heaven#Muzio_Clementi . Let us listen to her:
[[File:Clementi Sonatina Op35. No 5 Movement 1st Piano pupil YIxuan, Qiao.ogg|thumb|Clementi Sonatina Op35. No 5 Movement 1st Piano pupil YIxuan, Qiao]]
[[User:Jason M. C., Han|Jason M. C., Han]] ([[User talk:Jason M. C., Han|discuss]] • [[Special:Contributions/Jason M. C., Han|contribs]]) 02:42, 18 October 2019 (UTC)

====Little and Little, Twinkling Stars - Little Piano-Kids' Playground====
Say 'Hello' to our 'Little Goldman'
[[File:Vienna Trip - The Little Goldman- Strauss Family.jpg|thumb|Hand-making my  own picture of Strauss Family's Little Goldman]]
* [[Portal:Little and Little, Twinkling Stars - Little Piano-Kids' Playground| Little and Little, Twinkling Stars - Little Piano-Kids' Playground]]</text>
      <sha1>i95iogk2udo15upk8ngbh0q9rr5qde7</sha1>
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  <page>
    <title>C language in plain view</title>
    <ns>0</ns>
    <id>285380</id>
    <revision>
      <id>2807106</id>
      <parentid>2806991</parentid>
      <timestamp>2026-04-30T13:50:44Z</timestamp>
      <contributor>
        <username>Young1lim</username>
        <id>21186</id>
      </contributor>
      <comment>/* Applications */</comment>
      <origin>2807106</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9878" sha1="f8zophxh39ttbqoh1lbfxh0kz2gzoe7" xml:space="preserve">=== Introduction ===
* Overview ([[Media:C01.Intro1.Overview.1.A.20170925.pdf |A.pdf]], [[Media:C01.Intro1.Overview.1.B.20170901.pdf |B.pdf]], [[Media:C01.Intro1.Overview.1.C.20170904.pdf |C.pdf]])
* Number System ([[Media:C01.Intro2.Number.1.A.20171023.pdf |A.pdf]], [[Media:C01.Intro2.Number.1.B.20170909.pdf |B.pdf]], [[Media:C01.Intro2.Number.1.C.20170914.pdf |C.pdf]])
* Memory System ([[Media:C01.Intro2.Memory.1.A.20170907.pdf |A.pdf]], [[Media:C01.Intro3.Memory.1.B.20170909.pdf |B.pdf]], [[Media:C01.Intro3.Memory.1.C.20170914.pdf |C.pdf]])

=== Handling Repetition ===
* Control ([[Media:C02.Repeat1.Control.1.A.20170925.pdf |A.pdf]], [[Media:C02.Repeat1.Control.1.B.20170918.pdf |B.pdf]], [[Media:C02.Repeat1.Control.1.C.20170926.pdf |C.pdf]])
* Loop ([[Media:C02.Repeat2.Loop.1.A.20170925.pdf |A.pdf]], [[Media:C02.Repeat2.Loop.1.B.20170918.pdf |B.pdf]])

=== Handling a Big Work ===
* Function Overview ([[Media:C03.Func1.Overview.1.A.20171030.pdf |A.pdf]], [[Media:C03.Func1.Oerview.1.B.20161022.pdf |B.pdf]])
* Functions &amp; Variables ([[Media:C03.Func2.Variable.1.A.20161222.pdf |A.pdf]], [[Media:C03.Func2.Variable.1.B.20161222.pdf |B.pdf]])
* Functions &amp; Pointers ([[Media:C03.Func3.Pointer.1.A.20161122.pdf |A.pdf]], [[Media:C03.Func3.Pointer.1.B.20161122.pdf |B.pdf]])
* Functions &amp; Recursions ([[Media:C03.Func4.Recursion.1.A.20161214.pdf |A.pdf]], [[Media:C03.Func4.Recursion.1.B.20161214.pdf |B.pdf]])

=== Handling Series of Data ===

==== Background ==== 
* Background ([[Media:C04.Series0.Background.1.A.20180727.pdf |A.pdf]])
 
==== Basics ====
* Pointers ([[Media:C04.S1.Pointer.1A.20240524.pdf |A.pdf]], [[Media:C04.Series2.Pointer.1.B.20161115.pdf |B.pdf]])
* Arrays ([[Media:C04.S2.Array.1A.20240514.pdf |A.pdf]], [[Media:C04.Series1.Array.1.B.20161115.pdf |B.pdf]])
* Array Pointers ([[Media:C04.S3.ArrayPointer.1A.20240208.pdf |A.pdf]], [[Media:C04.Series3.ArrayPointer.1.B.20181203.pdf |B.pdf]])
* Multi-dimensional Arrays ([[Media:C04.Series4.MultiDim.1.A.20221130.pdf |A.pdf]], [[Media:C04.Series4.MultiDim.1.B.1111.pdf |B.pdf]])
* Array Access Methods ([[Media:C04.Series4.ArrayAccess.1.A.20190511.pdf |A.pdf]], [[Media:C04.Series3.ArrayPointer.1.B.20181203.pdf |B.pdf]])
* Structures ([[Media:C04.Series3.Structure.1.A.20171204.pdf |A.pdf]], [[Media:C04.Series2.Structure.1.B.20161130.pdf |B.pdf]])

==== Examples ==== 
* Spreadsheet Example Programs
:: Example 1 ([[Media:C04.Series7.Example.1.A.20171213.pdf |A.pdf]], [[Media:C04.Series7.Example.1.C.20171213.pdf |C.pdf]])
:: Example 2 ([[Media:C04.Series7.Example.2.A.20171213.pdf |A.pdf]], [[Media:C04.Series7.Example.2.C.20171213.pdf |C.pdf]])
:: Example 3 ([[Media:C04.Series7.Example.3.A.20171213.pdf |A.pdf]], [[Media:C04.Series7.Example.3.C.20171213.pdf |C.pdf]])
:: Bubble Sort ([[Media:C04.Series7.BubbleSort.1.A.20171211.pdf |A.pdf]])

==== Applications ==== 
* Address-of and de-reference operators ([[Media:C04.SA0.PtrOperator.1A.20260430.pdf |A.pdf]])
* Applications of Pointers ([[Media:C04.SA1.AppPointer.1A.20241121.pdf |A.pdf]])
* Applications of Arrays ([[Media:C04.SA2.AppArray.1A.20240715.pdf |A.pdf]])
* Applications of Array Pointers ([[Media:C04.SA3.AppArrayPointer.1A.20240210.pdf |A.pdf]])
* Applications of Multi-dimensional Arrays ([[Media:C04.Series4App.MultiDim.1.A.20210719.pdf |A.pdf]])
* Applications of Array Access Methods ([[Media:C04.Series9.AppArrAcess.1.A.20190511.pdf |A.pdf]])
* Applications of Structures ([[Media:C04.Series6.AppStruct.1.A.20190423.pdf |A.pdf]])

=== Handling Various Kinds of Data ===
* Types ([[Media:C05.Data1.Type.1.A.20180217.pdf |A.pdf]], [[Media:C05.Data1.Type.1.B.20161212.pdf |B.pdf]])
* Typecasts ([[Media:C05.Data2.TypeCast.1.A.20180217.pdf |A.pdf]], [[Media:C05.Data2.TypeCast.1.B.20161216.pdf |A.pdf]])
* Operators ([[Media:C05.Data3.Operators.1.A.20161219.pdf |A.pdf]], [[Media:C05.Data3.Operators.1.B.20161216.pdf |B.pdf]])
* Files ([[Media:C05.Data4.File.1.A.20161124.pdf |A.pdf]], [[Media:C05.Data4.File.1.B.20161212.pdf |B.pdf]])

=== Handling Low Level Operations ===
* Bitwise Operations ([[Media:BitOp.1.B.20161214.pdf |A.pdf]], [[Media:BitOp.1.B.20161203.pdf |B.pdf]])
* Bit Field ([[Media:BitField.1.A.20161214.pdf |A.pdf]], [[Media:BitField.1.B.20161202.pdf |B.pdf]])
* Union ([[Media:Union.1.A.20161221.pdf |A.pdf]], [[Media:Union.1.B.20161111.pdf |B.pdf]])
* Accessing IO Registers ([[Media:IO.1.A.20141215.pdf |A.pdf]], [[Media:IO.1.B.20161217.pdf |B.pdf]])

=== Declarations ===
* Type Specifiers and Qualifiers ([[Media:C07.Spec1.Type.1.A.20171004.pdf |pdf]])
* Storage Class Specifiers ([[Media:C07.Spec2.Storage.1.A.20171009.pdf |pdf]])
* Scope 


=== Class Notes ===

* TOC ([[Media:TOC.20171007.pdf |TOC.pdf]])
* Day01 ([[Media:Day01.A.20171007.pdf |A.pdf]], [[Media:Day01.B.20171209.pdf |B.pdf]], [[Media:Day01.C.20171211.pdf |C.pdf]]) ...... Introduction (1) Standard Library
* Day02 ([[Media:Day02.A.20171007.pdf |A.pdf]], [[Media:Day02.B.20171209.pdf |B.pdf]], [[Media:Day02.C.20171209.pdf |C.pdf]]) ...... Introduction (2) Basic Elements
* Day03 ([[Media:Day03.A.20171007.pdf |A.pdf]], [[Media:Day03.B.20170908.pdf |B.pdf]], [[Media:Day03.C.20171209.pdf |C.pdf]]) ...... Introduction (3) Numbers
* Day04 ([[Media:Day04.A.20171007.pdf |A.pdf]], [[Media:Day04.B.20170915.pdf |B.pdf]], [[Media:Day04.C.20171209.pdf |C.pdf]]) ...... Structured Programming (1) Flowcharts
* Day05 ([[Media:Day05.A.20171007.pdf |A.pdf]], [[Media:Day05.B.20170915.pdf |B.pdf]], [[Media:Day05.C.20171209.pdf |C.pdf]]) ...... Structured Programming (2) Conditions and Loops
* Day06 ([[Media:Day06.A.20171007.pdf |A.pdf]], [[Media:Day06.B.20170923.pdf |B.pdf]], [[Media:Day06.C.20171209.pdf |C.pdf]]) ...... Program Control
* Day07 ([[Media:Day07.A.20171007.pdf |A.pdf]], [[Media:Day07.B.20170926.pdf |B.pdf]], [[Media:Day07.C.20171209.pdf |C.pdf]]) ...... Function (1) Definitions
* Day08 ([[Media:Day08.A.20171028.pdf |A.pdf]], [[Media:Day08.B.20171016.pdf |B.pdf]], [[Media:Day08.C.20171209.pdf |C.pdf]]) ...... Function (2) Storage Class and Scope
* Day09 ([[Media:Day09.A.20171007.pdf |A.pdf]], [[Media:Day09.B.20171017.pdf |B.pdf]], [[Media:Day09.C.20171209.pdf |C.pdf]]) ...... Function (3) Recursion
* Day10 ([[Media:Day10.A.20171209.pdf |A.pdf]], [[Media:Day10.B.20171017.pdf |B.pdf]], [[Media:Day10.C.20171209.pdf |C.pdf]]) ...... Arrays (1) Definitions
* Day11 ([[Media:Day11.A.20171024.pdf |A.pdf]], [[Media:Day11.B.20171017.pdf |B.pdf]], [[Media:Day11.C.20171212.pdf |C.pdf]]) ...... Arrays (2) Applications
* Day12 ([[Media:Day12.A.20171024.pdf |A.pdf]], [[Media:Day12.B.20171020.pdf |B.pdf]], [[Media:Day12.C.20171209.pdf |C.pdf]]) ...... Pointers (1) Definitions
* Day13 ([[Media:Day13.A.20171025.pdf |A.pdf]], [[Media:Day13.B.20171024.pdf |B.pdf]], [[Media:Day13.C.20171209.pdf |C.pdf]]) ...... Pointers (2) Applications
* Day14 ([[Media:Day14.A.20171226.pdf |A.pdf]], [[Media:Day14.B.20171101.pdf |B.pdf]], [[Media:Day14.C.20171209.pdf |C.pdf]]) ...... C String (1) 
* Day15 ([[Media:Day15.A.20171209.pdf |A.pdf]], [[Media:Day15.B.20171124.pdf |B.pdf]], [[Media:Day15.C.20171209.pdf |C.pdf]]) ...... C String (2)
* Day16 ([[Media:Day16.A.20171208.pdf |A.pdf]], [[Media:Day16.B.20171114.pdf |B.pdf]], [[Media:Day16.C.20171209.pdf |C.pdf]]) ...... C Formatted IO
* Day17 ([[Media:Day17.A.20171031.pdf |A.pdf]], [[Media:Day17.B.20171111.pdf |B.pdf]], [[Media:Day17.C.20171209.pdf |C.pdf]]) ...... Structure (1) Definitions
* Day18 ([[Media:Day18.A.20171206.pdf |A.pdf]], [[Media:Day18.B.20171128.pdf |B.pdf]], [[Media:Day18.C.20171212.pdf |C.pdf]]) ...... Structure (2) Applications
* Day19 ([[Media:Day19.A.20171205.pdf |A.pdf]], [[Media:Day19.B.20171121.pdf |B.pdf]], [[Media:Day19.C.20171209.pdf |C.pdf]]) ...... Union, Bitwise Operators, Enum
* Day20 ([[Media:Day20.A.20171205.pdf |A.pdf]], [[Media:Day20.B.20171201.pdf |B.pdf]], [[Media:Day20.C.20171212.pdf |C.pdf]]) ...... Linked List 
* Day21 ([[Media:Day21.A.20171206.pdf |A.pdf]], [[Media:Day21.B.20171208.pdf |B.pdf]], [[Media:Day21.C.20171212.pdf |C.pdf]]) ...... File Processing
* Day22 ([[Media:Day22.A.20171212.pdf |A.pdf]], [[Media:Day22.B.20171213.pdf |B.pdf]], [[Media:Day22.C.20171212.pdf |C.pdf]]) ...... Preprocessing


&lt;!----------------------------------------------------------------------&gt;
&lt;/br&gt;
See also https://cprogramex.wordpress.com/

== '''Old Materials '''==

until 201201
* Intro.Overview.1.A ([[Media:C.Intro.Overview.1.A.20120107.pdf |pdf]])
* Intro.Memory.1.A ([[Media:C.Intro.Memory.1.A.20120107.pdf |pdf]])
* Intro.Number.1.A ([[Media:C.Intro.Number.1.A.20120107.pdf |pdf]])
* Repeat.Control.1.A ([[Media:C.Repeat.Control.1.A.20120109.pdf |pdf]])
* Repeat.Loop.1.A ([[Media:C.Repeat.Loop.1.A.20120113.pdf |pdf]])
* Work.Function.1.A ([[Media:C.Work.Function.1.A.20120117.pdf |pdf]])
* Work.Scope.1.A ([[Media:C.Work.Scope.1.A.20120117.pdf |pdf]])
* Series.Array.1.A ([[Media:Series.Array.1.A.20110718.pdf |pdf]])
* Series.Pointer.1.A ([[Media:Series.Pointer.1.A.20110719.pdf |pdf]])
* Series.Structure.1.A ([[Media:Series.Structure.1.A.20110805.pdf |pdf]])
* Data.Type.1.A ([[Media:C05.Data2.TypeCast.1.A.20130813.pdf |pdf]])
* Data.TypeCast.1.A ([[Media:Data.TypeCast.1.A.pdf |pdf]])
* Data.Operators.1.A ([[Media:Data.Operators.1.A.20110712.pdf |pdf]])
 
&lt;br&gt;

until 201107
* Intro.1.A ([[Media:Intro.1.A.pdf |pdf]])
* Control.1.A ([[Media:Control.1.A.20110706.pdf |pdf]])
* Iteration.1.A ([[Media:Iteration.1.A.pdf |pdf]])
* Function.1.A ([[Media:Function.1.A.20110705.pdf |pdf]])
* Variable.1.A ([[Media:Variable.1.A.20110708.pdf |pdf]])
* Operators.1.A ([[Media:Operators.1.A.20110712.pdf |pdf]])
* Pointer.1.A ([[Media:Pointer.1.A.pdf |pdf]])
* Pointer.2.A ([[Media:Pointer.2.A.pdf |pdf]])
* Array.1.A ([[Media:Array.1.A.pdf |pdf]])
* Type.1.A ([[Media:Type.1.A.pdf |pdf]])
* Structure.1.A ([[Media:Structure.1.A.pdf |pdf]])


go to [ [[C programming in plain view]] ]

[[Category:C programming language]]

&lt;/br&gt;</text>
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  <page>
    <title>Surreal number</title>
    <ns>0</ns>
    <id>299370</id>
    <revision>
      <id>2807206</id>
      <parentid>2707316</parentid>
      <timestamp>2026-05-01T05:32:22Z</timestamp>
      <contributor>
        <username>~2026-26517-02</username>
        <id>3069607</id>
      </contributor>
      <comment>/* proof of conways simplicity rule */</comment>
      <origin>2807206</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="19299" sha1="3r5se2seoahfkgzrnppry9hcof0bdka" xml:space="preserve">All readers are welcome to contribute to this resource.  Try to follow the notation of [[Wikipedia:Surreal number]]. To create an essay or article start with a title that not already on the list below. It is very easy to change a title.. If you need help, leave a message at [[User talk:Guy vandegrift]].
{{RoundBoxTop|theme=1}}&lt;inputbox&gt;
type=create
width=110 
buttonlabel=Create subpage
break=no
prefix={{FULLPAGENAME}}/
placeholder=Title of subpage
&lt;/inputbox&gt;{{RoundBoxBottom}}
{{Special:Prefixindex/{{FULLPAGENAME}}/|hideredirects=0|stripprefix=1}}
[[Category:Open essay collections]]
==Subpage abstracts==
Each &quot;abstract&quot; begins with a and a link to a subpage.  The abstract is just a [[w:transclusion|transclusion]] of the first few lines.
===Abstracts for beginners===
{{/The dyadics}}&lt;br&gt;
{{/Root 2}}&lt;br&gt;
{{/Counting}}&lt;br&gt;[[file:Pinocchio paradox Large Print.svg|thumb|right|140px|]]
■ '''[[Russell's paradox]]''' resembles [[w:Pinocchio paradox|Pinocchio paradox]] in that it involves self-referencing. {{:Russell's paradox}}

===Advanced abstracts===
&lt;!--{{/Why isn't half-omega the (left) child of omega?}}
----- --&gt;
{{/Simplicity}}


[[Category:Open essay collections]]
----

==Essential reading for advanced students==
So far, the subpages to this resource are target the absolute beginner.  I hope that changes, but for now people already familiar with the basics might want to look at the following websites:
===Meet the surreal numbers (Jim Simons)===
[https://www.m-a.org.uk/resources/downloads/4H-Jim-Simons-Meet-the-surreal-numbers.pdf '''Meet the surreal numbers'''] (by Jim Simons) is 39 pages long. The internet is full of introductions to surreal numbers.  Many contain the same essential insight can be found on Wikipedia's '''[[w:Surreal number|Surreal number]]'''.  But Jim Simon's article contains useful insights that most authors neglect to adequately cover.  His discussion of [[w:Ordinal number|ordinal numbers]] begins with this introduction:
 
:''Just as we don’t need much set theory, we don’t need to know much about ordinals, but it is helpful to know a little. Ordinals extend the idea of counting into the infinite in the simplest way imaginable: just keep on counting. So we start with the natural numbers: 0, 1, 2, 3, 4, . . ., but we don’t stop there, we keep on with a new number called ω, then ω + 1, ω + 2, ω + 3 and so on. After all those we come to ω + ω = ω·2. Carrying on we come to ω·3, ω·4 etc and so on to ω&lt;sup&gt;2&lt;/sup&gt; . Carrying on past things like ω &lt;sup&gt;2&lt;/sup&gt;·7 + ω·42 + 1, we’ll come to ω&lt;sup&gt;3&lt;/sup&gt; , ω&lt;sup&gt;4&lt;/sup&gt; and so on to ω&lt;sup&gt;ω&lt;/sup&gt; , and this is just the beginning. To see a bit more clearly where this is heading, we’ll look at von Neumann’s construction of the ordinals.''

====Simplicity theorem====
:'''''The Simplicity Theorem. (If) x is a number, and z is a number with the earliest possible birthday that lies strictly between the left and right options of x, then x = z'''''

I find this easier to understand than the what appears in [[Wikipedia:Surreal number]].

===A Short Guide to Hackenbush (Padraic Bartlett)===
[https://www.math.uchicago.edu/~may/VIGRE/VIGRE2006/PAPERS/Bartlett.pdf '''A Short Guide to Hackenbush'''] is 25 pages long. It will give insight as to what inspired the invention of surreal numbers. It turns out that the surreal numbers are inspired by an effort to attach a value to a game, not unlike [[w:Go (game)|go]] or [[w:Chess|chess]], but some peculiarities that make it easy to attach a rational number that predicts how the game will end if both sides play flawlessly. Non-negative values correspond to games where the person who moves first will lose, and the magnitude (absolute value) tells us something about the margin or victory.  A value of zero corresponds to a position where the loser is the person whose turn it is to move (ties are impossible in red-blue [[w:Hackenbush|hackenbush]].)   For those who love math as a beautiful tool for solving real-life problems, this application to game theory is the most likely way to make surreal numbers seem &quot;useful&quot;.

[[File:Surreal number tree.svg|thumb|500px|Tree diagram shown at [[Wikipedia:Surreal number]]]]

===Beyond ω (with Andi Fugard)===
'''[https://andifugard.info/surreal-numbers/ numbers – Andi Fugard]''' presents a slightly different picture of &amp;omega;/2. The image to the right is from the Wikipedia article, and I am confused by the tree diagram starting at &amp;omega;. Compare the image to the right with [https://andifugard.info/wp-content/uploads/2022/07/surreal_birthdays.png this image]. All the dyadic (real) numbers are placed on a tree formation where each parent has two children.  They display two types of infinite series:
#The positive and negative integers are exterior elements and grow as &lt;br&gt;{{spaces|3}}{1, 2, 3,...}.
#Interior dyadics cut as fractions that get smaller, for example as &lt;br&gt;{{spaces|3}}{ &amp;frac12;, &amp;frac14;, &amp;frac18;, ...}.

Look at the tree that begins at ω: Both sides match the tree that begins with 0, i.e., by adding or subtracting 1 from each previous element.  To the left we get smaller with  {ω, ω-1, ω-2,..., ω/2}. See also [https://andifugard.info/wp-content/uploads/2022/07/surreal_birthdays.png this image] and [https://andifugard.info/surreal-numbers/ this article]. I am quite confused by the fact that the left side of this tree doesn't continue with {ω, ω-1, ω-2,..., 0}.&lt;ref&gt;Here, 0 might not be a member of the set, but merely a point to which the series converges.&lt;/ref&gt;  It is true that the square root of ω is smaller than every element in the series {ω, ω-1, ω-2,..., 0}. But how do we know that 2ω has the same birthday as ω/2?

'''Answer:''' Quoting page 30 of  [https://www.m-a.org.uk/resources/downloads/4H-Jim-Simons-Meet-the-surreal-numbers.pdf '''Meet the surreal numbers''']:

x = {ℕ | ω − ℕ} can hardly be ω − ω because that is equal to 0.&lt;ref&gt;Here, ℕ refers to &lt;math&gt;\mathbb{N}&lt;/math&gt;, or the [[wikipedia:natural numbers|natural numbers]].&lt;/ref&gt; So what it it? x = {ℕ | ω − ℕ}, and x + x = {x + ℕ | x + ω − ℕ}. Now x &lt; ω − n for any n ∈ ℕ, so x + n &lt; ω, ie so all the left option of x + x are less than ω, but are infinite. Similarly, x &gt; n, so x + ω − n &gt; ω, ie all the right options of x + x are bigger than ω. Therefore x + x = ω, and x = ω/2.

=== Surreal Numbers –  An Introduction (Claus Tøndering) ===
[https://www.tondering.dk/download/sur.pdf '''Surreal Numbers – An Introduction'''] is 51 pages of careful rigor. It employs the notation of logic and set theory.  Each surreal number can be expressed in a  variety of &quot;forms&quot; (each consisting of a pair of sets.)  On page 25 Tøndering proves that if x is the oldest surreal number between a and b, then {a | b} = x.

===Math576 Combinatorial Game Theory===
[https://people.math.sc.edu/lu/teaching/2020fall_576/note1.pdf Lecture note for Math576 Combinatorial Game Theory.pdf ] is an 84 page document that thoroughly connects surreal numbers to hackenbush.
===Surreal Numbers and Transseries===
[https://www.fields.utoronto.ca/talk-media/1/50/58/slides.pdf www.fields.utoronto.ca/talk-media/1/50/58/slides] concisely presents 12 pages of insight into how both real numbers, as well as von Neumann's ordinal numbers, embedded in the surreals.

===Video===
[https://www.youtube.com/watch?v=ZYj4NkeGPdM HACKENBUSH: a window to a new world of math] is an hour-long video that begins with a solid introduction to hackenbush, but also goes far beyond.

=== Other useful (but informal) discussions ===

* Mathematical Musings https://www.youtube.com/watch?v=QaK81xaIb-U
* https://www.quora.com/What%E2%80%99s-the-difference-between-surreal-and-hyperreal-numbers-in-layman%E2%80%99s-terms

===Wikiversity/Wikipedia/Wikibooks===
[[File:Conway names, the simplicity hierarchy and the surreal number tree.pdf|thumb|Conway names, the simplicity hierarchy and the surreal number tree (PHILIP EHRLICH)]]
{{colbegin}}
*[[w:Surreal numbers]]
*[[w:Ordinal arithmetic]]
*[[w:Infinity#Real_analysis]]
*[[w:Transfinite number#Examples]]
*[[w:Hyperreal number]]
*[[w:Von Neumann universe]]
*[[Surreal_number/Simple_hackenbush#References]]
*[[Introduction to Category Theory/Products and Coproducts of Sets]]
*[[Introduction to Category Theory/Sets and Functions]]
*[[Set theory]]
*[[b:Surreal_Numbers_and_Games]]

{{colend}}

===External links===
*[https://eprints.whiterose.ac.uk/123644/1/1608.03413v2.pdf SURREAL NUMBERS WITH DERIVATION, HARDY FIELDS AND TRANSSERIES: A SURVEY, (MANTOVA &amp; MATUSINSKI)] ([https://arxiv.org/abs/1608.03413 alternative link])This '''might''' show a simple way to represent surreal numbers as a series expansion.
* [https://arxiv.org/pdf/1210.5675 &lt;small&gt;arxiv.org/pdf/1210.5675&lt;/small&gt; CONVERGENCE ON SURREALS &lt;small&gt;(ISTVAN MEZO)&lt;/small&gt;]: Points out that the limits used with real numbers do not apply to surreal numbers.  For example, despite that &lt;math&gt;\tfrac 1 2 \omega&lt;/math&gt; is obtained by subtracting &lt;math&gt;1&lt;/math&gt; form &lt;math&gt;\omega&lt;/math&gt; and infinite number of times, it is '''not true''' that &lt;math display=&quot;inline&quot;&gt;\sum_{n\to\infty} 1=\tfrac 1 2 \omega.&lt;/math&gt; See also  [https://arxiv.org/pdf/1603.09289 &lt;small&gt;arxiv.org/pdf/1603.09289&lt;/small&gt; SURREAL LIMITS &lt;small&gt;(PAOLO LIPPARINI AND ISTVAN MEZO)&lt;/small&gt;] Also helpful is https://math.stackexchange.com/questions/1237974/decoding-the-sign-expansion-of-surreal-numbers&amp;nbsp;. 
*'''[https://hiaatcnd.github.io/2019/11/09/Hackenbush/ Chitanda'a Blog]''' is a must read! I don't know why Google never found it.  I found it using Explorer (images).  Shows an amazing connection between hackenbush and the tree of surreal numbers.
*I haven't digested '''[https://math.stackexchange.com/questions/816540/proof-of-conways-simplicity-rule-for-surreal-numbers math.stackexchange question 816540]''' on the proof of the simplicity rule.  But it seems sufficiently well written to be worth reading ([[W:Surreal numbers|Wikipedia]] states the rule without proof, or even a claim that it can be proven.)
*[https://www.whitman.edu/documents/Academics/Mathematics/Grimm.pdf whitman.edu (Grimm.pdf)]  30 pages. Excellent resource with proofs and connection to hackenbush. A curious feature of this resource is that he claims that all red-blue hackenbush games are numbers.  His argument that any non-zero hackenbush position can be used to create a zero position by subtracting a number that has been created by a collection of simple trees.  Since every number can be represented by a simple hackenbush game, then every position can be &quot;zeroed&quot; by a simple game.  Unfortunately, Grimm doesn't explain how omega can be represented by a hackenbush position.
*[https://drive.google.com/file/d/1iVqRJJ4D0prkPboquCmGEVzOC0cdS5j-/view Steven Charlton - An Very Brief Introduction to Surreal Numbers] [https://guests.mpim-bonn.mpg.de/spc/talks/7_gandalf_surrealnumbers_notes.pdf (alternate link)] 6 pages.
*[https://arxiv.org/pdf/1810.10373 Surreal Birthdays and Their Arithmetic (Matthew Roughan)] 13 pages. Directed Acyclic Graphs (DAG); 2*3 &amp; 3/4 + 3/4/ (a bit complicated).   
*[https://medium.com/badiou-and-science/badiou-and-science-1-4-1-the-surreal-numbers-part-1-95dadcf4c554 badiou-and-science part-1] Nice graphs. 8 minute read.  Seems identical to article at [https://www.scientificamerican.com/article/surreal-numbers-are-a-real-thing-heres-how-to-make-them/ scietificamerican.com], except the former has links to more game theory articles by same author.
*[https://web.mit.edu/sp.268/www/surreal.pdf what is a game? (mit)] 13 pages.*
*[https://math.stackexchange.com/questions/816540/proof-of-conways-simplicity-rule-for-surreal-numbers stackexchange definition of all dyadics] 
*[https://math.stackexchange.com/questions/926581/in-the-surreal-numbers-is-it-fair-to-say-0-9-repeating-is-not-equal-to-1 stackexchange on .9999]
*See also [[Draft:Surreal_number#Collection_of_online_resources_saved_on_disk]]
*[https://web.archive.org/web/20150429210249/http://euclid.colorado.edu/~monkd/m8714.html course notes on set theory]


=====Proof of Conways Simplicity Rule=====

https://math.stackexchange.com/questions/816540/proof-of-conways-simplicity-rule-for-surreal-numbers

&lt;math&gt;0=\{|\}&lt;/math&gt;

&lt;math&gt;n+1=\{n|\}&lt;/math&gt;

&lt;math&gt;-n-1=\{|-n\}&lt;/math&gt;

&lt;math&gt;\tfrac{2p+1}{2^{q+1}}=\left\{
\tfrac{p}{2q}
|
\tfrac{p+1}{2q}
\right\}&lt;/math&gt;

====Limits and analysis====
Infinity is easy to imagine, but difficult to incorporate into rigorous mathematics.  The following &quot;logic&quot; certainly violates the rules of mathematics and is therefore nonsensical:
:&lt;math&gt;\lim_{\epsilon\to 0} \frac 1 \epsilon =\infty\;&lt;/math&gt; and &lt;math&gt;\;\lim_{\epsilon\to 0} \frac 2 \epsilon =\infty\;&lt;/math&gt; implies &lt;math&gt;\;\frac\infty\infty =2.&lt;/math&gt;

This is why expressions like &lt;math&gt;\infty/\infty&lt;/math&gt; and &lt;math&gt;0/0&lt;/math&gt; of often called [[wikt:indeterminant|indeterminant]].  Most of the time, mistakes like this can be avoided by utilizing concepts taught in a course on [[w:Mathematical analysis|mathematical analysis]].

==Images==
{{wide image|Positive surreals to seventh birthday.svg|2000px}}
[[File:Números hiperreales.png|400px|thumb|Infinitesimals (ε) and infinities (ω) on the hyperreal number line (1/ε = ω/1). This image appears in the Wikipedia articles [[w:Hyperreal number]], [[w:Infinitesimal]], and [[w:Infinity]].]]
{{clear}}

===Using Latex {matrix}===
With Latex, it is easier to use dots instead of arrows to highlight how parents give rise to children. The following two trees (starting from 1 and 0, respectively) are written as latex matrices:

&lt;math display=&quot;block&quot;&gt; a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad
a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad
a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad
a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad
a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad
a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad a\quad
&lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;\begin{matrix}
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp; 1 &amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp; \\
&amp;&amp;&amp;&amp;&amp;&amp;&amp; \tfrac 1 2&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;2 &amp;&amp;&amp;&amp;&amp;&amp;&amp; \\

&amp;&amp;&amp; \tfrac 1 4 &amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp; \tfrac 3 4 &amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp; 1\tfrac 1 2 &amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp; 3 &amp;&amp;&amp;  \\

&amp;\tfrac 1 8 &amp;\cdot&amp;\cdot &amp;\cdot&amp; \tfrac 3 8 &amp;\cdot&amp;\cdot &amp;\cdot&amp; \tfrac 5 8 &amp;\cdot&amp;\cdot &amp;\cdot&amp; \tfrac 7 8 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 1\tfrac 1 4 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 1\tfrac 3 4 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 2\tfrac 1 2 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 4 &amp;  \\

\tfrac{1}{16} &amp;\cdot&amp; \tfrac{3}{16} &amp;\cdot&amp; \tfrac{5}{16} &amp;\cdot&amp; \tfrac{7}{16} &amp;\cdot&amp;\tfrac{9}{16} &amp;\cdot&amp; \tfrac{11}{16} &amp;\cdot&amp; \tfrac{13}{16} &amp;\cdot&amp; \tfrac{15}{16} &amp;\cdot&amp; 1\tfrac 1 8 &amp;\cdot&amp; 1\tfrac 3 8 &amp;\cdot&amp; 1\tfrac 5 8 &amp;\cdot&amp; 1\tfrac 7 8 &amp;\cdot&amp; 2\tfrac 1 4 &amp;\cdot&amp; 2\tfrac 3 4 &amp;\cdot&amp; 3\tfrac 1 2  &amp;\cdot&amp; 5 &amp;
\end{matrix}&lt;/math&gt;

===Starting from zero===
&lt;small&gt;&lt;math&gt;\begin{matrix}
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp; 0 &amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp; \\

&amp;&amp;&amp;&amp;&amp;&amp;&amp;{\color{Red}\overline{1}}&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp; 1 &amp;&amp;&amp;&amp;&amp;&amp;&amp;\\

&amp;&amp;&amp;{\color{Red}\overline{2}}&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;{\color{Red}\overline{\tfrac 1 2}}&amp;\cdot&amp;\cdot &amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\tfrac 1 2 &amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot &amp; 2 &amp;&amp;&amp;\\

&amp;{\color{Red}\overline{3}} &amp;\cdot&amp;\cdot &amp;\cdot&amp; {\color{Red}\overline{1\tfrac 1 2}} &amp;\cdot&amp;\cdot &amp;\cdot&amp; {\color{Red}\overline{\tfrac 3 4}} &amp;\cdot&amp;\cdot &amp;\cdot&amp; {\color{Red}\overline{\tfrac 1 4}} &amp;\cdot&amp;\cdot &amp;\cdot&amp; \tfrac 1 4 &amp;\cdot&amp;\cdot &amp;\cdot&amp; \tfrac 3 4 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 1\tfrac 1 2 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 3 &amp;\\

{\color{Red}\overline{4}} &amp;\cdot&amp; {\color{Red}\overline{2\tfrac 1 2}} &amp;\cdot&amp; {\color{Red}\overline{1\tfrac 3 4}} &amp;\cdot&amp; {\color{Red}\overline{1\tfrac 1 4}} &amp;\cdot&amp;{\color{Red}\overline{\tfrac 7 8}} &amp;\cdot&amp;{\color{Red}\overline{\tfrac 5 8}} &amp;\cdot&amp;{\color{Red}\overline{\tfrac 3 8}} &amp;\cdot&amp; {\color{Red}\overline{\tfrac 1 8}} &amp;\cdot&amp; \tfrac 1 8 &amp;\cdot&amp; \tfrac 3 8 &amp;\cdot&amp; \tfrac 5 8 &amp;\cdot&amp; \tfrac 7 8 &amp;\cdot&amp; 1\tfrac 1 4 &amp;\cdot&amp; 1\tfrac 3 4 &amp;\cdot&amp; 2\tfrac 1 2  &amp;\cdot&amp; 4
\end{matrix}&lt;/math&gt;&lt;/small&gt;

====With sets====
{{cot|under construction}}
&lt;math&gt;
{\color{Red}\begin{matrix}\{ \overline{L} | \overline{R} \} \\[-.5 ex]\text{-}a\tfrac b c\end{matrix}}
&lt;/math&gt;
-----


&lt;small&gt;&lt;math display=block&gt;\begin{matrix}
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp; 0 &amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp; \\

&amp;&amp;&amp;&amp;&amp;&amp;&amp;

\begin{matrix}
{\color{red}\{ \; | }0 
{\color{red}\}} \\[-.5 ex]
{\color{red}\text{-}1 }
\end{matrix}

&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp; 

1 

&amp;&amp;&amp;&amp;&amp;&amp;&amp;\\

&amp;&amp;&amp;
{\color{Red}\begin{matrix}\{ \; | \overline{1} \} \\[-.5 ex] \text{-}2\end{matrix}}

&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;

\begin{matrix}
{\color{red}\{ \overline 1 | }0 
{\color{red}\}} \\[-.5 ex]
{\color{red}\text{-}\tfrac 1 2 }
\end{matrix}

&amp;\cdot&amp;\cdot &amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;

\tfrac 1 2 

&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot&amp;\cdot &amp; 

2 

&amp;&amp;&amp;\\&amp;{\color{Red}\begin{matrix}\{\;|\overline{2}\}\\[-.5 ex]  \text{-}3  \end{matrix}}&amp;\cdot&amp;\cdot &amp;\cdot&amp; 

{\color{Red}
\begin{matrix}
\{ \overline 2 | \overline 1 \} \\[-.5 ex]
\text{-1}\tfrac 1 2 
\end{matrix}}

&amp;\cdot&amp;\cdot &amp;\cdot&amp; 

{\color{Red}\begin{matrix}\{ \overline{1} | \overline{\tfrac 1 2} \} \\[-.5 ex]\text{-}\tfrac 3 4 \end{matrix}}

&amp;\cdot&amp;\cdot &amp;\cdot&amp; 

\begin{matrix}
{\color{red}\{ \overline{\tfrac 1 2} | }0 
{\color{red}\}} \\[-.5 ex]
{\color{red}\text{-}\tfrac 1 4 }
\end{matrix}

&amp;\cdot&amp;\cdot &amp;\cdot&amp; 

\tfrac 1 4 &amp;\cdot&amp;\cdot &amp;\cdot&amp; 

\tfrac 3 4 

&amp;\cdot&amp;\cdot &amp;\cdot&amp; 

1\tfrac 1 2 

&amp;\cdot&amp;\cdot &amp;\cdot&amp; 3 &amp;\\

{\color{Red}\begin{matrix}\{ \; | \overline{3} \} \\[-.5 ex]\text{-4} \end{matrix}} &amp;\cdot&amp; 

{\color{Red}\begin{matrix}\{ \overline 3 | \overline{2} \} \\[-.5 ex]\text{-}2\tfrac 1 2\end{matrix}}

&amp;\cdot&amp; 

{\color{Red}\begin{matrix}\{\overline{2}  |\overline{1\tfrac 1 2}  \} \\[-.5 ex]\text{-}1\tfrac 3 4\end{matrix}}

&amp;\cdot&amp; 

{\color{Red}\begin{matrix}\{ \overline{1\frac 1 2} | \overline{1} \} \\[-.5 ex]\text{-}1\tfrac 1 4\end{matrix}}

&amp;\cdot&amp;

{\color{Red}\begin{matrix}\{ \overline 1 | \overline{\tfrac 3 4} \} \\[-.5 ex]\text{-}\tfrac 7 8\end{matrix}}

&amp;\cdot&amp;

{\color{Red}\overline{\tfrac 5 8}} 

&amp;\cdot&amp;{

\color{Red}\overline{\tfrac 3 8}} 

&amp;\cdot&amp; 

\begin{matrix}
{\color{red}\{ \overline{\tfrac 1 4} | }0 
{\color{red}\}} \\[-.5 ex]
{\color{red}\text{-}\tfrac 1 8 }
\end{matrix} 


&amp;\cdot&amp; \tfrac 1 8 &amp;\cdot&amp; 

\tfrac 3 8 

&amp;\cdot&amp; 

\tfrac 5 8 

&amp;\cdot&amp; 

\tfrac 7 8

 &amp;\cdot&amp; 

1\tfrac 1 4 &amp;\cdot&amp; 

1\tfrac 3 4 

&amp;\cdot&amp; 2

\tfrac 1 2 
 &amp;\cdot&amp; 

4

\end{matrix}&lt;/math&gt;&lt;/small&gt;

{{cob}}

==Categories==
[[Draft:Surreal number]]
{{center|[[special:prefixindex/{{FULLPAGENAME}}/|&lt;small&gt;''Link to any subpages this page might have''&lt;/small&gt;]]}}
[[Category:Numbers]]</text>
      <sha1>3r5se2seoahfkgzrnppry9hcof0bdka</sha1>
    </revision>
  </page>
  <page>
    <title>Bully Metric Timestamps</title>
    <ns>0</ns>
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    <revision>
      <id>2807168</id>
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      <timestamp>2026-05-01T01:09:49Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
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      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11936" sha1="t9qyqk3i2xuharbeqgr2u9uij0wr4qf" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed with the following objectives in mind:

# Invent a timekeeping system which is sufficiently independent of Earth's motions and orientation, so that &quot;leap&quot; seconds, &quot;leap&quot; years, time zones, and other correctional adjustments are not required.
# A timekeeping system which is fundamentally binary and compatible with computer architecture.
# A timekeeping system roughly based in galactic years, Great Years, and [[Bully_Metric_Foundations|Great Weeks]], with enough scope to uniquely and unambiguously identify each point in time, beginning with the Big Bang, and continuing into the foreseeable future.
# A timekeeping system with a built-in [[Bully Mnemonic | mnemonic device]], to promote education and understanding.&lt;/br&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].


== &quot;Contextualized Time&quot; vs &quot;Decontextualized Time&quot; ==
Local clocks and calendars show &quot;local time,&quot; a region-specific offset from Coordinated Universal Time (UTC). This time is valuable because it is &quot;contextual&quot;, giving people an intuitive sense of daily conditions. For example, a traveler arriving in London at 4:00 a.m. on a Sunday can instinctively expect conditions like darkness and reduced traffic. To keep UTC aligned with Earth's natural cycles, periodic adjustments—like leap seconds and leap years—are necessary. The light blue line in Figure 1 represents Earth's unpredictable rotation (UT1), while the dark blue line shows UTC, which is periodically adjusted with leap seconds to match UT1.

Unlike UTC, standards such as International Atomic Time (TAI), Terrestrial Time (TT), and GPS time are &quot;decontextualized,&quot; meaning there is no place on Earth where these time standards could be used as local &quot;true time&quot; because they are independent of Earth's rotation. These decontextualized time standards, represented as black lines in Figure 1, track a continuous, uniform second measured by atomic clocks. This uninterrupted nature is critical for scientific and technical applications, where discontinuities caused by leap seconds could cause major system disruptions.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards were created because long-term changes in Earth's motion are unpredictable, so each standard reflects the astronomical conditions present at the time of its deployment. For example, when GPS was launched in 1980, the Delta T adjustment (TT-UTC) was over 51 leap seconds, whereas the LORAN-C upgrade in 1972 had an adjustment closer to 42 leap seconds. This difference results in a constant nine-second offset between GPS and LORAN-C timestamps. Similarly, LORAN-C timestamps are constantly offset from TAI by ten seconds, due to TAI's earlier deployment in 1958.

Note the Bully timestamps on the far-right axis of Figure 1. Bully is a uniform, decontextualized time standard like TAI and TT. However, Bully timestamps are not linked to the others by a constant time offset. This uniqueness makes them easy to recognize and interpret.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All of the timestamps in Figure 2, below, refer to a single, simultaneous moment in time. The left frame of Figure 2 shows how Coordinated Universal Time (UTC) uses time zones to adjust for different locations on Earth. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, corresponded to 8:59:29 p.m. in Tokyo, Japan. The placement of time zones is a [https://en.wikipedia.org/wiki/List_of_time_zones_by_country political], not scientific, decision made by each country. These political decisions have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 UTC time zone offsets], including some that differ by half or quarter hours.

The decontextualized timestamps in the upper-right frame of Figure 2 are displayed using Gregorian dates, but this can be confusing as these dates lack astronomical meaning. Seeing three different timestamps with the same date but with time varying by a few seconds can be disorienting. In these cases, the Gregorian date format is meaningless and applied retroactively merely for convenience.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical purposes, TAI and TT are often represented using the Modified Julian Date (MJD) format. This format consists of a continuous count of SI days since a specific starting point (the epoch) and the number of SI seconds into that day. While more precise than conventional units because it avoids Gregorian calendar irregularities, it still uses SI days and SI seconds in a decontextualized and therefore astronomically meaningless way. Similarly, GPS time is typically displayed with an SI week number since the GPS epoch (January 6, 1980) and the number of SI seconds into that week.

The Bully Timestamp, shown in the lower-right frame of Figure 2, is a single, unique timestamp that applies simultaneously to all locations on Earth because it is never adjusted for location. For example, Bully timestamp 8209 2800 0000 was recorded on June 21, 1998, at the very moment the UTC time was 11:59:29 a.m. in Accra, Ghana, and 8:59:29 p.m. in Tokyo, Japan. The Bully timestamp is the clearest and least ambiguous format for representing decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

'''The Bully Timestamp System''' offers an alternative way to express decontextualized time, precisely measuring the passage of elapsed time using atomic clocks. A new, unique, hexadecimal, 12-digit Bully timestamp is realized every 3,055 SI seconds TAI. Bully timestamp 8209 2800 0000 occurred simultaneously with 11:59:29 a.m. GMT (12:00:00 TAI) on June 21, 1998.

Unlike traditional time standards, Bully timestamps are not linked to the motions or orientation of the Earth or other planets, eliminating the need for corrections like leap seconds and leap years. The system avoids traditional decontextualized unit names like &quot;year,&quot; &quot;month,&quot; &quot;week,&quot; &quot;day,&quot; &quot;hour,&quot; or &quot;minute,&quot; so there is no confusion with contextualized time. While it uses &quot;SI seconds,&quot; it does so purely in the scientific definition, not as a fraction of a day. The Bully timestamp system is consistently and unambiguously defined, without relying on arbitrary epochs.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>t9qyqk3i2xuharbeqgr2u9uij0wr4qf</sha1>
    </revision>
    <revision>
      <id>2807169</id>
      <parentid>2807168</parentid>
      <timestamp>2026-05-01T01:10:40Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807169</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11141" sha1="kszk1gpz5xxl3sah969txnpehex81lp" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].


== &quot;Contextualized Time&quot; vs &quot;Decontextualized Time&quot; ==
Local clocks and calendars show &quot;local time,&quot; a region-specific offset from Coordinated Universal Time (UTC). This time is valuable because it is &quot;contextual&quot;, giving people an intuitive sense of daily conditions. For example, a traveler arriving in London at 4:00 a.m. on a Sunday can instinctively expect conditions like darkness and reduced traffic. To keep UTC aligned with Earth's natural cycles, periodic adjustments—like leap seconds and leap years—are necessary. The light blue line in Figure 1 represents Earth's unpredictable rotation (UT1), while the dark blue line shows UTC, which is periodically adjusted with leap seconds to match UT1.

Unlike UTC, standards such as International Atomic Time (TAI), Terrestrial Time (TT), and GPS time are &quot;decontextualized,&quot; meaning there is no place on Earth where these time standards could be used as local &quot;true time&quot; because they are independent of Earth's rotation. These decontextualized time standards, represented as black lines in Figure 1, track a continuous, uniform second measured by atomic clocks. This uninterrupted nature is critical for scientific and technical applications, where discontinuities caused by leap seconds could cause major system disruptions.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards were created because long-term changes in Earth's motion are unpredictable, so each standard reflects the astronomical conditions present at the time of its deployment. For example, when GPS was launched in 1980, the Delta T adjustment (TT-UTC) was over 51 leap seconds, whereas the LORAN-C upgrade in 1972 had an adjustment closer to 42 leap seconds. This difference results in a constant nine-second offset between GPS and LORAN-C timestamps. Similarly, LORAN-C timestamps are constantly offset from TAI by ten seconds, due to TAI's earlier deployment in 1958.

Note the Bully timestamps on the far-right axis of Figure 1. Bully is a uniform, decontextualized time standard like TAI and TT. However, Bully timestamps are not linked to the others by a constant time offset. This uniqueness makes them easy to recognize and interpret.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All of the timestamps in Figure 2, below, refer to a single, simultaneous moment in time. The left frame of Figure 2 shows how Coordinated Universal Time (UTC) uses time zones to adjust for different locations on Earth. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, corresponded to 8:59:29 p.m. in Tokyo, Japan. The placement of time zones is a [https://en.wikipedia.org/wiki/List_of_time_zones_by_country political], not scientific, decision made by each country. These political decisions have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 UTC time zone offsets], including some that differ by half or quarter hours.

The decontextualized timestamps in the upper-right frame of Figure 2 are displayed using Gregorian dates, but this can be confusing as these dates lack astronomical meaning. Seeing three different timestamps with the same date but with time varying by a few seconds can be disorienting. In these cases, the Gregorian date format is meaningless and applied retroactively merely for convenience.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical purposes, TAI and TT are often represented using the Modified Julian Date (MJD) format. This format consists of a continuous count of SI days since a specific starting point (the epoch) and the number of SI seconds into that day. While more precise than conventional units because it avoids Gregorian calendar irregularities, it still uses SI days and SI seconds in a decontextualized and therefore astronomically meaningless way. Similarly, GPS time is typically displayed with an SI week number since the GPS epoch (January 6, 1980) and the number of SI seconds into that week.

The Bully Timestamp, shown in the lower-right frame of Figure 2, is a single, unique timestamp that applies simultaneously to all locations on Earth because it is never adjusted for location. For example, Bully timestamp 8209 2800 0000 was recorded on June 21, 1998, at the very moment the UTC time was 11:59:29 a.m. in Accra, Ghana, and 8:59:29 p.m. in Tokyo, Japan. The Bully timestamp is the clearest and least ambiguous format for representing decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

'''The Bully Timestamp System''' offers an alternative way to express decontextualized time, precisely measuring the passage of elapsed time using atomic clocks. A new, unique, hexadecimal, 12-digit Bully timestamp is realized every 3,055 SI seconds TAI. Bully timestamp 8209 2800 0000 occurred simultaneously with 11:59:29 a.m. GMT (12:00:00 TAI) on June 21, 1998.

Unlike traditional time standards, Bully timestamps are not linked to the motions or orientation of the Earth or other planets, eliminating the need for corrections like leap seconds and leap years. The system avoids traditional decontextualized unit names like &quot;year,&quot; &quot;month,&quot; &quot;week,&quot; &quot;day,&quot; &quot;hour,&quot; or &quot;minute,&quot; so there is no confusion with contextualized time. While it uses &quot;SI seconds,&quot; it does so purely in the scientific definition, not as a fraction of a day. The Bully timestamp system is consistently and unambiguously defined, without relying on arbitrary epochs.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>kszk1gpz5xxl3sah969txnpehex81lp</sha1>
    </revision>
    <revision>
      <id>2807170</id>
      <parentid>2807169</parentid>
      <timestamp>2026-05-01T01:13:27Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807170</origin>
      <model>wikitext</model>
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      <text bytes="11135" sha1="02h1c49mxid2iyga9vc0fgqlmsvuoj2" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards were created because long-term changes in Earth's motion are unpredictable, so each standard reflects the astronomical conditions present at the time of its deployment. For example, when GPS was launched in 1980, the Delta T adjustment (TT-UTC) was over 51 leap seconds, whereas the LORAN-C upgrade in 1972 had an adjustment closer to 42 leap seconds. This difference results in a constant nine-second offset between GPS and LORAN-C timestamps. Similarly, LORAN-C timestamps are constantly offset from TAI by ten seconds, due to TAI's earlier deployment in 1958.

Note the Bully timestamps on the far-right axis of Figure 1. Bully is a uniform, decontextualized time standard like TAI and TT. However, Bully timestamps are not linked to the others by a constant time offset. This uniqueness makes them easy to recognize and interpret.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All of the timestamps in Figure 2, below, refer to a single, simultaneous moment in time. The left frame of Figure 2 shows how Coordinated Universal Time (UTC) uses time zones to adjust for different locations on Earth. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, corresponded to 8:59:29 p.m. in Tokyo, Japan. The placement of time zones is a [https://en.wikipedia.org/wiki/List_of_time_zones_by_country political], not scientific, decision made by each country. These political decisions have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 UTC time zone offsets], including some that differ by half or quarter hours.

The decontextualized timestamps in the upper-right frame of Figure 2 are displayed using Gregorian dates, but this can be confusing as these dates lack astronomical meaning. Seeing three different timestamps with the same date but with time varying by a few seconds can be disorienting. In these cases, the Gregorian date format is meaningless and applied retroactively merely for convenience.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical purposes, TAI and TT are often represented using the Modified Julian Date (MJD) format. This format consists of a continuous count of SI days since a specific starting point (the epoch) and the number of SI seconds into that day. While more precise than conventional units because it avoids Gregorian calendar irregularities, it still uses SI days and SI seconds in a decontextualized and therefore astronomically meaningless way. Similarly, GPS time is typically displayed with an SI week number since the GPS epoch (January 6, 1980) and the number of SI seconds into that week.

The Bully Timestamp, shown in the lower-right frame of Figure 2, is a single, unique timestamp that applies simultaneously to all locations on Earth because it is never adjusted for location. For example, Bully timestamp 8209 2800 0000 was recorded on June 21, 1998, at the very moment the UTC time was 11:59:29 a.m. in Accra, Ghana, and 8:59:29 p.m. in Tokyo, Japan. The Bully timestamp is the clearest and least ambiguous format for representing decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

'''The Bully Timestamp System''' offers an alternative way to express decontextualized time, precisely measuring the passage of elapsed time using atomic clocks. A new, unique, hexadecimal, 12-digit Bully timestamp is realized every 3,055 SI seconds TAI. Bully timestamp 8209 2800 0000 occurred simultaneously with 11:59:29 a.m. GMT (12:00:00 TAI) on June 21, 1998.

Unlike traditional time standards, Bully timestamps are not linked to the motions or orientation of the Earth or other planets, eliminating the need for corrections like leap seconds and leap years. The system avoids traditional decontextualized unit names like &quot;year,&quot; &quot;month,&quot; &quot;week,&quot; &quot;day,&quot; &quot;hour,&quot; or &quot;minute,&quot; so there is no confusion with contextualized time. While it uses &quot;SI seconds,&quot; it does so purely in the scientific definition, not as a fraction of a day. The Bully timestamp system is consistently and unambiguously defined, without relying on arbitrary epochs.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>02h1c49mxid2iyga9vc0fgqlmsvuoj2</sha1>
    </revision>
    <revision>
      <id>2807171</id>
      <parentid>2807170</parentid>
      <timestamp>2026-05-01T01:15:32Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* Contextualized vs. Decontextualized Time */</comment>
      <origin>2807171</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11325" sha1="afvp238gx7wyqiqmkpkrawevve4slut" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All of the timestamps in Figure 2, below, refer to a single, simultaneous moment in time. The left frame of Figure 2 shows how Coordinated Universal Time (UTC) uses time zones to adjust for different locations on Earth. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, corresponded to 8:59:29 p.m. in Tokyo, Japan. The placement of time zones is a [https://en.wikipedia.org/wiki/List_of_time_zones_by_country political], not scientific, decision made by each country. These political decisions have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 UTC time zone offsets], including some that differ by half or quarter hours.

The decontextualized timestamps in the upper-right frame of Figure 2 are displayed using Gregorian dates, but this can be confusing as these dates lack astronomical meaning. Seeing three different timestamps with the same date but with time varying by a few seconds can be disorienting. In these cases, the Gregorian date format is meaningless and applied retroactively merely for convenience.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical purposes, TAI and TT are often represented using the Modified Julian Date (MJD) format. This format consists of a continuous count of SI days since a specific starting point (the epoch) and the number of SI seconds into that day. While more precise than conventional units because it avoids Gregorian calendar irregularities, it still uses SI days and SI seconds in a decontextualized and therefore astronomically meaningless way. Similarly, GPS time is typically displayed with an SI week number since the GPS epoch (January 6, 1980) and the number of SI seconds into that week.

The Bully Timestamp, shown in the lower-right frame of Figure 2, is a single, unique timestamp that applies simultaneously to all locations on Earth because it is never adjusted for location. For example, Bully timestamp 8209 2800 0000 was recorded on June 21, 1998, at the very moment the UTC time was 11:59:29 a.m. in Accra, Ghana, and 8:59:29 p.m. in Tokyo, Japan. The Bully timestamp is the clearest and least ambiguous format for representing decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

'''The Bully Timestamp System''' offers an alternative way to express decontextualized time, precisely measuring the passage of elapsed time using atomic clocks. A new, unique, hexadecimal, 12-digit Bully timestamp is realized every 3,055 SI seconds TAI. Bully timestamp 8209 2800 0000 occurred simultaneously with 11:59:29 a.m. GMT (12:00:00 TAI) on June 21, 1998.

Unlike traditional time standards, Bully timestamps are not linked to the motions or orientation of the Earth or other planets, eliminating the need for corrections like leap seconds and leap years. The system avoids traditional decontextualized unit names like &quot;year,&quot; &quot;month,&quot; &quot;week,&quot; &quot;day,&quot; &quot;hour,&quot; or &quot;minute,&quot; so there is no confusion with contextualized time. While it uses &quot;SI seconds,&quot; it does so purely in the scientific definition, not as a fraction of a day. The Bully timestamp system is consistently and unambiguously defined, without relying on arbitrary epochs.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>afvp238gx7wyqiqmkpkrawevve4slut</sha1>
    </revision>
    <revision>
      <id>2807172</id>
      <parentid>2807171</parentid>
      <timestamp>2026-05-01T01:19:31Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* Why do we need Bully timestamps? */</comment>
      <origin>2807172</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11381" sha1="09t9icr0t59e2ovvqpercyl37165rdf" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical purposes, TAI and TT are often represented using the Modified Julian Date (MJD) format. This format consists of a continuous count of SI days since a specific starting point (the epoch) and the number of SI seconds into that day. While more precise than conventional units because it avoids Gregorian calendar irregularities, it still uses SI days and SI seconds in a decontextualized and therefore astronomically meaningless way. Similarly, GPS time is typically displayed with an SI week number since the GPS epoch (January 6, 1980) and the number of SI seconds into that week.

The Bully Timestamp, shown in the lower-right frame of Figure 2, is a single, unique timestamp that applies simultaneously to all locations on Earth because it is never adjusted for location. For example, Bully timestamp 8209 2800 0000 was recorded on June 21, 1998, at the very moment the UTC time was 11:59:29 a.m. in Accra, Ghana, and 8:59:29 p.m. in Tokyo, Japan. The Bully timestamp is the clearest and least ambiguous format for representing decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

'''The Bully Timestamp System''' offers an alternative way to express decontextualized time, precisely measuring the passage of elapsed time using atomic clocks. A new, unique, hexadecimal, 12-digit Bully timestamp is realized every 3,055 SI seconds TAI. Bully timestamp 8209 2800 0000 occurred simultaneously with 11:59:29 a.m. GMT (12:00:00 TAI) on June 21, 1998.

Unlike traditional time standards, Bully timestamps are not linked to the motions or orientation of the Earth or other planets, eliminating the need for corrections like leap seconds and leap years. The system avoids traditional decontextualized unit names like &quot;year,&quot; &quot;month,&quot; &quot;week,&quot; &quot;day,&quot; &quot;hour,&quot; or &quot;minute,&quot; so there is no confusion with contextualized time. While it uses &quot;SI seconds,&quot; it does so purely in the scientific definition, not as a fraction of a day. The Bully timestamp system is consistently and unambiguously defined, without relying on arbitrary epochs.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>09t9icr0t59e2ovvqpercyl37165rdf</sha1>
    </revision>
    <revision>
      <id>2807173</id>
      <parentid>2807172</parentid>
      <timestamp>2026-05-01T01:21:36Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* Why do we need Bully timestamps? */</comment>
      <origin>2807173</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11462" sha1="skd9rsn7qv5xm20fbpk81ulkiex7epa" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

'''The Bully Timestamp System''' offers an alternative way to express decontextualized time, precisely measuring the passage of elapsed time using atomic clocks. A new, unique, hexadecimal, 12-digit Bully timestamp is realized every 3,055 SI seconds TAI. Bully timestamp 8209 2800 0000 occurred simultaneously with 11:59:29 a.m. GMT (12:00:00 TAI) on June 21, 1998.

Unlike traditional time standards, Bully timestamps are not linked to the motions or orientation of the Earth or other planets, eliminating the need for corrections like leap seconds and leap years. The system avoids traditional decontextualized unit names like &quot;year,&quot; &quot;month,&quot; &quot;week,&quot; &quot;day,&quot; &quot;hour,&quot; or &quot;minute,&quot; so there is no confusion with contextualized time. While it uses &quot;SI seconds,&quot; it does so purely in the scientific definition, not as a fraction of a day. The Bully timestamp system is consistently and unambiguously defined, without relying on arbitrary epochs.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>skd9rsn7qv5xm20fbpk81ulkiex7epa</sha1>
    </revision>
    <revision>
      <id>2807174</id>
      <parentid>2807173</parentid>
      <timestamp>2026-05-01T01:54:06Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* The Bully Timestamp System */</comment>
      <origin>2807174</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11455" sha1="e99gupqvl3m27mmyogv695ev2ddwfpp" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

The '''Bully Timestamp System''' provides a streamlined method for expressing decontextualized time by precisely measuring elapsed intervals via atomic clocks. A unique, 12-digit hexadecimal Bully timestamp is realized every 3,055 SI seconds (TAI). For example, Bully timestamp {{mono|8209 2800 0000}} occurred simultaneously with 12:00:00 TAI on June 21, 1998.

Unlike traditional standards, Bully timestamps are entirely independent of planetary motion, removing the need for &quot;leaps&quot; or regional offsets. By discarding traditional unit names—such as &quot;year,&quot; &quot;month,&quot; or &quot;hour&quot;—the system eliminates any possible confusion with contextualized solar time. While it utilizes SI seconds as its fundamental building block, it does so strictly as a unit of duration rather than a fraction of an Earth day. This ensures the Bully system remains a consistent, unambiguous, and mathematically &quot;clean&quot; alternative to historical timekeeping.

== Time span covered by Bully timestamps ==

&lt;math display=&quot;block&quot;&gt;{16}^{12} \cdot 3055\ seconds = 27,249,360,000\ years&lt;/math&gt;

A unique, hexadecimal, 12-digit Bully timestamp is realized every 3055 seconds TAI.  The universe is currently understood to be less than 13.8 billion years old, which means that there are enough unique Bully timestamps to span the entire age of the universe.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>e99gupqvl3m27mmyogv695ev2ddwfpp</sha1>
    </revision>
    <revision>
      <id>2807176</id>
      <parentid>2807174</parentid>
      <timestamp>2026-05-01T01:55:40Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* Time span covered by Bully timestamps */</comment>
      <origin>2807176</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11616" sha1="9z0bstu3s59iylsl0xcivl35c32do0b" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

The '''Bully Timestamp System''' provides a streamlined method for expressing decontextualized time by precisely measuring elapsed intervals via atomic clocks. A unique, 12-digit hexadecimal Bully timestamp is realized every 3,055 SI seconds (TAI). For example, Bully timestamp {{mono|8209 2800 0000}} occurred simultaneously with 12:00:00 TAI on June 21, 1998.

Unlike traditional standards, Bully timestamps are entirely independent of planetary motion, removing the need for &quot;leaps&quot; or regional offsets. By discarding traditional unit names—such as &quot;year,&quot; &quot;month,&quot; or &quot;hour&quot;—the system eliminates any possible confusion with contextualized solar time. While it utilizes SI seconds as its fundamental building block, it does so strictly as a unit of duration rather than a fraction of an Earth day. This ensures the Bully system remains a consistent, unambiguous, and mathematically &quot;clean&quot; alternative to historical timekeeping.

== Time span covered by Bully timestamps ==

With 12 hexadecimal digits, the system has a massive address space for time. Given that a new timestamp is realized every 3,055 SI seconds, the total capacity of the system is:

:&lt;math&gt;16^{12} \times 3,055 \text{ seconds} \approx 27.25 \text{ billion Julian years}&lt;/math&gt;

Because the universe is estimated to be approximately 13.8 billion years old, the Bully Timestamp System provides enough unique identifiers to span the entire history of the universe—from the Big Bang into the far-distant future.

== The Foundations of Bully Metric ==

Bully spacetime units were originally derived from the orbital periods of various Solar System bodies. In particular, the number of seconds in Earth's sidereal year is 31558150 s = [[Bully Mnemonic |10330 * 3055 s]].  Large [https://en.wikipedia.org/wiki/Astronomical_object astronomical objects], such as
[https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and the Solar System's [https://en.m.wikipedia.org/wiki/Giant_planet giant planets], can be thought of as bullies both in the traditional meaning of &quot;beautiful&quot;, but also in the modern meaning of being intimidating and threatening. The bullies, in Bully Metric, are Sagittarius A*, the Sun, and giant planets like Jupiter and Saturn.

[[Bully_Metric_Foundations|The Foundations of Bully Metric]]&lt;br /&gt;
[[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>9z0bstu3s59iylsl0xcivl35c32do0b</sha1>
    </revision>
    <revision>
      <id>2807177</id>
      <parentid>2807176</parentid>
      <timestamp>2026-05-01T01:59:21Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* The Foundations of Bully Metric */</comment>
      <origin>2807177</origin>
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      <text bytes="11854" sha1="3j0unabq9unpr6cdw334k5lyr73h65r" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

The '''Bully Timestamp System''' provides a streamlined method for expressing decontextualized time by precisely measuring elapsed intervals via atomic clocks. A unique, 12-digit hexadecimal Bully timestamp is realized every 3,055 SI seconds (TAI). For example, Bully timestamp {{mono|8209 2800 0000}} occurred simultaneously with 12:00:00 TAI on June 21, 1998.

Unlike traditional standards, Bully timestamps are entirely independent of planetary motion, removing the need for &quot;leaps&quot; or regional offsets. By discarding traditional unit names—such as &quot;year,&quot; &quot;month,&quot; or &quot;hour&quot;—the system eliminates any possible confusion with contextualized solar time. While it utilizes SI seconds as its fundamental building block, it does so strictly as a unit of duration rather than a fraction of an Earth day. This ensures the Bully system remains a consistent, unambiguous, and mathematically &quot;clean&quot; alternative to historical timekeeping.

== Time span covered by Bully timestamps ==

With 12 hexadecimal digits, the system has a massive address space for time. Given that a new timestamp is realized every 3,055 SI seconds, the total capacity of the system is:

:&lt;math&gt;16^{12} \times 3,055 \text{ seconds} \approx 27.25 \text{ billion Julian years}&lt;/math&gt;

Because the universe is estimated to be approximately 13.8 billion years old, the Bully Timestamp System provides enough unique identifiers to span the entire history of the universe—from the Big Bang into the far-distant future.

== The Foundations of Bully Metric ==

The Bully Timestamp System is derived from the orbital periods of major Solar System bodies. Specifically, the duration of Earth's '''sidereal year''' (~31,558,150 seconds) is roughly equal to &lt;math&gt;10,330 \times 3,055&lt;/math&gt; SI seconds. This foundational constant—3,055 seconds—serves as the building block for the larger [[Bully_Metric_Foundations|Great Weeks and Great Years]].

The name &quot;Bully&quot; is a dual-reference to the massive astronomical objects that define our local spacetime. In an archaic sense, &quot;bully&quot; means '''&quot;beautiful&quot; or &quot;excellent,&quot;''' describing the celestial harmony of the cosmos. In the modern sense, it refers to the '''dominance and gravitational influence''' of &quot;bullies&quot; like [https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and giant planets like Jupiter and Saturn. These massive bodies dictate the motion of everything around them, serving as the physical anchors for the Bully Metric system.

* [[Bully_Metric_Foundations|The Foundations of Bully Metric]]
* [[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>3j0unabq9unpr6cdw334k5lyr73h65r</sha1>
    </revision>
    <revision>
      <id>2807178</id>
      <parentid>2807177</parentid>
      <timestamp>2026-05-01T02:07:11Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* The Foundations of Bully Metric */</comment>
      <origin>2807178</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="12057" sha1="7slq0jcqa2rwgflu4pc1rb4nftw3f2y" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

The '''Bully Timestamp System''' provides a streamlined method for expressing decontextualized time by precisely measuring elapsed intervals via atomic clocks. A unique, 12-digit hexadecimal Bully timestamp is realized every 3,055 SI seconds (TAI). For example, Bully timestamp {{mono|8209 2800 0000}} occurred simultaneously with 12:00:00 TAI on June 21, 1998.

Unlike traditional standards, Bully timestamps are entirely independent of planetary motion, removing the need for &quot;leaps&quot; or regional offsets. By discarding traditional unit names—such as &quot;year,&quot; &quot;month,&quot; or &quot;hour&quot;—the system eliminates any possible confusion with contextualized solar time. While it utilizes SI seconds as its fundamental building block, it does so strictly as a unit of duration rather than a fraction of an Earth day. This ensures the Bully system remains a consistent, unambiguous, and mathematically &quot;clean&quot; alternative to historical timekeeping.

== Time span covered by Bully timestamps ==

With 12 hexadecimal digits, the system has a massive address space for time. Given that a new timestamp is realized every 3,055 SI seconds, the total capacity of the system is:

:&lt;math&gt;16^{12} \times 3,055 \text{ seconds} \approx 27.25 \text{ billion Julian years}&lt;/math&gt;

Because the universe is estimated to be approximately 13.8 billion years old, the Bully Timestamp System provides enough unique identifiers to span the entire history of the universe—from the Big Bang into the far-distant future.

== The Foundations of Bully Metric ==

The Bully Timestamp System is derived from the orbital periods of major Solar System bodies. Specifically, the duration of Earth's '''sidereal year''' (~31,558,150 seconds) is roughly equal to &lt;math&gt;10,330 \times 3,055&lt;/math&gt; SI seconds. This foundational constant—3,055 seconds—serves as the building block for the larger [[Bully_Metric_Foundations|Great Weeks and Great Years]].

The name &quot;Bully&quot; is a dual-reference to the massive astronomical objects that define our local spacetime. In an archaic sense, &quot;bully&quot; means '''&quot;beautiful&quot; or &quot;excellent,&quot;''' describing the celestial harmony of the cosmos. In the modern sense, it refers to the '''dominance and gravitational influence''' of &quot;bullies&quot; like [https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and giant planets like Jupiter and Saturn. These massive bodies dictate the motion of everything around them, serving as the physical anchors for the Bully Metric system.

* [[Bully_Metric_Foundations|The Foundations of Bully Metric]]
* [[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Metonic Cycle and Bully Metric ==

The Bully Timestamp has a simple relationship with the [[w:Metonic_cycle|Metonic Cycle]].  

* [[Bully_Metric_Metonic_cycle|The Metonic Cycle in Bully Metric]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>7slq0jcqa2rwgflu4pc1rb4nftw3f2y</sha1>
    </revision>
    <revision>
      <id>2807181</id>
      <parentid>2807178</parentid>
      <timestamp>2026-05-01T02:22:15Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* The Metonic Cycle and Bully Metric */</comment>
      <origin>2807181</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="12867" sha1="hkplfurj69lo24vy78t83ghl9jpm319" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

The '''Bully Timestamp System''' provides a streamlined method for expressing decontextualized time by precisely measuring elapsed intervals via atomic clocks. A unique, 12-digit hexadecimal Bully timestamp is realized every 3,055 SI seconds (TAI). For example, Bully timestamp {{mono|8209 2800 0000}} occurred simultaneously with 12:00:00 TAI on June 21, 1998.

Unlike traditional standards, Bully timestamps are entirely independent of planetary motion, removing the need for &quot;leaps&quot; or regional offsets. By discarding traditional unit names—such as &quot;year,&quot; &quot;month,&quot; or &quot;hour&quot;—the system eliminates any possible confusion with contextualized solar time. While it utilizes SI seconds as its fundamental building block, it does so strictly as a unit of duration rather than a fraction of an Earth day. This ensures the Bully system remains a consistent, unambiguous, and mathematically &quot;clean&quot; alternative to historical timekeeping.

== Time span covered by Bully timestamps ==

With 12 hexadecimal digits, the system has a massive address space for time. Given that a new timestamp is realized every 3,055 SI seconds, the total capacity of the system is:

:&lt;math&gt;16^{12} \times 3,055 \text{ seconds} \approx 27.25 \text{ billion Julian years}&lt;/math&gt;

Because the universe is estimated to be approximately 13.8 billion years old, the Bully Timestamp System provides enough unique identifiers to span the entire history of the universe—from the Big Bang into the far-distant future.

== The Foundations of Bully Metric ==

The Bully Timestamp System is derived from the orbital periods of major Solar System bodies. Specifically, the duration of Earth's '''sidereal year''' (~31,558,150 seconds) is roughly equal to &lt;math&gt;10,330 \times 3,055&lt;/math&gt; SI seconds. This foundational constant—3,055 seconds—serves as the building block for the larger [[Bully_Metric_Foundations|Great Weeks and Great Years]].

The name &quot;Bully&quot; is a dual-reference to the massive astronomical objects that define our local spacetime. In an archaic sense, &quot;bully&quot; means '''&quot;beautiful&quot; or &quot;excellent,&quot;''' describing the celestial harmony of the cosmos. In the modern sense, it refers to the '''dominance and gravitational influence''' of &quot;bullies&quot; like [https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and giant planets like Jupiter and Saturn. These massive bodies dictate the motion of everything around them, serving as the physical anchors for the Bully Metric system.

* [[Bully_Metric_Foundations|The Foundations of Bully Metric]]
* [[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Metonic Cycle and Bully Timestamps ==

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.


* [[Bully_Metric_Metonic_cycle|The Metonic Cycle in Bully Metric]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
      <sha1>hkplfurj69lo24vy78t83ghl9jpm319</sha1>
    </revision>
    <revision>
      <id>2807182</id>
      <parentid>2807181</parentid>
      <timestamp>2026-05-01T02:35:30Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* The Metonic Cycle and Bully Timestamps */</comment>
      <origin>2807182</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="13720" sha1="8na2mpyxi3q3maolds0231p1r2s8t59" xml:space="preserve">{| class=table style=&quot;width:100%;&quot;
|-
 | {{Original research}}
 | [https://physwiki.eeyabo.net/index.php/Main_Page &lt;small&gt;Development &lt;br/&gt;Area&lt;/small&gt;]
|}

[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

The Bully Timestamp System is an original research project designed to:

# '''Augment''' existing timekeeping by providing an alternative that does not require &quot;leap&quot; seconds, &quot;leap&quot; years, or time zones.
# '''Standardize''' a fundamentally binary temporal structure that is natively compatible with computer architecture.
# '''Establish''' a universal scale—incorporating [[Bully_Metric_Foundations|Great Weeks]], Great Years, and Galactic Years—capable of uniquely identifying any moment from the Big Bang into the far future.
# '''Promote''' intuitive understanding and education through a built-in [[Bully Mnemonic|mnemonic device]].

== Contextualized vs. Decontextualized Time ==

Local clocks and calendars reflect '''contextualized time''', which uses region-specific offsets from Coordinated Universal Time (UTC) to align with physical reality. This time is &quot;contextual&quot; because it provides an intuitive sense of environmental conditions; for instance, a traveler arriving in London at 4:00 a.m. can instinctively expect darkness and quiet streets. To maintain this alignment with Earth's natural cycles, UTC requires periodic &quot;leaps&quot; (seconds and years). In '''Figure 1''', the light blue line represents Earth's irregular rotation ('''UT1'''), while the dark blue line shows '''UTC''', which is manually adjusted to track UT1.

In contrast, standards such as International Atomic Time ('''TAI'''), Terrestrial Time ('''TT'''), and '''GPS time''' are '''decontextualized'''. They are independent of Earth's rotation, meaning they do not correspond to &quot;true time&quot; at any specific geographical location. Represented by the black lines in '''Figure 1''', these standards track a continuous, uniform interval measured by atomic clocks. This uninterrupted linearity is vital for scientific and technical systems, where the discontinuities introduced by leap seconds could lead to critical errors or system failures.

[[File:Bully Timestamps in relation to modern time keeping.png|frame|center|text-bottom|Figure 1: Modern Time Keeping]]

The various decontextualized standards currently in use are effectively &quot;frozen&quot; in the astronomical conditions present at the time of their deployment. Because long-term changes in Earth's motion are unpredictable, each system launched with a different initial offset. For example, when GPS was launched in 1980, the '''Delta T''' adjustment (TT-UTC) exceeded 51 seconds. In contrast, the 1972 LORAN-C upgrade began with an adjustment closer to 42 seconds. This historical discrepancy results in a permanent nine-second offset between GPS and LORAN-C. Similarly, LORAN-C remains offset from TAI (deployed in 1958) by exactly ten seconds.

The Bully timestamp system, shown on the far-right axis of '''Figure 1''', follows the same uniform, decontextualized logic as TAI and TT but avoids this &quot;legacy offset&quot; confusion. Unlike existing standards, Bully timestamps are not linked to others by a constant, arbitrary time offset. This independence ensures they are uniquely recognizable and impossible to misinterpret as belonging to an older, Earth-synched system.

[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]

== Why do we need Bully timestamps? ==

All the timestamps in '''Figure 2''' refer to one single, simultaneous moment in time. The left frame illustrates the fragmentation of Coordinated Universal Time (UTC) through time zones. For instance, on June 21, 1998, a UTC time of 11:59:29 a.m. in Accra, Ghana, was simultaneously 8:59:29 p.m. in Tokyo. These offsets are not based on science, but on '''political mandates''' that have resulted in [https://en.wikipedia.org/wiki/List_of_UTC_offsets 38 distinct UTC offsets], including confusing half- and quarter-hour increments. 

The decontextualized timestamps (TAI, TT, GPS) in the upper-right frame attempt to solve this, yet they remain &quot;cluttered&quot; by Gregorian formatting. Applying a Gregorian date—which is built to track the Sun—to an atomic standard is a '''category error'''. Seeing three different timestamps share the same date while differing by several &quot;leap&quot; seconds is intellectually disorienting because the date has been stripped of its astronomical meaning. In these technical contexts, the Gregorian format is an artificial mask applied for convenience, hiding the true linear nature of time.

{| class=&quot;wikitable&quot; style=&quot;margin-right: 0; margin-left: 1em; text-align: center;&quot;
|+ Figure 2: UTC Time Zones vs. Bully Timestamps.
|-
! Selected UTC Time Zones !! [https://gssc.esa.int/navipedia/index.php/Transformations_between_Time_Systems Decontextualized timestamps]
|-
| rowspan = 3 |
[[File:Timezone-boundary-builder_release_2023d.png|thumb|upright=1.0|
June 21, 1998 at  8:59:29 pm (JST)&lt;/br&gt;
June 21, 1998 at  7:59:29 pm (CST)&lt;/br&gt;
June 21, 1998 at  2:59:29 pm (EEST)&lt;/br&gt;
June 21, 1998 at 12:59:29 pm (IST)&lt;/br&gt;
June 21, 1998 at 11:59:29 am (GMT)&lt;/br&gt;
June 21, 1998 at  8:59:29 am (BRT)&lt;/br&gt;
June 21, 1998 at  4:59:29 am (PDT)&lt;/br&gt;
June 21, 1998 at  1:59:29 am (HST)&lt;/br&gt;
]]
||
[[File:WorldMap-Blank-Noborders.svg|thumb|&lt;br/&gt;
06/21/1998 12:00:32.184 (TT)&lt;br/&gt;
06/21/1998 12:00:00 (TAI)&lt;br/&gt;
06/21/1998 11:59:42 (GPS)
]]
|-
! Bully Timestamp
|-
||
[[File:WorldMap-Blank-Noborders.svg|thumb|8209 2800 0000 (+ 0.000 sec TAI)]]
|}

For scientific and technical applications, TAI and TT are often expressed via '''Modified Julian Date (MJD)'''—a continuous count of SI days since a fixed epoch. While MJD avoids Gregorian irregularities, it remains &quot;tethered&quot; to the 86,400-second day, a unit that is astronomically meaningless when decontextualized. Similarly, '''GPS time''' relies on a week-based count (since January 6, 1980), forcing a technical system to conform to an arbitrary seven-day cycle. Both systems are cumbersome &quot;hybrids&quot; that attempt to measure linear time using units designed for Earth’s rotation.

The '''Bully Timestamp''', shown in the lower-right frame of '''Figure 2''', breaks this tether. It is a single, unique identifier that applies simultaneously to all locations because it is never adjusted for geography or orbital drift. For example, Bully timestamp {{mono|8209 2800 0000}} was recorded at the exact moment the UTC clock read 11:59:29 a.m. in Accra and 8:59:29 p.m. in Tokyo. By discarding the baggage of weeks, days, and hours, the Bully timestamp emerges as the most precise and least ambiguous format for representing universal, decontextualized time.

Click on the below links for a comparison of current time in six time standards (local, UTC, GPS, Loran, and TAI), all displayed using traditional Gregorian format:

[http://www.leapsecond.com/m/gps.htm LeapSecond.com]

[https://www.ipses.com/eng/in-depth-analysis/standard-of-time-definition ipses.com]

[http://www.csgnetwork.com/multitimedisp.html csgnetwork.com]

== The Bully Timestamp System ==

The '''Bully Timestamp System''' provides a streamlined method for expressing decontextualized time by precisely measuring elapsed intervals via atomic clocks. A unique, 12-digit hexadecimal Bully timestamp is realized every 3,055 SI seconds (TAI). For example, Bully timestamp {{mono|8209 2800 0000}} occurred simultaneously with 12:00:00 TAI on June 21, 1998.

Unlike traditional standards, Bully timestamps are entirely independent of planetary motion, removing the need for &quot;leaps&quot; or regional offsets. By discarding traditional unit names—such as &quot;year,&quot; &quot;month,&quot; or &quot;hour&quot;—the system eliminates any possible confusion with contextualized solar time. While it utilizes SI seconds as its fundamental building block, it does so strictly as a unit of duration rather than a fraction of an Earth day. This ensures the Bully system remains a consistent, unambiguous, and mathematically &quot;clean&quot; alternative to historical timekeeping.

== Time span covered by Bully timestamps ==

With 12 hexadecimal digits, the system has a massive address space for time. Given that a new timestamp is realized every 3,055 SI seconds, the total capacity of the system is:

:&lt;math&gt;16^{12} \times 3,055 \text{ seconds} \approx 27.25 \text{ billion Julian years}&lt;/math&gt;

Because the universe is estimated to be approximately 13.8 billion years old, the Bully Timestamp System provides enough unique identifiers to span the entire history of the universe—from the Big Bang into the far-distant future.

== The Foundations of Bully Metric ==

The Bully Timestamp System is derived from the orbital periods of major Solar System bodies. Specifically, the duration of Earth's '''sidereal year''' (~31,558,150 seconds) is roughly equal to &lt;math&gt;10,330 \times 3,055&lt;/math&gt; SI seconds. This foundational constant—3,055 seconds—serves as the building block for the larger [[Bully_Metric_Foundations|Great Weeks and Great Years]].

The name &quot;Bully&quot; is a dual-reference to the massive astronomical objects that define our local spacetime. In an archaic sense, &quot;bully&quot; means '''&quot;beautiful&quot; or &quot;excellent,&quot;''' describing the celestial harmony of the cosmos. In the modern sense, it refers to the '''dominance and gravitational influence''' of &quot;bullies&quot; like [https://en.wikipedia.org/wiki/Sagittarius_A* Sagittarius A*], the [https://en.wikipedia.org/wiki/Sun Sun], and giant planets like Jupiter and Saturn. These massive bodies dictate the motion of everything around them, serving as the physical anchors for the Bully Metric system.

* [[Bully_Metric_Foundations|The Foundations of Bully Metric]]
* [[Bully_Metric_Astronomical_Coordinates|Bully Metric Coordinate System]]

== The Metonic Cycle and Bully Timestamps ==

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 2733 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.

* [[Bully_Metric_Metonic_cycle|The Metonic Cycle in Bully Metric]]

== The Bully Mnemonic ==

&lt;math display=&quot;block&quot;&gt; {1 \, Sidereal \, Year} = {31,558,150 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; {1 \, Tropical \, Year} = {31,556,926 \, Seconds} &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt; 1 \, Great \, Year \approx 25,824 \, Sidereal \, Years \approx 25,825 \, Tropical \, Years &lt;/math&gt;

&lt;math display=&quot;block&quot;&gt;{1 \, Galactic \, Year} \approx 8264 \, Great \, Year \approx 213,417,800 \, Tropical \, Years &lt;/math&gt;


The '''Bully Mnemonic''' is a technique for remembering the exact number of seconds that occur in Earth's [https://en.wikipedia.org/wiki/Sidereal_year sidereal year] and [https://en.wikipedia.org/wiki/Tropical_year tropical year], a good approximation of the Earth's [https://en.wikipedia.org/wiki/Great_Year Great Year], and a rough approximation of the Solar System's [https://en.wikipedia.org/wiki/Galactic_year galactic year]. Click on the following link to learn more about the Bully Mnemonic and the role it plays in the mathematical foundation of Bully timestamps.

[[Bully Mnemonic |The Bully Mnemonic]]

[[Bully Mnemonic Extension |The Bully Mnemonic Extension]]

= Realized vs. Estimated Bully timestamps =

Each Bully timestamp is realized exactly 3055 seconds TAI after the previous one.  However, since atomic clocks did not exist prior to the 1950's, any assignment of Bully timestamps prior to 1958 should be viewed as an estimate of how elapsed time might have transpired on Earth in the past, rather than an actual realization of Bully time. Bully time should only be considered &quot;realized&quot; when time is measured with an accuracy of &lt;math&gt;{10}^{-10}&lt;/math&gt;.

== Realized Bully Time ==

[[Bully_Metric_Realized_Timestamps|Realized Bully Timestamps]]

== Estimated Bully Time ==

== Future Bully Time ==

[[Bully_Metric_CMB_Stabilized_Timestamps| CMB Stabilized Bully Timestamps]]</text>
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    <title>Bully Metric Timestamp units</title>
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      <text bytes="7143" sha1="8owlc39wb9t9b2486yxw53gcejjah8e" xml:space="preserve">The table in figure 1 below, lists selected modern time units. The red entries are contextual, directly related to irregular and unpredictable astronomical conditions. The black, decontextualized units were created to emulate the average value of their corresponding contextual counterparts. Units listed in blue incorporate 'leaps' to maintain synchronization with the unpredictable duration of contextual time.

{| class=&quot;wikitable&quot;
|+ Figure 1: Selected modern time units
|-
! Time unit
! Definition
|-
| &lt;span style=&quot;color:black&quot;&gt;SI second&lt;/span&gt;
| The duration of 9,192,631,770 periods of the radiation corresponding to the transition between the two hyperfine levels of the ground state of the cesium-133 atom.
|-
| &lt;span style=&quot;color:red&quot;&gt;Sidereal second&lt;/span&gt;
| The 86,400th part of a sidereal day, which is based on the Earth's rotation relative to distant stars.
|-
| &lt;span style=&quot;color:red&quot;&gt;Solar second&lt;/span&gt;
| The 86,400th part of a solar day, which is based on the Earth's rotation relative to the Sun.
|-
| &lt;span style=&quot;color:black&quot;&gt;SI minute&lt;/span&gt;
| An interval of 60 SI seconds.
|-
| &lt;span style=&quot;color:black&quot;&gt;SI hour&lt;/span&gt;
| An interval of 3600 SI seconds or 60 SI minutes.
|-
| &lt;span style=&quot;color:black&quot;&gt;Julian or SI day&lt;/span&gt;
| An interval of 86,400 SI seconds (1440 SI minutes or 24 SI hours).
|-
| &lt;span style=&quot;color:black&quot;&gt;Julian day number&lt;/span&gt;
| A continuous count of Julian days since noon on January 1, 4713 BCE (proleptic Julian calendar).
|-
| &lt;span style=&quot;color:blue&quot;&gt;Gregorian day&lt;/span&gt;
| Typically an interval of 86,400 SI seconds. Occasional 86,401 second &quot;leap&quot; days observed at irregular intervals.
|-
| &lt;span style=&quot;color:red&quot;&gt;Sidereal day&lt;/span&gt;
| The time it takes for a fixed star to return to the same place in the sky. This is one complete 360° rotation of the Earth. The duration of the sidereal day changes from day to day due to the slowing and irregular rotation of the Earth, but on average, a sidereal day is approximately 23 hours, 56 minutes, and 4.1 seconds long.
|-
| &lt;span style=&quot;color:red&quot;&gt;Solar day&lt;/span&gt;
| The time it takes for the Sun to appear at the same point in the sky. The duration of the solar day changes from day to day due to the slowing and irregular rotation of the Earth, but on average, a solar day is 24 hours long, and is approximately 4 minutes longer than a sidereal day.
|-
| &lt;span style=&quot;color:red&quot;&gt;Sidereal month&lt;/span&gt;
| The time it takes for the Moon to complete one full orbit around Earth relative to the background stars. Its average length is 27.321661 Julian days.
|-
| &lt;span style=&quot;color:red&quot;&gt;Synodic month&lt;/span&gt;
| The average time it takes for the Moon to go through all of its phases (new moon to new moon). Its average length is 29.53059 Julian days.
|-
| &lt;span style=&quot;color:black&quot;&gt;Julian year&lt;/span&gt;
| A unit of time measurement equal to exactly 365.25 Julian days of 86,400 SI seconds each.
|-
| &lt;span style=&quot;color:blue&quot;&gt;Gregorian standard year&lt;/span&gt;
| A year in the Gregorian calendar with 365 days, where February has 28 days. Occurs every year except &quot;leap&quot; years.
|-
| &lt;span style=&quot;color:blue&quot;&gt;Gregorian leap year&lt;/span&gt;
| A year in the Gregorian calendar with 366 days, where February has 29 days. Occurs every year divisible by 4, except years divisible by 100 but not by 400.
|-
| &lt;span style=&quot;color:red&quot;&gt;Solar Year&lt;/span&gt;
| Also known as the tropical year. The time it takes for the Sun to return to the same position relative to the equinox. It is approximately 365.2422 mean solar days.
|-
| &lt;span style=&quot;color:red&quot;&gt;Sidereal Year&lt;/span&gt;
| The time it takes for the Sun to return to the same position relative to the fixed stars. It is slightly longer than the tropical year due to the precession of the equinoxes, at about 365.2564 mean solar days.
|-
| &lt;span style=&quot;color:red&quot;&gt;Anomalistic year&lt;/span&gt;
| The time it takes for the Earth to orbit the Sun from one perihelion (point of closest approach) to the next. Its average length is about 365.2596 mean solar days, making it slightly longer than the more commonly used sidereal or tropical years.
|}

{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot;

|+ Figure 1: Selected modern time units categorized by Bully Metric type
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}


[[File:Earth_Shadow_Longitude_Diagram.png|thumb|right|400px|Figure 1: Earth's shadow extends out into space in a direction away from the Sun.]]

As illustrated in figure 1, the Earth blocks sunlight creating a shadow (not drawn to scale) which extends out into space in a direction away from the Sun. At any given time, half of the Earth's surface is inside of Earth's shadow, which causes nighttime to occur. As the Earth rotates, locations on Earth's surface will pass from day to night, and back to day again, as they pass through Earth's shadow.

In figure 1, the Earth is illustrated below the Sun in the direction of 180° ecliptic longitude.  The Earth is casting its shadow downwards in this illustration. The lower half of the Earth is experiencing nighttime , while the upper half is experiencing daytime. If the Earth were to orbit ninety degrees clockwise to the 270° mark, then the Earth's shadow would fall to the left and that is where nighttime would occur. As the Earth orbits around the Sun, the direction of Earth's shadow (and nighttime) rotates.

[[File:Sidereal Day versus Solar Day.webm|thumb|Figure 2: Animation comparing a [https://en.wikipedia.org/wiki/Sidereal_time sidereal day] to a [https://en.wikipedia.org/wiki/Solar_time solar day]]]</text>
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      <text bytes="3486" sha1="10qeipezg6w130em0vij4fz1pbsl1gl" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.
{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot;

|+ Figure 1: Selected modern time units categorized by Bully Metric type
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}


[[File:Earth_Shadow_Longitude_Diagram.png|thumb|right|400px|Figure 1: Earth's shadow extends out into space in a direction away from the Sun.]]

As illustrated in figure 1, the Earth blocks sunlight creating a shadow (not drawn to scale) which extends out into space in a direction away from the Sun. At any given time, half of the Earth's surface is inside of Earth's shadow, which causes nighttime to occur. As the Earth rotates, locations on Earth's surface will pass from day to night, and back to day again, as they pass through Earth's shadow.

In figure 1, the Earth is illustrated below the Sun in the direction of 180° ecliptic longitude.  The Earth is casting its shadow downwards in this illustration. The lower half of the Earth is experiencing nighttime , while the upper half is experiencing daytime. If the Earth were to orbit ninety degrees clockwise to the 270° mark, then the Earth's shadow would fall to the left and that is where nighttime would occur. As the Earth orbits around the Sun, the direction of Earth's shadow (and nighttime) rotates.

[[File:Sidereal Day versus Solar Day.webm|thumb|Figure 2: Animation comparing a [https://en.wikipedia.org/wiki/Sidereal_time sidereal day] to a [https://en.wikipedia.org/wiki/Solar_time solar day]]]</text>
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      <text bytes="2216" sha1="a4lvi648hm7dnus4pbsqumr1b6z7t84" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.
{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot;

|+ Figure 1: Selected modern time units categorized by Bully Metric type
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
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      <text bytes="2221" sha1="6jqbsumdedim5s5687b1vv6y7b8zxc9" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.
{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot;

|+ Figure 1: Selected modern time units categorized by contextualization type
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
      <sha1>6jqbsumdedim5s5687b1vv6y7b8zxc9</sha1>
    </revision>
    <revision>
      <id>2807163</id>
      <parentid>2807162</parentid>
      <timestamp>2026-05-01T00:44:27Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807163</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2216" sha1="ehphz0mrp51cwi4bx65ml7vfokcysy2" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.
{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot;

|+ Figure 1: Selected modern time units categorized by contextualization
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
      <sha1>ehphz0mrp51cwi4bx65ml7vfokcysy2</sha1>
    </revision>
    <revision>
      <id>2807164</id>
      <parentid>2807163</parentid>
      <timestamp>2026-05-01T00:46:51Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807164</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2377" sha1="afawx391j086r9del555208hlhlqn9c" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.

{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot; cellpadding=&quot;5&quot;

|+ Figure 1: Selected modern time units categorized by contextualization
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
      <sha1>afawx391j086r9del555208hlhlqn9c</sha1>
    </revision>
    <revision>
      <id>2807165</id>
      <parentid>2807164</parentid>
      <timestamp>2026-05-01T00:51:01Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807165</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2619" sha1="q86ryvinj7sq8cu1r1fd51gowa79q39" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.

{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot; cellpadding=&quot;5&quot;

|+ Figure 1: Selected modern time units categorized by contextualization
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Bully timestamp units'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Time unit based strictly on SI seconds. They maintain a linear count independent of Earth's rotation or orbit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
      <sha1>q86ryvinj7sq8cu1r1fd51gowa79q39</sha1>
    </revision>
    <revision>
      <id>2807166</id>
      <parentid>2807165</parentid>
      <timestamp>2026-05-01T00:55:30Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807166</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3203" sha1="h1dfy3246pdfi67xdy62mvi7ju0nzs6" xml:space="preserve">Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.

Unlike synchronized units (blue), Bully timestamps do not require &quot;leaps&quot; because they are entirely decontextualized from astronomical events. Traditional calendars use leap seconds and leap years to force a fixed counting system to stay aligned with the Earth's irregular rotation and orbit. Because Bully units prioritize a consistent, linear count of SI seconds over astronomical alignment, there is no &quot;drift&quot; to correct. A new Bully timestamp is realized every 3055 SI seconds, regardless of whether the Earth’s rotation has slowed or where the planet is in its orbital path.

{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot; cellpadding=&quot;5&quot;

|+ Figure 1: Selected modern time units categorized by contextualization
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Bully timestamp units'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Time unit based strictly on SI seconds. They maintain a linear count independent of Earth's rotation or orbit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
      <sha1>h1dfy3246pdfi67xdy62mvi7ju0nzs6</sha1>
    </revision>
    <revision>
      <id>2807167</id>
      <parentid>2807166</parentid>
      <timestamp>2026-05-01T01:00:35Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807167</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3621" sha1="a293vajtrd986e8tb24c2e80kn94hva" xml:space="preserve">[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamp_units|Examples of contextualized vs decontextualized time]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator 

Figure 1 lists selected modern time units categorized by their relationship to physical phenomena. Red entries represent contextual units tied to irregular astronomical conditions. Black entries denote decontextualized units that emulate the average value of their contextual counterparts. Blue entries identify synchronized units that use &quot;leaps&quot; to align with the unpredictable duration of contextual time.

Unlike synchronized units (blue), Bully timestamps do not require &quot;leaps&quot; because they are entirely decontextualized from astronomical events. Traditional calendars use leap seconds and leap years to force a fixed counting system to stay aligned with the Earth's irregular rotation and orbit. Because Bully units prioritize a consistent, linear count of SI seconds over astronomical alignment, there is no &quot;drift&quot; to correct. A new Bully timestamp is realized every 3055 SI seconds, regardless of whether the Earth’s rotation has slowed or where the planet is in its orbital path.

{| class=&quot;wikitable sortable&quot; style=&quot;width:100%;&quot; cellpadding=&quot;5&quot;

|+ Figure 1: Selected modern time units categorized by contextualization
|-
! scope=&quot;col&quot; style=&quot;width:20%;&quot; | Time Unit
! scope=&quot;col&quot; style=&quot;width:15%;&quot; | Type
! scope=&quot;col&quot; | Definition / Basis

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar second'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| The 86,400th part of a solar day. Varies daily as Earth's rotation speed fluctuates.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Sidereal day'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| One 360° Earth rotation relative to stars (~23h 56m 4.1s). Changes based on Earth's rotational irregularities.

|- style=&quot;background-color: #fff0f0;&quot;
| '''Solar Year (Tropical)'''
| style=&quot;color:red; font-weight:bold;&quot; | Contextual
| Time for the Sun to return to the same equinox position (~365.2422 solar days).

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI second'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| The duration of 9,192,631,770 periods of radiation from the cesium-133 atom. The fundamental &quot;fixed&quot; unit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''SI minute / hour'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Fixed intervals of 60 and 3,600 SI seconds, respectively.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Bully timestamp units'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Time unit based strictly on SI seconds. They maintain a linear count independent of Earth's rotation or orbit.

|- style=&quot;background-color: #f9f9f9;&quot;
| '''Julian year'''
| style=&quot;color:black; font-weight:bold;&quot; | Decontextualized
| Exactly 365.25 Julian days (31,557,600 SI seconds). Used as a standard astronomical constant.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian day'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| Usually 86,400 SI seconds, but may include &quot;leap seconds&quot; to remain aligned with the Contextual Solar Day.

|- style=&quot;background-color: #f0f5ff;&quot;
| '''Gregorian leap year'''
| style=&quot;color:blue; font-weight:bold;&quot; | Synchronized
| A 366-day interval used to keep the Gregorian calendar synchronized with the Solar (Tropical) year.
|}</text>
      <sha1>a293vajtrd986e8tb24c2e80kn94hva</sha1>
    </revision>
  </page>
  <page>
    <title>Portal:Plurilingual education</title>
    <ns>102</ns>
    <id>324936</id>
    <revision>
      <id>2807099</id>
      <parentid>2806780</parentid>
      <timestamp>2026-04-30T13:23:28Z</timestamp>
      <contributor>
        <username>Projet PEP</username>
        <id>3002502</id>
      </contributor>
      <origin>2807099</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="5778" sha1="43mlg7dfwhx52c9c3xb98wu0t52a0hy" xml:space="preserve">&lt;!--        BANNER ACROSS TOP OF PAGE        --&gt;
&lt;!----------------------
         TABS
-------------------------&gt;
{{Portal:Wikilang/start tab}}
Welcome to the portal &quot;Plurilingual education&quot;. It is a collection of free resources dedicated to plurilingual education to be used for pre-service and in-service training of language teachers. It has been created by the European project PEP, which is co-funded by the European Commission within the Erasmus+ programme (Promoting plurilingual education, 2023-1-FR01-KA220-HED-000160820). 
{{end tab}}
&lt;!----------------------
         WELCOME
-------------------------&gt;
{| cellspacing=&quot;0&quot; cellpadding=&quot;0&quot;
 | colspan=&quot;2&quot; | 
|- style=&quot;vertical-align: top;&quot;
| style=&quot;padding-right: 1.2em; width: 50%;&quot; |
&lt;!----------------------
       FEATURED CONTENT
-----------------------&gt;
{{Frame alt
 | color      = 006699
 | title      = Featured resources
 | content    = Following &quot;lessons&quot; are available. More are coming soon!

* [[Awakening to languages]]
* [[CLIL (Content and Language Integrated Learning)]]
* [[Decolonial perspective in plurilingual education]]
* [[Plurilingual education and digital technologies|Digital technologies in plurilingual education]]
* [[Dominant language constellation]]
* [[English as a Lingua Franca (ELF)]]
* [[Endangered languages and plurilingual education]]
* [[Heritage Language|Heritage language]]
* [[Intercomprehension]]
* [[Language biography and identity texts]]
* [[Language inclusion]]
* [[Language mediation]]
* [[Language policies: Educational and family language policies]]
* [[Language Portfolio|Language portfolio]]
* [[Linguistic landscapes in education]]
* [[Migrants, bilingualism &amp; parental involvement]]
* [[Multilingual awareness - Language awareness - Metacompetencies]]
* [[Native speakerism]]
* [[Non-formal and informal plurilingual education]]
* [[Pluralistic approach]]
* [[Plurilingualism in marginalized contexts]]
* [[Pluringualism in the CEFR]]
* [[Assessing the plurilingual competence|Plurilingual assessment - Assessing the plurilingual competence]]
* [[Assessment of the knowledge and competences of plurilingual learners|Plurilingual assessment - Assessment of the knowledge and competences of plurilingual learners]]
* [[Pedagogy of variation]]
* [[Plurilingual and inter/transcultural competence]]
* [[Plurilingualism and plurilingual education in the past]]
* [[Telecollaboration and plurilingualism]]
* [[Tertiary language teaching]]
* [[Terminology and plurilingual education]]
* [[Teachers’ beliefs and plurilingualism]]
* [[Theories and models of plurilingualism]]
* [[Translanguaging]]
}}
&lt;!------------------------
      LANGUAGES
---------------------------&gt;
{{Frame alt
 | color      = 006699
 | title      = Library
 | content    = Useful ressources to read
* Cortés Velásquez, D., Strasser, M. et al. (2025a). ''L’utilisation des langues dans l’enseignement secondaire et supérieur : Croyances et pratiques des enseignants''. PEP – Promoting Plurilingual Education. [https://www.fdr.uni-hamburg.de/record/16757 https://www.fdr.uni-hamburg.de/record/16757]
* Cortés Velásquez, D., Strasser, M. et al. (2025b). ''Project Promoting Plurilingual Education (PEP) -KA220-HED- E96C9232 Survey Report. Language use in secondary and higher education : Teachers’ beliefs and practices''. PEP – Promoting Plurilingual Education. [https://doi.org/10.25592/uhhfdm.16755 https://doi.org/10.25592/uhhfdm.16755]
* Cortés Velásquez, D., Strasser, M. et al. (2025c). ''Sprachgebrauch in der Sekundar- und Hochschulbildung : Überzeugungen und Praktiken von Lehrkräften''. PEP – Promoting Plurilingual Education. [https://doi.org/10.25592/uhhfdm.16758 https://doi.org/10.25592/uhhfdm.16758 ]
}}

| style=&quot;padding-left: 1.2em; width: 50%;&quot; |
&lt;!--------------------------
            NEWS
---------------------------&gt;

{{Frame alt
 | color      = 990000
 | title      = News
 | content    = Selected worldwide news about plurilingual education:
* '''[https://sites.google.com/view/pep-conference Conference - Bridging Voices in Plurilingual Education: Policies, Research and Practices]''', 23-24 october 2025, Rom. The conference was organised by Università degli Studi Roma Tre within the framework of the PEP project (Promoting plurilingual education, 2023-1-FR01-KA220-HED-000160820).
}}&lt;!------------------------
EXTERNAL RESOURCES
-------------------------&gt;{{Frame alt 
 | title   = External ressources
 | content = 
Projects and materials to &quot;teach&quot; plurilingual education
*[https://sites.google.com/view/pepproject/productions/livret-de-bonnes-pratiques-good-practices-booklet Booklet of adaptable plurilingual practices]
*[https://www.ecml.at/en/ECML-Programme/Programme-2020-2023/Mediation-in-teaching-and-assessment METLA - Mediation in teaching, learning and assessment]
*[https://www.coe.int/en/web/language-policy/plurilingualism CEFR and Plurilingualism]
*[https://carap.ecml.at/ CARAP/FREPA]
}}&lt;!------------------------
      OTHER
---------------------------&gt;{{Frame alt 
 | color = 339966
 | title   = Other resources in the Wikiversity
 | content = 
'''Learning Groups'''
* [[Portal:Foreign Language Learning|Foreign Language Learning]]
* [[Portal:TESOL|Teaching English to speakers of other languages (TESOL)]]
* [[Portal:Translation|Translation]]
'''In the French Wikiversité''' 
*[https://fr.wikiversity.org/wiki/D%C3%A9partement:Didactique_des_langues Department of plurilingual education in the French Wikiversité]
}}
[[Category:Wikilang|*]]

[[Category:Foreign Language Learning|*]]

[[fr:Faculté:Wikilangues]]
&lt;!--
{{Frame alt
 | color      = 990000
 | title      = Click on a continent
 | content    = &lt;div&gt;{{Wikilang map}}&lt;/div&gt;&lt;br&gt;Click on a continent to get to a portal of languages of this continent.
}}
|}--&gt;

|}</text>
      <sha1>43mlg7dfwhx52c9c3xb98wu0t52a0hy</sha1>
    </revision>
  </page>
  <page>
    <title>Just sustainability transitions: a living review</title>
    <ns>0</ns>
    <id>326060</id>
    <revision>
      <id>2807098</id>
      <parentid>2805791</parentid>
      <timestamp>2026-04-30T13:20:33Z</timestamp>
      <contributor>
        <username>Jeanne Noiraud</username>
        <id>1366702</id>
      </contributor>
      <comment>/* Knowledge modelling */</comment>
      <origin>2807098</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="40231" sha1="bjxrtjcquxki1o7qf01rdztks3zm19e" xml:space="preserve">== Introduction ==

=== Definition of living review ===
The concept of living systematic reviews is recent (2014), so the definition has been regularly reworked&lt;ref name=&quot;Why1&quot;&gt;{{Cite Q |Q40040379 }}&lt;/ref&gt;. Living systematic reviews complement the older concept of [[literature review]]. Its objective is the same : obtain an accurate overview of the state of scientific knowledge on a subject&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot;&gt;{{Cite journal |last=Akl |first=Elie A. |last2=Meerpohl |first2=Joerg J. |last3=Elliott |first3=Julian |last4=Kahale |first4=Lara A. |last5=Schünemann |first5=Holger J. |last6=Agoritsas |first6=Thomas |last7=Hilton |first7=John |last8=Perron |first8=Caroline |last9=Akl |first9=Elie |last10=Hodder |first10=Rebecca |last11=Pestridge |first11=Charlotte |last12=Albrecht |first12=Lauren |last13=Horsley |first13=Tanya |last14=Platt |first14=Joanne |last15=Armstrong |first15=Rebecca |date=2017-11 |title=Living systematic reviews: 4. Living guideline recommendations |url=https://www.wikidata.org/wiki/Q50084143 |journal=Journal of Clinical Epidemiology |language=en |volume=91 |pages=47–53 |doi=10.1016/j.jclinepi.2017.08.009}}&lt;/ref&gt;&lt;ref name=&quot;:6&quot;&gt;{{Citation|title=Living Systematic Reviews|url=https://doi.org/10.1007/978-1-0716-1566-9_7|publisher=Springer US|work=Meta-Research: Methods and Protocols|date=2022|access-date=2026-01-16|place=New York, NY|isbn=978-1-0716-1566-9|pages=121–134|doi=10.1007/978-1-0716-1566-9_7|language=en|first=Mark|last=Simmonds|first2=Julian H.|last2=Elliott|first3=Anneliese|last3=Synnot|first4=Tari|last4=Turner|editor-first=Evangelos|editor-last=Evangelou|editor2-first=Areti Angeliki|editor2-last=Veroniki}}&lt;/ref&gt;. A traditional review may be obsolete by the time it is published, as new studies have emerged between the submission of the manuscript and its publication&lt;ref name=&quot;Why1&quot;/&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;. Living systematic reviews exists to address this common problem&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;&lt;ref name=&quot;:2&quot;&gt;https://blogs.lse.ac.uk/impactofsocialsciences/2019/05/14/the-death-of-the-literature-review-and-the-rise-of-the-dynamic-knowledge-map/&lt;/ref&gt;. It is therefore particularly useful in rapidly evolving fields of research&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;, such as just transition. 

[[wikidata:Q33002955|Knowledge graphs]], a structured representation of knowledge in the form of a graph, linked together by relationships that encode explicit meanings between these entities, are very suitable for conducting living systematic reviews&lt;ref name=&quot;:2&quot; /&gt;&lt;ref name=&quot;Fotopoulou&quot;&gt;{{Cite journal|first1=Eleni |last1=Fotopoulou|first2=Ioanna|last2=Mandilara|first3=Anastasios|last3=Zafeiropoulos|first4=Chrysi|last4=Laspidou|first5=Giannis |last5=Adamos|first6=Phoebe|last6=Koundouri|first7=Symeon|last7=Papavassiliou|title=SustainGraph: A knowledge graph for tracking the progress and the interlinking among the sustainable development goals’ targets|journal=Frontiers in environmental science, Frontiers|volume=10|date=2022-10-26|issn=2296-665X|doi=10.3389/FENVS.2022.1003599|url=https://www.wikidata.org/wiki/Q117837999}}.&lt;/ref&gt;. Advances in AI could render certain older methodological types of living systematic reviews obsoletes&lt;ref&gt;{{Cite journal|last=Krlev|first=Gorgi|last2=Hannigan|first2=Tim|last3=Spicer|first3=André|date=2025-01|title=What Makes a Good Review Article? Empirical Evidence From Management and Organization Research|url=https://journals.aom.org/doi/abs/10.5465/annals.2021.0051|journal=Academy of Management Annals|volume=19|issue=1|pages=376–403|doi=10.5465/annals.2021.0051|issn=1941-6520}}&lt;/ref&gt;, as IA are useful to extract, filter and classify datas&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;. [[Large language models]] (LLM) are &quot;on the rise&quot; (2025), but &quot;not yet ready for use&quot;&lt;ref&gt;{{Cite journal |last=Lieberum |first=Judith-Lisa |last2=Toews |first2=Markus |last3=Metzendorf |first3=Maria-Inti |last4=Heilmeyer |first4=Felix |last5=Siemens |first5=Waldemar |last6=Haverkamp |first6=Christian |last7=Böhringer |first7=Daniel |last8=Meerpohl |first8=Joerg J. |last9=Eisele-Metzger |first9=Angelika |date=2025-05 |title=Large language models for conducting systematic reviews: on the rise, but not yet ready for use—a scoping review |url=https://www.wikidata.org/wiki/Q134545593|journal=Journal of Clinical Epidemiology |language=en |volume=181 |pages=111746 |doi=10.1016/j.jclinepi.2025.111746}}&lt;/ref&gt;.

===  Definitions of just transition : ===
* «a fair and equitable process of moving towards a post-carbon society’. »&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|last=McCauley|first=Darren|last2=Heffron|first2=Raphael|date=2018-08-01|title=Just transition: Integrating climate, energy and environmental justice|url=https://www.wikidata.org/wiki/Q129947262|journal=Energy Policy|language=English|volume=119|pages=1–7|doi=10.1016/J.ENPOL.2018.04.014}}&lt;/ref&gt;.


The concept of just transition originated from global trade unions in the 1980s to promote green jobs creation as a key element of sustainability transitions&lt;ref name=&quot;:0&quot; /&gt;. However, scholars have broadened the use of this term to develop frameworks for analysing issues of fairness in these transitions&lt;ref name=&quot;:0&quot; /&gt;. The concept of just transition can be used to bridge various bodies of scholarship : climate justice, environmental justiceand energy justice&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|last=Wang|first=Xinxin|last2=Lo|first2=Kevin|date=2021-12-01|title=Just transition: A conceptual review|url=https://www.wikidata.org/wiki/Q137209041|journal=Energy Research &amp; Social Science|volume=82|pages=102291|doi=10.1016/J.ERSS.2021.102291}}&lt;/ref&gt;&lt;ref name=&quot;:1&quot;&gt;{{Cite book|url=https://www.wikidata.org/wiki/Q134545572|title=What is the “Just Transition”?|last=Heffron|first=Raphael J.|date=2021-01-01|pages=9–19|language=English}}&lt;/ref&gt; and take into account various aspects of justice including distributional justice, procedural justice, restorative justice, recognition justice&lt;ref name=&quot;:0&quot; /&gt;&lt;ref name=&quot;:3&quot; /&gt;&lt;ref name=&quot;:1&quot; /&gt;&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. 
 
=== Definition of Procedural justice ===
Procedural justice is about the fairness of decision-making processes related to transitions&lt;ref name=&quot;:4&quot; /&gt; such as the inclusion of those impacted by these decisions&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|last=Stark|first=Anthony|last2=Gale|first2=Fred|last3=Murphy-Gregory|first3=Hannah|date=2023-05-05|title=Just Transitions’ Meanings: A Systematic Review|url=https://www.wikidata.org/wiki/Q137210229|journal=Society and Natural Resources|volume=36|issue=10|pages=1277–1297|doi=10.1080/08941920.2023.2207166}}&lt;/ref&gt;. Procedural justice can include issues of community and citizen participation in decision making, their political representation their consultation or the integration of their knowledge, with a focus on neglected population (indigenous people, women, gender and ethnic minorities&lt;ref&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. For example, the participation of affected communities in decisions related to the construction of new infrastructures&lt;ref name=&quot;:0&quot; /&gt;.     

== Methodology ==

=== Wikidata and the semantic web ===&lt;!-- Add introduction to what wikidata is and how the triplet works in a pedagogical manner
 --&gt;

=== Database search ===
We conducted preliminary searches in various databases including Web of science, Go Triple, Dimensions and OpenAlex. Web of Science was the database offering the most relevant restults and included the possibility to filter results to display only litterature reviews. Articles metadata were exported (in .ris format) and then imported into the reference manager software Zotero. 
 
{| class=&quot;wikitable&quot;
|+
!Keywords search
!Database
!Search date
!Filters
!Number of results
|-
|(((TS=(procedural justice OR procedural fairness OR democracy OR participation OR participatory)) AND TS=(sustainability OR energy OR climate)) AND TS=(transition OR transitions)) AND TS=(review OR reviews) 
|Web of Science (all databases, all dates)
|December 2025
|Document type: Review Article
|362
|}

=== Article screening ===
Articles abstract were then screened and we selected only articles which were litterature reviews focusing on concepts related to procedural justice as their main topics. We excluded article which were 

* Not related to sustainability transition (e.g. sustainable shift in..., hard science papers...)
* Not literature reviews (e.g. review of policies, initiatives, cases, review notes, book review...)
* Not related to procedural justice but to participation into markets, participation in eco-friendly behaviors or included justice consideration only in “future research” suggestions
* Discussing participatory research methodologies (e.g. participatory modelling) without approaching it as an issue of justice, power or democracy
* Discussing procedural justice concepts as key variables or key results without it being the main focus of the paper

=== Importing selected articles into Wikidata ===
To import the selected articles meta-data into Wikidata, we first ran [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 a script] to check if any article was already present in the database. Next we used [https://gist.github.com/zuphilip/90acdc3eac4109830db1b3ab855fcb24 another script] that checks the ISSN of the publication in Wikidata and add P-Q-pairs in the extra field of Zotero. Then we exported the articles data using the &quot;export to Wikidata QuickStatements&quot; function of Zotero and use the QuickStatements tool to add them to Wikidata.

Next we used the [[wikidata:Wikidata:Zotero/Cita|Cita]] (V1.0.0-beta.17) Zotero add-on to add articles QID in Zotero. At this point we identified that duplicates had been created in Wikidata (possibly because the initial [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 script] did not work that well  because of the recent [[wikidata:Wikidata:SPARQL_query_service/WDQS_graph_split|Graph Split]] on Wikidata). We merged duplicates on wikidata using the [[wikidata:Help:Merge|&quot;Merge&quot; gadget]] on Wikidata. We checked manually for duplicated statments in those items.

=== Article classification through meta-data enrichement ===&lt;!-- Add : What is meta-data enrichement --&gt;

Existing review try to classify existing articles according to various criteria such as industry focus, academic discipline, geography of research sites (countries), stakeholder focus (community, consumer, worker...), type of study (case study, theory development) or methodology (quantitative, qualitative, mixt).&lt;ref name=&quot;:5&quot; /&gt; We selected the most relevant properties in Wikidata to reflect these classifications : {{Wikidata entity link|P921}} to describe what the article is about, {{Wikidata entity link|P8363}} to describe its main methodology/research design and {{Wikidata entity link|P6153}} to describe its geographical focus.

==== Main subjects ====
We first read the articles abstracts and listed relevant topics and their Wikidata ID in a shared spreadsheet. These topics were : 
{| class=&quot;wikitable&quot;
|+
!Qid
!Main topic
|-
|Q42377797
|
|-
|Q2798912
|
|-
|Q421953
|
|}&lt;!-- include all below items using the wikidata link template
 --&gt;
&lt;nowiki&gt;https://www.wikidata.org/wiki/Q84459973&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q185836&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4764988&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4338318&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4930066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q430460&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7569&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4116870&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125928&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q260607&lt;/nowiki&gt;

&lt;nowiki&gt;https://en.wikipedia.org/wiki/Climate_change_mitigation&lt;/nowiki&gt;

Q1291678

Q2270945

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q16972712&lt;/nowiki&gt;

Q16324410

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11024&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q177634&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5154673&lt;/nowiki&gt;

Q113514984

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q65807646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188843&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11693783&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q284289&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7174&lt;/nowiki&gt;

Q552284

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1230584&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1049066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8134&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q295865&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1358789&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q868575&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q138359220&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131444737&lt;/nowiki&gt;

www.wikidata.org/wiki/Q16869822

Q14944319

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q192704&lt;/nowiki&gt;

Q117091181

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q24965464&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1805337&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1341244&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3406659&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3456219&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2700433&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q837718&lt;/nowiki&gt;

Q795757

Q795757

Q1479527

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q771773&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56395513&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5465532&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4421&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q48277&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1553864&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8458?wprov=srpw1_0&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11376059&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q103817&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q113561794&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q770480&lt;/nowiki&gt;

Q17142211

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1516555&lt;/nowiki&gt;

Q6316391

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q366139&lt;/nowiki&gt;

Q3027857

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q59679511&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q43619&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q127514833&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q13023682&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q728646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3907287&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q9357091&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q265425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q25107&lt;/nowiki&gt;

Q442100

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7249406&lt;/nowiki&gt;

Q7257735

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q541936&lt;/nowiki&gt;

Q6142016

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q10509953&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q12705&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56510941&lt;/nowiki&gt;

Q1165392

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4414036&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q17152351&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q187588&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q264892&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q34749&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2930198&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125359881&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q219416&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131201&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7649586&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q69883&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q920600&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3376054&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q107389921&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7981051&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q467&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188867&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1038171&lt;/nowiki&gt;

Then, for each article, we inferred what the {{Wikidata entity link|P921}} was from the abstracts and author provided keywords.

==== Study types ====
Our review included only litterature reviews. We first read abstracts to identify all the [https://angryloki.github.io/wikidata-graph-builder/?item=Q2412849&amp;property=P279&amp;mode=reverse different types of litterature reviews] present in the corpus and created wikidata items which did not exist, for example {{Wikidata entity link|Q137209848}} and {{Wikidata entity link|Q137174203}}. We improved these method items using the methodological references cited in the reviewed papers. The types of reviews were : &lt;!-- include all below items using the wikidata link template
 --&gt; 

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q603441&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q472342&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q815382&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q1504425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2412849&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q6822263&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q7301211&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q17007303&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q70470634&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q101116078&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q110665014&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174203&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174450&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137209848&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137211242&lt;/nowiki&gt;

[Include list and description of types of litterature reviews]

Then, we added the {{Wikidata entity link|P8363}} of each articles based on the abstract and method sections. In case of doubt, we compared our interpretation.

==== Research site ====
When an article had a specific geographical focus, we used the property {{Wikidata entity link|P6153}} to describe it. For example, the article &quot;{{Wikidata entity link|Q137901202}}&quot; focused on {{Wikidata entity link|Q132959}}.

==== Results ====
[insert table about the sample]

=== Knowledge modelling ===
Concept maps can be a powerful literature review tool&lt;ref&gt;{{Cite journal|last=Lewis|first=John Kennedy|date=2016|title=Using ATLAS.ti to Facilitate Data Analysis for a Systematic Review of Leadership Competencies in the Completion of a Doctoral Dissertation|url=https://www.ssrn.com/abstract=2850726|journal=SSRN Electronic Journal|language=en|doi=10.2139/ssrn.2850726|issn=1556-5068}}&lt;/ref&gt; allowing to synthetize theoretical statements about relationship between concepts&lt;ref&gt;{{Cite journal|last=Panniers|first=Teresa L|last2=Feuerbach|first2=Renee Daiuta|last3=Soeken|first3=Karen L|date=2003-08-01|title=Methods in informatics: using data derived from a systematic review of health care texts to develop a concept map for use in the neonatal intensive care setting|url=https://www.sciencedirect.com/science/article/pii/S1532046403000911|journal=Journal of Biomedical Informatics|series=Building Nursing Knowledge through Informatics: From Concept Representation to Data Mining|volume=36|issue=4|pages=232–239|doi=10.1016/j.jbi.2003.09.010|issn=1532-0464}}&lt;/ref&gt;. In the present study, we explored how concept map can be used to model the knowledge present in the paper we selected. 

[define knowledge modelling]

==== Conceptual modelling ====
We first reflected on what kind of wikidata properties could be used to represent concepts and theories in wikidata. Capturing the content of a concept is not straightforward and there are various approaches coming from psychology and philosophy on the matter&lt;ref&gt;{{Cite book|title=The Origin of Concepts|last=Carey|first=Susan|date=2011|publisher=Oxford University Press USA - OSO|isbn=978-0-19-536763-8|series=Oxford Series in Cognitive Development Ser|location=Cary}}&lt;/ref&gt; we summarize these approaches below and examine which wikidata properties exist to represent them.
* Definition: the content of a concept can be formed by its decomposition into other concepts. Many Wikidata properties can be relevant to model definitions, for example: {{Wikidata entity link|P1269}}, {{Wikidata entity link|P361}}/{{Wikidata entity link|P527}}, {{Wikidata entity link|P2670}}, {{Wikidata entity link|P1552}}/{{Wikidata entity link|P6477}}, {{Wikidata entity link|P3712}}...
* Categorization: the content of a concept is formed by its illustration by an exemplar (a [[wikipedia:Prototype_theory|prototype]]) that best represent the concept. Apart from the inclusion of images to illustrate an item, Wikidata structure do not highlight exemplars. However, properties signifying relations of categorizations are among the most used with {{Wikidata entity link|P31}} and {{Wikidata entity link|P279}}.
* Theory: the content of a concept is formed by its role in providing explanation of the world. Wikidata includes several properties to describe causal relationships: {{Wikidata entity link|P828}}/{{Wikidata entity link|P1542}}, {{Wikidata entity link|P1537}}/{{Wikidata entity link|P1479}}.
* Essence: the content of a concept is &quot;something&quot; deep explaning the entity's existence and its properties. We can use concepts before knowing what they mean, and this is what allows us to revise our knowledge about it. The idea of essence is well represented by the QID of Wikidata entities: it is independent of language and definitions and we can create it before really knowing what all its properties will be.
* Origin: the content of the concept is determined causally by social and historial factors (e.g. someone inventing the concept and introducing its use in a language community). This can be represented by the property {{Wikidata entity link|P3938}}.

==== Thematic networks ====
[[File:Thematic network example.jpg|thumb|547x547px|Structure of a thematic network (Source: Attride-Stirling 2001)]]
A thematic network is “simply a way of organizing a thematic analysis of qualitative data”&lt;ref name=&quot;:7&quot;&gt;{{Cite journal|last=Attride-Stirling|first=Jennifer|date=2001-12|title=Thematic networks: an analytic tool for qualitative research|url=https://journals.sagepub.com/doi/10.1177/146879410100100307|journal=Qualitative Research|language=en|volume=1|issue=3|pages=385–405|doi=10.1177/146879410100100307|issn=1468-7941}}&lt;/ref&gt;. It is compatible with classical coding strategies such as [[grounded theory]]&lt;ref&gt;{{Cite journal|last=Corbin|first=Juliet|last2=Strauss|first2=Anselm|date=1990-12-01|title=Grounded Theory Research: Procedures, Canons and Evaluative Criteria|url=https://www.degruyter.com/document/doi/10.1515/zfsoz-1990-0602/html|journal=Zeitschrift für Soziologie|language=en|volume=19|issue=6|pages=418–427|doi=10.1515/zfsoz-1990-0602|issn=2366-0325}}&lt;/ref&gt;. Thematic networks can be used to visualise the data structure after identifying themes and help structure and interpret the data&lt;ref name=&quot;:7&quot; /&gt;. The principle is to assemble basic themes into more general themes.   

Qualitative researchers usually use {{Wikidata entity link|Q4550939}} and qualitative coding (e.g. grounded theory) to identify themes and sub-themes.   

However, the nature of the relationship between these various themes and sub-themes is often not specified.  

*

==== Causal networks ====
The use of diagrams to represent causal relationship exist in various research practices. In statistics, researchers sometime present models with boxes and arrows representing correlations and/or causations&lt;ref&gt;{{Cite book|url=https://mirror.vcu.edu/pub/mx/doc/mxmang10.pdf|title=Statistical Modeling|last=Neale|first=Michael C.|last2=Boker|first2=Steven M.|last3=Xie|first3=Gary|last4=Maes|first4=Hermine H.|publisher=Richmond, VA: Department of Psychiatry|year=1999|location=Virginia Commonwealth University}}&lt;/ref&gt;. In qualitative research, building grounded theory models is about &quot;[accounting] for not only all the major emergent concepts, themes, and dimensions, but also for their dynamic interrelationships. Speaking in classic boxes-and-arrows terms, this process amounts to assembling the constellation of boxes with a special focus on the arrows.&quot;&lt;ref&gt;{{Cite journal|last=Gioia|first=Dennis A.|last2=Corley|first2=Kevin G.|last3=Hamilton|first3=Aimee L.|date=2013-01|title=Seeking Qualitative Rigor in Inductive Research: Notes on the Gioia Methodology|url=https://journals.sagepub.com/doi/10.1177/1094428112452151|journal=Organizational Research Methods|language=en|volume=16|issue=1|pages=15–31|doi=10.1177/1094428112452151|issn=1094-4281}}&lt;/ref&gt; Researchers relying on system theory also use causal loop diagram where boxes represent variables and arrows represent causal influence (positive or negative), causal relationship can &quot;feedback&quot; (two variables can influence each other)&lt;ref&gt;{{Cite book|url=https://link.springer.com/10.1007/978-3-031-01919-7_4|title=Causal Loop Diagrams|last=Barbrook-Johnson|first=Pete|last2=Penn|first2=Alexandra S.|date=2022|publisher=Springer International Publishing|isbn=978-3-031-01833-6|location=Cham|pages=47–59|language=en|doi=10.1007/978-3-031-01919-7_4}}&lt;/ref&gt;.

Wikidata includes several properties to describe causal relationships:
* {{Wikidata entity link|P828}}
* {{Wikidata entity link|P1542}}
* {{Wikidata entity link|P1537}}
* {{Wikidata entity link|P1479}} : it is difficult to identify single causes for social phenomenons, many factors having an effect on the subject item will likely be contributing factors
===== Modelling concepts =====
To model concepts related to just transition. We read the selected papers and used them as source to build a knowledge graph in wikidata. For example, the paper {{Wikidata entity link|Q137901182}} mention &quot;Energy democracy is both an ideal and a process&quot;&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|pages=4|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;, we thus entered the wikidata statement {{Wikidata entity link|Q14944319}} is an {{Wikidata entity link|P31}} {{Wikidata entity link|Q840396}}, using the paper as source.

Challenges :
*{{Wikidata entity link|P31}}: concepts have a dual nature because they designate at the same time an idea and the entity that this idea represent.
* {{Wikidata entity link|P3712}}: concepts do not have goals in themselves, but the reality they represent can have goals

=== Writing ===
To cite articles we used the [[Template:Cite Q|Cite Q template.]] Each reference is an item in Wikidata and the template retrieve the necessary data to generate the citation references below.

== Data == 
{| class=&quot;wikitable sortable&quot;
! QID !! Year !! DOI !! Title
|-
| [[d:Q137901191|Q137901191]] || 2025 || [https://doi.org/10.1002/GEO2.70040 10.1002/GEO2.70040] || Place-Based Sustainability Transformations for Just Futures: A Systematic Review
|-
| [[d:Q137901187|Q137901187]] || 2025 || [https://doi.org/10.1002/WCC.932 10.1002/WCC.932] || Public Communication of Climate and Justice: A Scoping Review
|-
| [[d:Q135979013|Q135979013]] || 2025 || [https://doi.org/10.1007/S13280-025-02202-Z 10.1007/S13280-025-02202-Z] || Participatory approaches to climate adaptation, resilience, and mitigation: A systematic review
|-
| [[d:Q137901223|Q137901223]] || 2022 || [https://doi.org/10.1007/S13412-021-00726-W 10.1007/S13412-021-00726-W] || A review of stakeholder participation studies in renewable electricity and water: does the resource context matter?
|-
| [[d:Q137901184|Q137901184]] || 2021 || [https://doi.org/10.1007/S40518-021-00184-6 10.1007/S40518-021-00184-6] || Energy Storage as an Equity Asset.
|-
| [[d:Q114204627|Q114204627]] || 2021 || [https://doi.org/10.1007/S43621-021-00024-Z 10.1007/S43621-021-00024-Z] || Can public awareness, knowledge and engagement improve climate change adaptation policies?
|-
| [[d:Q137901209|Q137901209]] || 2026 || [https://doi.org/10.1016/J.AGSY.2025.104512 10.1016/J.AGSY.2025.104512] || Designing with non-humans for agricultural systems transformation: An interdisciplinary review and framework for reflection
|-
| [[d:Q137901201|Q137901201]] || 2025 || [https://doi.org/10.1016/J.COPSYC.2024.101987 10.1016/J.COPSYC.2024.101987] || Individual and community catalysts for Renewable Energy Communities (RECs) development
|-
| [[d:Q114197507|Q114197507]] || 2022 || [https://doi.org/10.1016/J.CRM.2022.100438 10.1016/J.CRM.2022.100438] || Advancements of sustainable development goals in co-production for climate change adaptation research
|-
| [[d:Q129203992|Q129203992]] || 2024 || [https://doi.org/10.1016/J.EGYR.2024.01.040 10.1016/J.EGYR.2024.01.040] || Empowering energy citizenship: Exploring dimensions and drivers in citizen engagement during the energy transition
|-
| [[d:Q137901216|Q137901216]] || 2026 || [https://doi.org/10.1016/J.EIAR.2025.108187 10.1016/J.EIAR.2025.108187] || From participation to partnership: A systematic review of public engagement in sustainable urban planning
|-
| [[d:Q137210566|Q137210566]] || 2016 || [https://doi.org/10.1016/J.ERSS.2015.10.004 10.1016/J.ERSS.2015.10.004] || Energy justice: A conceptual review
|-
| [[d:Q115448818|Q115448818]] || 2016 || [https://doi.org/10.1016/J.ERSS.2016.04.001 10.1016/J.ERSS.2016.04.001] || Stakeholder involvement in sustainability science—A critical view
|-
| [[d:Q129652515|Q129652515]] || 2018 || [https://doi.org/10.1016/J.ERSS.2018.06.010 10.1016/J.ERSS.2018.06.010] || What is energy democracy? Connecting social science energy research and political theory
|-
| [[d:Q137901196|Q137901196]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101716 10.1016/J.ERSS.2020.101716] || Of renewable energy, energy democracy, and sustainable development: A roadmap to accelerate the energy transition in developing countries
|-
| [[d:Q136447761|Q136447761]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101768 10.1016/J.ERSS.2020.101768] || Energy democracy as a process, an outcome and a goal: A conceptual review
|-
| [[d:Q137901204|Q137901204]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101834 10.1016/J.ERSS.2020.101834] || Identities, innovation, and governance: A systematic review of co-creation in wind energy transitions
|-
| [[d:Q137901183|Q137901183]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101837 10.1016/J.ERSS.2020.101837] || Renewable energy for whom? A global systematic review of the environmental justice implications of renewable energy technologies
|-
| [[d:Q137901207|Q137901207]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101871 10.1016/J.ERSS.2020.101871] || Rethinking community empowerment in the energy transformation: A critical review of the definitions, drivers and outcomes
|-
| [[d:Q137901215|Q137901215]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101876 10.1016/J.ERSS.2020.101876] || Co-production in the wind energy sector: A systematic literature review of public engagement beyond invited stakeholder participation
|-
| [[d:Q114306511|Q114306511]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101907 10.1016/J.ERSS.2020.101907] || From consultation toward co-production in science and policy: A critical systematic review of participatory climate and energy initiatives
|-
| [[d:Q137901221|Q137901221]] || 2021 || [https://doi.org/10.1016/J.ERSS.2021.102257 10.1016/J.ERSS.2021.102257] || The challenges of engaging island communities: Lessons on renewable energy from a review of 17 case studies
|-
| [[d:Q137901218|Q137901218]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102333 10.1016/J.ERSS.2021.102333] || The (in)justices of smart local energy systems: A systematic review, integrated framework, and future research agenda
|-
| [[d:Q137901182|Q137901182]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102444 10.1016/J.ERSS.2021.102444] || A critical review of energy democracy: A failure to deliver justice?
|-
| [[d:Q114306483|Q114306483]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102482 10.1016/J.ERSS.2021.102482] || The role of energy democracy and energy citizenship for participatory energy transitions: A comprehensive review
|-
| [[d:Q114306476|Q114306476]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102714 10.1016/J.ERSS.2022.102714] || What about citizens? A literature review of citizen engagement in sustainability transitions research
|-
| [[d:Q137901193|Q137901193]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102862 10.1016/J.ERSS.2022.102862] || When energy justice is contested: A systematic review of a decade of research on Sweden?s conflicted energy landscape
|-
| [[d:Q137901219|Q137901219]] || 2023 || [https://doi.org/10.1016/J.ERSS.2022.102913 10.1016/J.ERSS.2022.102913] || Can we optimise for justice? Reviewing the inclusion of energy justice in energy system optimisation models
|-
| [[d:Q137901186|Q137901186]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103010 10.1016/J.ERSS.2023.103010] || Analysing intersections of justice with energy transitions in India- A systematic literature review
|-
| [[d:Q137901181|Q137901181]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103053 10.1016/J.ERSS.2023.103053] || Fostering justice through engagement: A literature review of public engagement in energy transitions
|-
| [[d:Q137211155|Q137211155]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103213 10.1016/J.ERSS.2023.103213] || A fairway to fairness: Toward a richer conceptualization of fairness perceptions for just energy transitions
|-
| [[d:Q137901217|Q137901217]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103221 10.1016/J.ERSS.2023.103221] || Powering just energy transitions: A review of the justice implications of community choice aggregation
|-
| [[d:Q137901199|Q137901199]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104016 10.1016/J.ERSS.2025.104016] || Making energy renovations equitable: A literature review of decision-making criteria for a just energy transition in residential buildings
|-
| [[d:Q137901188|Q137901188]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104036 10.1016/J.ERSS.2025.104036] || Community energy justice: A review of origins, convergence, and a research agenda
|-
| [[d:Q137901211|Q137901211]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104067 10.1016/J.ERSS.2025.104067] || Psychological and social factors driving citizen involvement in renewable energy communities: A systematic review
|-
| [[d:Q137901192|Q137901192]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104149 10.1016/J.ERSS.2025.104149] || Assessing social impacts and Energy Justice along green hydrogen supply chains: a capability-based framework
|-
| [[d:Q137901195|Q137901195]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104422 10.1016/J.ERSS.2025.104422] || Out of place, scale and time? Navigating injustices across mission arenas of the German Energiewende
|-
| [[d:Q137901185|Q137901185]] || 2024 || [https://doi.org/10.1016/J.ESD.2024.101546 10.1016/J.ESD.2024.101546] || Characterizing 'injustices' in clean energy transitions in Africa
|-
| [[d:Q137901226|Q137901226]] || 2024 || [https://doi.org/10.1016/J.JCLEPRO.2024.143470 10.1016/J.JCLEPRO.2024.143470] || Energy justice and sustainable urban renewal: A systematic review of low-income old town communities
|-
| [[d:Q137901222|Q137901222]] || 2024 || [https://doi.org/10.1016/J.JENVMAN.2024.120804 10.1016/J.JENVMAN.2024.120804] || Forest, climate, and policy literature lacks acknowledgement of environmental justice, diversity, equity, and inclusion
|-
| [[d:Q115441381|Q115441381]] || 2021 || [https://doi.org/10.1016/J.RSER.2021.111504 10.1016/J.RSER.2021.111504] || Participatory methods in energy system modelling and planning – A review
|-
| [[d:Q137901205|Q137901205]] || 2025 || [https://doi.org/10.1016/J.RSER.2025.115892 10.1016/J.RSER.2025.115892] || A systematic review of the intersection between energy justice and human rights
|-
| [[d:Q137901225|Q137901225]] || 2024 || [https://doi.org/10.1017/SUS.2024.24 10.1017/SUS.2024.24] || Blue carbon as just transition? A structured literature review
|-
| [[d:Q137901220|Q137901220]] || 2025 || [https://doi.org/10.1017/SUS.2025.2 10.1017/SUS.2025.2] || Toward an intersectional equity approach in social-ecological transformations
|-
| [[d:Q137901203|Q137901203]] || 2024 || [https://doi.org/10.1080/14693062.2023.2256697 10.1080/14693062.2023.2256697] || Exploring the democracy-climate nexus: a review of correlations between democracy and climate policy performance
|-
| [[d:Q137901164|Q137901164]] || 2022 || [https://doi.org/10.1111/GEC3.12662 10.1111/GEC3.12662] || Creating fairer futures for sustainability transitions
|-
| [[d:Q137901227|Q137901227]] || 2025 || [https://doi.org/10.1139/ER-2024-0018 10.1139/ER-2024-0018] || Community engagement in nature-positive food systems programming and research in East and Southern Africa: a review
|-
| [[d:Q119955266|Q119955266]] || 2019 || [https://doi.org/10.1146/ANNUREV-ENVIRON-101718-033103 10.1146/ANNUREV-ENVIRON-101718-033103] || Co-Producing Sustainability: Reordering the Governance of Science, Policy, and Practice
|-
| [[d:Q137901206|Q137901206]] || 2023 || [https://doi.org/10.1146/ANNUREV-ENVIRON-112621-063400 10.1146/ANNUREV-ENVIRON-112621-063400] || Metrics for Decision-Making in Energy Justice
|-
| [[d:Q137901213|Q137901213]] || 2022 || [https://doi.org/10.1186/S13705-021-00330-4 10.1186/S13705-021-00330-4] || Mapping emergent public engagement in societal transitions: a scoping review
|-
| [[d:Q137901163|Q137901163]] || 2025 || [https://doi.org/10.17573/CEPAR.2025.2.09 10.17573/CEPAR.2025.2.09] || From Co-Creation to Circular Cities: Exploring Living Labs in EU Governance Frameworks - A Literature Review
|-
| [[d:Q137901197|Q137901197]] || 2024 || [https://doi.org/10.3390/EN17143512 10.3390/EN17143512] || A Systematic Review on the Path to Inclusive and Sustainable Energy Transitions
|-
| [[d:Q104887325|Q104887325]] || 2019 || [https://doi.org/10.3390/SU11041023 10.3390/SU11041023] || Deliberation and the Promise of a Deeply Democratic Sustainability Transition
|-
| [[d:Q137901202|Q137901202]] || 2021 || [https://doi.org/10.3390/SU13042128 10.3390/SU13042128] || A Review of Energy Communities in Sub-Saharan Africa as a Transition Pathway to Energy Democracy
|-
| [[d:Q137901210|Q137901210]] || 2023 || [https://doi.org/10.3390/SU15032441 10.3390/SU15032441] || Sustainable Project Governance: Scientometric Analysis and Emerging Trends
|-
| [[d:Q137901224|Q137901224]] || 2024 || [https://doi.org/10.3390/SU16198700 10.3390/SU16198700] || Empowering Communities to Act for a Change: A Review of the Community Empowerment Programs towards Sustainability and Resilience
|}


== References ==
{{References}}</text>
      <sha1>bjxrtjcquxki1o7qf01rdztks3zm19e</sha1>
    </revision>
    <revision>
      <id>2807100</id>
      <parentid>2807098</parentid>
      <timestamp>2026-04-30T13:26:56Z</timestamp>
      <contributor>
        <username>Jeanne Noiraud</username>
        <id>1366702</id>
      </contributor>
      <comment>/* Introduction */</comment>
      <origin>2807100</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="40747" sha1="fry0ono0fba8uisldzagnqz0fksr1aj" xml:space="preserve">== Introduction ==

=== Definition of living review ===
The concept of living systematic reviews is recent (2014), so the definition has been regularly reworked&lt;ref name=&quot;Why1&quot;&gt;{{Cite Q |Q40040379 }}&lt;/ref&gt;. Living systematic reviews complement the older concept of [[literature review]]. Its objective is the same : obtain an accurate overview of the state of scientific knowledge on a subject&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot;&gt;{{Cite journal |last=Akl |first=Elie A. |last2=Meerpohl |first2=Joerg J. |last3=Elliott |first3=Julian |last4=Kahale |first4=Lara A. |last5=Schünemann |first5=Holger J. |last6=Agoritsas |first6=Thomas |last7=Hilton |first7=John |last8=Perron |first8=Caroline |last9=Akl |first9=Elie |last10=Hodder |first10=Rebecca |last11=Pestridge |first11=Charlotte |last12=Albrecht |first12=Lauren |last13=Horsley |first13=Tanya |last14=Platt |first14=Joanne |last15=Armstrong |first15=Rebecca |date=2017-11 |title=Living systematic reviews: 4. Living guideline recommendations |url=https://www.wikidata.org/wiki/Q50084143 |journal=Journal of Clinical Epidemiology |language=en |volume=91 |pages=47–53 |doi=10.1016/j.jclinepi.2017.08.009}}&lt;/ref&gt;&lt;ref name=&quot;:6&quot;&gt;{{Citation|title=Living Systematic Reviews|url=https://doi.org/10.1007/978-1-0716-1566-9_7|publisher=Springer US|work=Meta-Research: Methods and Protocols|date=2022|access-date=2026-01-16|place=New York, NY|isbn=978-1-0716-1566-9|pages=121–134|doi=10.1007/978-1-0716-1566-9_7|language=en|first=Mark|last=Simmonds|first2=Julian H.|last2=Elliott|first3=Anneliese|last3=Synnot|first4=Tari|last4=Turner|editor-first=Evangelos|editor-last=Evangelou|editor2-first=Areti Angeliki|editor2-last=Veroniki}}&lt;/ref&gt;. A traditional review may be obsolete by the time it is published, as new studies have emerged between the submission of the manuscript and its publication&lt;ref name=&quot;Why1&quot;/&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;. Living systematic reviews exists to address this common problem&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;&lt;ref name=&quot;:2&quot;&gt;https://blogs.lse.ac.uk/impactofsocialsciences/2019/05/14/the-death-of-the-literature-review-and-the-rise-of-the-dynamic-knowledge-map/&lt;/ref&gt;. It is therefore particularly useful in rapidly evolving fields of research&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;, such as just transition. 

[[wikidata:Q33002955|Knowledge graphs]], a structured representation of knowledge in the form of a graph, linked together by relationships that encode explicit meanings between these entities, are very suitable for conducting living systematic reviews&lt;ref name=&quot;:2&quot; /&gt;&lt;ref name=&quot;Fotopoulou&quot;&gt;{{Cite journal|first1=Eleni |last1=Fotopoulou|first2=Ioanna|last2=Mandilara|first3=Anastasios|last3=Zafeiropoulos|first4=Chrysi|last4=Laspidou|first5=Giannis |last5=Adamos|first6=Phoebe|last6=Koundouri|first7=Symeon|last7=Papavassiliou|title=SustainGraph: A knowledge graph for tracking the progress and the interlinking among the sustainable development goals’ targets|journal=Frontiers in environmental science, Frontiers|volume=10|date=2022-10-26|issn=2296-665X|doi=10.3389/FENVS.2022.1003599|url=https://www.wikidata.org/wiki/Q117837999}}.&lt;/ref&gt;. Advances in AI could render certain older methodological types of living systematic reviews obsoletes&lt;ref&gt;{{Cite journal|last=Krlev|first=Gorgi|last2=Hannigan|first2=Tim|last3=Spicer|first3=André|date=2025-01|title=What Makes a Good Review Article? Empirical Evidence From Management and Organization Research|url=https://journals.aom.org/doi/abs/10.5465/annals.2021.0051|journal=Academy of Management Annals|volume=19|issue=1|pages=376–403|doi=10.5465/annals.2021.0051|issn=1941-6520}}&lt;/ref&gt;, as IA are useful to extract, filter and classify datas&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;. [[Large language models]] (LLM) are &quot;on the rise&quot; (2025), but &quot;not yet ready for use&quot;&lt;ref&gt;{{Cite journal |last=Lieberum |first=Judith-Lisa |last2=Toews |first2=Markus |last3=Metzendorf |first3=Maria-Inti |last4=Heilmeyer |first4=Felix |last5=Siemens |first5=Waldemar |last6=Haverkamp |first6=Christian |last7=Böhringer |first7=Daniel |last8=Meerpohl |first8=Joerg J. |last9=Eisele-Metzger |first9=Angelika |date=2025-05 |title=Large language models for conducting systematic reviews: on the rise, but not yet ready for use—a scoping review |url=https://www.wikidata.org/wiki/Q134545593|journal=Journal of Clinical Epidemiology |language=en |volume=181 |pages=111746 |doi=10.1016/j.jclinepi.2025.111746}}&lt;/ref&gt;.

The living review method relevant for just transition because it includes topic such as energy democracy which necessitate transdisciplinarity and consolidation of fragmented literature&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;.

===  Definitions of just transition : ===
* «a fair and equitable process of moving towards a post-carbon society’. »&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|last=McCauley|first=Darren|last2=Heffron|first2=Raphael|date=2018-08-01|title=Just transition: Integrating climate, energy and environmental justice|url=https://www.wikidata.org/wiki/Q129947262|journal=Energy Policy|language=English|volume=119|pages=1–7|doi=10.1016/J.ENPOL.2018.04.014}}&lt;/ref&gt;.


The concept of just transition originated from global trade unions in the 1980s to promote green jobs creation as a key element of sustainability transitions&lt;ref name=&quot;:0&quot; /&gt;. However, scholars have broadened the use of this term to develop frameworks for analysing issues of fairness in these transitions&lt;ref name=&quot;:0&quot; /&gt;. The concept of just transition can be used to bridge various bodies of scholarship : climate justice, environmental justiceand energy justice&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|last=Wang|first=Xinxin|last2=Lo|first2=Kevin|date=2021-12-01|title=Just transition: A conceptual review|url=https://www.wikidata.org/wiki/Q137209041|journal=Energy Research &amp; Social Science|volume=82|pages=102291|doi=10.1016/J.ERSS.2021.102291}}&lt;/ref&gt;&lt;ref name=&quot;:1&quot;&gt;{{Cite book|url=https://www.wikidata.org/wiki/Q134545572|title=What is the “Just Transition”?|last=Heffron|first=Raphael J.|date=2021-01-01|pages=9–19|language=English}}&lt;/ref&gt; and take into account various aspects of justice including distributional justice, procedural justice, restorative justice, recognition justice&lt;ref name=&quot;:0&quot; /&gt;&lt;ref name=&quot;:3&quot; /&gt;&lt;ref name=&quot;:1&quot; /&gt;&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. 
 
=== Definition of Procedural justice ===
Procedural justice is about the fairness of decision-making processes related to transitions&lt;ref name=&quot;:4&quot; /&gt; such as the inclusion of those impacted by these decisions&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|last=Stark|first=Anthony|last2=Gale|first2=Fred|last3=Murphy-Gregory|first3=Hannah|date=2023-05-05|title=Just Transitions’ Meanings: A Systematic Review|url=https://www.wikidata.org/wiki/Q137210229|journal=Society and Natural Resources|volume=36|issue=10|pages=1277–1297|doi=10.1080/08941920.2023.2207166}}&lt;/ref&gt;. Procedural justice can include issues of community and citizen participation in decision making, their political representation their consultation or the integration of their knowledge, with a focus on neglected population (indigenous people, women, gender and ethnic minorities&lt;ref&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. For example, the participation of affected communities in decisions related to the construction of new infrastructures&lt;ref name=&quot;:0&quot; /&gt;.     

== Methodology ==

=== Wikidata and the semantic web ===&lt;!-- Add introduction to what wikidata is and how the triplet works in a pedagogical manner
 --&gt;

=== Database search ===
We conducted preliminary searches in various databases including Web of science, Go Triple, Dimensions and OpenAlex. Web of Science was the database offering the most relevant restults and included the possibility to filter results to display only litterature reviews. Articles metadata were exported (in .ris format) and then imported into the reference manager software Zotero. 
 
{| class=&quot;wikitable&quot;
|+
!Keywords search
!Database
!Search date
!Filters
!Number of results
|-
|(((TS=(procedural justice OR procedural fairness OR democracy OR participation OR participatory)) AND TS=(sustainability OR energy OR climate)) AND TS=(transition OR transitions)) AND TS=(review OR reviews) 
|Web of Science (all databases, all dates)
|December 2025
|Document type: Review Article
|362
|}

=== Article screening ===
Articles abstract were then screened and we selected only articles which were litterature reviews focusing on concepts related to procedural justice as their main topics. We excluded article which were 

* Not related to sustainability transition (e.g. sustainable shift in..., hard science papers...)
* Not literature reviews (e.g. review of policies, initiatives, cases, review notes, book review...)
* Not related to procedural justice but to participation into markets, participation in eco-friendly behaviors or included justice consideration only in “future research” suggestions
* Discussing participatory research methodologies (e.g. participatory modelling) without approaching it as an issue of justice, power or democracy
* Discussing procedural justice concepts as key variables or key results without it being the main focus of the paper

=== Importing selected articles into Wikidata ===
To import the selected articles meta-data into Wikidata, we first ran [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 a script] to check if any article was already present in the database. Next we used [https://gist.github.com/zuphilip/90acdc3eac4109830db1b3ab855fcb24 another script] that checks the ISSN of the publication in Wikidata and add P-Q-pairs in the extra field of Zotero. Then we exported the articles data using the &quot;export to Wikidata QuickStatements&quot; function of Zotero and use the QuickStatements tool to add them to Wikidata.

Next we used the [[wikidata:Wikidata:Zotero/Cita|Cita]] (V1.0.0-beta.17) Zotero add-on to add articles QID in Zotero. At this point we identified that duplicates had been created in Wikidata (possibly because the initial [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 script] did not work that well  because of the recent [[wikidata:Wikidata:SPARQL_query_service/WDQS_graph_split|Graph Split]] on Wikidata). We merged duplicates on wikidata using the [[wikidata:Help:Merge|&quot;Merge&quot; gadget]] on Wikidata. We checked manually for duplicated statments in those items.

=== Article classification through meta-data enrichement ===&lt;!-- Add : What is meta-data enrichement --&gt;

Existing review try to classify existing articles according to various criteria such as industry focus, academic discipline, geography of research sites (countries), stakeholder focus (community, consumer, worker...), type of study (case study, theory development) or methodology (quantitative, qualitative, mixt).&lt;ref name=&quot;:5&quot; /&gt; We selected the most relevant properties in Wikidata to reflect these classifications : {{Wikidata entity link|P921}} to describe what the article is about, {{Wikidata entity link|P8363}} to describe its main methodology/research design and {{Wikidata entity link|P6153}} to describe its geographical focus.

==== Main subjects ====
We first read the articles abstracts and listed relevant topics and their Wikidata ID in a shared spreadsheet. These topics were : 
{| class=&quot;wikitable&quot;
|+
!Qid
!Main topic
|-
|Q42377797
|
|-
|Q2798912
|
|-
|Q421953
|
|}&lt;!-- include all below items using the wikidata link template
 --&gt;
&lt;nowiki&gt;https://www.wikidata.org/wiki/Q84459973&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q185836&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4764988&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4338318&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4930066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q430460&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7569&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4116870&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125928&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q260607&lt;/nowiki&gt;

&lt;nowiki&gt;https://en.wikipedia.org/wiki/Climate_change_mitigation&lt;/nowiki&gt;

Q1291678

Q2270945

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q16972712&lt;/nowiki&gt;

Q16324410

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11024&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q177634&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5154673&lt;/nowiki&gt;

Q113514984

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q65807646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188843&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11693783&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q284289&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7174&lt;/nowiki&gt;

Q552284

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1230584&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1049066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8134&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q295865&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1358789&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q868575&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q138359220&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131444737&lt;/nowiki&gt;

www.wikidata.org/wiki/Q16869822

Q14944319

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q192704&lt;/nowiki&gt;

Q117091181

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q24965464&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1805337&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1341244&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3406659&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3456219&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2700433&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q837718&lt;/nowiki&gt;

Q795757

Q795757

Q1479527

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q771773&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56395513&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5465532&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4421&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q48277&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1553864&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8458?wprov=srpw1_0&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11376059&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q103817&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q113561794&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q770480&lt;/nowiki&gt;

Q17142211

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1516555&lt;/nowiki&gt;

Q6316391

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q366139&lt;/nowiki&gt;

Q3027857

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q59679511&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q43619&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q127514833&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q13023682&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q728646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3907287&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q9357091&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q265425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q25107&lt;/nowiki&gt;

Q442100

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7249406&lt;/nowiki&gt;

Q7257735

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q541936&lt;/nowiki&gt;

Q6142016

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q10509953&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q12705&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56510941&lt;/nowiki&gt;

Q1165392

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4414036&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q17152351&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q187588&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q264892&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q34749&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2930198&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125359881&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q219416&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131201&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7649586&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q69883&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q920600&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3376054&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q107389921&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7981051&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q467&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188867&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1038171&lt;/nowiki&gt;

Then, for each article, we inferred what the {{Wikidata entity link|P921}} was from the abstracts and author provided keywords.

==== Study types ====
Our review included only litterature reviews. We first read abstracts to identify all the [https://angryloki.github.io/wikidata-graph-builder/?item=Q2412849&amp;property=P279&amp;mode=reverse different types of litterature reviews] present in the corpus and created wikidata items which did not exist, for example {{Wikidata entity link|Q137209848}} and {{Wikidata entity link|Q137174203}}. We improved these method items using the methodological references cited in the reviewed papers. The types of reviews were : &lt;!-- include all below items using the wikidata link template
 --&gt; 

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q603441&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q472342&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q815382&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q1504425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2412849&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q6822263&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q7301211&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q17007303&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q70470634&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q101116078&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q110665014&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174203&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174450&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137209848&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137211242&lt;/nowiki&gt;

[Include list and description of types of litterature reviews]

Then, we added the {{Wikidata entity link|P8363}} of each articles based on the abstract and method sections. In case of doubt, we compared our interpretation.

==== Research site ====
When an article had a specific geographical focus, we used the property {{Wikidata entity link|P6153}} to describe it. For example, the article &quot;{{Wikidata entity link|Q137901202}}&quot; focused on {{Wikidata entity link|Q132959}}.

==== Results ====
[insert table about the sample]

=== Knowledge modelling ===
Concept maps can be a powerful literature review tool&lt;ref&gt;{{Cite journal|last=Lewis|first=John Kennedy|date=2016|title=Using ATLAS.ti to Facilitate Data Analysis for a Systematic Review of Leadership Competencies in the Completion of a Doctoral Dissertation|url=https://www.ssrn.com/abstract=2850726|journal=SSRN Electronic Journal|language=en|doi=10.2139/ssrn.2850726|issn=1556-5068}}&lt;/ref&gt; allowing to synthetize theoretical statements about relationship between concepts&lt;ref&gt;{{Cite journal|last=Panniers|first=Teresa L|last2=Feuerbach|first2=Renee Daiuta|last3=Soeken|first3=Karen L|date=2003-08-01|title=Methods in informatics: using data derived from a systematic review of health care texts to develop a concept map for use in the neonatal intensive care setting|url=https://www.sciencedirect.com/science/article/pii/S1532046403000911|journal=Journal of Biomedical Informatics|series=Building Nursing Knowledge through Informatics: From Concept Representation to Data Mining|volume=36|issue=4|pages=232–239|doi=10.1016/j.jbi.2003.09.010|issn=1532-0464}}&lt;/ref&gt;. In the present study, we explored how concept map can be used to model the knowledge present in the paper we selected. 

[define knowledge modelling]

==== Conceptual modelling ====
We first reflected on what kind of wikidata properties could be used to represent concepts and theories in wikidata. Capturing the content of a concept is not straightforward and there are various approaches coming from psychology and philosophy on the matter&lt;ref&gt;{{Cite book|title=The Origin of Concepts|last=Carey|first=Susan|date=2011|publisher=Oxford University Press USA - OSO|isbn=978-0-19-536763-8|series=Oxford Series in Cognitive Development Ser|location=Cary}}&lt;/ref&gt; we summarize these approaches below and examine which wikidata properties exist to represent them.
* Definition: the content of a concept can be formed by its decomposition into other concepts. Many Wikidata properties can be relevant to model definitions, for example: {{Wikidata entity link|P1269}}, {{Wikidata entity link|P361}}/{{Wikidata entity link|P527}}, {{Wikidata entity link|P2670}}, {{Wikidata entity link|P1552}}/{{Wikidata entity link|P6477}}, {{Wikidata entity link|P3712}}...
* Categorization: the content of a concept is formed by its illustration by an exemplar (a [[wikipedia:Prototype_theory|prototype]]) that best represent the concept. Apart from the inclusion of images to illustrate an item, Wikidata structure do not highlight exemplars. However, properties signifying relations of categorizations are among the most used with {{Wikidata entity link|P31}} and {{Wikidata entity link|P279}}.
* Theory: the content of a concept is formed by its role in providing explanation of the world. Wikidata includes several properties to describe causal relationships: {{Wikidata entity link|P828}}/{{Wikidata entity link|P1542}}, {{Wikidata entity link|P1537}}/{{Wikidata entity link|P1479}}.
* Essence: the content of a concept is &quot;something&quot; deep explaning the entity's existence and its properties. We can use concepts before knowing what they mean, and this is what allows us to revise our knowledge about it. The idea of essence is well represented by the QID of Wikidata entities: it is independent of language and definitions and we can create it before really knowing what all its properties will be.
* Origin: the content of the concept is determined causally by social and historial factors (e.g. someone inventing the concept and introducing its use in a language community). This can be represented by the property {{Wikidata entity link|P3938}}.

==== Thematic networks ====
[[File:Thematic network example.jpg|thumb|547x547px|Structure of a thematic network (Source: Attride-Stirling 2001)]]
A thematic network is “simply a way of organizing a thematic analysis of qualitative data”&lt;ref name=&quot;:7&quot;&gt;{{Cite journal|last=Attride-Stirling|first=Jennifer|date=2001-12|title=Thematic networks: an analytic tool for qualitative research|url=https://journals.sagepub.com/doi/10.1177/146879410100100307|journal=Qualitative Research|language=en|volume=1|issue=3|pages=385–405|doi=10.1177/146879410100100307|issn=1468-7941}}&lt;/ref&gt;. It is compatible with classical coding strategies such as [[grounded theory]]&lt;ref&gt;{{Cite journal|last=Corbin|first=Juliet|last2=Strauss|first2=Anselm|date=1990-12-01|title=Grounded Theory Research: Procedures, Canons and Evaluative Criteria|url=https://www.degruyter.com/document/doi/10.1515/zfsoz-1990-0602/html|journal=Zeitschrift für Soziologie|language=en|volume=19|issue=6|pages=418–427|doi=10.1515/zfsoz-1990-0602|issn=2366-0325}}&lt;/ref&gt;. Thematic networks can be used to visualise the data structure after identifying themes and help structure and interpret the data&lt;ref name=&quot;:7&quot; /&gt;. The principle is to assemble basic themes into more general themes.   

Qualitative researchers usually use {{Wikidata entity link|Q4550939}} and qualitative coding (e.g. grounded theory) to identify themes and sub-themes.   

However, the nature of the relationship between these various themes and sub-themes is often not specified.  

*

==== Causal networks ====
The use of diagrams to represent causal relationship exist in various research practices. In statistics, researchers sometime present models with boxes and arrows representing correlations and/or causations&lt;ref&gt;{{Cite book|url=https://mirror.vcu.edu/pub/mx/doc/mxmang10.pdf|title=Statistical Modeling|last=Neale|first=Michael C.|last2=Boker|first2=Steven M.|last3=Xie|first3=Gary|last4=Maes|first4=Hermine H.|publisher=Richmond, VA: Department of Psychiatry|year=1999|location=Virginia Commonwealth University}}&lt;/ref&gt;. In qualitative research, building grounded theory models is about &quot;[accounting] for not only all the major emergent concepts, themes, and dimensions, but also for their dynamic interrelationships. Speaking in classic boxes-and-arrows terms, this process amounts to assembling the constellation of boxes with a special focus on the arrows.&quot;&lt;ref&gt;{{Cite journal|last=Gioia|first=Dennis A.|last2=Corley|first2=Kevin G.|last3=Hamilton|first3=Aimee L.|date=2013-01|title=Seeking Qualitative Rigor in Inductive Research: Notes on the Gioia Methodology|url=https://journals.sagepub.com/doi/10.1177/1094428112452151|journal=Organizational Research Methods|language=en|volume=16|issue=1|pages=15–31|doi=10.1177/1094428112452151|issn=1094-4281}}&lt;/ref&gt; Researchers relying on system theory also use causal loop diagram where boxes represent variables and arrows represent causal influence (positive or negative), causal relationship can &quot;feedback&quot; (two variables can influence each other)&lt;ref&gt;{{Cite book|url=https://link.springer.com/10.1007/978-3-031-01919-7_4|title=Causal Loop Diagrams|last=Barbrook-Johnson|first=Pete|last2=Penn|first2=Alexandra S.|date=2022|publisher=Springer International Publishing|isbn=978-3-031-01833-6|location=Cham|pages=47–59|language=en|doi=10.1007/978-3-031-01919-7_4}}&lt;/ref&gt;.

Wikidata includes several properties to describe causal relationships:
* {{Wikidata entity link|P828}}
* {{Wikidata entity link|P1542}}
* {{Wikidata entity link|P1537}}
* {{Wikidata entity link|P1479}} : it is difficult to identify single causes for social phenomenons, many factors having an effect on the subject item will likely be contributing factors
===== Modelling concepts =====
To model concepts related to just transition. We read the selected papers and used them as source to build a knowledge graph in wikidata. For example, the paper {{Wikidata entity link|Q137901182}} mention &quot;Energy democracy is both an ideal and a process&quot;&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|pages=4|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;, we thus entered the wikidata statement {{Wikidata entity link|Q14944319}} is an {{Wikidata entity link|P31}} {{Wikidata entity link|Q840396}}, using the paper as source.

Challenges :
*{{Wikidata entity link|P31}}: concepts have a dual nature because they designate at the same time an idea and the entity that this idea represent.
* {{Wikidata entity link|P3712}}: concepts do not have goals in themselves, but the reality they represent can have goals

=== Writing ===
To cite articles we used the [[Template:Cite Q|Cite Q template.]] Each reference is an item in Wikidata and the template retrieve the necessary data to generate the citation references below.

== Data == 
{| class=&quot;wikitable sortable&quot;
! QID !! Year !! DOI !! Title
|-
| [[d:Q137901191|Q137901191]] || 2025 || [https://doi.org/10.1002/GEO2.70040 10.1002/GEO2.70040] || Place-Based Sustainability Transformations for Just Futures: A Systematic Review
|-
| [[d:Q137901187|Q137901187]] || 2025 || [https://doi.org/10.1002/WCC.932 10.1002/WCC.932] || Public Communication of Climate and Justice: A Scoping Review
|-
| [[d:Q135979013|Q135979013]] || 2025 || [https://doi.org/10.1007/S13280-025-02202-Z 10.1007/S13280-025-02202-Z] || Participatory approaches to climate adaptation, resilience, and mitigation: A systematic review
|-
| [[d:Q137901223|Q137901223]] || 2022 || [https://doi.org/10.1007/S13412-021-00726-W 10.1007/S13412-021-00726-W] || A review of stakeholder participation studies in renewable electricity and water: does the resource context matter?
|-
| [[d:Q137901184|Q137901184]] || 2021 || [https://doi.org/10.1007/S40518-021-00184-6 10.1007/S40518-021-00184-6] || Energy Storage as an Equity Asset.
|-
| [[d:Q114204627|Q114204627]] || 2021 || [https://doi.org/10.1007/S43621-021-00024-Z 10.1007/S43621-021-00024-Z] || Can public awareness, knowledge and engagement improve climate change adaptation policies?
|-
| [[d:Q137901209|Q137901209]] || 2026 || [https://doi.org/10.1016/J.AGSY.2025.104512 10.1016/J.AGSY.2025.104512] || Designing with non-humans for agricultural systems transformation: An interdisciplinary review and framework for reflection
|-
| [[d:Q137901201|Q137901201]] || 2025 || [https://doi.org/10.1016/J.COPSYC.2024.101987 10.1016/J.COPSYC.2024.101987] || Individual and community catalysts for Renewable Energy Communities (RECs) development
|-
| [[d:Q114197507|Q114197507]] || 2022 || [https://doi.org/10.1016/J.CRM.2022.100438 10.1016/J.CRM.2022.100438] || Advancements of sustainable development goals in co-production for climate change adaptation research
|-
| [[d:Q129203992|Q129203992]] || 2024 || [https://doi.org/10.1016/J.EGYR.2024.01.040 10.1016/J.EGYR.2024.01.040] || Empowering energy citizenship: Exploring dimensions and drivers in citizen engagement during the energy transition
|-
| [[d:Q137901216|Q137901216]] || 2026 || [https://doi.org/10.1016/J.EIAR.2025.108187 10.1016/J.EIAR.2025.108187] || From participation to partnership: A systematic review of public engagement in sustainable urban planning
|-
| [[d:Q137210566|Q137210566]] || 2016 || [https://doi.org/10.1016/J.ERSS.2015.10.004 10.1016/J.ERSS.2015.10.004] || Energy justice: A conceptual review
|-
| [[d:Q115448818|Q115448818]] || 2016 || [https://doi.org/10.1016/J.ERSS.2016.04.001 10.1016/J.ERSS.2016.04.001] || Stakeholder involvement in sustainability science—A critical view
|-
| [[d:Q129652515|Q129652515]] || 2018 || [https://doi.org/10.1016/J.ERSS.2018.06.010 10.1016/J.ERSS.2018.06.010] || What is energy democracy? Connecting social science energy research and political theory
|-
| [[d:Q137901196|Q137901196]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101716 10.1016/J.ERSS.2020.101716] || Of renewable energy, energy democracy, and sustainable development: A roadmap to accelerate the energy transition in developing countries
|-
| [[d:Q136447761|Q136447761]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101768 10.1016/J.ERSS.2020.101768] || Energy democracy as a process, an outcome and a goal: A conceptual review
|-
| [[d:Q137901204|Q137901204]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101834 10.1016/J.ERSS.2020.101834] || Identities, innovation, and governance: A systematic review of co-creation in wind energy transitions
|-
| [[d:Q137901183|Q137901183]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101837 10.1016/J.ERSS.2020.101837] || Renewable energy for whom? A global systematic review of the environmental justice implications of renewable energy technologies
|-
| [[d:Q137901207|Q137901207]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101871 10.1016/J.ERSS.2020.101871] || Rethinking community empowerment in the energy transformation: A critical review of the definitions, drivers and outcomes
|-
| [[d:Q137901215|Q137901215]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101876 10.1016/J.ERSS.2020.101876] || Co-production in the wind energy sector: A systematic literature review of public engagement beyond invited stakeholder participation
|-
| [[d:Q114306511|Q114306511]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101907 10.1016/J.ERSS.2020.101907] || From consultation toward co-production in science and policy: A critical systematic review of participatory climate and energy initiatives
|-
| [[d:Q137901221|Q137901221]] || 2021 || [https://doi.org/10.1016/J.ERSS.2021.102257 10.1016/J.ERSS.2021.102257] || The challenges of engaging island communities: Lessons on renewable energy from a review of 17 case studies
|-
| [[d:Q137901218|Q137901218]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102333 10.1016/J.ERSS.2021.102333] || The (in)justices of smart local energy systems: A systematic review, integrated framework, and future research agenda
|-
| [[d:Q137901182|Q137901182]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102444 10.1016/J.ERSS.2021.102444] || A critical review of energy democracy: A failure to deliver justice?
|-
| [[d:Q114306483|Q114306483]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102482 10.1016/J.ERSS.2021.102482] || The role of energy democracy and energy citizenship for participatory energy transitions: A comprehensive review
|-
| [[d:Q114306476|Q114306476]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102714 10.1016/J.ERSS.2022.102714] || What about citizens? A literature review of citizen engagement in sustainability transitions research
|-
| [[d:Q137901193|Q137901193]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102862 10.1016/J.ERSS.2022.102862] || When energy justice is contested: A systematic review of a decade of research on Sweden?s conflicted energy landscape
|-
| [[d:Q137901219|Q137901219]] || 2023 || [https://doi.org/10.1016/J.ERSS.2022.102913 10.1016/J.ERSS.2022.102913] || Can we optimise for justice? Reviewing the inclusion of energy justice in energy system optimisation models
|-
| [[d:Q137901186|Q137901186]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103010 10.1016/J.ERSS.2023.103010] || Analysing intersections of justice with energy transitions in India- A systematic literature review
|-
| [[d:Q137901181|Q137901181]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103053 10.1016/J.ERSS.2023.103053] || Fostering justice through engagement: A literature review of public engagement in energy transitions
|-
| [[d:Q137211155|Q137211155]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103213 10.1016/J.ERSS.2023.103213] || A fairway to fairness: Toward a richer conceptualization of fairness perceptions for just energy transitions
|-
| [[d:Q137901217|Q137901217]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103221 10.1016/J.ERSS.2023.103221] || Powering just energy transitions: A review of the justice implications of community choice aggregation
|-
| [[d:Q137901199|Q137901199]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104016 10.1016/J.ERSS.2025.104016] || Making energy renovations equitable: A literature review of decision-making criteria for a just energy transition in residential buildings
|-
| [[d:Q137901188|Q137901188]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104036 10.1016/J.ERSS.2025.104036] || Community energy justice: A review of origins, convergence, and a research agenda
|-
| [[d:Q137901211|Q137901211]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104067 10.1016/J.ERSS.2025.104067] || Psychological and social factors driving citizen involvement in renewable energy communities: A systematic review
|-
| [[d:Q137901192|Q137901192]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104149 10.1016/J.ERSS.2025.104149] || Assessing social impacts and Energy Justice along green hydrogen supply chains: a capability-based framework
|-
| [[d:Q137901195|Q137901195]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104422 10.1016/J.ERSS.2025.104422] || Out of place, scale and time? Navigating injustices across mission arenas of the German Energiewende
|-
| [[d:Q137901185|Q137901185]] || 2024 || [https://doi.org/10.1016/J.ESD.2024.101546 10.1016/J.ESD.2024.101546] || Characterizing 'injustices' in clean energy transitions in Africa
|-
| [[d:Q137901226|Q137901226]] || 2024 || [https://doi.org/10.1016/J.JCLEPRO.2024.143470 10.1016/J.JCLEPRO.2024.143470] || Energy justice and sustainable urban renewal: A systematic review of low-income old town communities
|-
| [[d:Q137901222|Q137901222]] || 2024 || [https://doi.org/10.1016/J.JENVMAN.2024.120804 10.1016/J.JENVMAN.2024.120804] || Forest, climate, and policy literature lacks acknowledgement of environmental justice, diversity, equity, and inclusion
|-
| [[d:Q115441381|Q115441381]] || 2021 || [https://doi.org/10.1016/J.RSER.2021.111504 10.1016/J.RSER.2021.111504] || Participatory methods in energy system modelling and planning – A review
|-
| [[d:Q137901205|Q137901205]] || 2025 || [https://doi.org/10.1016/J.RSER.2025.115892 10.1016/J.RSER.2025.115892] || A systematic review of the intersection between energy justice and human rights
|-
| [[d:Q137901225|Q137901225]] || 2024 || [https://doi.org/10.1017/SUS.2024.24 10.1017/SUS.2024.24] || Blue carbon as just transition? A structured literature review
|-
| [[d:Q137901220|Q137901220]] || 2025 || [https://doi.org/10.1017/SUS.2025.2 10.1017/SUS.2025.2] || Toward an intersectional equity approach in social-ecological transformations
|-
| [[d:Q137901203|Q137901203]] || 2024 || [https://doi.org/10.1080/14693062.2023.2256697 10.1080/14693062.2023.2256697] || Exploring the democracy-climate nexus: a review of correlations between democracy and climate policy performance
|-
| [[d:Q137901164|Q137901164]] || 2022 || [https://doi.org/10.1111/GEC3.12662 10.1111/GEC3.12662] || Creating fairer futures for sustainability transitions
|-
| [[d:Q137901227|Q137901227]] || 2025 || [https://doi.org/10.1139/ER-2024-0018 10.1139/ER-2024-0018] || Community engagement in nature-positive food systems programming and research in East and Southern Africa: a review
|-
| [[d:Q119955266|Q119955266]] || 2019 || [https://doi.org/10.1146/ANNUREV-ENVIRON-101718-033103 10.1146/ANNUREV-ENVIRON-101718-033103] || Co-Producing Sustainability: Reordering the Governance of Science, Policy, and Practice
|-
| [[d:Q137901206|Q137901206]] || 2023 || [https://doi.org/10.1146/ANNUREV-ENVIRON-112621-063400 10.1146/ANNUREV-ENVIRON-112621-063400] || Metrics for Decision-Making in Energy Justice
|-
| [[d:Q137901213|Q137901213]] || 2022 || [https://doi.org/10.1186/S13705-021-00330-4 10.1186/S13705-021-00330-4] || Mapping emergent public engagement in societal transitions: a scoping review
|-
| [[d:Q137901163|Q137901163]] || 2025 || [https://doi.org/10.17573/CEPAR.2025.2.09 10.17573/CEPAR.2025.2.09] || From Co-Creation to Circular Cities: Exploring Living Labs in EU Governance Frameworks - A Literature Review
|-
| [[d:Q137901197|Q137901197]] || 2024 || [https://doi.org/10.3390/EN17143512 10.3390/EN17143512] || A Systematic Review on the Path to Inclusive and Sustainable Energy Transitions
|-
| [[d:Q104887325|Q104887325]] || 2019 || [https://doi.org/10.3390/SU11041023 10.3390/SU11041023] || Deliberation and the Promise of a Deeply Democratic Sustainability Transition
|-
| [[d:Q137901202|Q137901202]] || 2021 || [https://doi.org/10.3390/SU13042128 10.3390/SU13042128] || A Review of Energy Communities in Sub-Saharan Africa as a Transition Pathway to Energy Democracy
|-
| [[d:Q137901210|Q137901210]] || 2023 || [https://doi.org/10.3390/SU15032441 10.3390/SU15032441] || Sustainable Project Governance: Scientometric Analysis and Emerging Trends
|-
| [[d:Q137901224|Q137901224]] || 2024 || [https://doi.org/10.3390/SU16198700 10.3390/SU16198700] || Empowering Communities to Act for a Change: A Review of the Community Empowerment Programs towards Sustainability and Resilience
|}


== References ==
{{References}}</text>
      <sha1>fry0ono0fba8uisldzagnqz0fksr1aj</sha1>
    </revision>
    <revision>
      <id>2807104</id>
      <parentid>2807100</parentid>
      <timestamp>2026-04-30T13:47:31Z</timestamp>
      <contributor>
        <username>Jeanne Noiraud</username>
        <id>1366702</id>
      </contributor>
      <comment>/* Modelling concepts */</comment>
      <origin>2807104</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="41030" sha1="o0cswkfki2fx74skcmfckwhfa1uhgp8" xml:space="preserve">== Introduction ==

=== Definition of living review ===
The concept of living systematic reviews is recent (2014), so the definition has been regularly reworked&lt;ref name=&quot;Why1&quot;&gt;{{Cite Q |Q40040379 }}&lt;/ref&gt;. Living systematic reviews complement the older concept of [[literature review]]. Its objective is the same : obtain an accurate overview of the state of scientific knowledge on a subject&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot;&gt;{{Cite journal |last=Akl |first=Elie A. |last2=Meerpohl |first2=Joerg J. |last3=Elliott |first3=Julian |last4=Kahale |first4=Lara A. |last5=Schünemann |first5=Holger J. |last6=Agoritsas |first6=Thomas |last7=Hilton |first7=John |last8=Perron |first8=Caroline |last9=Akl |first9=Elie |last10=Hodder |first10=Rebecca |last11=Pestridge |first11=Charlotte |last12=Albrecht |first12=Lauren |last13=Horsley |first13=Tanya |last14=Platt |first14=Joanne |last15=Armstrong |first15=Rebecca |date=2017-11 |title=Living systematic reviews: 4. Living guideline recommendations |url=https://www.wikidata.org/wiki/Q50084143 |journal=Journal of Clinical Epidemiology |language=en |volume=91 |pages=47–53 |doi=10.1016/j.jclinepi.2017.08.009}}&lt;/ref&gt;&lt;ref name=&quot;:6&quot;&gt;{{Citation|title=Living Systematic Reviews|url=https://doi.org/10.1007/978-1-0716-1566-9_7|publisher=Springer US|work=Meta-Research: Methods and Protocols|date=2022|access-date=2026-01-16|place=New York, NY|isbn=978-1-0716-1566-9|pages=121–134|doi=10.1007/978-1-0716-1566-9_7|language=en|first=Mark|last=Simmonds|first2=Julian H.|last2=Elliott|first3=Anneliese|last3=Synnot|first4=Tari|last4=Turner|editor-first=Evangelos|editor-last=Evangelou|editor2-first=Areti Angeliki|editor2-last=Veroniki}}&lt;/ref&gt;. A traditional review may be obsolete by the time it is published, as new studies have emerged between the submission of the manuscript and its publication&lt;ref name=&quot;Why1&quot;/&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;. Living systematic reviews exists to address this common problem&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;&lt;ref name=&quot;:2&quot;&gt;https://blogs.lse.ac.uk/impactofsocialsciences/2019/05/14/the-death-of-the-literature-review-and-the-rise-of-the-dynamic-knowledge-map/&lt;/ref&gt;. It is therefore particularly useful in rapidly evolving fields of research&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;, such as just transition. 

[[wikidata:Q33002955|Knowledge graphs]], a structured representation of knowledge in the form of a graph, linked together by relationships that encode explicit meanings between these entities, are very suitable for conducting living systematic reviews&lt;ref name=&quot;:2&quot; /&gt;&lt;ref name=&quot;Fotopoulou&quot;&gt;{{Cite journal|first1=Eleni |last1=Fotopoulou|first2=Ioanna|last2=Mandilara|first3=Anastasios|last3=Zafeiropoulos|first4=Chrysi|last4=Laspidou|first5=Giannis |last5=Adamos|first6=Phoebe|last6=Koundouri|first7=Symeon|last7=Papavassiliou|title=SustainGraph: A knowledge graph for tracking the progress and the interlinking among the sustainable development goals’ targets|journal=Frontiers in environmental science, Frontiers|volume=10|date=2022-10-26|issn=2296-665X|doi=10.3389/FENVS.2022.1003599|url=https://www.wikidata.org/wiki/Q117837999}}.&lt;/ref&gt;. Advances in AI could render certain older methodological types of living systematic reviews obsoletes&lt;ref&gt;{{Cite journal|last=Krlev|first=Gorgi|last2=Hannigan|first2=Tim|last3=Spicer|first3=André|date=2025-01|title=What Makes a Good Review Article? Empirical Evidence From Management and Organization Research|url=https://journals.aom.org/doi/abs/10.5465/annals.2021.0051|journal=Academy of Management Annals|volume=19|issue=1|pages=376–403|doi=10.5465/annals.2021.0051|issn=1941-6520}}&lt;/ref&gt;, as IA are useful to extract, filter and classify datas&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;. [[Large language models]] (LLM) are &quot;on the rise&quot; (2025), but &quot;not yet ready for use&quot;&lt;ref&gt;{{Cite journal |last=Lieberum |first=Judith-Lisa |last2=Toews |first2=Markus |last3=Metzendorf |first3=Maria-Inti |last4=Heilmeyer |first4=Felix |last5=Siemens |first5=Waldemar |last6=Haverkamp |first6=Christian |last7=Böhringer |first7=Daniel |last8=Meerpohl |first8=Joerg J. |last9=Eisele-Metzger |first9=Angelika |date=2025-05 |title=Large language models for conducting systematic reviews: on the rise, but not yet ready for use—a scoping review |url=https://www.wikidata.org/wiki/Q134545593|journal=Journal of Clinical Epidemiology |language=en |volume=181 |pages=111746 |doi=10.1016/j.jclinepi.2025.111746}}&lt;/ref&gt;.

The living review method relevant for just transition because it includes topic such as energy democracy which necessitate transdisciplinarity and consolidation of fragmented literature&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;.

===  Definitions of just transition : ===
* «a fair and equitable process of moving towards a post-carbon society’. »&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|last=McCauley|first=Darren|last2=Heffron|first2=Raphael|date=2018-08-01|title=Just transition: Integrating climate, energy and environmental justice|url=https://www.wikidata.org/wiki/Q129947262|journal=Energy Policy|language=English|volume=119|pages=1–7|doi=10.1016/J.ENPOL.2018.04.014}}&lt;/ref&gt;.


The concept of just transition originated from global trade unions in the 1980s to promote green jobs creation as a key element of sustainability transitions&lt;ref name=&quot;:0&quot; /&gt;. However, scholars have broadened the use of this term to develop frameworks for analysing issues of fairness in these transitions&lt;ref name=&quot;:0&quot; /&gt;. The concept of just transition can be used to bridge various bodies of scholarship : climate justice, environmental justiceand energy justice&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|last=Wang|first=Xinxin|last2=Lo|first2=Kevin|date=2021-12-01|title=Just transition: A conceptual review|url=https://www.wikidata.org/wiki/Q137209041|journal=Energy Research &amp; Social Science|volume=82|pages=102291|doi=10.1016/J.ERSS.2021.102291}}&lt;/ref&gt;&lt;ref name=&quot;:1&quot;&gt;{{Cite book|url=https://www.wikidata.org/wiki/Q134545572|title=What is the “Just Transition”?|last=Heffron|first=Raphael J.|date=2021-01-01|pages=9–19|language=English}}&lt;/ref&gt; and take into account various aspects of justice including distributional justice, procedural justice, restorative justice, recognition justice&lt;ref name=&quot;:0&quot; /&gt;&lt;ref name=&quot;:3&quot; /&gt;&lt;ref name=&quot;:1&quot; /&gt;&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. 
 
=== Definition of Procedural justice ===
Procedural justice is about the fairness of decision-making processes related to transitions&lt;ref name=&quot;:4&quot; /&gt; such as the inclusion of those impacted by these decisions&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|last=Stark|first=Anthony|last2=Gale|first2=Fred|last3=Murphy-Gregory|first3=Hannah|date=2023-05-05|title=Just Transitions’ Meanings: A Systematic Review|url=https://www.wikidata.org/wiki/Q137210229|journal=Society and Natural Resources|volume=36|issue=10|pages=1277–1297|doi=10.1080/08941920.2023.2207166}}&lt;/ref&gt;. Procedural justice can include issues of community and citizen participation in decision making, their political representation their consultation or the integration of their knowledge, with a focus on neglected population (indigenous people, women, gender and ethnic minorities&lt;ref&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. For example, the participation of affected communities in decisions related to the construction of new infrastructures&lt;ref name=&quot;:0&quot; /&gt;.     

== Methodology ==

=== Wikidata and the semantic web ===&lt;!-- Add introduction to what wikidata is and how the triplet works in a pedagogical manner
 --&gt;

=== Database search ===
We conducted preliminary searches in various databases including Web of science, Go Triple, Dimensions and OpenAlex. Web of Science was the database offering the most relevant restults and included the possibility to filter results to display only litterature reviews. Articles metadata were exported (in .ris format) and then imported into the reference manager software Zotero. 
 
{| class=&quot;wikitable&quot;
|+
!Keywords search
!Database
!Search date
!Filters
!Number of results
|-
|(((TS=(procedural justice OR procedural fairness OR democracy OR participation OR participatory)) AND TS=(sustainability OR energy OR climate)) AND TS=(transition OR transitions)) AND TS=(review OR reviews) 
|Web of Science (all databases, all dates)
|December 2025
|Document type: Review Article
|362
|}

=== Article screening ===
Articles abstract were then screened and we selected only articles which were litterature reviews focusing on concepts related to procedural justice as their main topics. We excluded article which were 

* Not related to sustainability transition (e.g. sustainable shift in..., hard science papers...)
* Not literature reviews (e.g. review of policies, initiatives, cases, review notes, book review...)
* Not related to procedural justice but to participation into markets, participation in eco-friendly behaviors or included justice consideration only in “future research” suggestions
* Discussing participatory research methodologies (e.g. participatory modelling) without approaching it as an issue of justice, power or democracy
* Discussing procedural justice concepts as key variables or key results without it being the main focus of the paper

=== Importing selected articles into Wikidata ===
To import the selected articles meta-data into Wikidata, we first ran [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 a script] to check if any article was already present in the database. Next we used [https://gist.github.com/zuphilip/90acdc3eac4109830db1b3ab855fcb24 another script] that checks the ISSN of the publication in Wikidata and add P-Q-pairs in the extra field of Zotero. Then we exported the articles data using the &quot;export to Wikidata QuickStatements&quot; function of Zotero and use the QuickStatements tool to add them to Wikidata.

Next we used the [[wikidata:Wikidata:Zotero/Cita|Cita]] (V1.0.0-beta.17) Zotero add-on to add articles QID in Zotero. At this point we identified that duplicates had been created in Wikidata (possibly because the initial [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 script] did not work that well  because of the recent [[wikidata:Wikidata:SPARQL_query_service/WDQS_graph_split|Graph Split]] on Wikidata). We merged duplicates on wikidata using the [[wikidata:Help:Merge|&quot;Merge&quot; gadget]] on Wikidata. We checked manually for duplicated statments in those items.

=== Article classification through meta-data enrichement ===&lt;!-- Add : What is meta-data enrichement --&gt;

Existing review try to classify existing articles according to various criteria such as industry focus, academic discipline, geography of research sites (countries), stakeholder focus (community, consumer, worker...), type of study (case study, theory development) or methodology (quantitative, qualitative, mixt).&lt;ref name=&quot;:5&quot; /&gt; We selected the most relevant properties in Wikidata to reflect these classifications : {{Wikidata entity link|P921}} to describe what the article is about, {{Wikidata entity link|P8363}} to describe its main methodology/research design and {{Wikidata entity link|P6153}} to describe its geographical focus.

==== Main subjects ====
We first read the articles abstracts and listed relevant topics and their Wikidata ID in a shared spreadsheet. These topics were : 
{| class=&quot;wikitable&quot;
|+
!Qid
!Main topic
|-
|Q42377797
|
|-
|Q2798912
|
|-
|Q421953
|
|}&lt;!-- include all below items using the wikidata link template
 --&gt;
&lt;nowiki&gt;https://www.wikidata.org/wiki/Q84459973&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q185836&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4764988&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4338318&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4930066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q430460&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7569&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4116870&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125928&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q260607&lt;/nowiki&gt;

&lt;nowiki&gt;https://en.wikipedia.org/wiki/Climate_change_mitigation&lt;/nowiki&gt;

Q1291678

Q2270945

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q16972712&lt;/nowiki&gt;

Q16324410

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11024&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q177634&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5154673&lt;/nowiki&gt;

Q113514984

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q65807646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188843&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11693783&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q284289&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7174&lt;/nowiki&gt;

Q552284

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1230584&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1049066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8134&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q295865&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1358789&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q868575&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q138359220&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131444737&lt;/nowiki&gt;

www.wikidata.org/wiki/Q16869822

Q14944319

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q192704&lt;/nowiki&gt;

Q117091181

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q24965464&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1805337&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1341244&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3406659&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3456219&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2700433&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q837718&lt;/nowiki&gt;

Q795757

Q795757

Q1479527

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q771773&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56395513&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5465532&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4421&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q48277&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1553864&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8458?wprov=srpw1_0&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11376059&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q103817&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q113561794&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q770480&lt;/nowiki&gt;

Q17142211

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1516555&lt;/nowiki&gt;

Q6316391

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q366139&lt;/nowiki&gt;

Q3027857

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q59679511&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q43619&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q127514833&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q13023682&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q728646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3907287&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q9357091&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q265425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q25107&lt;/nowiki&gt;

Q442100

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7249406&lt;/nowiki&gt;

Q7257735

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q541936&lt;/nowiki&gt;

Q6142016

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q10509953&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q12705&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56510941&lt;/nowiki&gt;

Q1165392

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4414036&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q17152351&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q187588&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q264892&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q34749&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2930198&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125359881&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q219416&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131201&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7649586&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q69883&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q920600&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3376054&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q107389921&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7981051&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q467&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188867&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1038171&lt;/nowiki&gt;

Then, for each article, we inferred what the {{Wikidata entity link|P921}} was from the abstracts and author provided keywords.

==== Study types ====
Our review included only litterature reviews. We first read abstracts to identify all the [https://angryloki.github.io/wikidata-graph-builder/?item=Q2412849&amp;property=P279&amp;mode=reverse different types of litterature reviews] present in the corpus and created wikidata items which did not exist, for example {{Wikidata entity link|Q137209848}} and {{Wikidata entity link|Q137174203}}. We improved these method items using the methodological references cited in the reviewed papers. The types of reviews were : &lt;!-- include all below items using the wikidata link template
 --&gt; 

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q603441&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q472342&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q815382&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q1504425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2412849&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q6822263&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q7301211&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q17007303&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q70470634&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q101116078&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q110665014&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174203&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174450&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137209848&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137211242&lt;/nowiki&gt;

[Include list and description of types of litterature reviews]

Then, we added the {{Wikidata entity link|P8363}} of each articles based on the abstract and method sections. In case of doubt, we compared our interpretation.

==== Research site ====
When an article had a specific geographical focus, we used the property {{Wikidata entity link|P6153}} to describe it. For example, the article &quot;{{Wikidata entity link|Q137901202}}&quot; focused on {{Wikidata entity link|Q132959}}.

==== Results ====
[insert table about the sample]

=== Knowledge modelling ===
Concept maps can be a powerful literature review tool&lt;ref&gt;{{Cite journal|last=Lewis|first=John Kennedy|date=2016|title=Using ATLAS.ti to Facilitate Data Analysis for a Systematic Review of Leadership Competencies in the Completion of a Doctoral Dissertation|url=https://www.ssrn.com/abstract=2850726|journal=SSRN Electronic Journal|language=en|doi=10.2139/ssrn.2850726|issn=1556-5068}}&lt;/ref&gt; allowing to synthetize theoretical statements about relationship between concepts&lt;ref&gt;{{Cite journal|last=Panniers|first=Teresa L|last2=Feuerbach|first2=Renee Daiuta|last3=Soeken|first3=Karen L|date=2003-08-01|title=Methods in informatics: using data derived from a systematic review of health care texts to develop a concept map for use in the neonatal intensive care setting|url=https://www.sciencedirect.com/science/article/pii/S1532046403000911|journal=Journal of Biomedical Informatics|series=Building Nursing Knowledge through Informatics: From Concept Representation to Data Mining|volume=36|issue=4|pages=232–239|doi=10.1016/j.jbi.2003.09.010|issn=1532-0464}}&lt;/ref&gt;. In the present study, we explored how concept map can be used to model the knowledge present in the paper we selected. 

[define knowledge modelling]

==== Conceptual modelling ====
We first reflected on what kind of wikidata properties could be used to represent concepts and theories in wikidata. Capturing the content of a concept is not straightforward and there are various approaches coming from psychology and philosophy on the matter&lt;ref&gt;{{Cite book|title=The Origin of Concepts|last=Carey|first=Susan|date=2011|publisher=Oxford University Press USA - OSO|isbn=978-0-19-536763-8|series=Oxford Series in Cognitive Development Ser|location=Cary}}&lt;/ref&gt; we summarize these approaches below and examine which wikidata properties exist to represent them.
* Definition: the content of a concept can be formed by its decomposition into other concepts. Many Wikidata properties can be relevant to model definitions, for example: {{Wikidata entity link|P1269}}, {{Wikidata entity link|P361}}/{{Wikidata entity link|P527}}, {{Wikidata entity link|P2670}}, {{Wikidata entity link|P1552}}/{{Wikidata entity link|P6477}}, {{Wikidata entity link|P3712}}...
* Categorization: the content of a concept is formed by its illustration by an exemplar (a [[wikipedia:Prototype_theory|prototype]]) that best represent the concept. Apart from the inclusion of images to illustrate an item, Wikidata structure do not highlight exemplars. However, properties signifying relations of categorizations are among the most used with {{Wikidata entity link|P31}} and {{Wikidata entity link|P279}}.
* Theory: the content of a concept is formed by its role in providing explanation of the world. Wikidata includes several properties to describe causal relationships: {{Wikidata entity link|P828}}/{{Wikidata entity link|P1542}}, {{Wikidata entity link|P1537}}/{{Wikidata entity link|P1479}}.
* Essence: the content of a concept is &quot;something&quot; deep explaning the entity's existence and its properties. We can use concepts before knowing what they mean, and this is what allows us to revise our knowledge about it. The idea of essence is well represented by the QID of Wikidata entities: it is independent of language and definitions and we can create it before really knowing what all its properties will be.
* Origin: the content of the concept is determined causally by social and historial factors (e.g. someone inventing the concept and introducing its use in a language community). This can be represented by the property {{Wikidata entity link|P3938}}.

==== Thematic networks ====
[[File:Thematic network example.jpg|thumb|547x547px|Structure of a thematic network (Source: Attride-Stirling 2001)]]
A thematic network is “simply a way of organizing a thematic analysis of qualitative data”&lt;ref name=&quot;:7&quot;&gt;{{Cite journal|last=Attride-Stirling|first=Jennifer|date=2001-12|title=Thematic networks: an analytic tool for qualitative research|url=https://journals.sagepub.com/doi/10.1177/146879410100100307|journal=Qualitative Research|language=en|volume=1|issue=3|pages=385–405|doi=10.1177/146879410100100307|issn=1468-7941}}&lt;/ref&gt;. It is compatible with classical coding strategies such as [[grounded theory]]&lt;ref&gt;{{Cite journal|last=Corbin|first=Juliet|last2=Strauss|first2=Anselm|date=1990-12-01|title=Grounded Theory Research: Procedures, Canons and Evaluative Criteria|url=https://www.degruyter.com/document/doi/10.1515/zfsoz-1990-0602/html|journal=Zeitschrift für Soziologie|language=en|volume=19|issue=6|pages=418–427|doi=10.1515/zfsoz-1990-0602|issn=2366-0325}}&lt;/ref&gt;. Thematic networks can be used to visualise the data structure after identifying themes and help structure and interpret the data&lt;ref name=&quot;:7&quot; /&gt;. The principle is to assemble basic themes into more general themes.   

Qualitative researchers usually use {{Wikidata entity link|Q4550939}} and qualitative coding (e.g. grounded theory) to identify themes and sub-themes.   

However, the nature of the relationship between these various themes and sub-themes is often not specified.  

*

==== Causal networks ====
The use of diagrams to represent causal relationship exist in various research practices. In statistics, researchers sometime present models with boxes and arrows representing correlations and/or causations&lt;ref&gt;{{Cite book|url=https://mirror.vcu.edu/pub/mx/doc/mxmang10.pdf|title=Statistical Modeling|last=Neale|first=Michael C.|last2=Boker|first2=Steven M.|last3=Xie|first3=Gary|last4=Maes|first4=Hermine H.|publisher=Richmond, VA: Department of Psychiatry|year=1999|location=Virginia Commonwealth University}}&lt;/ref&gt;. In qualitative research, building grounded theory models is about &quot;[accounting] for not only all the major emergent concepts, themes, and dimensions, but also for their dynamic interrelationships. Speaking in classic boxes-and-arrows terms, this process amounts to assembling the constellation of boxes with a special focus on the arrows.&quot;&lt;ref&gt;{{Cite journal|last=Gioia|first=Dennis A.|last2=Corley|first2=Kevin G.|last3=Hamilton|first3=Aimee L.|date=2013-01|title=Seeking Qualitative Rigor in Inductive Research: Notes on the Gioia Methodology|url=https://journals.sagepub.com/doi/10.1177/1094428112452151|journal=Organizational Research Methods|language=en|volume=16|issue=1|pages=15–31|doi=10.1177/1094428112452151|issn=1094-4281}}&lt;/ref&gt; Researchers relying on system theory also use causal loop diagram where boxes represent variables and arrows represent causal influence (positive or negative), causal relationship can &quot;feedback&quot; (two variables can influence each other)&lt;ref&gt;{{Cite book|url=https://link.springer.com/10.1007/978-3-031-01919-7_4|title=Causal Loop Diagrams|last=Barbrook-Johnson|first=Pete|last2=Penn|first2=Alexandra S.|date=2022|publisher=Springer International Publishing|isbn=978-3-031-01833-6|location=Cham|pages=47–59|language=en|doi=10.1007/978-3-031-01919-7_4}}&lt;/ref&gt;.

Wikidata includes several properties to describe causal relationships:
* {{Wikidata entity link|P828}}
* {{Wikidata entity link|P1542}}
* {{Wikidata entity link|P1537}}
* {{Wikidata entity link|P1479}} : it is difficult to identify single causes for social phenomenons, many factors having an effect on the subject item will likely be contributing factors

==== Modelling concepts ====
To model concepts related to just transition. We read the selected papers and used them as source to build a knowledge graph in wikidata. For example, the paper {{Wikidata entity link|Q137901182}} mention &quot;Energy democracy is both an ideal and a process&quot;&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|pages=4|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;, we thus entered the wikidata statement {{Wikidata entity link|Q14944319}} is an {{Wikidata entity link|P31}} {{Wikidata entity link|Q840396}}, using the paper as source.

Challenges :
*{{Wikidata entity link|P31}}: concepts have a dual nature because they designate at the same time an idea and the entity that this idea represent.
* {{Wikidata entity link|P3712}}: concepts do not have goals in themselves, but the reality they represent can have goals
* wikidata current items are not really suited to model &quot;meta-research&quot; statements. For example, modelling the idea tha the literature on energy democracy is fragmented would require creating an item representing the energy democracy literature, not just energy democracy in general.

=== Writing ===
To cite articles we used the [[Template:Cite Q|Cite Q template.]] Each reference is an item in Wikidata and the template retrieve the necessary data to generate the citation references below.

== Data == 
{| class=&quot;wikitable sortable&quot;
! QID !! Year !! DOI !! Title
|-
| [[d:Q137901191|Q137901191]] || 2025 || [https://doi.org/10.1002/GEO2.70040 10.1002/GEO2.70040] || Place-Based Sustainability Transformations for Just Futures: A Systematic Review
|-
| [[d:Q137901187|Q137901187]] || 2025 || [https://doi.org/10.1002/WCC.932 10.1002/WCC.932] || Public Communication of Climate and Justice: A Scoping Review
|-
| [[d:Q135979013|Q135979013]] || 2025 || [https://doi.org/10.1007/S13280-025-02202-Z 10.1007/S13280-025-02202-Z] || Participatory approaches to climate adaptation, resilience, and mitigation: A systematic review
|-
| [[d:Q137901223|Q137901223]] || 2022 || [https://doi.org/10.1007/S13412-021-00726-W 10.1007/S13412-021-00726-W] || A review of stakeholder participation studies in renewable electricity and water: does the resource context matter?
|-
| [[d:Q137901184|Q137901184]] || 2021 || [https://doi.org/10.1007/S40518-021-00184-6 10.1007/S40518-021-00184-6] || Energy Storage as an Equity Asset.
|-
| [[d:Q114204627|Q114204627]] || 2021 || [https://doi.org/10.1007/S43621-021-00024-Z 10.1007/S43621-021-00024-Z] || Can public awareness, knowledge and engagement improve climate change adaptation policies?
|-
| [[d:Q137901209|Q137901209]] || 2026 || [https://doi.org/10.1016/J.AGSY.2025.104512 10.1016/J.AGSY.2025.104512] || Designing with non-humans for agricultural systems transformation: An interdisciplinary review and framework for reflection
|-
| [[d:Q137901201|Q137901201]] || 2025 || [https://doi.org/10.1016/J.COPSYC.2024.101987 10.1016/J.COPSYC.2024.101987] || Individual and community catalysts for Renewable Energy Communities (RECs) development
|-
| [[d:Q114197507|Q114197507]] || 2022 || [https://doi.org/10.1016/J.CRM.2022.100438 10.1016/J.CRM.2022.100438] || Advancements of sustainable development goals in co-production for climate change adaptation research
|-
| [[d:Q129203992|Q129203992]] || 2024 || [https://doi.org/10.1016/J.EGYR.2024.01.040 10.1016/J.EGYR.2024.01.040] || Empowering energy citizenship: Exploring dimensions and drivers in citizen engagement during the energy transition
|-
| [[d:Q137901216|Q137901216]] || 2026 || [https://doi.org/10.1016/J.EIAR.2025.108187 10.1016/J.EIAR.2025.108187] || From participation to partnership: A systematic review of public engagement in sustainable urban planning
|-
| [[d:Q137210566|Q137210566]] || 2016 || [https://doi.org/10.1016/J.ERSS.2015.10.004 10.1016/J.ERSS.2015.10.004] || Energy justice: A conceptual review
|-
| [[d:Q115448818|Q115448818]] || 2016 || [https://doi.org/10.1016/J.ERSS.2016.04.001 10.1016/J.ERSS.2016.04.001] || Stakeholder involvement in sustainability science—A critical view
|-
| [[d:Q129652515|Q129652515]] || 2018 || [https://doi.org/10.1016/J.ERSS.2018.06.010 10.1016/J.ERSS.2018.06.010] || What is energy democracy? Connecting social science energy research and political theory
|-
| [[d:Q137901196|Q137901196]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101716 10.1016/J.ERSS.2020.101716] || Of renewable energy, energy democracy, and sustainable development: A roadmap to accelerate the energy transition in developing countries
|-
| [[d:Q136447761|Q136447761]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101768 10.1016/J.ERSS.2020.101768] || Energy democracy as a process, an outcome and a goal: A conceptual review
|-
| [[d:Q137901204|Q137901204]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101834 10.1016/J.ERSS.2020.101834] || Identities, innovation, and governance: A systematic review of co-creation in wind energy transitions
|-
| [[d:Q137901183|Q137901183]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101837 10.1016/J.ERSS.2020.101837] || Renewable energy for whom? A global systematic review of the environmental justice implications of renewable energy technologies
|-
| [[d:Q137901207|Q137901207]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101871 10.1016/J.ERSS.2020.101871] || Rethinking community empowerment in the energy transformation: A critical review of the definitions, drivers and outcomes
|-
| [[d:Q137901215|Q137901215]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101876 10.1016/J.ERSS.2020.101876] || Co-production in the wind energy sector: A systematic literature review of public engagement beyond invited stakeholder participation
|-
| [[d:Q114306511|Q114306511]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101907 10.1016/J.ERSS.2020.101907] || From consultation toward co-production in science and policy: A critical systematic review of participatory climate and energy initiatives
|-
| [[d:Q137901221|Q137901221]] || 2021 || [https://doi.org/10.1016/J.ERSS.2021.102257 10.1016/J.ERSS.2021.102257] || The challenges of engaging island communities: Lessons on renewable energy from a review of 17 case studies
|-
| [[d:Q137901218|Q137901218]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102333 10.1016/J.ERSS.2021.102333] || The (in)justices of smart local energy systems: A systematic review, integrated framework, and future research agenda
|-
| [[d:Q137901182|Q137901182]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102444 10.1016/J.ERSS.2021.102444] || A critical review of energy democracy: A failure to deliver justice?
|-
| [[d:Q114306483|Q114306483]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102482 10.1016/J.ERSS.2021.102482] || The role of energy democracy and energy citizenship for participatory energy transitions: A comprehensive review
|-
| [[d:Q114306476|Q114306476]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102714 10.1016/J.ERSS.2022.102714] || What about citizens? A literature review of citizen engagement in sustainability transitions research
|-
| [[d:Q137901193|Q137901193]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102862 10.1016/J.ERSS.2022.102862] || When energy justice is contested: A systematic review of a decade of research on Sweden?s conflicted energy landscape
|-
| [[d:Q137901219|Q137901219]] || 2023 || [https://doi.org/10.1016/J.ERSS.2022.102913 10.1016/J.ERSS.2022.102913] || Can we optimise for justice? Reviewing the inclusion of energy justice in energy system optimisation models
|-
| [[d:Q137901186|Q137901186]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103010 10.1016/J.ERSS.2023.103010] || Analysing intersections of justice with energy transitions in India- A systematic literature review
|-
| [[d:Q137901181|Q137901181]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103053 10.1016/J.ERSS.2023.103053] || Fostering justice through engagement: A literature review of public engagement in energy transitions
|-
| [[d:Q137211155|Q137211155]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103213 10.1016/J.ERSS.2023.103213] || A fairway to fairness: Toward a richer conceptualization of fairness perceptions for just energy transitions
|-
| [[d:Q137901217|Q137901217]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103221 10.1016/J.ERSS.2023.103221] || Powering just energy transitions: A review of the justice implications of community choice aggregation
|-
| [[d:Q137901199|Q137901199]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104016 10.1016/J.ERSS.2025.104016] || Making energy renovations equitable: A literature review of decision-making criteria for a just energy transition in residential buildings
|-
| [[d:Q137901188|Q137901188]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104036 10.1016/J.ERSS.2025.104036] || Community energy justice: A review of origins, convergence, and a research agenda
|-
| [[d:Q137901211|Q137901211]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104067 10.1016/J.ERSS.2025.104067] || Psychological and social factors driving citizen involvement in renewable energy communities: A systematic review
|-
| [[d:Q137901192|Q137901192]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104149 10.1016/J.ERSS.2025.104149] || Assessing social impacts and Energy Justice along green hydrogen supply chains: a capability-based framework
|-
| [[d:Q137901195|Q137901195]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104422 10.1016/J.ERSS.2025.104422] || Out of place, scale and time? Navigating injustices across mission arenas of the German Energiewende
|-
| [[d:Q137901185|Q137901185]] || 2024 || [https://doi.org/10.1016/J.ESD.2024.101546 10.1016/J.ESD.2024.101546] || Characterizing 'injustices' in clean energy transitions in Africa
|-
| [[d:Q137901226|Q137901226]] || 2024 || [https://doi.org/10.1016/J.JCLEPRO.2024.143470 10.1016/J.JCLEPRO.2024.143470] || Energy justice and sustainable urban renewal: A systematic review of low-income old town communities
|-
| [[d:Q137901222|Q137901222]] || 2024 || [https://doi.org/10.1016/J.JENVMAN.2024.120804 10.1016/J.JENVMAN.2024.120804] || Forest, climate, and policy literature lacks acknowledgement of environmental justice, diversity, equity, and inclusion
|-
| [[d:Q115441381|Q115441381]] || 2021 || [https://doi.org/10.1016/J.RSER.2021.111504 10.1016/J.RSER.2021.111504] || Participatory methods in energy system modelling and planning – A review
|-
| [[d:Q137901205|Q137901205]] || 2025 || [https://doi.org/10.1016/J.RSER.2025.115892 10.1016/J.RSER.2025.115892] || A systematic review of the intersection between energy justice and human rights
|-
| [[d:Q137901225|Q137901225]] || 2024 || [https://doi.org/10.1017/SUS.2024.24 10.1017/SUS.2024.24] || Blue carbon as just transition? A structured literature review
|-
| [[d:Q137901220|Q137901220]] || 2025 || [https://doi.org/10.1017/SUS.2025.2 10.1017/SUS.2025.2] || Toward an intersectional equity approach in social-ecological transformations
|-
| [[d:Q137901203|Q137901203]] || 2024 || [https://doi.org/10.1080/14693062.2023.2256697 10.1080/14693062.2023.2256697] || Exploring the democracy-climate nexus: a review of correlations between democracy and climate policy performance
|-
| [[d:Q137901164|Q137901164]] || 2022 || [https://doi.org/10.1111/GEC3.12662 10.1111/GEC3.12662] || Creating fairer futures for sustainability transitions
|-
| [[d:Q137901227|Q137901227]] || 2025 || [https://doi.org/10.1139/ER-2024-0018 10.1139/ER-2024-0018] || Community engagement in nature-positive food systems programming and research in East and Southern Africa: a review
|-
| [[d:Q119955266|Q119955266]] || 2019 || [https://doi.org/10.1146/ANNUREV-ENVIRON-101718-033103 10.1146/ANNUREV-ENVIRON-101718-033103] || Co-Producing Sustainability: Reordering the Governance of Science, Policy, and Practice
|-
| [[d:Q137901206|Q137901206]] || 2023 || [https://doi.org/10.1146/ANNUREV-ENVIRON-112621-063400 10.1146/ANNUREV-ENVIRON-112621-063400] || Metrics for Decision-Making in Energy Justice
|-
| [[d:Q137901213|Q137901213]] || 2022 || [https://doi.org/10.1186/S13705-021-00330-4 10.1186/S13705-021-00330-4] || Mapping emergent public engagement in societal transitions: a scoping review
|-
| [[d:Q137901163|Q137901163]] || 2025 || [https://doi.org/10.17573/CEPAR.2025.2.09 10.17573/CEPAR.2025.2.09] || From Co-Creation to Circular Cities: Exploring Living Labs in EU Governance Frameworks - A Literature Review
|-
| [[d:Q137901197|Q137901197]] || 2024 || [https://doi.org/10.3390/EN17143512 10.3390/EN17143512] || A Systematic Review on the Path to Inclusive and Sustainable Energy Transitions
|-
| [[d:Q104887325|Q104887325]] || 2019 || [https://doi.org/10.3390/SU11041023 10.3390/SU11041023] || Deliberation and the Promise of a Deeply Democratic Sustainability Transition
|-
| [[d:Q137901202|Q137901202]] || 2021 || [https://doi.org/10.3390/SU13042128 10.3390/SU13042128] || A Review of Energy Communities in Sub-Saharan Africa as a Transition Pathway to Energy Democracy
|-
| [[d:Q137901210|Q137901210]] || 2023 || [https://doi.org/10.3390/SU15032441 10.3390/SU15032441] || Sustainable Project Governance: Scientometric Analysis and Emerging Trends
|-
| [[d:Q137901224|Q137901224]] || 2024 || [https://doi.org/10.3390/SU16198700 10.3390/SU16198700] || Empowering Communities to Act for a Change: A Review of the Community Empowerment Programs towards Sustainability and Resilience
|}


== References ==
{{References}}</text>
      <sha1>o0cswkfki2fx74skcmfckwhfa1uhgp8</sha1>
    </revision>
    <revision>
      <id>2807105</id>
      <parentid>2807104</parentid>
      <timestamp>2026-04-30T13:49:17Z</timestamp>
      <contributor>
        <username>Jeanne Noiraud</username>
        <id>1366702</id>
      </contributor>
      <comment>/* Modelling concepts */</comment>
      <origin>2807105</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="41172" sha1="3pkxz2q25nyey5i2q00a68cjead6j7l" xml:space="preserve">== Introduction ==

=== Definition of living review ===
The concept of living systematic reviews is recent (2014), so the definition has been regularly reworked&lt;ref name=&quot;Why1&quot;&gt;{{Cite Q |Q40040379 }}&lt;/ref&gt;. Living systematic reviews complement the older concept of [[literature review]]. Its objective is the same : obtain an accurate overview of the state of scientific knowledge on a subject&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot;&gt;{{Cite journal |last=Akl |first=Elie A. |last2=Meerpohl |first2=Joerg J. |last3=Elliott |first3=Julian |last4=Kahale |first4=Lara A. |last5=Schünemann |first5=Holger J. |last6=Agoritsas |first6=Thomas |last7=Hilton |first7=John |last8=Perron |first8=Caroline |last9=Akl |first9=Elie |last10=Hodder |first10=Rebecca |last11=Pestridge |first11=Charlotte |last12=Albrecht |first12=Lauren |last13=Horsley |first13=Tanya |last14=Platt |first14=Joanne |last15=Armstrong |first15=Rebecca |date=2017-11 |title=Living systematic reviews: 4. Living guideline recommendations |url=https://www.wikidata.org/wiki/Q50084143 |journal=Journal of Clinical Epidemiology |language=en |volume=91 |pages=47–53 |doi=10.1016/j.jclinepi.2017.08.009}}&lt;/ref&gt;&lt;ref name=&quot;:6&quot;&gt;{{Citation|title=Living Systematic Reviews|url=https://doi.org/10.1007/978-1-0716-1566-9_7|publisher=Springer US|work=Meta-Research: Methods and Protocols|date=2022|access-date=2026-01-16|place=New York, NY|isbn=978-1-0716-1566-9|pages=121–134|doi=10.1007/978-1-0716-1566-9_7|language=en|first=Mark|last=Simmonds|first2=Julian H.|last2=Elliott|first3=Anneliese|last3=Synnot|first4=Tari|last4=Turner|editor-first=Evangelos|editor-last=Evangelou|editor2-first=Areti Angeliki|editor2-last=Veroniki}}&lt;/ref&gt;. A traditional review may be obsolete by the time it is published, as new studies have emerged between the submission of the manuscript and its publication&lt;ref name=&quot;Why1&quot;/&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;. Living systematic reviews exists to address this common problem&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;&lt;ref name=&quot;:2&quot;&gt;https://blogs.lse.ac.uk/impactofsocialsciences/2019/05/14/the-death-of-the-literature-review-and-the-rise-of-the-dynamic-knowledge-map/&lt;/ref&gt;. It is therefore particularly useful in rapidly evolving fields of research&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;, such as just transition. 

[[wikidata:Q33002955|Knowledge graphs]], a structured representation of knowledge in the form of a graph, linked together by relationships that encode explicit meanings between these entities, are very suitable for conducting living systematic reviews&lt;ref name=&quot;:2&quot; /&gt;&lt;ref name=&quot;Fotopoulou&quot;&gt;{{Cite journal|first1=Eleni |last1=Fotopoulou|first2=Ioanna|last2=Mandilara|first3=Anastasios|last3=Zafeiropoulos|first4=Chrysi|last4=Laspidou|first5=Giannis |last5=Adamos|first6=Phoebe|last6=Koundouri|first7=Symeon|last7=Papavassiliou|title=SustainGraph: A knowledge graph for tracking the progress and the interlinking among the sustainable development goals’ targets|journal=Frontiers in environmental science, Frontiers|volume=10|date=2022-10-26|issn=2296-665X|doi=10.3389/FENVS.2022.1003599|url=https://www.wikidata.org/wiki/Q117837999}}.&lt;/ref&gt;. Advances in AI could render certain older methodological types of living systematic reviews obsoletes&lt;ref&gt;{{Cite journal|last=Krlev|first=Gorgi|last2=Hannigan|first2=Tim|last3=Spicer|first3=André|date=2025-01|title=What Makes a Good Review Article? Empirical Evidence From Management and Organization Research|url=https://journals.aom.org/doi/abs/10.5465/annals.2021.0051|journal=Academy of Management Annals|volume=19|issue=1|pages=376–403|doi=10.5465/annals.2021.0051|issn=1941-6520}}&lt;/ref&gt;, as IA are useful to extract, filter and classify datas&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;. [[Large language models]] (LLM) are &quot;on the rise&quot; (2025), but &quot;not yet ready for use&quot;&lt;ref&gt;{{Cite journal |last=Lieberum |first=Judith-Lisa |last2=Toews |first2=Markus |last3=Metzendorf |first3=Maria-Inti |last4=Heilmeyer |first4=Felix |last5=Siemens |first5=Waldemar |last6=Haverkamp |first6=Christian |last7=Böhringer |first7=Daniel |last8=Meerpohl |first8=Joerg J. |last9=Eisele-Metzger |first9=Angelika |date=2025-05 |title=Large language models for conducting systematic reviews: on the rise, but not yet ready for use—a scoping review |url=https://www.wikidata.org/wiki/Q134545593|journal=Journal of Clinical Epidemiology |language=en |volume=181 |pages=111746 |doi=10.1016/j.jclinepi.2025.111746}}&lt;/ref&gt;.

The living review method relevant for just transition because it includes topic such as energy democracy which necessitate transdisciplinarity and consolidation of fragmented literature&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;.

===  Definitions of just transition : ===
* «a fair and equitable process of moving towards a post-carbon society’. »&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|last=McCauley|first=Darren|last2=Heffron|first2=Raphael|date=2018-08-01|title=Just transition: Integrating climate, energy and environmental justice|url=https://www.wikidata.org/wiki/Q129947262|journal=Energy Policy|language=English|volume=119|pages=1–7|doi=10.1016/J.ENPOL.2018.04.014}}&lt;/ref&gt;.


The concept of just transition originated from global trade unions in the 1980s to promote green jobs creation as a key element of sustainability transitions&lt;ref name=&quot;:0&quot; /&gt;. However, scholars have broadened the use of this term to develop frameworks for analysing issues of fairness in these transitions&lt;ref name=&quot;:0&quot; /&gt;. The concept of just transition can be used to bridge various bodies of scholarship : climate justice, environmental justiceand energy justice&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|last=Wang|first=Xinxin|last2=Lo|first2=Kevin|date=2021-12-01|title=Just transition: A conceptual review|url=https://www.wikidata.org/wiki/Q137209041|journal=Energy Research &amp; Social Science|volume=82|pages=102291|doi=10.1016/J.ERSS.2021.102291}}&lt;/ref&gt;&lt;ref name=&quot;:1&quot;&gt;{{Cite book|url=https://www.wikidata.org/wiki/Q134545572|title=What is the “Just Transition”?|last=Heffron|first=Raphael J.|date=2021-01-01|pages=9–19|language=English}}&lt;/ref&gt; and take into account various aspects of justice including distributional justice, procedural justice, restorative justice, recognition justice&lt;ref name=&quot;:0&quot; /&gt;&lt;ref name=&quot;:3&quot; /&gt;&lt;ref name=&quot;:1&quot; /&gt;&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. 
 
=== Definition of Procedural justice ===
Procedural justice is about the fairness of decision-making processes related to transitions&lt;ref name=&quot;:4&quot; /&gt; such as the inclusion of those impacted by these decisions&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|last=Stark|first=Anthony|last2=Gale|first2=Fred|last3=Murphy-Gregory|first3=Hannah|date=2023-05-05|title=Just Transitions’ Meanings: A Systematic Review|url=https://www.wikidata.org/wiki/Q137210229|journal=Society and Natural Resources|volume=36|issue=10|pages=1277–1297|doi=10.1080/08941920.2023.2207166}}&lt;/ref&gt;. Procedural justice can include issues of community and citizen participation in decision making, their political representation their consultation or the integration of their knowledge, with a focus on neglected population (indigenous people, women, gender and ethnic minorities&lt;ref&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. For example, the participation of affected communities in decisions related to the construction of new infrastructures&lt;ref name=&quot;:0&quot; /&gt;.     

== Methodology ==

=== Wikidata and the semantic web ===&lt;!-- Add introduction to what wikidata is and how the triplet works in a pedagogical manner
 --&gt;

=== Database search ===
We conducted preliminary searches in various databases including Web of science, Go Triple, Dimensions and OpenAlex. Web of Science was the database offering the most relevant restults and included the possibility to filter results to display only litterature reviews. Articles metadata were exported (in .ris format) and then imported into the reference manager software Zotero. 
 
{| class=&quot;wikitable&quot;
|+
!Keywords search
!Database
!Search date
!Filters
!Number of results
|-
|(((TS=(procedural justice OR procedural fairness OR democracy OR participation OR participatory)) AND TS=(sustainability OR energy OR climate)) AND TS=(transition OR transitions)) AND TS=(review OR reviews) 
|Web of Science (all databases, all dates)
|December 2025
|Document type: Review Article
|362
|}

=== Article screening ===
Articles abstract were then screened and we selected only articles which were litterature reviews focusing on concepts related to procedural justice as their main topics. We excluded article which were 

* Not related to sustainability transition (e.g. sustainable shift in..., hard science papers...)
* Not literature reviews (e.g. review of policies, initiatives, cases, review notes, book review...)
* Not related to procedural justice but to participation into markets, participation in eco-friendly behaviors or included justice consideration only in “future research” suggestions
* Discussing participatory research methodologies (e.g. participatory modelling) without approaching it as an issue of justice, power or democracy
* Discussing procedural justice concepts as key variables or key results without it being the main focus of the paper

=== Importing selected articles into Wikidata ===
To import the selected articles meta-data into Wikidata, we first ran [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 a script] to check if any article was already present in the database. Next we used [https://gist.github.com/zuphilip/90acdc3eac4109830db1b3ab855fcb24 another script] that checks the ISSN of the publication in Wikidata and add P-Q-pairs in the extra field of Zotero. Then we exported the articles data using the &quot;export to Wikidata QuickStatements&quot; function of Zotero and use the QuickStatements tool to add them to Wikidata.

Next we used the [[wikidata:Wikidata:Zotero/Cita|Cita]] (V1.0.0-beta.17) Zotero add-on to add articles QID in Zotero. At this point we identified that duplicates had been created in Wikidata (possibly because the initial [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 script] did not work that well  because of the recent [[wikidata:Wikidata:SPARQL_query_service/WDQS_graph_split|Graph Split]] on Wikidata). We merged duplicates on wikidata using the [[wikidata:Help:Merge|&quot;Merge&quot; gadget]] on Wikidata. We checked manually for duplicated statments in those items.

=== Article classification through meta-data enrichement ===&lt;!-- Add : What is meta-data enrichement --&gt;

Existing review try to classify existing articles according to various criteria such as industry focus, academic discipline, geography of research sites (countries), stakeholder focus (community, consumer, worker...), type of study (case study, theory development) or methodology (quantitative, qualitative, mixt).&lt;ref name=&quot;:5&quot; /&gt; We selected the most relevant properties in Wikidata to reflect these classifications : {{Wikidata entity link|P921}} to describe what the article is about, {{Wikidata entity link|P8363}} to describe its main methodology/research design and {{Wikidata entity link|P6153}} to describe its geographical focus.

==== Main subjects ====
We first read the articles abstracts and listed relevant topics and their Wikidata ID in a shared spreadsheet. These topics were : 
{| class=&quot;wikitable&quot;
|+
!Qid
!Main topic
|-
|Q42377797
|
|-
|Q2798912
|
|-
|Q421953
|
|}&lt;!-- include all below items using the wikidata link template
 --&gt;
&lt;nowiki&gt;https://www.wikidata.org/wiki/Q84459973&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q185836&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4764988&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4338318&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4930066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q430460&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7569&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4116870&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125928&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q260607&lt;/nowiki&gt;

&lt;nowiki&gt;https://en.wikipedia.org/wiki/Climate_change_mitigation&lt;/nowiki&gt;

Q1291678

Q2270945

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q16972712&lt;/nowiki&gt;

Q16324410

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11024&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q177634&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5154673&lt;/nowiki&gt;

Q113514984

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q65807646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188843&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11693783&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q284289&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7174&lt;/nowiki&gt;

Q552284

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1230584&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1049066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8134&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q295865&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1358789&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q868575&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q138359220&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131444737&lt;/nowiki&gt;

www.wikidata.org/wiki/Q16869822

Q14944319

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q192704&lt;/nowiki&gt;

Q117091181

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q24965464&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1805337&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1341244&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3406659&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3456219&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2700433&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q837718&lt;/nowiki&gt;

Q795757

Q795757

Q1479527

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q771773&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56395513&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5465532&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4421&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q48277&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1553864&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8458?wprov=srpw1_0&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11376059&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q103817&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q113561794&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q770480&lt;/nowiki&gt;

Q17142211

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1516555&lt;/nowiki&gt;

Q6316391

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q366139&lt;/nowiki&gt;

Q3027857

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q59679511&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q43619&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q127514833&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q13023682&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q728646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3907287&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q9357091&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q265425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q25107&lt;/nowiki&gt;

Q442100

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7249406&lt;/nowiki&gt;

Q7257735

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q541936&lt;/nowiki&gt;

Q6142016

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q10509953&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q12705&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56510941&lt;/nowiki&gt;

Q1165392

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4414036&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q17152351&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q187588&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q264892&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q34749&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2930198&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125359881&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q219416&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131201&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7649586&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q69883&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q920600&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3376054&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q107389921&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7981051&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q467&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188867&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1038171&lt;/nowiki&gt;

Then, for each article, we inferred what the {{Wikidata entity link|P921}} was from the abstracts and author provided keywords.

==== Study types ====
Our review included only litterature reviews. We first read abstracts to identify all the [https://angryloki.github.io/wikidata-graph-builder/?item=Q2412849&amp;property=P279&amp;mode=reverse different types of litterature reviews] present in the corpus and created wikidata items which did not exist, for example {{Wikidata entity link|Q137209848}} and {{Wikidata entity link|Q137174203}}. We improved these method items using the methodological references cited in the reviewed papers. The types of reviews were : &lt;!-- include all below items using the wikidata link template
 --&gt; 

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q603441&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q472342&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q815382&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q1504425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2412849&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q6822263&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q7301211&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q17007303&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q70470634&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q101116078&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q110665014&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174203&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174450&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137209848&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137211242&lt;/nowiki&gt;

[Include list and description of types of litterature reviews]

Then, we added the {{Wikidata entity link|P8363}} of each articles based on the abstract and method sections. In case of doubt, we compared our interpretation.

==== Research site ====
When an article had a specific geographical focus, we used the property {{Wikidata entity link|P6153}} to describe it. For example, the article &quot;{{Wikidata entity link|Q137901202}}&quot; focused on {{Wikidata entity link|Q132959}}.

==== Results ====
[insert table about the sample]

=== Knowledge modelling ===
Concept maps can be a powerful literature review tool&lt;ref&gt;{{Cite journal|last=Lewis|first=John Kennedy|date=2016|title=Using ATLAS.ti to Facilitate Data Analysis for a Systematic Review of Leadership Competencies in the Completion of a Doctoral Dissertation|url=https://www.ssrn.com/abstract=2850726|journal=SSRN Electronic Journal|language=en|doi=10.2139/ssrn.2850726|issn=1556-5068}}&lt;/ref&gt; allowing to synthetize theoretical statements about relationship between concepts&lt;ref&gt;{{Cite journal|last=Panniers|first=Teresa L|last2=Feuerbach|first2=Renee Daiuta|last3=Soeken|first3=Karen L|date=2003-08-01|title=Methods in informatics: using data derived from a systematic review of health care texts to develop a concept map for use in the neonatal intensive care setting|url=https://www.sciencedirect.com/science/article/pii/S1532046403000911|journal=Journal of Biomedical Informatics|series=Building Nursing Knowledge through Informatics: From Concept Representation to Data Mining|volume=36|issue=4|pages=232–239|doi=10.1016/j.jbi.2003.09.010|issn=1532-0464}}&lt;/ref&gt;. In the present study, we explored how concept map can be used to model the knowledge present in the paper we selected. 

[define knowledge modelling]

==== Conceptual modelling ====
We first reflected on what kind of wikidata properties could be used to represent concepts and theories in wikidata. Capturing the content of a concept is not straightforward and there are various approaches coming from psychology and philosophy on the matter&lt;ref&gt;{{Cite book|title=The Origin of Concepts|last=Carey|first=Susan|date=2011|publisher=Oxford University Press USA - OSO|isbn=978-0-19-536763-8|series=Oxford Series in Cognitive Development Ser|location=Cary}}&lt;/ref&gt; we summarize these approaches below and examine which wikidata properties exist to represent them.
* Definition: the content of a concept can be formed by its decomposition into other concepts. Many Wikidata properties can be relevant to model definitions, for example: {{Wikidata entity link|P1269}}, {{Wikidata entity link|P361}}/{{Wikidata entity link|P527}}, {{Wikidata entity link|P2670}}, {{Wikidata entity link|P1552}}/{{Wikidata entity link|P6477}}, {{Wikidata entity link|P3712}}...
* Categorization: the content of a concept is formed by its illustration by an exemplar (a [[wikipedia:Prototype_theory|prototype]]) that best represent the concept. Apart from the inclusion of images to illustrate an item, Wikidata structure do not highlight exemplars. However, properties signifying relations of categorizations are among the most used with {{Wikidata entity link|P31}} and {{Wikidata entity link|P279}}.
* Theory: the content of a concept is formed by its role in providing explanation of the world. Wikidata includes several properties to describe causal relationships: {{Wikidata entity link|P828}}/{{Wikidata entity link|P1542}}, {{Wikidata entity link|P1537}}/{{Wikidata entity link|P1479}}.
* Essence: the content of a concept is &quot;something&quot; deep explaning the entity's existence and its properties. We can use concepts before knowing what they mean, and this is what allows us to revise our knowledge about it. The idea of essence is well represented by the QID of Wikidata entities: it is independent of language and definitions and we can create it before really knowing what all its properties will be.
* Origin: the content of the concept is determined causally by social and historial factors (e.g. someone inventing the concept and introducing its use in a language community). This can be represented by the property {{Wikidata entity link|P3938}}.

==== Thematic networks ====
[[File:Thematic network example.jpg|thumb|547x547px|Structure of a thematic network (Source: Attride-Stirling 2001)]]
A thematic network is “simply a way of organizing a thematic analysis of qualitative data”&lt;ref name=&quot;:7&quot;&gt;{{Cite journal|last=Attride-Stirling|first=Jennifer|date=2001-12|title=Thematic networks: an analytic tool for qualitative research|url=https://journals.sagepub.com/doi/10.1177/146879410100100307|journal=Qualitative Research|language=en|volume=1|issue=3|pages=385–405|doi=10.1177/146879410100100307|issn=1468-7941}}&lt;/ref&gt;. It is compatible with classical coding strategies such as [[grounded theory]]&lt;ref&gt;{{Cite journal|last=Corbin|first=Juliet|last2=Strauss|first2=Anselm|date=1990-12-01|title=Grounded Theory Research: Procedures, Canons and Evaluative Criteria|url=https://www.degruyter.com/document/doi/10.1515/zfsoz-1990-0602/html|journal=Zeitschrift für Soziologie|language=en|volume=19|issue=6|pages=418–427|doi=10.1515/zfsoz-1990-0602|issn=2366-0325}}&lt;/ref&gt;. Thematic networks can be used to visualise the data structure after identifying themes and help structure and interpret the data&lt;ref name=&quot;:7&quot; /&gt;. The principle is to assemble basic themes into more general themes.   

Qualitative researchers usually use {{Wikidata entity link|Q4550939}} and qualitative coding (e.g. grounded theory) to identify themes and sub-themes.   

However, the nature of the relationship between these various themes and sub-themes is often not specified.  

*

==== Causal networks ====
The use of diagrams to represent causal relationship exist in various research practices. In statistics, researchers sometime present models with boxes and arrows representing correlations and/or causations&lt;ref&gt;{{Cite book|url=https://mirror.vcu.edu/pub/mx/doc/mxmang10.pdf|title=Statistical Modeling|last=Neale|first=Michael C.|last2=Boker|first2=Steven M.|last3=Xie|first3=Gary|last4=Maes|first4=Hermine H.|publisher=Richmond, VA: Department of Psychiatry|year=1999|location=Virginia Commonwealth University}}&lt;/ref&gt;. In qualitative research, building grounded theory models is about &quot;[accounting] for not only all the major emergent concepts, themes, and dimensions, but also for their dynamic interrelationships. Speaking in classic boxes-and-arrows terms, this process amounts to assembling the constellation of boxes with a special focus on the arrows.&quot;&lt;ref&gt;{{Cite journal|last=Gioia|first=Dennis A.|last2=Corley|first2=Kevin G.|last3=Hamilton|first3=Aimee L.|date=2013-01|title=Seeking Qualitative Rigor in Inductive Research: Notes on the Gioia Methodology|url=https://journals.sagepub.com/doi/10.1177/1094428112452151|journal=Organizational Research Methods|language=en|volume=16|issue=1|pages=15–31|doi=10.1177/1094428112452151|issn=1094-4281}}&lt;/ref&gt; Researchers relying on system theory also use causal loop diagram where boxes represent variables and arrows represent causal influence (positive or negative), causal relationship can &quot;feedback&quot; (two variables can influence each other)&lt;ref&gt;{{Cite book|url=https://link.springer.com/10.1007/978-3-031-01919-7_4|title=Causal Loop Diagrams|last=Barbrook-Johnson|first=Pete|last2=Penn|first2=Alexandra S.|date=2022|publisher=Springer International Publishing|isbn=978-3-031-01833-6|location=Cham|pages=47–59|language=en|doi=10.1007/978-3-031-01919-7_4}}&lt;/ref&gt;.

Wikidata includes several properties to describe causal relationships:
* {{Wikidata entity link|P828}}
* {{Wikidata entity link|P1542}}
* {{Wikidata entity link|P1537}}
* {{Wikidata entity link|P1479}} : it is difficult to identify single causes for social phenomenons, many factors having an effect on the subject item will likely be contributing factors

==== Modelling concepts ====
To model concepts related to just transition. We read the selected papers and used them as source to build a knowledge graph in wikidata. For example, the paper {{Wikidata entity link|Q137901182}} mention &quot;Energy democracy is both an ideal and a process&quot;&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|pages=4|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;, we thus entered the wikidata statement {{Wikidata entity link|Q14944319}} is an {{Wikidata entity link|P31}} {{Wikidata entity link|Q840396}}, using the paper as source.

Challenges :
*{{Wikidata entity link|P31}}: concepts have a dual nature because they designate at the same time an idea and the entity that this idea represent.
* {{Wikidata entity link|P3712}}: concepts do not have goals in themselves, but the reality they represent can have goals
* wikidata current items are not really suited to model &quot;meta-research&quot; statements. For example, modelling the idea tha the literature on energy democracy is fragmented would require creating an item representing the energy democracy literature, not just energy democracy in general. Similarly, it can be difficult to model the chronological evolution of the definition of an idea (although it could be technically possible).

=== Writing ===
To cite articles we used the [[Template:Cite Q|Cite Q template.]] Each reference is an item in Wikidata and the template retrieve the necessary data to generate the citation references below.

== Data == 
{| class=&quot;wikitable sortable&quot;
! QID !! Year !! DOI !! Title
|-
| [[d:Q137901191|Q137901191]] || 2025 || [https://doi.org/10.1002/GEO2.70040 10.1002/GEO2.70040] || Place-Based Sustainability Transformations for Just Futures: A Systematic Review
|-
| [[d:Q137901187|Q137901187]] || 2025 || [https://doi.org/10.1002/WCC.932 10.1002/WCC.932] || Public Communication of Climate and Justice: A Scoping Review
|-
| [[d:Q135979013|Q135979013]] || 2025 || [https://doi.org/10.1007/S13280-025-02202-Z 10.1007/S13280-025-02202-Z] || Participatory approaches to climate adaptation, resilience, and mitigation: A systematic review
|-
| [[d:Q137901223|Q137901223]] || 2022 || [https://doi.org/10.1007/S13412-021-00726-W 10.1007/S13412-021-00726-W] || A review of stakeholder participation studies in renewable electricity and water: does the resource context matter?
|-
| [[d:Q137901184|Q137901184]] || 2021 || [https://doi.org/10.1007/S40518-021-00184-6 10.1007/S40518-021-00184-6] || Energy Storage as an Equity Asset.
|-
| [[d:Q114204627|Q114204627]] || 2021 || [https://doi.org/10.1007/S43621-021-00024-Z 10.1007/S43621-021-00024-Z] || Can public awareness, knowledge and engagement improve climate change adaptation policies?
|-
| [[d:Q137901209|Q137901209]] || 2026 || [https://doi.org/10.1016/J.AGSY.2025.104512 10.1016/J.AGSY.2025.104512] || Designing with non-humans for agricultural systems transformation: An interdisciplinary review and framework for reflection
|-
| [[d:Q137901201|Q137901201]] || 2025 || [https://doi.org/10.1016/J.COPSYC.2024.101987 10.1016/J.COPSYC.2024.101987] || Individual and community catalysts for Renewable Energy Communities (RECs) development
|-
| [[d:Q114197507|Q114197507]] || 2022 || [https://doi.org/10.1016/J.CRM.2022.100438 10.1016/J.CRM.2022.100438] || Advancements of sustainable development goals in co-production for climate change adaptation research
|-
| [[d:Q129203992|Q129203992]] || 2024 || [https://doi.org/10.1016/J.EGYR.2024.01.040 10.1016/J.EGYR.2024.01.040] || Empowering energy citizenship: Exploring dimensions and drivers in citizen engagement during the energy transition
|-
| [[d:Q137901216|Q137901216]] || 2026 || [https://doi.org/10.1016/J.EIAR.2025.108187 10.1016/J.EIAR.2025.108187] || From participation to partnership: A systematic review of public engagement in sustainable urban planning
|-
| [[d:Q137210566|Q137210566]] || 2016 || [https://doi.org/10.1016/J.ERSS.2015.10.004 10.1016/J.ERSS.2015.10.004] || Energy justice: A conceptual review
|-
| [[d:Q115448818|Q115448818]] || 2016 || [https://doi.org/10.1016/J.ERSS.2016.04.001 10.1016/J.ERSS.2016.04.001] || Stakeholder involvement in sustainability science—A critical view
|-
| [[d:Q129652515|Q129652515]] || 2018 || [https://doi.org/10.1016/J.ERSS.2018.06.010 10.1016/J.ERSS.2018.06.010] || What is energy democracy? Connecting social science energy research and political theory
|-
| [[d:Q137901196|Q137901196]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101716 10.1016/J.ERSS.2020.101716] || Of renewable energy, energy democracy, and sustainable development: A roadmap to accelerate the energy transition in developing countries
|-
| [[d:Q136447761|Q136447761]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101768 10.1016/J.ERSS.2020.101768] || Energy democracy as a process, an outcome and a goal: A conceptual review
|-
| [[d:Q137901204|Q137901204]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101834 10.1016/J.ERSS.2020.101834] || Identities, innovation, and governance: A systematic review of co-creation in wind energy transitions
|-
| [[d:Q137901183|Q137901183]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101837 10.1016/J.ERSS.2020.101837] || Renewable energy for whom? A global systematic review of the environmental justice implications of renewable energy technologies
|-
| [[d:Q137901207|Q137901207]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101871 10.1016/J.ERSS.2020.101871] || Rethinking community empowerment in the energy transformation: A critical review of the definitions, drivers and outcomes
|-
| [[d:Q137901215|Q137901215]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101876 10.1016/J.ERSS.2020.101876] || Co-production in the wind energy sector: A systematic literature review of public engagement beyond invited stakeholder participation
|-
| [[d:Q114306511|Q114306511]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101907 10.1016/J.ERSS.2020.101907] || From consultation toward co-production in science and policy: A critical systematic review of participatory climate and energy initiatives
|-
| [[d:Q137901221|Q137901221]] || 2021 || [https://doi.org/10.1016/J.ERSS.2021.102257 10.1016/J.ERSS.2021.102257] || The challenges of engaging island communities: Lessons on renewable energy from a review of 17 case studies
|-
| [[d:Q137901218|Q137901218]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102333 10.1016/J.ERSS.2021.102333] || The (in)justices of smart local energy systems: A systematic review, integrated framework, and future research agenda
|-
| [[d:Q137901182|Q137901182]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102444 10.1016/J.ERSS.2021.102444] || A critical review of energy democracy: A failure to deliver justice?
|-
| [[d:Q114306483|Q114306483]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102482 10.1016/J.ERSS.2021.102482] || The role of energy democracy and energy citizenship for participatory energy transitions: A comprehensive review
|-
| [[d:Q114306476|Q114306476]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102714 10.1016/J.ERSS.2022.102714] || What about citizens? A literature review of citizen engagement in sustainability transitions research
|-
| [[d:Q137901193|Q137901193]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102862 10.1016/J.ERSS.2022.102862] || When energy justice is contested: A systematic review of a decade of research on Sweden?s conflicted energy landscape
|-
| [[d:Q137901219|Q137901219]] || 2023 || [https://doi.org/10.1016/J.ERSS.2022.102913 10.1016/J.ERSS.2022.102913] || Can we optimise for justice? Reviewing the inclusion of energy justice in energy system optimisation models
|-
| [[d:Q137901186|Q137901186]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103010 10.1016/J.ERSS.2023.103010] || Analysing intersections of justice with energy transitions in India- A systematic literature review
|-
| [[d:Q137901181|Q137901181]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103053 10.1016/J.ERSS.2023.103053] || Fostering justice through engagement: A literature review of public engagement in energy transitions
|-
| [[d:Q137211155|Q137211155]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103213 10.1016/J.ERSS.2023.103213] || A fairway to fairness: Toward a richer conceptualization of fairness perceptions for just energy transitions
|-
| [[d:Q137901217|Q137901217]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103221 10.1016/J.ERSS.2023.103221] || Powering just energy transitions: A review of the justice implications of community choice aggregation
|-
| [[d:Q137901199|Q137901199]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104016 10.1016/J.ERSS.2025.104016] || Making energy renovations equitable: A literature review of decision-making criteria for a just energy transition in residential buildings
|-
| [[d:Q137901188|Q137901188]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104036 10.1016/J.ERSS.2025.104036] || Community energy justice: A review of origins, convergence, and a research agenda
|-
| [[d:Q137901211|Q137901211]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104067 10.1016/J.ERSS.2025.104067] || Psychological and social factors driving citizen involvement in renewable energy communities: A systematic review
|-
| [[d:Q137901192|Q137901192]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104149 10.1016/J.ERSS.2025.104149] || Assessing social impacts and Energy Justice along green hydrogen supply chains: a capability-based framework
|-
| [[d:Q137901195|Q137901195]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104422 10.1016/J.ERSS.2025.104422] || Out of place, scale and time? Navigating injustices across mission arenas of the German Energiewende
|-
| [[d:Q137901185|Q137901185]] || 2024 || [https://doi.org/10.1016/J.ESD.2024.101546 10.1016/J.ESD.2024.101546] || Characterizing 'injustices' in clean energy transitions in Africa
|-
| [[d:Q137901226|Q137901226]] || 2024 || [https://doi.org/10.1016/J.JCLEPRO.2024.143470 10.1016/J.JCLEPRO.2024.143470] || Energy justice and sustainable urban renewal: A systematic review of low-income old town communities
|-
| [[d:Q137901222|Q137901222]] || 2024 || [https://doi.org/10.1016/J.JENVMAN.2024.120804 10.1016/J.JENVMAN.2024.120804] || Forest, climate, and policy literature lacks acknowledgement of environmental justice, diversity, equity, and inclusion
|-
| [[d:Q115441381|Q115441381]] || 2021 || [https://doi.org/10.1016/J.RSER.2021.111504 10.1016/J.RSER.2021.111504] || Participatory methods in energy system modelling and planning – A review
|-
| [[d:Q137901205|Q137901205]] || 2025 || [https://doi.org/10.1016/J.RSER.2025.115892 10.1016/J.RSER.2025.115892] || A systematic review of the intersection between energy justice and human rights
|-
| [[d:Q137901225|Q137901225]] || 2024 || [https://doi.org/10.1017/SUS.2024.24 10.1017/SUS.2024.24] || Blue carbon as just transition? A structured literature review
|-
| [[d:Q137901220|Q137901220]] || 2025 || [https://doi.org/10.1017/SUS.2025.2 10.1017/SUS.2025.2] || Toward an intersectional equity approach in social-ecological transformations
|-
| [[d:Q137901203|Q137901203]] || 2024 || [https://doi.org/10.1080/14693062.2023.2256697 10.1080/14693062.2023.2256697] || Exploring the democracy-climate nexus: a review of correlations between democracy and climate policy performance
|-
| [[d:Q137901164|Q137901164]] || 2022 || [https://doi.org/10.1111/GEC3.12662 10.1111/GEC3.12662] || Creating fairer futures for sustainability transitions
|-
| [[d:Q137901227|Q137901227]] || 2025 || [https://doi.org/10.1139/ER-2024-0018 10.1139/ER-2024-0018] || Community engagement in nature-positive food systems programming and research in East and Southern Africa: a review
|-
| [[d:Q119955266|Q119955266]] || 2019 || [https://doi.org/10.1146/ANNUREV-ENVIRON-101718-033103 10.1146/ANNUREV-ENVIRON-101718-033103] || Co-Producing Sustainability: Reordering the Governance of Science, Policy, and Practice
|-
| [[d:Q137901206|Q137901206]] || 2023 || [https://doi.org/10.1146/ANNUREV-ENVIRON-112621-063400 10.1146/ANNUREV-ENVIRON-112621-063400] || Metrics for Decision-Making in Energy Justice
|-
| [[d:Q137901213|Q137901213]] || 2022 || [https://doi.org/10.1186/S13705-021-00330-4 10.1186/S13705-021-00330-4] || Mapping emergent public engagement in societal transitions: a scoping review
|-
| [[d:Q137901163|Q137901163]] || 2025 || [https://doi.org/10.17573/CEPAR.2025.2.09 10.17573/CEPAR.2025.2.09] || From Co-Creation to Circular Cities: Exploring Living Labs in EU Governance Frameworks - A Literature Review
|-
| [[d:Q137901197|Q137901197]] || 2024 || [https://doi.org/10.3390/EN17143512 10.3390/EN17143512] || A Systematic Review on the Path to Inclusive and Sustainable Energy Transitions
|-
| [[d:Q104887325|Q104887325]] || 2019 || [https://doi.org/10.3390/SU11041023 10.3390/SU11041023] || Deliberation and the Promise of a Deeply Democratic Sustainability Transition
|-
| [[d:Q137901202|Q137901202]] || 2021 || [https://doi.org/10.3390/SU13042128 10.3390/SU13042128] || A Review of Energy Communities in Sub-Saharan Africa as a Transition Pathway to Energy Democracy
|-
| [[d:Q137901210|Q137901210]] || 2023 || [https://doi.org/10.3390/SU15032441 10.3390/SU15032441] || Sustainable Project Governance: Scientometric Analysis and Emerging Trends
|-
| [[d:Q137901224|Q137901224]] || 2024 || [https://doi.org/10.3390/SU16198700 10.3390/SU16198700] || Empowering Communities to Act for a Change: A Review of the Community Empowerment Programs towards Sustainability and Resilience
|}


== References ==
{{References}}</text>
      <sha1>3pkxz2q25nyey5i2q00a68cjead6j7l</sha1>
    </revision>
    <revision>
      <id>2807110</id>
      <parentid>2807105</parentid>
      <timestamp>2026-04-30T14:05:29Z</timestamp>
      <contributor>
        <username>Jeanne Noiraud</username>
        <id>1366702</id>
      </contributor>
      <comment>/* Modelling concepts */</comment>
      <origin>2807110</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="41377" sha1="9ol8eszvdm49d3jk6ph1rez3m9ek607" xml:space="preserve">== Introduction ==

=== Definition of living review ===
The concept of living systematic reviews is recent (2014), so the definition has been regularly reworked&lt;ref name=&quot;Why1&quot;&gt;{{Cite Q |Q40040379 }}&lt;/ref&gt;. Living systematic reviews complement the older concept of [[literature review]]. Its objective is the same : obtain an accurate overview of the state of scientific knowledge on a subject&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot;&gt;{{Cite journal |last=Akl |first=Elie A. |last2=Meerpohl |first2=Joerg J. |last3=Elliott |first3=Julian |last4=Kahale |first4=Lara A. |last5=Schünemann |first5=Holger J. |last6=Agoritsas |first6=Thomas |last7=Hilton |first7=John |last8=Perron |first8=Caroline |last9=Akl |first9=Elie |last10=Hodder |first10=Rebecca |last11=Pestridge |first11=Charlotte |last12=Albrecht |first12=Lauren |last13=Horsley |first13=Tanya |last14=Platt |first14=Joanne |last15=Armstrong |first15=Rebecca |date=2017-11 |title=Living systematic reviews: 4. Living guideline recommendations |url=https://www.wikidata.org/wiki/Q50084143 |journal=Journal of Clinical Epidemiology |language=en |volume=91 |pages=47–53 |doi=10.1016/j.jclinepi.2017.08.009}}&lt;/ref&gt;&lt;ref name=&quot;:6&quot;&gt;{{Citation|title=Living Systematic Reviews|url=https://doi.org/10.1007/978-1-0716-1566-9_7|publisher=Springer US|work=Meta-Research: Methods and Protocols|date=2022|access-date=2026-01-16|place=New York, NY|isbn=978-1-0716-1566-9|pages=121–134|doi=10.1007/978-1-0716-1566-9_7|language=en|first=Mark|last=Simmonds|first2=Julian H.|last2=Elliott|first3=Anneliese|last3=Synnot|first4=Tari|last4=Turner|editor-first=Evangelos|editor-last=Evangelou|editor2-first=Areti Angeliki|editor2-last=Veroniki}}&lt;/ref&gt;. A traditional review may be obsolete by the time it is published, as new studies have emerged between the submission of the manuscript and its publication&lt;ref name=&quot;Why1&quot;/&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;. Living systematic reviews exists to address this common problem&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;&lt;ref name=&quot;:2&quot;&gt;https://blogs.lse.ac.uk/impactofsocialsciences/2019/05/14/the-death-of-the-literature-review-and-the-rise-of-the-dynamic-knowledge-map/&lt;/ref&gt;. It is therefore particularly useful in rapidly evolving fields of research&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;, such as just transition. 

[[wikidata:Q33002955|Knowledge graphs]], a structured representation of knowledge in the form of a graph, linked together by relationships that encode explicit meanings between these entities, are very suitable for conducting living systematic reviews&lt;ref name=&quot;:2&quot; /&gt;&lt;ref name=&quot;Fotopoulou&quot;&gt;{{Cite journal|first1=Eleni |last1=Fotopoulou|first2=Ioanna|last2=Mandilara|first3=Anastasios|last3=Zafeiropoulos|first4=Chrysi|last4=Laspidou|first5=Giannis |last5=Adamos|first6=Phoebe|last6=Koundouri|first7=Symeon|last7=Papavassiliou|title=SustainGraph: A knowledge graph for tracking the progress and the interlinking among the sustainable development goals’ targets|journal=Frontiers in environmental science, Frontiers|volume=10|date=2022-10-26|issn=2296-665X|doi=10.3389/FENVS.2022.1003599|url=https://www.wikidata.org/wiki/Q117837999}}.&lt;/ref&gt;. Advances in AI could render certain older methodological types of living systematic reviews obsoletes&lt;ref&gt;{{Cite journal|last=Krlev|first=Gorgi|last2=Hannigan|first2=Tim|last3=Spicer|first3=André|date=2025-01|title=What Makes a Good Review Article? Empirical Evidence From Management and Organization Research|url=https://journals.aom.org/doi/abs/10.5465/annals.2021.0051|journal=Academy of Management Annals|volume=19|issue=1|pages=376–403|doi=10.5465/annals.2021.0051|issn=1941-6520}}&lt;/ref&gt;, as IA are useful to extract, filter and classify datas&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;. [[Large language models]] (LLM) are &quot;on the rise&quot; (2025), but &quot;not yet ready for use&quot;&lt;ref&gt;{{Cite journal |last=Lieberum |first=Judith-Lisa |last2=Toews |first2=Markus |last3=Metzendorf |first3=Maria-Inti |last4=Heilmeyer |first4=Felix |last5=Siemens |first5=Waldemar |last6=Haverkamp |first6=Christian |last7=Böhringer |first7=Daniel |last8=Meerpohl |first8=Joerg J. |last9=Eisele-Metzger |first9=Angelika |date=2025-05 |title=Large language models for conducting systematic reviews: on the rise, but not yet ready for use—a scoping review |url=https://www.wikidata.org/wiki/Q134545593|journal=Journal of Clinical Epidemiology |language=en |volume=181 |pages=111746 |doi=10.1016/j.jclinepi.2025.111746}}&lt;/ref&gt;.

The living review method relevant for just transition because it includes topic such as energy democracy which necessitate transdisciplinarity and consolidation of fragmented literature&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;.

===  Definitions of just transition : ===
* «a fair and equitable process of moving towards a post-carbon society’. »&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|last=McCauley|first=Darren|last2=Heffron|first2=Raphael|date=2018-08-01|title=Just transition: Integrating climate, energy and environmental justice|url=https://www.wikidata.org/wiki/Q129947262|journal=Energy Policy|language=English|volume=119|pages=1–7|doi=10.1016/J.ENPOL.2018.04.014}}&lt;/ref&gt;.


The concept of just transition originated from global trade unions in the 1980s to promote green jobs creation as a key element of sustainability transitions&lt;ref name=&quot;:0&quot; /&gt;. However, scholars have broadened the use of this term to develop frameworks for analysing issues of fairness in these transitions&lt;ref name=&quot;:0&quot; /&gt;. The concept of just transition can be used to bridge various bodies of scholarship : climate justice, environmental justiceand energy justice&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|last=Wang|first=Xinxin|last2=Lo|first2=Kevin|date=2021-12-01|title=Just transition: A conceptual review|url=https://www.wikidata.org/wiki/Q137209041|journal=Energy Research &amp; Social Science|volume=82|pages=102291|doi=10.1016/J.ERSS.2021.102291}}&lt;/ref&gt;&lt;ref name=&quot;:1&quot;&gt;{{Cite book|url=https://www.wikidata.org/wiki/Q134545572|title=What is the “Just Transition”?|last=Heffron|first=Raphael J.|date=2021-01-01|pages=9–19|language=English}}&lt;/ref&gt; and take into account various aspects of justice including distributional justice, procedural justice, restorative justice, recognition justice&lt;ref name=&quot;:0&quot; /&gt;&lt;ref name=&quot;:3&quot; /&gt;&lt;ref name=&quot;:1&quot; /&gt;&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. 
 
=== Definition of Procedural justice ===
Procedural justice is about the fairness of decision-making processes related to transitions&lt;ref name=&quot;:4&quot; /&gt; such as the inclusion of those impacted by these decisions&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|last=Stark|first=Anthony|last2=Gale|first2=Fred|last3=Murphy-Gregory|first3=Hannah|date=2023-05-05|title=Just Transitions’ Meanings: A Systematic Review|url=https://www.wikidata.org/wiki/Q137210229|journal=Society and Natural Resources|volume=36|issue=10|pages=1277–1297|doi=10.1080/08941920.2023.2207166}}&lt;/ref&gt;. Procedural justice can include issues of community and citizen participation in decision making, their political representation their consultation or the integration of their knowledge, with a focus on neglected population (indigenous people, women, gender and ethnic minorities&lt;ref&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. For example, the participation of affected communities in decisions related to the construction of new infrastructures&lt;ref name=&quot;:0&quot; /&gt;.     

== Methodology ==

=== Wikidata and the semantic web ===&lt;!-- Add introduction to what wikidata is and how the triplet works in a pedagogical manner
 --&gt;

=== Database search ===
We conducted preliminary searches in various databases including Web of science, Go Triple, Dimensions and OpenAlex. Web of Science was the database offering the most relevant restults and included the possibility to filter results to display only litterature reviews. Articles metadata were exported (in .ris format) and then imported into the reference manager software Zotero. 
 
{| class=&quot;wikitable&quot;
|+
!Keywords search
!Database
!Search date
!Filters
!Number of results
|-
|(((TS=(procedural justice OR procedural fairness OR democracy OR participation OR participatory)) AND TS=(sustainability OR energy OR climate)) AND TS=(transition OR transitions)) AND TS=(review OR reviews) 
|Web of Science (all databases, all dates)
|December 2025
|Document type: Review Article
|362
|}

=== Article screening ===
Articles abstract were then screened and we selected only articles which were litterature reviews focusing on concepts related to procedural justice as their main topics. We excluded article which were 

* Not related to sustainability transition (e.g. sustainable shift in..., hard science papers...)
* Not literature reviews (e.g. review of policies, initiatives, cases, review notes, book review...)
* Not related to procedural justice but to participation into markets, participation in eco-friendly behaviors or included justice consideration only in “future research” suggestions
* Discussing participatory research methodologies (e.g. participatory modelling) without approaching it as an issue of justice, power or democracy
* Discussing procedural justice concepts as key variables or key results without it being the main focus of the paper

=== Importing selected articles into Wikidata ===
To import the selected articles meta-data into Wikidata, we first ran [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 a script] to check if any article was already present in the database. Next we used [https://gist.github.com/zuphilip/90acdc3eac4109830db1b3ab855fcb24 another script] that checks the ISSN of the publication in Wikidata and add P-Q-pairs in the extra field of Zotero. Then we exported the articles data using the &quot;export to Wikidata QuickStatements&quot; function of Zotero and use the QuickStatements tool to add them to Wikidata.

Next we used the [[wikidata:Wikidata:Zotero/Cita|Cita]] (V1.0.0-beta.17) Zotero add-on to add articles QID in Zotero. At this point we identified that duplicates had been created in Wikidata (possibly because the initial [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 script] did not work that well  because of the recent [[wikidata:Wikidata:SPARQL_query_service/WDQS_graph_split|Graph Split]] on Wikidata). We merged duplicates on wikidata using the [[wikidata:Help:Merge|&quot;Merge&quot; gadget]] on Wikidata. We checked manually for duplicated statments in those items.

=== Article classification through meta-data enrichement ===&lt;!-- Add : What is meta-data enrichement --&gt;

Existing review try to classify existing articles according to various criteria such as industry focus, academic discipline, geography of research sites (countries), stakeholder focus (community, consumer, worker...), type of study (case study, theory development) or methodology (quantitative, qualitative, mixt).&lt;ref name=&quot;:5&quot; /&gt; We selected the most relevant properties in Wikidata to reflect these classifications : {{Wikidata entity link|P921}} to describe what the article is about, {{Wikidata entity link|P8363}} to describe its main methodology/research design and {{Wikidata entity link|P6153}} to describe its geographical focus.

==== Main subjects ====
We first read the articles abstracts and listed relevant topics and their Wikidata ID in a shared spreadsheet. These topics were : 
{| class=&quot;wikitable&quot;
|+
!Qid
!Main topic
|-
|Q42377797
|
|-
|Q2798912
|
|-
|Q421953
|
|}&lt;!-- include all below items using the wikidata link template
 --&gt;
&lt;nowiki&gt;https://www.wikidata.org/wiki/Q84459973&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q185836&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4764988&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4338318&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4930066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q430460&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7569&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4116870&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125928&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q260607&lt;/nowiki&gt;

&lt;nowiki&gt;https://en.wikipedia.org/wiki/Climate_change_mitigation&lt;/nowiki&gt;

Q1291678

Q2270945

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q16972712&lt;/nowiki&gt;

Q16324410

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11024&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q177634&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5154673&lt;/nowiki&gt;

Q113514984

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q65807646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188843&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11693783&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q284289&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7174&lt;/nowiki&gt;

Q552284

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1230584&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1049066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8134&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q295865&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1358789&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q868575&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q138359220&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131444737&lt;/nowiki&gt;

www.wikidata.org/wiki/Q16869822

Q14944319

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q192704&lt;/nowiki&gt;

Q117091181

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q24965464&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1805337&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1341244&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3406659&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3456219&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2700433&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q837718&lt;/nowiki&gt;

Q795757

Q795757

Q1479527

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q771773&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56395513&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5465532&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4421&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q48277&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1553864&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8458?wprov=srpw1_0&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11376059&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q103817&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q113561794&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q770480&lt;/nowiki&gt;

Q17142211

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1516555&lt;/nowiki&gt;

Q6316391

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q366139&lt;/nowiki&gt;

Q3027857

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q59679511&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q43619&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q127514833&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q13023682&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q728646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3907287&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q9357091&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q265425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q25107&lt;/nowiki&gt;

Q442100

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7249406&lt;/nowiki&gt;

Q7257735

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q541936&lt;/nowiki&gt;

Q6142016

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q10509953&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q12705&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56510941&lt;/nowiki&gt;

Q1165392

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4414036&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q17152351&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q187588&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q264892&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q34749&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2930198&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125359881&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q219416&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131201&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7649586&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q69883&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q920600&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3376054&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q107389921&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7981051&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q467&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188867&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1038171&lt;/nowiki&gt;

Then, for each article, we inferred what the {{Wikidata entity link|P921}} was from the abstracts and author provided keywords.

==== Study types ====
Our review included only litterature reviews. We first read abstracts to identify all the [https://angryloki.github.io/wikidata-graph-builder/?item=Q2412849&amp;property=P279&amp;mode=reverse different types of litterature reviews] present in the corpus and created wikidata items which did not exist, for example {{Wikidata entity link|Q137209848}} and {{Wikidata entity link|Q137174203}}. We improved these method items using the methodological references cited in the reviewed papers. The types of reviews were : &lt;!-- include all below items using the wikidata link template
 --&gt; 

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q603441&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q472342&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q815382&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q1504425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2412849&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q6822263&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q7301211&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q17007303&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q70470634&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q101116078&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q110665014&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174203&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174450&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137209848&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137211242&lt;/nowiki&gt;

[Include list and description of types of litterature reviews]

Then, we added the {{Wikidata entity link|P8363}} of each articles based on the abstract and method sections. In case of doubt, we compared our interpretation.

==== Research site ====
When an article had a specific geographical focus, we used the property {{Wikidata entity link|P6153}} to describe it. For example, the article &quot;{{Wikidata entity link|Q137901202}}&quot; focused on {{Wikidata entity link|Q132959}}.

==== Results ====
[insert table about the sample]

=== Knowledge modelling ===
Concept maps can be a powerful literature review tool&lt;ref&gt;{{Cite journal|last=Lewis|first=John Kennedy|date=2016|title=Using ATLAS.ti to Facilitate Data Analysis for a Systematic Review of Leadership Competencies in the Completion of a Doctoral Dissertation|url=https://www.ssrn.com/abstract=2850726|journal=SSRN Electronic Journal|language=en|doi=10.2139/ssrn.2850726|issn=1556-5068}}&lt;/ref&gt; allowing to synthetize theoretical statements about relationship between concepts&lt;ref&gt;{{Cite journal|last=Panniers|first=Teresa L|last2=Feuerbach|first2=Renee Daiuta|last3=Soeken|first3=Karen L|date=2003-08-01|title=Methods in informatics: using data derived from a systematic review of health care texts to develop a concept map for use in the neonatal intensive care setting|url=https://www.sciencedirect.com/science/article/pii/S1532046403000911|journal=Journal of Biomedical Informatics|series=Building Nursing Knowledge through Informatics: From Concept Representation to Data Mining|volume=36|issue=4|pages=232–239|doi=10.1016/j.jbi.2003.09.010|issn=1532-0464}}&lt;/ref&gt;. In the present study, we explored how concept map can be used to model the knowledge present in the paper we selected. 

[define knowledge modelling]

==== Conceptual modelling ====
We first reflected on what kind of wikidata properties could be used to represent concepts and theories in wikidata. Capturing the content of a concept is not straightforward and there are various approaches coming from psychology and philosophy on the matter&lt;ref&gt;{{Cite book|title=The Origin of Concepts|last=Carey|first=Susan|date=2011|publisher=Oxford University Press USA - OSO|isbn=978-0-19-536763-8|series=Oxford Series in Cognitive Development Ser|location=Cary}}&lt;/ref&gt; we summarize these approaches below and examine which wikidata properties exist to represent them.
* Definition: the content of a concept can be formed by its decomposition into other concepts. Many Wikidata properties can be relevant to model definitions, for example: {{Wikidata entity link|P1269}}, {{Wikidata entity link|P361}}/{{Wikidata entity link|P527}}, {{Wikidata entity link|P2670}}, {{Wikidata entity link|P1552}}/{{Wikidata entity link|P6477}}, {{Wikidata entity link|P3712}}...
* Categorization: the content of a concept is formed by its illustration by an exemplar (a [[wikipedia:Prototype_theory|prototype]]) that best represent the concept. Apart from the inclusion of images to illustrate an item, Wikidata structure do not highlight exemplars. However, properties signifying relations of categorizations are among the most used with {{Wikidata entity link|P31}} and {{Wikidata entity link|P279}}.
* Theory: the content of a concept is formed by its role in providing explanation of the world. Wikidata includes several properties to describe causal relationships: {{Wikidata entity link|P828}}/{{Wikidata entity link|P1542}}, {{Wikidata entity link|P1537}}/{{Wikidata entity link|P1479}}.
* Essence: the content of a concept is &quot;something&quot; deep explaning the entity's existence and its properties. We can use concepts before knowing what they mean, and this is what allows us to revise our knowledge about it. The idea of essence is well represented by the QID of Wikidata entities: it is independent of language and definitions and we can create it before really knowing what all its properties will be.
* Origin: the content of the concept is determined causally by social and historial factors (e.g. someone inventing the concept and introducing its use in a language community). This can be represented by the property {{Wikidata entity link|P3938}}.

==== Thematic networks ====
[[File:Thematic network example.jpg|thumb|547x547px|Structure of a thematic network (Source: Attride-Stirling 2001)]]
A thematic network is “simply a way of organizing a thematic analysis of qualitative data”&lt;ref name=&quot;:7&quot;&gt;{{Cite journal|last=Attride-Stirling|first=Jennifer|date=2001-12|title=Thematic networks: an analytic tool for qualitative research|url=https://journals.sagepub.com/doi/10.1177/146879410100100307|journal=Qualitative Research|language=en|volume=1|issue=3|pages=385–405|doi=10.1177/146879410100100307|issn=1468-7941}}&lt;/ref&gt;. It is compatible with classical coding strategies such as [[grounded theory]]&lt;ref&gt;{{Cite journal|last=Corbin|first=Juliet|last2=Strauss|first2=Anselm|date=1990-12-01|title=Grounded Theory Research: Procedures, Canons and Evaluative Criteria|url=https://www.degruyter.com/document/doi/10.1515/zfsoz-1990-0602/html|journal=Zeitschrift für Soziologie|language=en|volume=19|issue=6|pages=418–427|doi=10.1515/zfsoz-1990-0602|issn=2366-0325}}&lt;/ref&gt;. Thematic networks can be used to visualise the data structure after identifying themes and help structure and interpret the data&lt;ref name=&quot;:7&quot; /&gt;. The principle is to assemble basic themes into more general themes.   

Qualitative researchers usually use {{Wikidata entity link|Q4550939}} and qualitative coding (e.g. grounded theory) to identify themes and sub-themes.   

However, the nature of the relationship between these various themes and sub-themes is often not specified.  

*

==== Causal networks ====
The use of diagrams to represent causal relationship exist in various research practices. In statistics, researchers sometime present models with boxes and arrows representing correlations and/or causations&lt;ref&gt;{{Cite book|url=https://mirror.vcu.edu/pub/mx/doc/mxmang10.pdf|title=Statistical Modeling|last=Neale|first=Michael C.|last2=Boker|first2=Steven M.|last3=Xie|first3=Gary|last4=Maes|first4=Hermine H.|publisher=Richmond, VA: Department of Psychiatry|year=1999|location=Virginia Commonwealth University}}&lt;/ref&gt;. In qualitative research, building grounded theory models is about &quot;[accounting] for not only all the major emergent concepts, themes, and dimensions, but also for their dynamic interrelationships. Speaking in classic boxes-and-arrows terms, this process amounts to assembling the constellation of boxes with a special focus on the arrows.&quot;&lt;ref&gt;{{Cite journal|last=Gioia|first=Dennis A.|last2=Corley|first2=Kevin G.|last3=Hamilton|first3=Aimee L.|date=2013-01|title=Seeking Qualitative Rigor in Inductive Research: Notes on the Gioia Methodology|url=https://journals.sagepub.com/doi/10.1177/1094428112452151|journal=Organizational Research Methods|language=en|volume=16|issue=1|pages=15–31|doi=10.1177/1094428112452151|issn=1094-4281}}&lt;/ref&gt; Researchers relying on system theory also use causal loop diagram where boxes represent variables and arrows represent causal influence (positive or negative), causal relationship can &quot;feedback&quot; (two variables can influence each other)&lt;ref&gt;{{Cite book|url=https://link.springer.com/10.1007/978-3-031-01919-7_4|title=Causal Loop Diagrams|last=Barbrook-Johnson|first=Pete|last2=Penn|first2=Alexandra S.|date=2022|publisher=Springer International Publishing|isbn=978-3-031-01833-6|location=Cham|pages=47–59|language=en|doi=10.1007/978-3-031-01919-7_4}}&lt;/ref&gt;.

Wikidata includes several properties to describe causal relationships:
* {{Wikidata entity link|P828}}
* {{Wikidata entity link|P1542}}
* {{Wikidata entity link|P1537}}
* {{Wikidata entity link|P1479}} : it is difficult to identify single causes for social phenomenons, many factors having an effect on the subject item will likely be contributing factors

==== Modelling concepts ====
To model concepts related to just transition. We read the selected papers and used them as source to build a knowledge graph in wikidata. For example, the paper {{Wikidata entity link|Q137901182}} mention &quot;Energy democracy is both an ideal and a process&quot;&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|pages=4|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;, we thus entered the wikidata statement {{Wikidata entity link|Q14944319}} is an {{Wikidata entity link|P31}} {{Wikidata entity link|Q840396}}, using the paper as source.

Challenges :
*{{Wikidata entity link|P31}}: concepts have a dual nature because they designate at the same time an idea and the entity that this idea represent.
* {{Wikidata entity link|P3712}}: concepts do not have goals in themselves, but the reality they represent can have goals
* wikidata current items are not really suited to model &quot;meta-research&quot; statements. For example, modelling the idea tha the literature on energy democracy is fragmented would require creating an item representing the energy democracy literature, not just energy democracy in general. Similarly, it can be difficult to model the chronological evolution of the definition of an idea (although it could be technically possible).
* To distinguish the causes of the concepts/discourses and the causes of the phenomenon itself, we used {{Wikidata entity link|P3938}} to indicate the origins of the concept or the movements promoting it.

=== Writing ===
To cite articles we used the [[Template:Cite Q|Cite Q template.]] Each reference is an item in Wikidata and the template retrieve the necessary data to generate the citation references below.

== Data == 
{| class=&quot;wikitable sortable&quot;
! QID !! Year !! DOI !! Title
|-
| [[d:Q137901191|Q137901191]] || 2025 || [https://doi.org/10.1002/GEO2.70040 10.1002/GEO2.70040] || Place-Based Sustainability Transformations for Just Futures: A Systematic Review
|-
| [[d:Q137901187|Q137901187]] || 2025 || [https://doi.org/10.1002/WCC.932 10.1002/WCC.932] || Public Communication of Climate and Justice: A Scoping Review
|-
| [[d:Q135979013|Q135979013]] || 2025 || [https://doi.org/10.1007/S13280-025-02202-Z 10.1007/S13280-025-02202-Z] || Participatory approaches to climate adaptation, resilience, and mitigation: A systematic review
|-
| [[d:Q137901223|Q137901223]] || 2022 || [https://doi.org/10.1007/S13412-021-00726-W 10.1007/S13412-021-00726-W] || A review of stakeholder participation studies in renewable electricity and water: does the resource context matter?
|-
| [[d:Q137901184|Q137901184]] || 2021 || [https://doi.org/10.1007/S40518-021-00184-6 10.1007/S40518-021-00184-6] || Energy Storage as an Equity Asset.
|-
| [[d:Q114204627|Q114204627]] || 2021 || [https://doi.org/10.1007/S43621-021-00024-Z 10.1007/S43621-021-00024-Z] || Can public awareness, knowledge and engagement improve climate change adaptation policies?
|-
| [[d:Q137901209|Q137901209]] || 2026 || [https://doi.org/10.1016/J.AGSY.2025.104512 10.1016/J.AGSY.2025.104512] || Designing with non-humans for agricultural systems transformation: An interdisciplinary review and framework for reflection
|-
| [[d:Q137901201|Q137901201]] || 2025 || [https://doi.org/10.1016/J.COPSYC.2024.101987 10.1016/J.COPSYC.2024.101987] || Individual and community catalysts for Renewable Energy Communities (RECs) development
|-
| [[d:Q114197507|Q114197507]] || 2022 || [https://doi.org/10.1016/J.CRM.2022.100438 10.1016/J.CRM.2022.100438] || Advancements of sustainable development goals in co-production for climate change adaptation research
|-
| [[d:Q129203992|Q129203992]] || 2024 || [https://doi.org/10.1016/J.EGYR.2024.01.040 10.1016/J.EGYR.2024.01.040] || Empowering energy citizenship: Exploring dimensions and drivers in citizen engagement during the energy transition
|-
| [[d:Q137901216|Q137901216]] || 2026 || [https://doi.org/10.1016/J.EIAR.2025.108187 10.1016/J.EIAR.2025.108187] || From participation to partnership: A systematic review of public engagement in sustainable urban planning
|-
| [[d:Q137210566|Q137210566]] || 2016 || [https://doi.org/10.1016/J.ERSS.2015.10.004 10.1016/J.ERSS.2015.10.004] || Energy justice: A conceptual review
|-
| [[d:Q115448818|Q115448818]] || 2016 || [https://doi.org/10.1016/J.ERSS.2016.04.001 10.1016/J.ERSS.2016.04.001] || Stakeholder involvement in sustainability science—A critical view
|-
| [[d:Q129652515|Q129652515]] || 2018 || [https://doi.org/10.1016/J.ERSS.2018.06.010 10.1016/J.ERSS.2018.06.010] || What is energy democracy? Connecting social science energy research and political theory
|-
| [[d:Q137901196|Q137901196]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101716 10.1016/J.ERSS.2020.101716] || Of renewable energy, energy democracy, and sustainable development: A roadmap to accelerate the energy transition in developing countries
|-
| [[d:Q136447761|Q136447761]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101768 10.1016/J.ERSS.2020.101768] || Energy democracy as a process, an outcome and a goal: A conceptual review
|-
| [[d:Q137901204|Q137901204]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101834 10.1016/J.ERSS.2020.101834] || Identities, innovation, and governance: A systematic review of co-creation in wind energy transitions
|-
| [[d:Q137901183|Q137901183]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101837 10.1016/J.ERSS.2020.101837] || Renewable energy for whom? A global systematic review of the environmental justice implications of renewable energy technologies
|-
| [[d:Q137901207|Q137901207]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101871 10.1016/J.ERSS.2020.101871] || Rethinking community empowerment in the energy transformation: A critical review of the definitions, drivers and outcomes
|-
| [[d:Q137901215|Q137901215]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101876 10.1016/J.ERSS.2020.101876] || Co-production in the wind energy sector: A systematic literature review of public engagement beyond invited stakeholder participation
|-
| [[d:Q114306511|Q114306511]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101907 10.1016/J.ERSS.2020.101907] || From consultation toward co-production in science and policy: A critical systematic review of participatory climate and energy initiatives
|-
| [[d:Q137901221|Q137901221]] || 2021 || [https://doi.org/10.1016/J.ERSS.2021.102257 10.1016/J.ERSS.2021.102257] || The challenges of engaging island communities: Lessons on renewable energy from a review of 17 case studies
|-
| [[d:Q137901218|Q137901218]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102333 10.1016/J.ERSS.2021.102333] || The (in)justices of smart local energy systems: A systematic review, integrated framework, and future research agenda
|-
| [[d:Q137901182|Q137901182]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102444 10.1016/J.ERSS.2021.102444] || A critical review of energy democracy: A failure to deliver justice?
|-
| [[d:Q114306483|Q114306483]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102482 10.1016/J.ERSS.2021.102482] || The role of energy democracy and energy citizenship for participatory energy transitions: A comprehensive review
|-
| [[d:Q114306476|Q114306476]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102714 10.1016/J.ERSS.2022.102714] || What about citizens? A literature review of citizen engagement in sustainability transitions research
|-
| [[d:Q137901193|Q137901193]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102862 10.1016/J.ERSS.2022.102862] || When energy justice is contested: A systematic review of a decade of research on Sweden?s conflicted energy landscape
|-
| [[d:Q137901219|Q137901219]] || 2023 || [https://doi.org/10.1016/J.ERSS.2022.102913 10.1016/J.ERSS.2022.102913] || Can we optimise for justice? Reviewing the inclusion of energy justice in energy system optimisation models
|-
| [[d:Q137901186|Q137901186]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103010 10.1016/J.ERSS.2023.103010] || Analysing intersections of justice with energy transitions in India- A systematic literature review
|-
| [[d:Q137901181|Q137901181]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103053 10.1016/J.ERSS.2023.103053] || Fostering justice through engagement: A literature review of public engagement in energy transitions
|-
| [[d:Q137211155|Q137211155]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103213 10.1016/J.ERSS.2023.103213] || A fairway to fairness: Toward a richer conceptualization of fairness perceptions for just energy transitions
|-
| [[d:Q137901217|Q137901217]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103221 10.1016/J.ERSS.2023.103221] || Powering just energy transitions: A review of the justice implications of community choice aggregation
|-
| [[d:Q137901199|Q137901199]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104016 10.1016/J.ERSS.2025.104016] || Making energy renovations equitable: A literature review of decision-making criteria for a just energy transition in residential buildings
|-
| [[d:Q137901188|Q137901188]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104036 10.1016/J.ERSS.2025.104036] || Community energy justice: A review of origins, convergence, and a research agenda
|-
| [[d:Q137901211|Q137901211]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104067 10.1016/J.ERSS.2025.104067] || Psychological and social factors driving citizen involvement in renewable energy communities: A systematic review
|-
| [[d:Q137901192|Q137901192]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104149 10.1016/J.ERSS.2025.104149] || Assessing social impacts and Energy Justice along green hydrogen supply chains: a capability-based framework
|-
| [[d:Q137901195|Q137901195]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104422 10.1016/J.ERSS.2025.104422] || Out of place, scale and time? Navigating injustices across mission arenas of the German Energiewende
|-
| [[d:Q137901185|Q137901185]] || 2024 || [https://doi.org/10.1016/J.ESD.2024.101546 10.1016/J.ESD.2024.101546] || Characterizing 'injustices' in clean energy transitions in Africa
|-
| [[d:Q137901226|Q137901226]] || 2024 || [https://doi.org/10.1016/J.JCLEPRO.2024.143470 10.1016/J.JCLEPRO.2024.143470] || Energy justice and sustainable urban renewal: A systematic review of low-income old town communities
|-
| [[d:Q137901222|Q137901222]] || 2024 || [https://doi.org/10.1016/J.JENVMAN.2024.120804 10.1016/J.JENVMAN.2024.120804] || Forest, climate, and policy literature lacks acknowledgement of environmental justice, diversity, equity, and inclusion
|-
| [[d:Q115441381|Q115441381]] || 2021 || [https://doi.org/10.1016/J.RSER.2021.111504 10.1016/J.RSER.2021.111504] || Participatory methods in energy system modelling and planning – A review
|-
| [[d:Q137901205|Q137901205]] || 2025 || [https://doi.org/10.1016/J.RSER.2025.115892 10.1016/J.RSER.2025.115892] || A systematic review of the intersection between energy justice and human rights
|-
| [[d:Q137901225|Q137901225]] || 2024 || [https://doi.org/10.1017/SUS.2024.24 10.1017/SUS.2024.24] || Blue carbon as just transition? A structured literature review
|-
| [[d:Q137901220|Q137901220]] || 2025 || [https://doi.org/10.1017/SUS.2025.2 10.1017/SUS.2025.2] || Toward an intersectional equity approach in social-ecological transformations
|-
| [[d:Q137901203|Q137901203]] || 2024 || [https://doi.org/10.1080/14693062.2023.2256697 10.1080/14693062.2023.2256697] || Exploring the democracy-climate nexus: a review of correlations between democracy and climate policy performance
|-
| [[d:Q137901164|Q137901164]] || 2022 || [https://doi.org/10.1111/GEC3.12662 10.1111/GEC3.12662] || Creating fairer futures for sustainability transitions
|-
| [[d:Q137901227|Q137901227]] || 2025 || [https://doi.org/10.1139/ER-2024-0018 10.1139/ER-2024-0018] || Community engagement in nature-positive food systems programming and research in East and Southern Africa: a review
|-
| [[d:Q119955266|Q119955266]] || 2019 || [https://doi.org/10.1146/ANNUREV-ENVIRON-101718-033103 10.1146/ANNUREV-ENVIRON-101718-033103] || Co-Producing Sustainability: Reordering the Governance of Science, Policy, and Practice
|-
| [[d:Q137901206|Q137901206]] || 2023 || [https://doi.org/10.1146/ANNUREV-ENVIRON-112621-063400 10.1146/ANNUREV-ENVIRON-112621-063400] || Metrics for Decision-Making in Energy Justice
|-
| [[d:Q137901213|Q137901213]] || 2022 || [https://doi.org/10.1186/S13705-021-00330-4 10.1186/S13705-021-00330-4] || Mapping emergent public engagement in societal transitions: a scoping review
|-
| [[d:Q137901163|Q137901163]] || 2025 || [https://doi.org/10.17573/CEPAR.2025.2.09 10.17573/CEPAR.2025.2.09] || From Co-Creation to Circular Cities: Exploring Living Labs in EU Governance Frameworks - A Literature Review
|-
| [[d:Q137901197|Q137901197]] || 2024 || [https://doi.org/10.3390/EN17143512 10.3390/EN17143512] || A Systematic Review on the Path to Inclusive and Sustainable Energy Transitions
|-
| [[d:Q104887325|Q104887325]] || 2019 || [https://doi.org/10.3390/SU11041023 10.3390/SU11041023] || Deliberation and the Promise of a Deeply Democratic Sustainability Transition
|-
| [[d:Q137901202|Q137901202]] || 2021 || [https://doi.org/10.3390/SU13042128 10.3390/SU13042128] || A Review of Energy Communities in Sub-Saharan Africa as a Transition Pathway to Energy Democracy
|-
| [[d:Q137901210|Q137901210]] || 2023 || [https://doi.org/10.3390/SU15032441 10.3390/SU15032441] || Sustainable Project Governance: Scientometric Analysis and Emerging Trends
|-
| [[d:Q137901224|Q137901224]] || 2024 || [https://doi.org/10.3390/SU16198700 10.3390/SU16198700] || Empowering Communities to Act for a Change: A Review of the Community Empowerment Programs towards Sustainability and Resilience
|}


== References ==
{{References}}</text>
      <sha1>9ol8eszvdm49d3jk6ph1rez3m9ek607</sha1>
    </revision>
    <revision>
      <id>2807114</id>
      <parentid>2807110</parentid>
      <timestamp>2026-04-30T14:36:07Z</timestamp>
      <contributor>
        <username>Jeanne Noiraud</username>
        <id>1366702</id>
      </contributor>
      <comment>/* Modelling concepts */</comment>
      <origin>2807114</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="41546" sha1="7dm9sdxeef5uxitqguyg5rprguq12a0" xml:space="preserve">== Introduction ==

=== Definition of living review ===
The concept of living systematic reviews is recent (2014), so the definition has been regularly reworked&lt;ref name=&quot;Why1&quot;&gt;{{Cite Q |Q40040379 }}&lt;/ref&gt;. Living systematic reviews complement the older concept of [[literature review]]. Its objective is the same : obtain an accurate overview of the state of scientific knowledge on a subject&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot;&gt;{{Cite journal |last=Akl |first=Elie A. |last2=Meerpohl |first2=Joerg J. |last3=Elliott |first3=Julian |last4=Kahale |first4=Lara A. |last5=Schünemann |first5=Holger J. |last6=Agoritsas |first6=Thomas |last7=Hilton |first7=John |last8=Perron |first8=Caroline |last9=Akl |first9=Elie |last10=Hodder |first10=Rebecca |last11=Pestridge |first11=Charlotte |last12=Albrecht |first12=Lauren |last13=Horsley |first13=Tanya |last14=Platt |first14=Joanne |last15=Armstrong |first15=Rebecca |date=2017-11 |title=Living systematic reviews: 4. Living guideline recommendations |url=https://www.wikidata.org/wiki/Q50084143 |journal=Journal of Clinical Epidemiology |language=en |volume=91 |pages=47–53 |doi=10.1016/j.jclinepi.2017.08.009}}&lt;/ref&gt;&lt;ref name=&quot;:6&quot;&gt;{{Citation|title=Living Systematic Reviews|url=https://doi.org/10.1007/978-1-0716-1566-9_7|publisher=Springer US|work=Meta-Research: Methods and Protocols|date=2022|access-date=2026-01-16|place=New York, NY|isbn=978-1-0716-1566-9|pages=121–134|doi=10.1007/978-1-0716-1566-9_7|language=en|first=Mark|last=Simmonds|first2=Julian H.|last2=Elliott|first3=Anneliese|last3=Synnot|first4=Tari|last4=Turner|editor-first=Evangelos|editor-last=Evangelou|editor2-first=Areti Angeliki|editor2-last=Veroniki}}&lt;/ref&gt;. A traditional review may be obsolete by the time it is published, as new studies have emerged between the submission of the manuscript and its publication&lt;ref name=&quot;Why1&quot;/&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;. Living systematic reviews exists to address this common problem&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;Why4&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;&lt;ref name=&quot;:2&quot;&gt;https://blogs.lse.ac.uk/impactofsocialsciences/2019/05/14/the-death-of-the-literature-review-and-the-rise-of-the-dynamic-knowledge-map/&lt;/ref&gt;. It is therefore particularly useful in rapidly evolving fields of research&lt;ref name=&quot;Why1&quot; /&gt;&lt;ref name=&quot;:6&quot; /&gt;, such as just transition. 

[[wikidata:Q33002955|Knowledge graphs]], a structured representation of knowledge in the form of a graph, linked together by relationships that encode explicit meanings between these entities, are very suitable for conducting living systematic reviews&lt;ref name=&quot;:2&quot; /&gt;&lt;ref name=&quot;Fotopoulou&quot;&gt;{{Cite journal|first1=Eleni |last1=Fotopoulou|first2=Ioanna|last2=Mandilara|first3=Anastasios|last3=Zafeiropoulos|first4=Chrysi|last4=Laspidou|first5=Giannis |last5=Adamos|first6=Phoebe|last6=Koundouri|first7=Symeon|last7=Papavassiliou|title=SustainGraph: A knowledge graph for tracking the progress and the interlinking among the sustainable development goals’ targets|journal=Frontiers in environmental science, Frontiers|volume=10|date=2022-10-26|issn=2296-665X|doi=10.3389/FENVS.2022.1003599|url=https://www.wikidata.org/wiki/Q117837999}}.&lt;/ref&gt;. Advances in AI could render certain older methodological types of living systematic reviews obsoletes&lt;ref&gt;{{Cite journal|last=Krlev|first=Gorgi|last2=Hannigan|first2=Tim|last3=Spicer|first3=André|date=2025-01|title=What Makes a Good Review Article? Empirical Evidence From Management and Organization Research|url=https://journals.aom.org/doi/abs/10.5465/annals.2021.0051|journal=Academy of Management Annals|volume=19|issue=1|pages=376–403|doi=10.5465/annals.2021.0051|issn=1941-6520}}&lt;/ref&gt;, as IA are useful to extract, filter and classify datas&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;&lt;ref&gt;{{Cite web|url=https://arxiv.org/abs/2504.20276v1|title=Enhancing Systematic Reviews with Large Language Models: Using GPT-4 and Kimi|last=Kaptur|first=Dandan Chen|last2=Huang|first2=Yue|date=2025-04-28|website=arXiv.org|language=en|doi=10.48550/arXiv.2504.20276|access-date=2026-01-21|last3=Ji|first3=Xuejun Ryan|last4=Guo|first4=Yanhui|last5=Kaptur|first5=Bradley}}&lt;/ref&gt;. [[Large language models]] (LLM) are &quot;on the rise&quot; (2025), but &quot;not yet ready for use&quot;&lt;ref&gt;{{Cite journal |last=Lieberum |first=Judith-Lisa |last2=Toews |first2=Markus |last3=Metzendorf |first3=Maria-Inti |last4=Heilmeyer |first4=Felix |last5=Siemens |first5=Waldemar |last6=Haverkamp |first6=Christian |last7=Böhringer |first7=Daniel |last8=Meerpohl |first8=Joerg J. |last9=Eisele-Metzger |first9=Angelika |date=2025-05 |title=Large language models for conducting systematic reviews: on the rise, but not yet ready for use—a scoping review |url=https://www.wikidata.org/wiki/Q134545593|journal=Journal of Clinical Epidemiology |language=en |volume=181 |pages=111746 |doi=10.1016/j.jclinepi.2025.111746}}&lt;/ref&gt;.

The living review method relevant for just transition because it includes topic such as energy democracy which necessitate transdisciplinarity and consolidation of fragmented literature&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;.

===  Definitions of just transition : ===
* «a fair and equitable process of moving towards a post-carbon society’. »&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|last=McCauley|first=Darren|last2=Heffron|first2=Raphael|date=2018-08-01|title=Just transition: Integrating climate, energy and environmental justice|url=https://www.wikidata.org/wiki/Q129947262|journal=Energy Policy|language=English|volume=119|pages=1–7|doi=10.1016/J.ENPOL.2018.04.014}}&lt;/ref&gt;.


The concept of just transition originated from global trade unions in the 1980s to promote green jobs creation as a key element of sustainability transitions&lt;ref name=&quot;:0&quot; /&gt;. However, scholars have broadened the use of this term to develop frameworks for analysing issues of fairness in these transitions&lt;ref name=&quot;:0&quot; /&gt;. The concept of just transition can be used to bridge various bodies of scholarship : climate justice, environmental justiceand energy justice&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|last=Wang|first=Xinxin|last2=Lo|first2=Kevin|date=2021-12-01|title=Just transition: A conceptual review|url=https://www.wikidata.org/wiki/Q137209041|journal=Energy Research &amp; Social Science|volume=82|pages=102291|doi=10.1016/J.ERSS.2021.102291}}&lt;/ref&gt;&lt;ref name=&quot;:1&quot;&gt;{{Cite book|url=https://www.wikidata.org/wiki/Q134545572|title=What is the “Just Transition”?|last=Heffron|first=Raphael J.|date=2021-01-01|pages=9–19|language=English}}&lt;/ref&gt; and take into account various aspects of justice including distributional justice, procedural justice, restorative justice, recognition justice&lt;ref name=&quot;:0&quot; /&gt;&lt;ref name=&quot;:3&quot; /&gt;&lt;ref name=&quot;:1&quot; /&gt;&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. 
 
=== Definition of Procedural justice ===
Procedural justice is about the fairness of decision-making processes related to transitions&lt;ref name=&quot;:4&quot; /&gt; such as the inclusion of those impacted by these decisions&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|last=Stark|first=Anthony|last2=Gale|first2=Fred|last3=Murphy-Gregory|first3=Hannah|date=2023-05-05|title=Just Transitions’ Meanings: A Systematic Review|url=https://www.wikidata.org/wiki/Q137210229|journal=Society and Natural Resources|volume=36|issue=10|pages=1277–1297|doi=10.1080/08941920.2023.2207166}}&lt;/ref&gt;. Procedural justice can include issues of community and citizen participation in decision making, their political representation their consultation or the integration of their knowledge, with a focus on neglected population (indigenous people, women, gender and ethnic minorities&lt;ref&gt;{{Cite journal|last=Jenkins|first=Kirsten|last2=McCauley|first2=Darren|last3=Heffron|first3=Raphael|last4=Stephan|first4=Hannes|last5=Rehner|first5=Robert|date=2016-01-01|title=Energy justice: A conceptual review|url=https://www.wikidata.org/wiki/Q137210566|journal=Energy Research &amp; Social Science|volume=11|pages=174–182|doi=10.1016/J.ERSS.2015.10.004}}&lt;/ref&gt;. For example, the participation of affected communities in decisions related to the construction of new infrastructures&lt;ref name=&quot;:0&quot; /&gt;.     

== Methodology ==

=== Wikidata and the semantic web ===&lt;!-- Add introduction to what wikidata is and how the triplet works in a pedagogical manner
 --&gt;

=== Database search ===
We conducted preliminary searches in various databases including Web of science, Go Triple, Dimensions and OpenAlex. Web of Science was the database offering the most relevant restults and included the possibility to filter results to display only litterature reviews. Articles metadata were exported (in .ris format) and then imported into the reference manager software Zotero. 
 
{| class=&quot;wikitable&quot;
|+
!Keywords search
!Database
!Search date
!Filters
!Number of results
|-
|(((TS=(procedural justice OR procedural fairness OR democracy OR participation OR participatory)) AND TS=(sustainability OR energy OR climate)) AND TS=(transition OR transitions)) AND TS=(review OR reviews) 
|Web of Science (all databases, all dates)
|December 2025
|Document type: Review Article
|362
|}

=== Article screening ===
Articles abstract were then screened and we selected only articles which were litterature reviews focusing on concepts related to procedural justice as their main topics. We excluded article which were 

* Not related to sustainability transition (e.g. sustainable shift in..., hard science papers...)
* Not literature reviews (e.g. review of policies, initiatives, cases, review notes, book review...)
* Not related to procedural justice but to participation into markets, participation in eco-friendly behaviors or included justice consideration only in “future research” suggestions
* Discussing participatory research methodologies (e.g. participatory modelling) without approaching it as an issue of justice, power or democracy
* Discussing procedural justice concepts as key variables or key results without it being the main focus of the paper

=== Importing selected articles into Wikidata ===
To import the selected articles meta-data into Wikidata, we first ran [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 a script] to check if any article was already present in the database. Next we used [https://gist.github.com/zuphilip/90acdc3eac4109830db1b3ab855fcb24 another script] that checks the ISSN of the publication in Wikidata and add P-Q-pairs in the extra field of Zotero. Then we exported the articles data using the &quot;export to Wikidata QuickStatements&quot; function of Zotero and use the QuickStatements tool to add them to Wikidata.

Next we used the [[wikidata:Wikidata:Zotero/Cita|Cita]] (V1.0.0-beta.17) Zotero add-on to add articles QID in Zotero. At this point we identified that duplicates had been created in Wikidata (possibly because the initial [https://gist.github.com/zuphilip/aa9f59271fcb0807fb20c7d0110d26e4 script] did not work that well  because of the recent [[wikidata:Wikidata:SPARQL_query_service/WDQS_graph_split|Graph Split]] on Wikidata). We merged duplicates on wikidata using the [[wikidata:Help:Merge|&quot;Merge&quot; gadget]] on Wikidata. We checked manually for duplicated statments in those items.

=== Article classification through meta-data enrichement ===&lt;!-- Add : What is meta-data enrichement --&gt;

Existing review try to classify existing articles according to various criteria such as industry focus, academic discipline, geography of research sites (countries), stakeholder focus (community, consumer, worker...), type of study (case study, theory development) or methodology (quantitative, qualitative, mixt).&lt;ref name=&quot;:5&quot; /&gt; We selected the most relevant properties in Wikidata to reflect these classifications : {{Wikidata entity link|P921}} to describe what the article is about, {{Wikidata entity link|P8363}} to describe its main methodology/research design and {{Wikidata entity link|P6153}} to describe its geographical focus.

==== Main subjects ====
We first read the articles abstracts and listed relevant topics and their Wikidata ID in a shared spreadsheet. These topics were : 
{| class=&quot;wikitable&quot;
|+
!Qid
!Main topic
|-
|Q42377797
|
|-
|Q2798912
|
|-
|Q421953
|
|}&lt;!-- include all below items using the wikidata link template
 --&gt;
&lt;nowiki&gt;https://www.wikidata.org/wiki/Q84459973&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q185836&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4764988&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4338318&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4930066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q430460&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7569&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4116870&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125928&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q260607&lt;/nowiki&gt;

&lt;nowiki&gt;https://en.wikipedia.org/wiki/Climate_change_mitigation&lt;/nowiki&gt;

Q1291678

Q2270945

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q16972712&lt;/nowiki&gt;

Q16324410

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11024&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q177634&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5154673&lt;/nowiki&gt;

Q113514984

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q65807646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188843&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11693783&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q284289&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7174&lt;/nowiki&gt;

Q552284

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1230584&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1049066&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8134&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q295865&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1358789&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q868575&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q138359220&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131444737&lt;/nowiki&gt;

www.wikidata.org/wiki/Q16869822

Q14944319

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q192704&lt;/nowiki&gt;

Q117091181

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q24965464&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1805337&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1341244&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3406659&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3456219&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2700433&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q837718&lt;/nowiki&gt;

Q795757

Q795757

Q1479527

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q771773&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56395513&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q5465532&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4421&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q48277&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1553864&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q8458?wprov=srpw1_0&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q11376059&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q103817&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q113561794&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q770480&lt;/nowiki&gt;

Q17142211

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1516555&lt;/nowiki&gt;

Q6316391

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q366139&lt;/nowiki&gt;

Q3027857

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q59679511&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q43619&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q127514833&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q13023682&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q728646&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3907287&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q9357091&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q265425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q25107&lt;/nowiki&gt;

Q442100

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7249406&lt;/nowiki&gt;

Q7257735

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q541936&lt;/nowiki&gt;

Q6142016

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q10509953&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q12705&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q56510941&lt;/nowiki&gt;

Q1165392

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q4414036&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q17152351&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q187588&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q264892&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q34749&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2930198&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q125359881&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q219416&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q131201&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7649586&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q69883&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q920600&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q3376054&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q107389921&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q7981051&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q467&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q188867&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q1038171&lt;/nowiki&gt;

Then, for each article, we inferred what the {{Wikidata entity link|P921}} was from the abstracts and author provided keywords.

==== Study types ====
Our review included only litterature reviews. We first read abstracts to identify all the [https://angryloki.github.io/wikidata-graph-builder/?item=Q2412849&amp;property=P279&amp;mode=reverse different types of litterature reviews] present in the corpus and created wikidata items which did not exist, for example {{Wikidata entity link|Q137209848}} and {{Wikidata entity link|Q137174203}}. We improved these method items using the methodological references cited in the reviewed papers. The types of reviews were : &lt;!-- include all below items using the wikidata link template
 --&gt; 

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q603441&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q472342&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q815382&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q1504425&lt;/nowiki&gt;

&lt;nowiki&gt;https://www.wikidata.org/wiki/Q2412849&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q6822263&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q7301211&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q17007303&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q70470634&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q101116078&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q110665014&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174203&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137174450&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137209848&lt;/nowiki&gt;

&lt;nowiki&gt;http://www.wikidata.org/entity/Q137211242&lt;/nowiki&gt;

[Include list and description of types of litterature reviews]

Then, we added the {{Wikidata entity link|P8363}} of each articles based on the abstract and method sections. In case of doubt, we compared our interpretation.

==== Research site ====
When an article had a specific geographical focus, we used the property {{Wikidata entity link|P6153}} to describe it. For example, the article &quot;{{Wikidata entity link|Q137901202}}&quot; focused on {{Wikidata entity link|Q132959}}.

==== Results ====
[insert table about the sample]

=== Knowledge modelling ===
Concept maps can be a powerful literature review tool&lt;ref&gt;{{Cite journal|last=Lewis|first=John Kennedy|date=2016|title=Using ATLAS.ti to Facilitate Data Analysis for a Systematic Review of Leadership Competencies in the Completion of a Doctoral Dissertation|url=https://www.ssrn.com/abstract=2850726|journal=SSRN Electronic Journal|language=en|doi=10.2139/ssrn.2850726|issn=1556-5068}}&lt;/ref&gt; allowing to synthetize theoretical statements about relationship between concepts&lt;ref&gt;{{Cite journal|last=Panniers|first=Teresa L|last2=Feuerbach|first2=Renee Daiuta|last3=Soeken|first3=Karen L|date=2003-08-01|title=Methods in informatics: using data derived from a systematic review of health care texts to develop a concept map for use in the neonatal intensive care setting|url=https://www.sciencedirect.com/science/article/pii/S1532046403000911|journal=Journal of Biomedical Informatics|series=Building Nursing Knowledge through Informatics: From Concept Representation to Data Mining|volume=36|issue=4|pages=232–239|doi=10.1016/j.jbi.2003.09.010|issn=1532-0464}}&lt;/ref&gt;. In the present study, we explored how concept map can be used to model the knowledge present in the paper we selected. 

[define knowledge modelling]

==== Conceptual modelling ====
We first reflected on what kind of wikidata properties could be used to represent concepts and theories in wikidata. Capturing the content of a concept is not straightforward and there are various approaches coming from psychology and philosophy on the matter&lt;ref&gt;{{Cite book|title=The Origin of Concepts|last=Carey|first=Susan|date=2011|publisher=Oxford University Press USA - OSO|isbn=978-0-19-536763-8|series=Oxford Series in Cognitive Development Ser|location=Cary}}&lt;/ref&gt; we summarize these approaches below and examine which wikidata properties exist to represent them.
* Definition: the content of a concept can be formed by its decomposition into other concepts. Many Wikidata properties can be relevant to model definitions, for example: {{Wikidata entity link|P1269}}, {{Wikidata entity link|P361}}/{{Wikidata entity link|P527}}, {{Wikidata entity link|P2670}}, {{Wikidata entity link|P1552}}/{{Wikidata entity link|P6477}}, {{Wikidata entity link|P3712}}...
* Categorization: the content of a concept is formed by its illustration by an exemplar (a [[wikipedia:Prototype_theory|prototype]]) that best represent the concept. Apart from the inclusion of images to illustrate an item, Wikidata structure do not highlight exemplars. However, properties signifying relations of categorizations are among the most used with {{Wikidata entity link|P31}} and {{Wikidata entity link|P279}}.
* Theory: the content of a concept is formed by its role in providing explanation of the world. Wikidata includes several properties to describe causal relationships: {{Wikidata entity link|P828}}/{{Wikidata entity link|P1542}}, {{Wikidata entity link|P1537}}/{{Wikidata entity link|P1479}}.
* Essence: the content of a concept is &quot;something&quot; deep explaning the entity's existence and its properties. We can use concepts before knowing what they mean, and this is what allows us to revise our knowledge about it. The idea of essence is well represented by the QID of Wikidata entities: it is independent of language and definitions and we can create it before really knowing what all its properties will be.
* Origin: the content of the concept is determined causally by social and historial factors (e.g. someone inventing the concept and introducing its use in a language community). This can be represented by the property {{Wikidata entity link|P3938}}.

==== Thematic networks ====
[[File:Thematic network example.jpg|thumb|547x547px|Structure of a thematic network (Source: Attride-Stirling 2001)]]
A thematic network is “simply a way of organizing a thematic analysis of qualitative data”&lt;ref name=&quot;:7&quot;&gt;{{Cite journal|last=Attride-Stirling|first=Jennifer|date=2001-12|title=Thematic networks: an analytic tool for qualitative research|url=https://journals.sagepub.com/doi/10.1177/146879410100100307|journal=Qualitative Research|language=en|volume=1|issue=3|pages=385–405|doi=10.1177/146879410100100307|issn=1468-7941}}&lt;/ref&gt;. It is compatible with classical coding strategies such as [[grounded theory]]&lt;ref&gt;{{Cite journal|last=Corbin|first=Juliet|last2=Strauss|first2=Anselm|date=1990-12-01|title=Grounded Theory Research: Procedures, Canons and Evaluative Criteria|url=https://www.degruyter.com/document/doi/10.1515/zfsoz-1990-0602/html|journal=Zeitschrift für Soziologie|language=en|volume=19|issue=6|pages=418–427|doi=10.1515/zfsoz-1990-0602|issn=2366-0325}}&lt;/ref&gt;. Thematic networks can be used to visualise the data structure after identifying themes and help structure and interpret the data&lt;ref name=&quot;:7&quot; /&gt;. The principle is to assemble basic themes into more general themes.   

Qualitative researchers usually use {{Wikidata entity link|Q4550939}} and qualitative coding (e.g. grounded theory) to identify themes and sub-themes.   

However, the nature of the relationship between these various themes and sub-themes is often not specified.  

*

==== Causal networks ====
The use of diagrams to represent causal relationship exist in various research practices. In statistics, researchers sometime present models with boxes and arrows representing correlations and/or causations&lt;ref&gt;{{Cite book|url=https://mirror.vcu.edu/pub/mx/doc/mxmang10.pdf|title=Statistical Modeling|last=Neale|first=Michael C.|last2=Boker|first2=Steven M.|last3=Xie|first3=Gary|last4=Maes|first4=Hermine H.|publisher=Richmond, VA: Department of Psychiatry|year=1999|location=Virginia Commonwealth University}}&lt;/ref&gt;. In qualitative research, building grounded theory models is about &quot;[accounting] for not only all the major emergent concepts, themes, and dimensions, but also for their dynamic interrelationships. Speaking in classic boxes-and-arrows terms, this process amounts to assembling the constellation of boxes with a special focus on the arrows.&quot;&lt;ref&gt;{{Cite journal|last=Gioia|first=Dennis A.|last2=Corley|first2=Kevin G.|last3=Hamilton|first3=Aimee L.|date=2013-01|title=Seeking Qualitative Rigor in Inductive Research: Notes on the Gioia Methodology|url=https://journals.sagepub.com/doi/10.1177/1094428112452151|journal=Organizational Research Methods|language=en|volume=16|issue=1|pages=15–31|doi=10.1177/1094428112452151|issn=1094-4281}}&lt;/ref&gt; Researchers relying on system theory also use causal loop diagram where boxes represent variables and arrows represent causal influence (positive or negative), causal relationship can &quot;feedback&quot; (two variables can influence each other)&lt;ref&gt;{{Cite book|url=https://link.springer.com/10.1007/978-3-031-01919-7_4|title=Causal Loop Diagrams|last=Barbrook-Johnson|first=Pete|last2=Penn|first2=Alexandra S.|date=2022|publisher=Springer International Publishing|isbn=978-3-031-01833-6|location=Cham|pages=47–59|language=en|doi=10.1007/978-3-031-01919-7_4}}&lt;/ref&gt;.

Wikidata includes several properties to describe causal relationships:
* {{Wikidata entity link|P828}}
* {{Wikidata entity link|P1542}}
* {{Wikidata entity link|P1537}}
* {{Wikidata entity link|P1479}} : it is difficult to identify single causes for social phenomenons, many factors having an effect on the subject item will likely be contributing factors

==== Modelling concepts ====
To model concepts related to just transition. We read the selected papers and used them as source to build a knowledge graph in wikidata. For example, the paper {{Wikidata entity link|Q137901182}} mention &quot;Energy democracy is both an ideal and a process&quot;&lt;ref&gt;{{Cite journal|last=Droubi|first=Sufyan|last2=Heffron|first2=Raphael|last3=McCauley|first3=Darren|date=2022-04-01|title=A critical review of energy democracy: A failure to deliver justice?|url=https://www.wikidata.org/wiki/Q137901182|journal=Energy Research &amp; Social Science|volume=86|pages=4|doi=10.1016/J.ERSS.2021.102444}}&lt;/ref&gt;, we thus entered the wikidata statement {{Wikidata entity link|Q14944319}} is an {{Wikidata entity link|P31}} {{Wikidata entity link|Q840396}}, using the paper as source.

Challenges :
*{{Wikidata entity link|P31}}: concepts have a dual nature because they designate at the same time an idea and the entity that this idea represent.
* {{Wikidata entity link|P3712}}: concepts do not have goals in themselves, but the reality they represent can have goals
* wikidata current items are not really suited to model &quot;meta-research&quot; statements. For example, modelling the idea tha the literature on energy democracy is fragmented would require creating an item representing the energy democracy literature, not just energy democracy in general. Similarly, it can be difficult to model the chronological evolution of the definition of an idea (although it could be technically possible).
* To distinguish the causes of the concepts/discourses and the causes of the phenomenon itself, we used {{Wikidata entity link|P3938}} to indicate the origins of the concept or the movements promoting it.
* To distinguish goals from the process to reach it, we used {{Wikidata entity link|P3712}} to describe ideals and {{Wikidata entity link|P2670}} to describe processes.

=== Writing ===
To cite articles we used the [[Template:Cite Q|Cite Q template.]] Each reference is an item in Wikidata and the template retrieve the necessary data to generate the citation references below.

== Data == 
{| class=&quot;wikitable sortable&quot;
! QID !! Year !! DOI !! Title
|-
| [[d:Q137901191|Q137901191]] || 2025 || [https://doi.org/10.1002/GEO2.70040 10.1002/GEO2.70040] || Place-Based Sustainability Transformations for Just Futures: A Systematic Review
|-
| [[d:Q137901187|Q137901187]] || 2025 || [https://doi.org/10.1002/WCC.932 10.1002/WCC.932] || Public Communication of Climate and Justice: A Scoping Review
|-
| [[d:Q135979013|Q135979013]] || 2025 || [https://doi.org/10.1007/S13280-025-02202-Z 10.1007/S13280-025-02202-Z] || Participatory approaches to climate adaptation, resilience, and mitigation: A systematic review
|-
| [[d:Q137901223|Q137901223]] || 2022 || [https://doi.org/10.1007/S13412-021-00726-W 10.1007/S13412-021-00726-W] || A review of stakeholder participation studies in renewable electricity and water: does the resource context matter?
|-
| [[d:Q137901184|Q137901184]] || 2021 || [https://doi.org/10.1007/S40518-021-00184-6 10.1007/S40518-021-00184-6] || Energy Storage as an Equity Asset.
|-
| [[d:Q114204627|Q114204627]] || 2021 || [https://doi.org/10.1007/S43621-021-00024-Z 10.1007/S43621-021-00024-Z] || Can public awareness, knowledge and engagement improve climate change adaptation policies?
|-
| [[d:Q137901209|Q137901209]] || 2026 || [https://doi.org/10.1016/J.AGSY.2025.104512 10.1016/J.AGSY.2025.104512] || Designing with non-humans for agricultural systems transformation: An interdisciplinary review and framework for reflection
|-
| [[d:Q137901201|Q137901201]] || 2025 || [https://doi.org/10.1016/J.COPSYC.2024.101987 10.1016/J.COPSYC.2024.101987] || Individual and community catalysts for Renewable Energy Communities (RECs) development
|-
| [[d:Q114197507|Q114197507]] || 2022 || [https://doi.org/10.1016/J.CRM.2022.100438 10.1016/J.CRM.2022.100438] || Advancements of sustainable development goals in co-production for climate change adaptation research
|-
| [[d:Q129203992|Q129203992]] || 2024 || [https://doi.org/10.1016/J.EGYR.2024.01.040 10.1016/J.EGYR.2024.01.040] || Empowering energy citizenship: Exploring dimensions and drivers in citizen engagement during the energy transition
|-
| [[d:Q137901216|Q137901216]] || 2026 || [https://doi.org/10.1016/J.EIAR.2025.108187 10.1016/J.EIAR.2025.108187] || From participation to partnership: A systematic review of public engagement in sustainable urban planning
|-
| [[d:Q137210566|Q137210566]] || 2016 || [https://doi.org/10.1016/J.ERSS.2015.10.004 10.1016/J.ERSS.2015.10.004] || Energy justice: A conceptual review
|-
| [[d:Q115448818|Q115448818]] || 2016 || [https://doi.org/10.1016/J.ERSS.2016.04.001 10.1016/J.ERSS.2016.04.001] || Stakeholder involvement in sustainability science—A critical view
|-
| [[d:Q129652515|Q129652515]] || 2018 || [https://doi.org/10.1016/J.ERSS.2018.06.010 10.1016/J.ERSS.2018.06.010] || What is energy democracy? Connecting social science energy research and political theory
|-
| [[d:Q137901196|Q137901196]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101716 10.1016/J.ERSS.2020.101716] || Of renewable energy, energy democracy, and sustainable development: A roadmap to accelerate the energy transition in developing countries
|-
| [[d:Q136447761|Q136447761]] || 2020 || [https://doi.org/10.1016/J.ERSS.2020.101768 10.1016/J.ERSS.2020.101768] || Energy democracy as a process, an outcome and a goal: A conceptual review
|-
| [[d:Q137901204|Q137901204]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101834 10.1016/J.ERSS.2020.101834] || Identities, innovation, and governance: A systematic review of co-creation in wind energy transitions
|-
| [[d:Q137901183|Q137901183]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101837 10.1016/J.ERSS.2020.101837] || Renewable energy for whom? A global systematic review of the environmental justice implications of renewable energy technologies
|-
| [[d:Q137901207|Q137901207]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101871 10.1016/J.ERSS.2020.101871] || Rethinking community empowerment in the energy transformation: A critical review of the definitions, drivers and outcomes
|-
| [[d:Q137901215|Q137901215]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101876 10.1016/J.ERSS.2020.101876] || Co-production in the wind energy sector: A systematic literature review of public engagement beyond invited stakeholder participation
|-
| [[d:Q114306511|Q114306511]] || 2021 || [https://doi.org/10.1016/J.ERSS.2020.101907 10.1016/J.ERSS.2020.101907] || From consultation toward co-production in science and policy: A critical systematic review of participatory climate and energy initiatives
|-
| [[d:Q137901221|Q137901221]] || 2021 || [https://doi.org/10.1016/J.ERSS.2021.102257 10.1016/J.ERSS.2021.102257] || The challenges of engaging island communities: Lessons on renewable energy from a review of 17 case studies
|-
| [[d:Q137901218|Q137901218]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102333 10.1016/J.ERSS.2021.102333] || The (in)justices of smart local energy systems: A systematic review, integrated framework, and future research agenda
|-
| [[d:Q137901182|Q137901182]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102444 10.1016/J.ERSS.2021.102444] || A critical review of energy democracy: A failure to deliver justice?
|-
| [[d:Q114306483|Q114306483]] || 2022 || [https://doi.org/10.1016/J.ERSS.2021.102482 10.1016/J.ERSS.2021.102482] || The role of energy democracy and energy citizenship for participatory energy transitions: A comprehensive review
|-
| [[d:Q114306476|Q114306476]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102714 10.1016/J.ERSS.2022.102714] || What about citizens? A literature review of citizen engagement in sustainability transitions research
|-
| [[d:Q137901193|Q137901193]] || 2022 || [https://doi.org/10.1016/J.ERSS.2022.102862 10.1016/J.ERSS.2022.102862] || When energy justice is contested: A systematic review of a decade of research on Sweden?s conflicted energy landscape
|-
| [[d:Q137901219|Q137901219]] || 2023 || [https://doi.org/10.1016/J.ERSS.2022.102913 10.1016/J.ERSS.2022.102913] || Can we optimise for justice? Reviewing the inclusion of energy justice in energy system optimisation models
|-
| [[d:Q137901186|Q137901186]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103010 10.1016/J.ERSS.2023.103010] || Analysing intersections of justice with energy transitions in India- A systematic literature review
|-
| [[d:Q137901181|Q137901181]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103053 10.1016/J.ERSS.2023.103053] || Fostering justice through engagement: A literature review of public engagement in energy transitions
|-
| [[d:Q137211155|Q137211155]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103213 10.1016/J.ERSS.2023.103213] || A fairway to fairness: Toward a richer conceptualization of fairness perceptions for just energy transitions
|-
| [[d:Q137901217|Q137901217]] || 2023 || [https://doi.org/10.1016/J.ERSS.2023.103221 10.1016/J.ERSS.2023.103221] || Powering just energy transitions: A review of the justice implications of community choice aggregation
|-
| [[d:Q137901199|Q137901199]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104016 10.1016/J.ERSS.2025.104016] || Making energy renovations equitable: A literature review of decision-making criteria for a just energy transition in residential buildings
|-
| [[d:Q137901188|Q137901188]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104036 10.1016/J.ERSS.2025.104036] || Community energy justice: A review of origins, convergence, and a research agenda
|-
| [[d:Q137901211|Q137901211]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104067 10.1016/J.ERSS.2025.104067] || Psychological and social factors driving citizen involvement in renewable energy communities: A systematic review
|-
| [[d:Q137901192|Q137901192]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104149 10.1016/J.ERSS.2025.104149] || Assessing social impacts and Energy Justice along green hydrogen supply chains: a capability-based framework
|-
| [[d:Q137901195|Q137901195]] || 2025 || [https://doi.org/10.1016/J.ERSS.2025.104422 10.1016/J.ERSS.2025.104422] || Out of place, scale and time? Navigating injustices across mission arenas of the German Energiewende
|-
| [[d:Q137901185|Q137901185]] || 2024 || [https://doi.org/10.1016/J.ESD.2024.101546 10.1016/J.ESD.2024.101546] || Characterizing 'injustices' in clean energy transitions in Africa
|-
| [[d:Q137901226|Q137901226]] || 2024 || [https://doi.org/10.1016/J.JCLEPRO.2024.143470 10.1016/J.JCLEPRO.2024.143470] || Energy justice and sustainable urban renewal: A systematic review of low-income old town communities
|-
| [[d:Q137901222|Q137901222]] || 2024 || [https://doi.org/10.1016/J.JENVMAN.2024.120804 10.1016/J.JENVMAN.2024.120804] || Forest, climate, and policy literature lacks acknowledgement of environmental justice, diversity, equity, and inclusion
|-
| [[d:Q115441381|Q115441381]] || 2021 || [https://doi.org/10.1016/J.RSER.2021.111504 10.1016/J.RSER.2021.111504] || Participatory methods in energy system modelling and planning – A review
|-
| [[d:Q137901205|Q137901205]] || 2025 || [https://doi.org/10.1016/J.RSER.2025.115892 10.1016/J.RSER.2025.115892] || A systematic review of the intersection between energy justice and human rights
|-
| [[d:Q137901225|Q137901225]] || 2024 || [https://doi.org/10.1017/SUS.2024.24 10.1017/SUS.2024.24] || Blue carbon as just transition? A structured literature review
|-
| [[d:Q137901220|Q137901220]] || 2025 || [https://doi.org/10.1017/SUS.2025.2 10.1017/SUS.2025.2] || Toward an intersectional equity approach in social-ecological transformations
|-
| [[d:Q137901203|Q137901203]] || 2024 || [https://doi.org/10.1080/14693062.2023.2256697 10.1080/14693062.2023.2256697] || Exploring the democracy-climate nexus: a review of correlations between democracy and climate policy performance
|-
| [[d:Q137901164|Q137901164]] || 2022 || [https://doi.org/10.1111/GEC3.12662 10.1111/GEC3.12662] || Creating fairer futures for sustainability transitions
|-
| [[d:Q137901227|Q137901227]] || 2025 || [https://doi.org/10.1139/ER-2024-0018 10.1139/ER-2024-0018] || Community engagement in nature-positive food systems programming and research in East and Southern Africa: a review
|-
| [[d:Q119955266|Q119955266]] || 2019 || [https://doi.org/10.1146/ANNUREV-ENVIRON-101718-033103 10.1146/ANNUREV-ENVIRON-101718-033103] || Co-Producing Sustainability: Reordering the Governance of Science, Policy, and Practice
|-
| [[d:Q137901206|Q137901206]] || 2023 || [https://doi.org/10.1146/ANNUREV-ENVIRON-112621-063400 10.1146/ANNUREV-ENVIRON-112621-063400] || Metrics for Decision-Making in Energy Justice
|-
| [[d:Q137901213|Q137901213]] || 2022 || [https://doi.org/10.1186/S13705-021-00330-4 10.1186/S13705-021-00330-4] || Mapping emergent public engagement in societal transitions: a scoping review
|-
| [[d:Q137901163|Q137901163]] || 2025 || [https://doi.org/10.17573/CEPAR.2025.2.09 10.17573/CEPAR.2025.2.09] || From Co-Creation to Circular Cities: Exploring Living Labs in EU Governance Frameworks - A Literature Review
|-
| [[d:Q137901197|Q137901197]] || 2024 || [https://doi.org/10.3390/EN17143512 10.3390/EN17143512] || A Systematic Review on the Path to Inclusive and Sustainable Energy Transitions
|-
| [[d:Q104887325|Q104887325]] || 2019 || [https://doi.org/10.3390/SU11041023 10.3390/SU11041023] || Deliberation and the Promise of a Deeply Democratic Sustainability Transition
|-
| [[d:Q137901202|Q137901202]] || 2021 || [https://doi.org/10.3390/SU13042128 10.3390/SU13042128] || A Review of Energy Communities in Sub-Saharan Africa as a Transition Pathway to Energy Democracy
|-
| [[d:Q137901210|Q137901210]] || 2023 || [https://doi.org/10.3390/SU15032441 10.3390/SU15032441] || Sustainable Project Governance: Scientometric Analysis and Emerging Trends
|-
| [[d:Q137901224|Q137901224]] || 2024 || [https://doi.org/10.3390/SU16198700 10.3390/SU16198700] || Empowering Communities to Act for a Change: A Review of the Community Empowerment Programs towards Sustainability and Resilience
|}


== References ==
{{References}}</text>
      <sha1>7dm9sdxeef5uxitqguyg5rprguq12a0</sha1>
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  <page>
    <title>World War II/Glossary of terms</title>
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      <text bytes="513" sha1="ltshw4fjrbdmlohzubzg4p91ff2hj1h" xml:space="preserve">This is a list of key terms to know for World War II.

== Military ==

* Blitzkrieg - (''lightning warfare'') the German military strategy, involving the use of tanks and infantry to overwhelm the enemy.
* Island hopping - the American military tactic of going from island to island. 
* Wehrmacht - German Army
* Luftwaffe - German Air Force
* Kriegsmarine - German Navy
* Winter War - 1939-1940 conflict in Finland between the Soviets and Finland.
* Red Army - term for the Soviet Army

[[Category:World War II]]</text>
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  <page>
    <title>User:Dc.samizdat/Golden chords of the 120-cell</title>
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      <text bytes="44615" sha1="cigyog123jdru8jx6c9obdzgypfmjyk" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its geodesic orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship of two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one angle, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes but also the 16-cells themselves are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally, the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>cigyog123jdru8jx6c9obdzgypfmjyk</sha1>
    </revision>
    <revision>
      <id>2807132</id>
      <parentid>2807130</parentid>
      <timestamp>2026-04-30T18:16:23Z</timestamp>
      <contributor>
        <username>Dc.samizdat</username>
        <id>2856930</id>
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      <text bytes="44623" sha1="hqlv1bbbdsvofkw1ft8qkj04hy0p1t2" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its geodesic orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship of two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes but also the 16-cells themselves are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally, the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>hqlv1bbbdsvofkw1ft8qkj04hy0p1t2</sha1>
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    <revision>
      <id>2807145</id>
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        <username>Dc.samizdat</username>
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      <text bytes="44625" sha1="p1k661cbudtk4e7x098yzn4kvmeinvb" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
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|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its geodesic orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship of two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally, the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
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    <revision>
      <id>2807146</id>
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      <contributor>
        <username>Dc.samizdat</username>
        <id>2856930</id>
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      <text bytes="44640" sha1="arbd4oicgqfbffz8kg0g2128vpdkgf7" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship of two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally, the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>arbd4oicgqfbffz8kg0g2128vpdkgf7</sha1>
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      <id>2807152</id>
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      <text bytes="44645" sha1="94rtg6w8wfmohqsxh5wyrabcjule4ss" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship between two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally, the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>94rtg6w8wfmohqsxh5wyrabcjule4ss</sha1>
    </revision>
    <revision>
      <id>2807154</id>
      <parentid>2807152</parentid>
      <timestamp>2026-04-30T23:27:31Z</timestamp>
      <contributor>
        <username>Dc.samizdat</username>
        <id>2856930</id>
      </contributor>
      <comment>/* Finally the 120-cell */</comment>
      <origin>2807154</origin>
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      <format>text/x-wiki</format>
      <text bytes="44644" sha1="bzrjcfeioz2g1qk3d7nltzt65y0m79o" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship between two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>bzrjcfeioz2g1qk3d7nltzt65y0m79o</sha1>
    </revision>
    <revision>
      <id>2807155</id>
      <parentid>2807154</parentid>
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        <username>Dc.samizdat</username>
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      <text bytes="44696" sha1="dz2egv6gz8q4ok91e8jkhkj3rjiqwlz" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship between two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to isoclinic rotation chords of regular 4-polytopes to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>dz2egv6gz8q4ok91e8jkhkj3rjiqwlz</sha1>
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    <revision>
      <id>2807156</id>
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      <text bytes="44697" sha1="65itddcjdm0bfruoxmqy8l9ykpx2hfg" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship between two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once, and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to isoclinic rotation helixes in regular 4-polytopes to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>65itddcjdm0bfruoxmqy8l9ykpx2hfg</sha1>
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    <revision>
      <id>2807175</id>
      <parentid>2807156</parentid>
      <timestamp>2026-05-01T01:54:31Z</timestamp>
      <contributor>
        <username>Dc.samizdat</username>
        <id>2856930</id>
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      <text bytes="44696" sha1="jgnkpwrnwe005eg60c0btquvv898zkd" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship between two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chords to isoclinic rotation helixes in regular 4-polytopes to subsumption relations among 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
      <sha1>jgnkpwrnwe005eg60c0btquvv898zkd</sha1>
    </revision>
    <revision>
      <id>2807195</id>
      <parentid>2807175</parentid>
      <timestamp>2026-05-01T03:30:42Z</timestamp>
      <contributor>
        <username>Dc.samizdat</username>
        <id>2856930</id>
      </contributor>
      <comment>/* Conclusions */</comment>
      <origin>2807195</origin>
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      <format>text/x-wiki</format>
      <text bytes="44724" sha1="dlmussj3u2vmb1wzfe6lrvt0ghl3vs2" xml:space="preserve">{{align|center|David Brooks Christie}}
{{align|center|dc@samizdat.org}}
{{align|center|Draft in progress}}
{{align|center|January 2026 - April 2026}}

&lt;blockquote&gt;Steinbach discovered the formula for the ratios of diagonal to side in the regular polygons. Fontaine and Hurley extended this result, discovering a formula for the reciprocal of a regular polygon chord derived geometrically from the chord's star polygon. We observe that these findings in plane geometry apply more generally, to polytopes of any dimensionality. Fontaine and Hurley's geometric procedure for finding the reciprocals of the chords of a regular polygon from their star polygons also finds the rotational geodesics of any polytope of any dimensionality.&lt;/blockquote&gt;
== Introduction ==
Steinbach discovered the Diagonal Product Formula and the Golden Fields family of ratios of diagonal to side in the regular polygons. He showed how this family extends beyond the pentagon {5} with its well-known golden bisection proportional to 𝜙, finding that the heptagon {7} has an analogous trisection, the nonagon {9} has an analogous quadrasection, and the hendecagon {11} has an analogous pentasection, an extended family of golden proportions with quasiperiodic properties. 

Kappraff and Adamson extended these findings in plane geometry to a theory of Generalized Fibonacci Sequences, showing that the Golden Fields not only do not end with the hendecagon, they form an infinite number of periodic trajectories when operated on by the Mandelbrot operator. They found a relation between the edges of star polygons and dynamical systems in the state of chaos, revealing a connection between chaos theory, number, and rotations in Coxeter Euclidean geometry. 

Fontaine and Hurley examined Steinbach's finding that the length of each chord of a regular polygon is both the product of two smaller chords and the sum of a set of smaller chords, so that in rotations to add is to multiply. They illustrated Steinbach's sets of additive chords lying parallel to each other in the plane (pointing in the same direction), and by applying Steinbach's formula more generally they found another summation relation of signed parallel chords (pointing in opposite directions) which relates each chord length to its reciprocal, and relates the summation to a distinct star polygon rotation. 

We examine these remarkable findings (which stem from study of the chords of humble regular polygons) in higher-dimensional spaces, specifically in the chords, polygons and rotations of the [[120-cell]], the largest four-dimensional regular convex polytope.

== Visualizing the 120-cell ==
{| class=&quot;wikitable floatright&quot; width=&quot;400&quot;
|style=&quot;vertical-align:top&quot;|[[File:120-cell.gif|200px]]&lt;br&gt;Orthographic projection of the 600-point 120-cell &lt;small&gt;&lt;math&gt;\{5,3,3\}&lt;/math&gt;&lt;/small&gt; performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].{{Sfn|Hise|2011|loc=File:120-cell.gif|ps=; &quot;Created by Jason Hise with Maya and Macromedia Fireworks. A 3D projection of a 120-cell performing a [[W:SO(4)#Geometry of 4D rotations|simple rotation]].&quot;}} In this simplified rendering only the 120-cell's own edges are shown; its 29 interior chords are not rendered. Therefore even though it is translucent, only its outer surface is visible. The complex interior parts of the 120-cell, all its inscribed 5-cells, 16-cells, 8-cells, 24-cells, 600-cells and its much larger inventory of polyhedra, are completely invisible in this view, as none of their edges are rendered at all.
|style=&quot;vertical-align:top&quot;|[[File:Ortho solid 016-uniform polychoron p33-t0.png|200px]]&lt;br&gt;Orthographic projection of the 600-point [[W:Great grand stellated 120-cell|great grand stellated 120-cell]] &lt;small&gt;&lt;math&gt;\{\tfrac{5}{2},3,3\}&lt;/math&gt;&lt;/small&gt;.{{Sfn|Ruen: Great grand stellated 120-cell|2007}} The 120-cell is its convex hull. The projection to the left renders only the 120-cell's shortest chord, its 1200 edges. The projection above also renders only one of the 120-cell's 30 chords, the edges of its 120 inscribed regular 5-cells. The 120-cell itself (the convex hull) is invisible in this view, as its edges are not rendered.
|}

[[120-cell#Geometry|The 120-cell is the maximally complex regular 4-polytope]], containing inscribed instances of every regular 1-, 2-, 3-, and 4-polytope, except the regular polygons of more than {15} sides. 

The 120-cell is the convex hull of a regular [[120-cell#Relationships among interior polytopes|compound of each of the 6 regular convex 4-polytopes]]. They are the [[5-cell|5-point (5-cell) 4-simplex]], the [[16-cell|8-point (16-cell) 4-orthoplex]], the [[W:Tesseract|16-point (8-cell) tesseract]], the [[24-cell|24-point (24-cell)]], the [[600-cell|120-point (600-cell)]], and the [[120-cell|600-point (120-cell)]]. The 120-cell is the convex hull of a compound of 120 disjoint regular 5-cells, of 75 disjoint 16-cells, of 25 disjoint 24-cells, and of 5 disjoint 600-cells.

The 120-cell contains an even larger inventory of irregular polytopes, created by the intersection of multiple instances of these component regular 4-polytopes. Many are quite unexpected, because they do not occur as components of any regular polytope smaller than the 120-cell. As just one example among the [[120-cell#Concentric hulls|sections of the 120-cell]], there is an irregular 24-point polyhedron with 16 triangle faces and 4 nonagon {9} faces.{{Sfn|Moxness|}}

Most renderings of the 120-cell, like the rotating projection here, only illustrate its outer surface, which is a honeycomb of face-bonded dodecahedral cells. Only the objects in its 3-dimensional surface are rendered, namely the 120 dodecahedra, their pentagon faces, and their edges. Although the 120-cell has chords of 30 distinct lengths, in this kind of simplified rendering only the 120-cell's own edges (its shortest chord) are shown. Its 29 interior chords, the edges of objects in the interior of the 120-cell, are not rendered, so interior objects are not visible at all.

Visualizing the complete interior of the 600-vertex 120-cell in a single image is impractical because of its complexity. Only four 120-cell edges are incident at each vertex, but [[120-cell#Chords|600 chords (of all 30 lengths)]] are incident at ''each'' vertex.

== Compounds in the 120-cell ==
The 8-point (16-cell), not the 5-point (5-cell), is the smallest building block; it compounds to every larger regular 4-polytope. The 5-point (5-cell) does compound to the 600-point (120-cell), but it does not fit into any smaller regular 4-polytope. 

The 8-point (16-cell) compounds by 2 in the 16-point (8-cell), and by 3 in the 24-point (24-cell). The 16-point (8-cell) compounds in the 24-point (24-cell) by 3 non-disjoint instances of itself, with each of the 24 vertices shared by two 16-point (8-cells). The 24-point (24-cell) compounds by 5 disjoint instances of itself in the 120-point (600-cell), and the 120-point (600-cell) compounds by 5 disjoint instances of itself in the 600-point (120-cell).

The 24-point (24-cell) also compounds by &lt;math&gt;5^2&lt;/math&gt; non-disjoint instances of itself in the 120-point (600-cell); it compounds in 5 disjoint instances of itself, 10 (not 5) different ways. Whichever way 5 disjoint 24-point (24-cells) are assembled, the resulting 120-point (600-cell) contains 25 distinct 24-point (24-cells), not just 5 (or 10). This implies that 15 disjoint 8-point (16-cells) will construct a 120-point (600-cell), which will contain 75 distinct 8-point (16-cells). 

The 600-point (120-cell) is 5 disjoint 120-point (600-cells), just 2 different ways (not 5 or 10 ways), so it is 10 distinct 120-point (600-cells). This implies that the 8-point (16-cell) compounds by 3 times &lt;math&gt;5^2&lt;/math&gt; (75) disjoint instances of itself in the 600-point (120-cell), which contains &lt;math&gt;3^2&lt;/math&gt; times  &lt;math&gt;5^2&lt;/math&gt; (225) distinct instances of the 24-point (24-cell), and  &lt;math&gt;3^3&lt;/math&gt; times &lt;math&gt;5^2&lt;/math&gt; (675) distinct instances of the 8-point (16-cell). 

These facts were discovered painstakingly by various researchers, and no one has found a general rule governing subsumption relations among regular polytopes. The reasons for some of their numeric incidence relations are far from obvious. [[W:Pieter Hendrik Schoute|Schoute]] was the first to see that the 120-point (600-cell) is a compound of 5 24-point (24-cells) ''10 different ways'', and after he saw it a hundred years lapsed until Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne proved his result, and showed why.{{Sfn|Denney, Hooker, Johnson, Robinson, Butler &amp; Claiborne|2020|loc=''The geometry of H4 polytopes''}}

So much for the compounds of 16-cells. The 120-cell is also the convex hull of the compound of 120 disjoint regular 5-cells. That stellated compound (without its convex hull of 120-cell edges) is the [[w:Great_grand_stellated_120-cell|great grand stellated 120-cell]] illustrated above, the final regular [[W:Stellation|stellation]] of the 120-cell, and the only [[W:Schläfli-Hess polychoron|regular star 4-polytope]] to have the 120-cell for its convex hull. The edges of the great grand stellated 120-cell are &lt;math&gt;\phi^6&lt;/math&gt; as long as those of its 120-cell [[W:List of polyhedral stellations#Stellation process|stellation core]] deep inside.

The compound of 120 disjoint 5-point (5-cells) can be seen to be equivalent to the compound of 5 disjoint 120-point (600-cells), as follows. Beginning with a single 120-point (600-cell), expand each vertex into a regular 5-cell, by adding 4 new equidistant vertices, such that the 5 vertices form a regular 5-cell inscribed in the 3-sphere. The 120 5-cells are disjoint, and the 600 vertices form 5 disjoint 120-point (600-cells): a 120-cell.

== Thirty distinguished distances ==
The 30 numbers listed in the table are all-important in Euclidean geometry. A case can be made on symmetry grounds that their squares are the 30 most important numbers between 0 and 4. The 30 rows of the table are the 30 distinct [[120-cell#Geodesic rectangles|chord lengths of the unit-radius 120-cell]], the largest regular convex 4-polytope. Since the 120-cell subsumes all smaller regular polytopes, its 30 chords are the complete chord set of all the regular polytopes that can be constructed in the first four dimensions of Euclidean space, except for regular polygons of more than 15 sides.

{| class=&quot;wikitable&quot; style=&quot;white-space:nowrap;text-align:center&quot;
!rowspan=2|&lt;math&gt;c_t&lt;/math&gt;
!rowspan=2|arc
!rowspan=2|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{n}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|&lt;math&gt;\left\{p\right\}&lt;/math&gt;
!rowspan=2|&lt;small&gt;&lt;math&gt;m\left\{\frac{k}{d}\right\}&lt;/math&gt;&lt;/small&gt;
!rowspan=2|Steinbach roots
!colspan=7|Chord lengths of the unit 120-cell
|-
!colspan=5|unit-radius length &lt;math&gt;c_t&lt;/math&gt;
!colspan=2|unit-edge length &lt;math&gt;c_t/c_1&lt;/math&gt;&lt;br&gt;in 120-cell of radius &lt;math&gt;c_8=\sqrt{2}\phi^2&lt;/math&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{1,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;15.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{30\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{4,1}-c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.270091&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^4}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.072949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;25.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{15\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(c_{18,1}-c_{4,1}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{3-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.437016&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2} \phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.190983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{3,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;36{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{10\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3 \left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right) c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(\sqrt{5}-1\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.618034&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.381966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.28825&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;41.4{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.707107&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.61803&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{5,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;44.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \left\{\frac{15}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{2,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.756934&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{3}{2}}}{\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2 \phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.572949}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.80252&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{6,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;49.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{17}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{5-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{5-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.831254&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\frac{1}{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5}}{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.690983}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.07768&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{7,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;56.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;0.93913&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\psi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{0.881966}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.47709&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;60{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{6\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.70246&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{9,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;66.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{2 \phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}-\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.09132&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{\frac{\chi }{\phi }}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\chi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.04057&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{10,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;69.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1+\sqrt{5}}{2 \sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.14412&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi }{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{11,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;72{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{6}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{5\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{1}{\phi }} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.17557&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3-\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.38197}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \sqrt{3-\phi } \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.3525&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;75.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{24}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.22474&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.53457&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{13,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;81.1{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{9-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.30038&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{9-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(9-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(9-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.8146&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{14,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;84.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{40}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi } c_{8,1}}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt[4]{5} \sqrt{1+\sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.345&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt[4]{5} \sqrt{\phi }}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\sqrt{5} \phi }{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt[4]{5} \sqrt{\phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;4.9798&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{15,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;90.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{4\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{4,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.41421&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.23607&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{16,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;95.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{29}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.4802&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.19098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(11-\sqrt{5}\right)} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.48037&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{17,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;98.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{31}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.51954&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{7+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(7+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\psi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.62605&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{18,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;104.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{8}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{4}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.58114&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{5} \sqrt{\phi ^4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{19,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;108.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{9}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{10}{3}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;c_{3,1}+c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.61803&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{1+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;5.9907&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{20,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;110.2{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13-\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.64042&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13-\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13-\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.69098}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\phi ^2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.07359&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{21,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;113.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{60}{19}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.67601&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{1}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\chi }{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.20537&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{22,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;120{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{10}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{3\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.73205&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{6} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.41285&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{23,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;124.0{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{120}{41}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{\phi }+\frac{5}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{5}{2}+\frac{2}{1+\sqrt{5}}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.7658&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4-\frac{\psi }{2 \phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.11803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\chi  \phi ^5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.53779&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{24,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;130.9{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{20}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{11+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.81907&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{11+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(11+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.30902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{\sqrt{5}}{\phi }}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.73503&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{25,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;135.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{11}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{7+3 \sqrt{5}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.85123&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\phi ^2}{\sqrt{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{\phi ^4}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.42705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^4&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.8541&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{26,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;138.6{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{12}{5}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.87083&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{7}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.5}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{7} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;6.92667&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{27,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;144{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{12}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{5}{2}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{2} \left(5+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.90211&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\phi +2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{2+\phi }&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.61803}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{2 \phi +4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.0425&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{28,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;154.8{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{13}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{13+\sqrt{5}} c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.95167&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{\sqrt{13+\sqrt{5}}}{2}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{1}{4} \left(13+\sqrt{5}\right)}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.80902}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi ^2 \sqrt{8-\frac{1}{\phi ^2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.22598&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{29,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;164.5{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{14}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{15}{7}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\phi  c_{12,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\frac{1}{2} \sqrt{\frac{3}{2}} \left(1+\sqrt{5}\right)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.98168&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3}{2}} \phi &lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{\frac{3 \phi ^2}{2}}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3.92705}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{3} \phi ^3&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.33708&lt;/math&gt;&lt;/small&gt;
|-
|&lt;small&gt;&lt;math&gt;c_{30,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;180{}^{\circ}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{\frac{30}{15}\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\left\{2\right\}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 c_{8,1}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;\sqrt{4.}&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2 \sqrt{2} \phi ^2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;7.40492&lt;/math&gt;&lt;/small&gt;
|-
|rowspan=4 colspan=6|
|rowspan=4 colspan=4|
&lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; is the golden ratio:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi ^2-\phi -1=0&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }+1=\phi&lt;/math&gt;&lt;/small&gt;, and: &lt;small&gt;&lt;math&gt;\phi+1=\phi^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;\frac{1}{\phi }::1::\phi ::\phi ^2&lt;/math&gt;&lt;/small&gt;&lt;br&gt;
&lt;small&gt;&lt;math&gt;1/\phi&lt;/math&gt;&lt;/small&gt; and &lt;small&gt;&lt;math&gt;\phi&lt;/math&gt;&lt;/small&gt; are the golden sections of &lt;small&gt;&lt;math&gt;\sqrt{5}&lt;/math&gt;&lt;/small&gt;:&lt;br&gt;
&lt;small&gt;&lt;math&gt;\phi +\frac{1}{\phi }=\sqrt{5}&lt;/math&gt;&lt;/small&gt;
|colspan=2|&lt;small&gt;&lt;math&gt;\phi = (\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;1.618034&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\chi = (3\sqrt{5} + 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;3.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = (3\sqrt{5} - 1)/2&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|-
|colspan=2|&lt;small&gt;&lt;math&gt;\psi = 11/\chi = 22/(3\sqrt{5} + 1)&lt;/math&gt;&lt;/small&gt;
|&lt;small&gt;&lt;math&gt;2.854102&lt;/math&gt;&lt;/small&gt;
|}

...

== The 8-point regular polytopes ==
In 2-space we have the regular 8-point octagon, in 3-space the regular 8-point cube, and in 4-space the regular 8-point [[W:16-cell|16-cell]].

A planar octagon with rigid edges of unit length has chords of length:

:&lt;math&gt;r_1=1,r_2=\sqrt{2+\sqrt{2}} \approx 1.84776,r_3=1+\sqrt{2} \approx 2.41421,r_4=\sqrt{4 + \sqrt{8}} \approx 2.61313&lt;/math&gt;

The chord ratio &lt;math&gt;r_3=1+\sqrt{2}&lt;/math&gt; is a geometrical proportion, the [[W:Silver ratio|silver ratio]]. Fontaine and Hurley's procedure for obtaining the reciprocal of a chord tells us that:

:&lt;math&gt;r_3-r_1-r_1=1/r_3 \approx 0.41421&lt;/math&gt;

Notice that &lt;math&gt;1/r_3=\sqrt{2}-1=r_3-2&lt;/math&gt;.

If we embed this planar octagon in 3-space, we can make it skew, repositioning its vertices so that each is one unit-edge length distant from three others instead of two others, so we obtain a unit-edge cube with chords of length:

:&lt;math&gt;r_1=1, r_2=\sqrt{2}, r_3=\sqrt{3}, r_4=\sqrt{2}&lt;/math&gt;

If we embed this cube in 4-space, we can skew it some more, repositioning its vertices so that each is one unit-edge length distant from six others instead of three others, so we obtain a unit-edge 4-polytope with chords of length:

:&lt;math&gt;r_1=1,r_2=1,r_3=1,r_4=\sqrt{2}&lt;/math&gt;

All of its chords except its long diameters are the same unit length as its edge. In fact they are its 24 edges, and it is a 16-cell of radius &lt;small&gt;&lt;math&gt;1/\sqrt{2}&lt;/math&gt;&lt;/small&gt;. 

The [[16-cell]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {3,3,4}. It has 8 vertices, 24 edges, 32 equilateral triangle faces, and 16 regular tetrahedron cells. It is the [[16-cell#Octahedral dipyramid|four-dimensional analogue of the octahedron]], and each of its four orthogonal central hyperplanes is an octahedron.

The only planar regular polygons found in the 16-cell are face triangles and central plane squares, but the 16-cell also contains a regular skew octagon, its [[W:Petrie polygon|Petrie polygon]]. The chords of this regular octagon, which lies skew in 4-space, are those given above for the 16-cell, as opposed to those for the cube or the regular octagon in the plane. The 16-cell has 3 such Petrie octagons, which share the same 8 vertices but have disjoint sets of 8 edges each.

The regular octad has higher symmetry in 4-space than it does in 2-space. The 16-cell is the 4-orthoplex, the simplest regular 4-polytope after the [[5-cell|4-simplex]]. All the larger regular 4-polytopes, including the 120-cell, are compounds of the 16-cell. The regular octagon exhibits this high symmetry only when embedded in 4-space at the vertices of the 16-cell.

The 16-cell constitutes an [[W:Orthonormal basis|orthonormal basis]] for the choice of a 4-dimensional Cartesian reference frame, because its vertices define four orthogonal axes. The eight vertices of a unit-radius 16-cell are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges except opposite pairs. In this convenient unit-radius 4-coordinate system, the original planar octagon we started with had chords of length:

:&lt;math&gt;r_1=\sqrt{2},r_2=\sqrt{4 + \sqrt{8}} \approx 2.61313,r_3=2+\sqrt{2} \approx 3.41421,r_4=\sqrt{2(4 + \sqrt{8})} \approx 3.69552&lt;/math&gt;

none of which chords except &lt;math&gt;r_1=\sqrt{2}&lt;/math&gt; occur in the 16-cell.

The vertex coordinates of the 16-cell form 6 central squares lying in 6 pairwise [[W:Orthogonal|orthogonal]] coordinate planes. Great squares in ''opposite'' planes that do not share an axis (e.g. in the ''xy'' and ''wz'' planes) are completely disjoint (they do not intersect at any vertices). These planes are [[W:Completely orthogonal|completely orthogonal]].{{Efn|name=Six orthogonal planes of the Cartesian basis}}

[[W:Rotations in 4-dimensional Euclidean space|Rotations in 4-dimensional Euclidean space]] can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The general rotation in 4-space is a double rotation in pairs of completely orthogonal planes. The two completely orthogonal planes are called invariant rotation planes, because all points in the plane rotate on circles that remain in the plane, even as the whole plane tilts sideways (like a coin flipping) into another plane. The two completely orthogonal rotations of each plane (like a wheel, and like a coin flipping) are simultaneous but independent, in that they are not geometrically constrained to turn at the same rate. However, the most circular kind of rotation (as opposed to an elliptical double rotation of a rigid spherical object) occurs when the completely orthogonal planes do rotate through the same angle in the same time interval. Such equi-angled double rotations are called [[w:SO(4)#Isoclinic_rotations|isoclinic]], also [[w:William_Kingdon_Clifford|Clifford]] displacements.

The 16-cell is the simplest possible frame in which to [[16-cell#Rotations|observe 4-dimensional rotations]] because its characteristic isoclinic rotations feature a single pair of invariant rotation planes. In the 16-cell an isoclinic rotation by 90° in any pair of invariant completely orthogonal square central planes takes every square central plane to its completely orthogonal square central plane, and takes every vertex to its antipodal vertex 180° degrees away. All the vertices move at once, displaced 180° in 8 orthogonal directions, and the rigid 16-cell assumes a new orientation in 4-space. The trajectory of each vertex is a one-eighth segment of its [[W:Geodesic|geodesic]] orbit. Its entire orbit traces a circular helix in 4-space, and also traces a great circle in one of the two completely orthogonal invariant rotation planes, as they tilt sideways into each other's plane. When the isoclinic rotation is continued in the same rotational direction through an additional 90°, each vertex is again displaced 180° to its antipodal position, but from the new orientation where the vertex is on the opposite side of the 16-cell departing in the opposite direction. In the course of a 720° isoclinic rotation each vertex departs from all 8 vertex positions just once, and returns to its original position.

== Hypercubes ==
The long diameter of the unit-edge [[W:Hypercube|hypercube]] of dimension &lt;small&gt;&lt;math&gt;n&lt;/math&gt;&lt;/small&gt; is &lt;small&gt;&lt;math&gt;\sqrt{n}&lt;/math&gt;&lt;/small&gt;, so the unit-edge [[w:Tesseract|4-hypercube, the 16-point (8-cell) tesseract,]] has chords:
:&lt;math&gt;r_1=\sqrt{1},r_2=\sqrt{2},r_3=\sqrt{3},r_4=\sqrt{4}&lt;/math&gt;
Uniquely in its 4-dimensional case, the hypercube's edge length equals its radius, like the hexagon. We call such polytopes ''radially equilateral'', because they can be constructed from equilateral triangles which meet at their center, each contributing two radii and an edge. The cuboctahedron and the 24-cell are also radially equilateral.

The [[W:Tesseract|tesseract]] is the [[W:Regular convex 4-polytope|regular convex 4-polytope]] with [[W:Schläfli symbol|Schläfli symbol]] {4,3,3}. It has 16 vertices, 32 edges, 24 square faces, and 8 cube cells. It is the four-dimensional analogue of the cube.

The tesseract is the [[W:Dual polytope|dual polytope]] of the 16-cell. They have the same Petrie polygon, the regular octagon, but the tesseract contains 2 disjoint instances and 4 distinct instances of the skew octagon. We can construct the tesseract the way we constructed the 16-cell, by skewing a planar octagon's edges so they become edges of the 4-polytope. Because the tesseract has 16 vertices we will need two planar octagons, and to start we must embedded them in 4-space as completely orthogonal planes that intersect at only one point, their common center. Because the tesseract is radially equilateral (unlike the 16-cell), to build a unit-radius tesseract we start with our original octagon of unit-edge length, rather than the octagon of edge length &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; that we needed to build the unit-radius 16-cell.

For our tesseract construction we skew each planar octagon into a cube, so we have a compound of two completely orthogonal cubes. Provided the planes were completely orthogonal in 4-space and we skewed them both the same way, the 16 vertices will be the vertices of a tesseract with half of its 32 edges missing.

The 16-point tesseract is the convex hull of a compound of two 8-point 16-cells, in exact dimensional analogy to the way the 8-point cube is the convex hull of a [[W:Stellated octahedron|compound of two regular 4-point tetrahedra]]. The [[W:Demihypercube|demihypercubes]] occupy alternate vertices of the hypercubes. The diagonals of the square faces of the unit-radius tesseract are the &lt;small&gt;&lt;math&gt;\sqrt{2}&lt;/math&gt;&lt;/small&gt; edges of two unit-radius 16-cells, which are also the edges of the square central planes.

Because the tesseract contains two 16-cells in alternate positions it has two sets of 6 orthogonal square central planes. Two angles are required to specify the relationship between two planes in 4-space. Pairs of planes within each 16-cell are 90° apart in one angle, and either 0° or 90° apart in the other angle. They are 90° apart in both angles if and only if they are completely orthogonal planes, 90° apart by isoclinic rotation, with no vertices in common and their corresponding vertices 180° apart. Otherwise they are 0° apart in one of the angles, 90° apart by simple rotation with their corresponding vertices 90° apart, and they intersect in one axis and lie in a common 3-dimensional hyperplane.{{Efn|A double rotation in which one of the two angles of rotation is 0°, so that one of the completely orthogonal invariant planes does not rotate, is called a simple rotation. Ordinary rotations observed in a 3-dimensional space are simple rotations.}}

A pair of square central planes from alternate 16-cells are 60° apart by isoclinic rotation, with their corresponding vertices 120° apart. The planes are not orthogonal or parallel, so they intersect in a line somewhere, but they have no vertices in common, they have no 3-dimensional hyperplane in common, and they cannot reach each other by simple rotation. Such pairs of objects are called [[W:Clifford parallel|Clifford parallel]] because all their corresponding pairs of vertices are the same distance apart, although they are not parallel in the usual sense, because they have a common center. Not only the alternate 16-cells' corresponding square central planes, but also the 16-cells themselves, are Clifford parallel objects.

We can rotate the tesseract isoclinically the way we rotated the 16-cell, by 90° in two completely orthogonal invariant square central planes, with the same effect on both alternate 16-cells. In the course of a 720° isoclinic rotation in invariant square central planes each vertex departs from all 8 vertex positions of its 16-cell just once and returns to its original position, but it does not visit the vertex positions of the other 16-cell. The skew octagon geodesic orbits of the 16 vertices are disjoint circular helixes, and those 16 circular helixes are Clifford parallel objects.

== The 24-cell ==

...

== The 600-cell ==

...

== Finally the 120-cell ==

...

== Conclusions ==

Fontaine and Hurley's discovery is more than a formula for the reciprocal of a regular ''n''-polygon diagonal. It also yields the discrete sequence of isocline chords of the distinct isoclinic rotation characteristic of a ''d''-dimensional regular polytope. The characteristic rotational chord sequence of the ''d''-polytope can be represented geometrically in two dimensions on a distinct star polygon, but it lies on a geodesic circle through ''d''-dimensional space. Fontaine and Hurley discovered the geodesic topology of polytopes generally. Their procedure will reveal the geodesics of arbitrary non-uniform polytopes, since it can be applied to a polytope of any dimensionality and irregularity, by first fitting the polytope to the smallest regular polygon whose chords include its chords.

Fontaine and Hurley's discovery of a chordal formula for isoclinic rotations closes the circuit on Kappraff and Adamson's discovery of a rotational connection between dynamical systems, Steinbach's golden fields, and Coxeter's Euclidean geometry of ''n'' dimensions. Application of the Fontaine and Hurley procedure in higher-dimensional spaces demonstrates why the connection exists: because polytope sequences generally, from Steinbach's golden polygon chord sequences, to chord sequences in isoclinic rotation helixes, to subsumption relations in the sequence of regular 4-polytopes, arise as expressions of the reflections and rotations of distinct Coxeter symmetry groups, when those various groups interact.

== Appendix: Sequence of regular 4-polytopes ==
{{Regular convex 4-polytopes|wiki=W:|columns=7}}

== Notes ==
{{Notelist}}

== Citations ==
{{Reflist}}

== References ==
{{Refbegin}}
* {{Cite journal | last=Steinbach | first=Peter | year=1997 | title=Golden fields: A case for the Heptagon | journal=Mathematics Magazine | volume=70 | issue=Feb 1997 | pages=22–31 | doi=10.1080/0025570X.1997.11996494 | jstor=2691048 | ref={{SfnRef|Steinbach|1997}} }}
* {{Cite journal | last=Steinbach | first=Peter | year=2000 | title=Sections Beyond Golden| journal=Bridges: Mathematical Connections in Art, Music and Science | issue=2000 | pages=35-44 | url=https://archive.bridgesmathart.org/2000/bridges2000-35.pdf | ref={{SfnRef|Steinbach|2000}}}}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Jablan | first2=Slavik | last3=Adamson | first3=Gary | last4=Sazdanovich | first4=Radmila | year=2004 | title=Golden Fields, Generalized Fibonacci Sequences, and Chaotic Matrices | journal=Forma | volume=19 | pages=367-387 | url=https://archive.bridgesmathart.org/2005/bridges2005-369.pdf | ref={{SfnRef|Kappraff, Jablan, Adamson &amp; Sazdanovich|2004}} }}
* {{Cite journal | last1=Kappraff | first1=Jay | last2=Adamson | first2=Gary | year=2004 | title=Polygons and Chaos | journal=Dynamical Systems and Geometric Theories | url=https://archive.bridgesmathart.org/2001/bridges2001-67.pdf | ref={{SfnRef|Kappraff &amp; Adamson|2004}} }}
* {{Cite journal | last1=Fontaine | first1=Anne | last2=Hurley | first2=Susan | year=2006 | title=Proof by Picture: Products and Reciprocals of Diagonal Length Ratios in the Regular Polygon | journal=Forum Geometricorum | volume=6 | pages=97-101 | url=https://scispace.com/pdf/proof-by-picture-products-and-reciprocals-of-diagonal-length-1aian8mgp9.pdf }}
{{Refend}}</text>
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  <page>
    <title>Social Victorians/Victoria/Queen's Household</title>
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      <text bytes="24527" sha1="9dhe9lh2zb2qoy8ho72bw2s5z630lre" xml:space="preserve">= Organizations Part of Queen Victoria's Household and Guard =
Positions in [[Social Victorians/People/Queen Victoria|Queen Victoria]]'s Household, according to David Cannadine,&lt;blockquote&gt;were not the great offices of state such as Lord High Constable or Earl Marshal, which were held by grandees and were largely honorary. Nor were they political appointments such as Lord Chamberlain or Lord-in-Waiting, which changed with every government. Rather, they were the full-time court offices such as Private Secretary, Keeper of the Privy Purse, Master of the Ceremonies, and Comptroller of the Household, or the more humble positions of Equerry or Lady-in-Waiting. From the 1870s onwards, the nature and importance of these offices was transformed. [[Social Victorians/People/Ponsonby|Sir Henry Ponsonby]] effectively created the post of Private Secretary to the Sovereign in its modern guise. ... The new imperial and ceremonial image of the monarchy required planning and organization on an unprecedented scale. The palaces, pictures, libraries, and archives of the sovereign needed extensive reform and restoration in the aftermath of late-Victorian neglect. The extended families of Victoria, Edward VII, and George V meant a proliferation of junior royal households which themselves needed to be staffed and administered. And the inevitable result, despite occasional attempts at economy, was an expanding royal bureaucracy. ...

Almost invariably, such positions were filled by close relatives of peers.&lt;ref name=&quot;:1&quot;&gt;Cannadine, David. ''The Decline and Fall of the British Aristocracy''. New York: Yale University Press, 1990.&lt;/ref&gt;{{rp|245}}&lt;/blockquote&gt;'''Master of the Household''': Cannadine says, &quot;[[Social Victorians/People/Newcastle|Lord Edward Pelham Clinton]] was brother of the sixth Duke of Newcastle, and was Master of the Household from 1894–1901.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|245}}

== Attending Ladies ==
Some staff, some political appointments:
* [[Social Victorians/Victoria/Queen's Household#Mistress of the Robes|Mistress of the Robes]]
* [[Social Victorians/Victoria/Queen's Household#Lady in Waiting|Ladies in Waiting]]
* [[Social Victorians/Victoria/Queen's Household#Dresser|Dressers]]
* [[Social Victorians/Victoria/Queen's Household#Maids|Maids]]
The specific title Lady is Waiting is often reserved for attendants of women of rank who are not queens, either regnant or consort, but the term also has a general meaning, for someone of rank who is attending the queen. The Mistress of the Robes is the senior lady in waiting, and she heads the queen's women attendants, typically called Lady of the Bedchamber or Woman of the Bedchamber.&lt;ref name=&quot;:9&quot;&gt;{{Cite journal|date=2025-09-26|title=Maid of honour|url=https://en.wikipedia.org/w/index.php?title=Maid_of_honour&amp;oldid=1313444631|journal=Wikipedia|language=en}}&lt;/ref&gt;

Queen Victoria's dressmakers were not necessarily employees of the crown or the family and had establishments of their own, so they are treated on the [[Social Victorians/People/Dressmakers and Costumiers|Dressmakers, Modistes, Costumiers, Perruquiers and Jewelers]] page. Of dressmakers who had their own establishment, Victoria used

* [[Social Victorians/People/Dressmakers and Costumiers#Bettans|Mary Bettans]], 1840, 1841, 1846
* [[Social Victorians/People/Dressmakers and Costumiers#Johnston|Elizabeth Johnston]], 1846
* [[Social Victorians/People/Dressmakers and Costumiers#Creed, House of|House of Creed]], also had Empress Eugènie as a client, and the dandy Count d'Orsay
* [[Social Victorians/People/Dressmakers and Costumiers#Redfern|John Redfern]], 1888, also had Alexandra, Princess of Wales and Lillie Langtry as clients

=== Attendants ===

==== Mistress of the Robes ====
Harriet, Duchess of Sutherland was Mistress of the Robes at QV's coronation and still was at her wedding. Albert wished that QV &quot;should place a greater distance between herself and them [her courtiers]. They sensed his desire that she become ‘pretty indifferent’ as to which maid-of-honour or lady-in-waiting was on duty, being on ‘more natural terms’ only with her lower servants.24 [24 Ponsonby, ed. (1927) p. 6].&lt;ref name=&quot;:4&quot;&gt;{{Cite web|url=https://www.mimimatthews.com/2020/09/11/madam-maam-or-miss-proper-address-for-unmarried-young-ladies/|title=Madam, Ma’am, or Miss: Proper Address for Unmarried Young Ladies|date=2020-09-11|website=Mimi Matthews|language=en|access-date=2023-12-03}} https://www.mimimatthews.com/2020/09/11/madam-maam-or-miss-proper-address-for-unmarried-young-ladies/.&lt;/ref&gt; (239 of 786; n. 24, p. 674)

The Mistress of the Robes supervised the ladies in waiting. The Mistresses of the Robes for Queen Victoria were the following:

# 1837–1841, Whig — Harriet Sutherland-Leveson-Gower, Duchess of Sutherland (1806–1868)&lt;ref name=&quot;:3&quot;&gt;{{Cite journal|date=2026-03-13|title=Harriet Sutherland-Leveson-Gower, Duchess of Sutherland|url=https://en.wikipedia.org/w/index.php?title=Harriet_Sutherland-Leveson-Gower,_Duchess_of_Sutherland&amp;oldid=1343226719|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1841–1846, Conservative (appointed by Robert Peel) — Charlotte Montagu Douglas Scott, Duchess of Buccleuch and Queensberry (1811–1895)&lt;ref&gt;{{Cite journal|date=2026-03-25|title=Charlotte Montagu Douglas Scott, Duchess of Buccleuch|url=https://en.wikipedia.org/w/index.php?title=Charlotte_Montagu_Douglas_Scott,_Duchess_of_Buccleuch&amp;oldid=1345397582|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1846–1852, Whig — the Duchess of Sutherland&lt;ref name=&quot;:3&quot; /&gt;
# 1852–1853, Conservative — Anne Murray, Duchess of Atholl (1814–1897)&lt;ref&gt;{{Cite journal|date=2026-01-25|title=Anne Murray, Duchess of Atholl|url=https://en.wikipedia.org/w/index.php?title=Anne_Murray,_Duchess_of_Atholl&amp;oldid=1334678470|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1853–1858, Whig — the Duchess of Sutherland&lt;ref name=&quot;:3&quot; /&gt;
# 24 February 1858 – 11 June 1859, Prime Minister Derby — Luise, Duchess of Manchester, later Duchess of Devonshire (1832–1911)&lt;ref&gt;{{Cite journal|date=2026-02-16|title=Louisa Cavendish, Duchess of Devonshire|url=https://en.wikipedia.org/w/index.php?title=Louisa_Cavendish,_Duchess_of_Devonshire&amp;oldid=1338614113|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1859–1861, Whig — the Duchess of Sutherland&lt;ref name=&quot;:3&quot; /&gt;
# 1861–1868, Prime Ministers Palmerston, Russell, Derby and Disraeli — Elizabeth Wellesley, Duchess of Wellington (1820–1904)&lt;ref name=&quot;:5&quot;&gt;{{Cite journal|date=2026-03-22|title=Elizabeth Wellesley, Duchess of Wellington|url=https://en.wikipedia.org/w/index.php?title=Elizabeth_Wellesley,_Duchess_of_Wellington&amp;oldid=1344799722|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1868–1870, Prime Minister Gladstone — Elizabeth Georgiana Campbell, Duchess of Argyll (1824–1878)&lt;ref&gt;{{Cite journal|date=2025-11-25|title=Elizabeth Campbell, Duchess of Argyll|url=https://en.wikipedia.org/w/index.php?title=Elizabeth_Campbell,_Duchess_of_Argyll&amp;oldid=1324112779|journal=Wikipedia|language=en}}&lt;/ref&gt;, daughter of Harriet, Duchess of Sutherland and an abolitionist; friends with Harriet Beecher Stowe.
# 1870–1874, Prime Minister??? — Anne Sutherland-Leveson-Gower, Duchess of Sutherland (1829–1888), daughter in law of Harriet, Duchess of Sutherland&lt;ref&gt;{{Cite journal|date=2026-03-31|title=Anne Sutherland-Leveson-Gower, Duchess of Sutherland|url=https://en.wikipedia.org/w/index.php?title=Anne_Sutherland-Leveson-Gower,_Duchess_of_Sutherland&amp;oldid=1346362498|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1874–1880, Prime Minister Disraeli — Elizabeth Wellesley, Duchess of Wellington&lt;ref name=&quot;:5&quot; /&gt;
# 1880–1883, Prime Minister Gladstone — Elizabeth Russell, Duchess of Bedford (1818–1897)&lt;ref&gt;{{Cite journal|date=2025-09-29|title=Elizabeth Russell, Duchess of Bedford|url=https://en.wikipedia.org/w/index.php?title=Elizabeth_Russell,_Duchess_of_Bedford&amp;oldid=1314109183|journal=Wikipedia|language=en}}&lt;/ref&gt;
# 1886

Worsley addresses some of the Duchess of Sutherland's duties in the late 1830s:&lt;blockquote&gt;Since her accession, Victoria had been granted a dress allowance roughly twice as large as her predecessor William IV’s, but she and Harriet thought that how they spent this public money was entirely their own affair. Harriet engaged tradespeople including dressmakers, a habitmaker, furrier, silk mercer, hosier, glover, perfumer and a specialist ‘umbrella maker’. ‘Her Majesty,’ she wrote, loftily, when the Treasury wanted to know where the money had gone, ‘does not wish to send some of the Bills (like those of the Dressmaker’s etc.) to the office.’ Abstracts only would be provided.27 [27 TNA LC 13/2, fo. 112r, an account of the expenses of the Mistress of the Robes (1839); fo. 46v, Duchess of Sutherland to the Treasury (21 December 1837)]&lt;ref name=&quot;:4&quot; /&gt; (240 of 786; n. 27, p. 674)&lt;/blockquote&gt;

==== Maid of Honor ====
Maid of Honour for the British monarchy has been an unmarried girl or young woman.&lt;ref name=&quot;:92&quot;&gt;{{Cite journal|date=2025-09-26|title=Maid of honour|url=https://en.wikipedia.org/w/index.php?title=Maid_of_honour&amp;oldid=1313444631|journal=Wikipedia|language=en}}&lt;/ref&gt; Maried Adeane, appointed in 1888, describes the &quot;Maid of Honour badge&quot; she got upon her appointment. Queen Victoria, she says, pinned &quot;a miniature of herself in early days, surrounded by diamonds and mounted on a ribbon bow, the same texture and colour of the Order of the Bath — on my left shoulder.&quot;&lt;ref name=&quot;:2&quot;&gt;Wilson, A. N. ''Victoria: A Life''. Penguin, 2014. Apple Books:  https://books.apple.com/us/book/victoria/id828766078.&lt;/ref&gt; (836 of 1204)

* 1843, Eleanor Stanley received a Christmas present of &quot;a necklace, ‘in carbuncles and little diamonds’.61 [61 Erskine (1916) p. 155]&lt;ref name=&quot;:8&quot;&gt;Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's, 2018.&lt;/ref&gt; (297 of 786; n. 61, p. 685)
* 1862 March 3, the Hon. Harriet Lepel Phipps was appointed Maid of Honour in Ordinary to the Queen, 3 March 1862.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2025-04-10|title=Harriet Phipps|url=https://en.wikipedia.org/w/index.php?title=Harriet_Phipps&amp;oldid=1284943936|journal=Wikipedia|language=en}}&lt;/ref&gt; When Jane Hope-Vere Loftus, Marchioness of Ely retired as Woman of the Bedchamber in 1889, Harriet Phipps replaced her.
* 1888, 24-year-old Marie Adeane was appointed Maid of Honor — &quot;the granddaughter of Lord Hardinge, a former lord-in-waiting, and the great-niece and niece of two equerries – Augustus Liddell and Alick Yorke.&quot;&lt;ref name=&quot;:2&quot; /&gt; (836 of 1204)

==== Lady in Waiting ====
Ladies in Waiting were political appointees, put in place by the Prime Minister and were typically members of his party, the source of an early conflict between Victoria and Prime Minister Peel[?].

Queen Victoria's thoughtless and unkind conflict with one of her ladies in waiting, Flora Hastings, shows her immaturity and partisanship early in her reign, which did harm to her own reputation. (Hastings had a fatal tumor in her abdomen, but Victoria contributed to the spread of the rumor that the unmarried woman was pregnant.)

Here is a description of the duties and to some degree the life of a Lady in Waiting to the Queen:&lt;blockquote&gt;Like all ladies-in-waiting, Flora Hastings served on a roster for a couple of months at a time. When she was in ‘waiting’ (or on duty) her duties included helping with correspondence, handing shawls, fastening bracelets, entertaining boring guests and generally providing the duchess with company. The ladies got no time off during their ‘waiting’ and had to be constantly on hand. Flora’s bedroom was therefore near to her mistress’s own rooms, which had been completed and occupied just a few months before.&lt;ref name=&quot;:82&quot;&gt;Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's, 2018.&lt;/ref&gt; (185 of 786)&lt;/blockquote&gt;Worsley says, referring to the dispute over the John Brown memoir in spring 1884&lt;blockquote&gt;The queen’s most trusted ladies-in-waiting were the unfortunate messengers often selected to convey their mistress’s rebukes. ‘We are,’ said one of them, ‘sheets of paper on which H.M. writes with words as less trouble than using her pen and we have to convey her words as a letter would do.’87 They had become accustomed to being her bearers of bad news.&lt;ref name=&quot;:82&quot; /&gt; (483 of 786; n. 87, p. 719: &quot;Miss Harriet Phipps quoted in Mallet (1968) p. xxiii&quot;)&lt;/blockquote&gt;Ladies in Waiting:

* Jane Ely, March 1884 — &quot;Jane Ely, one of the two ladies who lived all the time with Victoria, was the chosen favourite for ticklish tasks. Jane Ely would pass on royal reprimands in a ‘mysterious whisper’.88 Now she was deployed for the task of chastening Davidson. Jane Ely herself came down from the Victoria Tower to the Deanery to ask Davidson, verbally, to withdraw his words.&quot;&lt;ref name=&quot;:82&quot; /&gt; (483 of 786; n. 88, p. 719: &quot;Tisdall (1961) p. 77&quot;)
* Horatia Stopford, 1884 — &quot;In the gap between Deans before Davidson’s arrival at Windsor, wrote lady-in-waiting Horatia Stopford, ‘the Queen had literally no one whom she ever spoke’ to about personal matters. As well as befriending the queen, Davidson had quickly learned the ways of the wider castle, and built up valuable allies among the female staff. He knew, as one of the ladies-in-waiting put it, ‘everything from the shape of the kitchen-maids’ new caps to some of the deepest padlocks of my soul!’81&quot;&lt;ref name=&quot;:82&quot; /&gt; (481 of 786; n. 81, p. 718: &quot;Bell (1935) vol. 1, pp. 82, 81&quot;)

==== Lady or Woman of the Bedchamber ====
A Lady of the Bedchamber outranks a Woman of the Bedchamber but is not her supervisor. The position of Lady of the Bedchamber is held by the wife of a peer, sometimes said to be at the level of Earl or above. The position of Woman of the Bedchamber is typically the daughter of a peer. The list of [[wikipedia:Lady_of_the_Bedchamber#Victoria,_1837%E2%80%931901|Queen Victoria's Ladies of the Bedchamber]] is long, as many served just a year or so.

* Lady Augusta Bruce was a lady in waiting to QV's mother, the Duchess of Kent, until her death in 1861.&lt;ref&gt;{{Cite journal|date=2025-10-20|title=Lady Augusta Stanley|url=https://en.wikipedia.org/w/index.php?title=Lady_Augusta_Stanley&amp;oldid=1317797088|journal=Wikipedia|language=en}}&lt;/ref&gt; She married Arthur P. Stanley, Dean of Westminster Abbey, in December 1863, and then was appointed &quot;extra woman of the bedchamber&quot; to QV and was present at the time of Albert's death.&lt;ref name=&quot;:83&quot;&gt;Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's, 2018.&lt;/ref&gt; (403)
* Jane Hope-Vere Loftus, Marchioness of Ely (3 December 1821 – 11 June 1890), appointed Lady of the Queen's bedchamber on 15 July 1851 and resigned in 1889.&lt;ref name=&quot;:11&quot;&gt;{{Cite journal|date=2025-04-13|title=Jane Loftus, Marchioness of Ely|url=https://en.wikipedia.org/w/index.php?title=Jane_Loftus,_Marchioness_of_Ely&amp;oldid=1285397622|journal=Wikipedia|language=en}}&lt;/ref&gt; The relationship between QV and her was &quot;intimate.&quot;&lt;ref name=&quot;:11&quot; /&gt;
* The Hon. Harriet Lepel Phipps was appointed Woman of the Bedchamber in 1889, when Jane Hope-Vere Loftus, Marchioness of Ely retired.&lt;ref name=&quot;:102&quot;&gt;{{Cite journal|date=2025-04-10|title=Harriet Phipps|url=https://en.wikipedia.org/w/index.php?title=Harriet_Phipps&amp;oldid=1284943936|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Marie Mallet: &quot;The queen’s most trusted courtiers understood that she respected them for the occasional intransigence. ‘If I lacked all moral courage,’ wrote Marie Mallet, one of her particularly favoured women-of-the-bedchamber, ‘the Queen would be the first to despise me.’75&quot;&lt;ref name=&quot;:83&quot; /&gt; (480 of 786; n. 75, p. 718: &quot;Mallet (1968) p. 159&quot;)

=== Servants ===
In 1883, at the death of John Brown, 3 servants appear in the book QV wrote about Brown, 2 valets for Albert and this one for QV:

* Nestor Tirard (&quot;the Queen’s hairdresser&quot;&lt;ref name=&quot;:8&quot; /&gt; (470))

==== Dresser ====
(Dressers and maids were actual servants rather than attending aristocrats, in waiting)

Christmas 1850: &quot;The queen’s dressers, for example, received something like a ‘necéssaire’, a little leather case containing thimble, scissors and bodkin.62 [62 Stoney and Weltzien, eds. (1994) colour plate section following p. 80&lt;u&gt;]&lt;/u&gt;&lt;ref name=&quot;:85&quot;&gt;Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's, 2018.&lt;/ref&gt; (297 of 786; n. 62, p. 686)

Worsley says, in describing QV's trips to to Cimiez, near Nice, on the Mediterranean:&lt;blockquote&gt;Victoria’s clothes were handled by the dressers, who were better paid than the maids. Their duties, ran Victoria’s instructions, included ‘scrupulous tidiness and exactness in looking over everything that Her Majesty takes [510–511] off ... [sic] to think over well everything that is wanted or may be wanted'.14 Her black silk stockings had for decades been woven by one John Meakin, while Anne Birkin embroidered the garments with 'VR'.15 Victoria grew fond of faithful servants like Anne, and even had Birkin's portrait among her collection of photographs.&lt;ref name=&quot;:85&quot; /&gt; (510–511 of 786; nn. 14, 15, p. 723: 14: &quot;Staniland (1977) p. 186&quot;; 15: &quot;Quoted in King (2007) p. 100&quot;)&lt;/blockquote&gt;Dressers

* 1861 December 14, after Alfred died: Annie Macdonald, &quot;a witness to so much of the queen's private life.&quot;&lt;ref name=&quot;:85&quot; /&gt; (403) Annie Macdonald is quoted in Tisdall (1961), p. 50, and Erskine, ed. (1916), pp. 388–89.&lt;ref name=&quot;:85&quot; /&gt; (705) Annie Macdonald took part in the conflict over Abdul Karim between QV and Dr. Reid: &quot;Also present in the room during this epic row was Victoria’s long-time dresser, Annie Macdonald. ‘Your Majesty sits there,’ Macdonald said, ‘and hears nothing of what is being said. No one tells you the truth about this.’64&quot;&lt;ref name=&quot;:85&quot; /&gt; (527 of 786; n. 64, p. 726: &quot;James Reid’s diary quoted in Hubbard (2012) p. 325&quot;)
* Anne Birkin

==== Maids ====
Jane Ridley was the first to point out that the names of QV's intimate servants are missing in Beatrice's edited transcription of QV's journals. Worsley says,&lt;blockquote&gt;When Victoria’s daughter Beatrice came to transcribe her journals, destroying many of the originals as she went, she often missed out the names of [465–466] servants, thinking it improper or unnecessary to include them. For example, Victoria’s original entry for 9 August 1845 mentions by a mixture of surnames and forenames her maids Singer, Peneyvre, Rebecca, Dehler, Skerrett and Margaret. These were people the queen knew well. She was more truly intimate with them than with her upper courtiers or members of her extended royal network. Beatrice, though, brutally summarises them all in her version of the journal as just ‘the maids’.&lt;/blockquote&gt;QV describes Albert at Osborne sometimes criticizing the maids:&lt;blockquote&gt;As she and Albert passed the time ‘talking over the company’, Victoria also gives details of how her ‘maids would come in and begin to undress me – and he would go on talking, and would make his observations on my jewels and ornaments and give my people good advice as to how to keep them or would occasionally reprimand if anything had not been carefully attended to’.50 [n. 50. “RA VIC/MAIN/RA/491 (January 1861)”]&lt;ref name=&quot;:86&quot;&gt;Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's, 2018.&lt;/ref&gt; (372; n, 50, p. 690)&lt;/blockquote&gt;Maids as of 9 August 1845 (Beatrice's list, mixing forenames and surnames)&lt;ref name=&quot;:86&quot; /&gt; (466):

* Singer
* Peneyvre
* Rebecca
* Dehler
* Skerrett
* Margaret

Maids at the time of Albert's death:

* Sophie Weiss&lt;ref name=&quot;:86&quot; /&gt; (403)
* Emilie Dittweiler&lt;ref name=&quot;:86&quot; /&gt;(403)
* Mary Andrews&lt;ref name=&quot;:86&quot; /&gt; (403)

== Officers Appointed by Lord Chamberlain's Warrant&lt;ref&gt;{{Cite web|url=https://web.archive.org/web/20070317153739/http://www.history.ac.uk/office/vic.html|title=Office-Holders: Household of Queen Victoria|date=2007-03-17|website=web.archive.org|access-date=2020-12-26}}&lt;/ref&gt; ==

=== Gentlemen Ushers ===

==== Gentlemen Ushers Daily Waiters ====

# 1837 January 10, W. Martins
# 1840 June 12, H. W. des Voeux
# 1859 February 1, Hon. S. C. B. Ponsonby
# 1860 September 10, E. H. Anson
# 1874 June 13, C. E. Phipps
# 1876 October 1, A. Macgregor
# 1877 March 17, Sir W. T. Knollys
# 1883 June 28, Hon. Sir J. R. Drummond
# 1895 December 16, Sir M. A. S. Biddulph
# 1899 November 14, Hon. C. G. C. Eliot

==== Assistant Gentleman Usher Daily Waiter ====

# 1831 October 6, Sir A. C. Duff Gordon
# 1872 November 10, F. Campbell

==== Extra Gentlemen Usher Daily Waiter ====

# 1850 January 29, W. Taylor
# 1855 April 5, N. H. Macdonald
# 1857 December 9, Hon. S. C. B. Ponsonby
# 1892 July 13, Hon. A. N. Hood

==== Gentlemen Ushers Quarterly Waiters ====

# 1833 April 23, H. W. Greville
# 1833 May 20, J. G. Green
# 1836 October 31, Hon. W. L. L. Fitzgerald de Ros
# 1837 January 10, C. Diggle
# 1838 11 June, A. Montgomery
# 1839 June 7, E. Hobhouse
# 1844 December 27, Hon. M. Sackville West
# 1852 March 20, W. Taylor
# 1852 July 19, H. S. Stephens
# 1854 February 24, R. T. Bedford
# 1854 May 25, G. C. E. A. R. Howard Vyse
# 1862 June 20, W. Ross
# 1862 October 27, C. G. Nelson
# 1868 March 13, F. Knollys
# 1873 March 19, R. G. H. Somerset
# 1874 February 2, C. Wylde
# 1878 August 29, A. J. Loftus
# 1883 April 23, Hon. H. J. Stonor
# 1884 January 22, Hon. A. FitzClarence
# 1890 June 6, C. J. Innes Ker
# 1892 April 30, [[Social Victorians/People/Arthur Collins|A. Collins]]
# 1895 May 18, B. Taylor
# 1896 April 15, Hon. A. Hay
# 1899 November 14, W. F. Tufnell

==== '''Extra Gentleman Usher Quarterly Waiter''' ====

# 1899 January 1, W. F. Tufnell

==== '''Gentlemen Ushers of Privy Chamber''' ====

# 1834 March 12, Sir. J. M. F. Smith
# 1868 November 21, A. E. West
# 1871 June 14, H. D. Erskine
# 1874 December 3, L. Cust
# 1875 March 26, W. J. Stopford
# 1878 March 21, C. F. C. Seymour
# 1885 June 13, Hon. W. Bagot
# 1887 April 20, C. Larking
# 1888 May 7, H. C. G. West

=== Grooms ===

===== '''Grooms of Privy Chamber''' =====

# 1836 May 6, A. J. Blackwood
# 1839 November 1, S. H. Paget
# 1840 March 3, T. N. Harris
# 1852 March 20, Hon. M. Sackville West
# 1852 July 19, S. Randall
# 18599 February 16, J. H. Purves
# 1860 March 31, J. F. Campbell
# 1862 October 2, E. S. Claremont
# 1867 July 3, Hon. R. B. W. Noel
# 1871 January 14, Hon. C. G. C. Eliot
# 1874 January 8, J. Bontein
# 1874 February 16, N. G. Philips
# 1884 November 1, A. Royle
# 1890 July 25, M. Drummond
# 1893 October 1, Hon. O. F. S. Cuffe
# 1899 November 14, Sir F. Knollys

=== '''Sergeants at Arms''' ===

# 1832 January 21, H. Worrall
# 1846 August 16, Hon. S. Lyttelton
# 1847 January 8, H. S. Stephens
# 1851 June 18, Sir A. Campbell
# 1853 June 1, N. Macleod
# 1854 May 25, Sir J. M. Doyle
# 1855 July 27, J. Alves
# 1856 September 16, J. R. Woodriff
# 1860 October 2, T. C. March
# 1868 February 15, A. Balliston
# 1868 April 17, E. K. S. Macleod
# 1869 July 17, T. G. Hertslet
# 1873 May 7, Hon. D. J. Monson
# 1878 July 23, J. A. C. Gore
# 1880 April 27, R. J. F. Edgcumbe
# 1881 March 5, F. Macbean
# 1895 March 1, E. H. Anson
# 1895 August 26, W. B. Goldsmith
# 1898 June 15, R. R. Holmes
# 1898 June 25, E. Martin
# 1900 December 1, E. B. Towse

== Royal Horse Guard ==
Numbers on a table in the article on the Royal Horse Guards in ''Wikipedia'', which does not have an appropriate citation, says that on 1 July 1897, the Royal Horse Guard had 406 members and the Total Household had 1,234.&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2021-10-11|title=Royal Horse Guards|url=https://en.wikipedia.org/w/index.php?title=Royal_Horse_Guards&amp;oldid=1049325923|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Royal_Horse_Guards.&lt;/ref&gt; The total number of the Royal Horse Guards may have been 60–70 less because some were under-aged or trainees.&lt;ref name=&quot;:0&quot; /&gt; The regiment was called The Blues beginning in 1877.

* Commanding Officer:
* Colonel-in-Chief: Albert Edward, Prince of Wales&lt;ref name=&quot;:0&quot; /&gt;
* Colonel&lt;ref name=&quot;:0&quot; /&gt;
** 1869–1885: Hugh Rose, 1st Baron Strathnairn
** 1885–1895: Sir Patrick Grant
** 1895–1907: Garnet Wolseley, 1st Viscount Wolseley

== Biographies, Memoirs, Etc. ==

* Longford, E. ''Louisa Lady in Waiting, the Personal Diaries and Albums of Louisa Lady in Waiting to Queen Victoria and Queen Alexandra''. London: Jonathan Cape, 1979.

== References ==
{{reflist}}

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      <text bytes="35882" sha1="3dhsigiibn9d75gulesxxy7dxoru9tk" xml:space="preserve">[[File:Pharoah - James VI and I - Trump.png|thumb|Religious and media leaders from the time of the Pharaohs convinced common folk to give increasing shares of what they produced to elites.]]
:''This book uses dates in [[:w:ISO 8601|ISO 8601]], YYYY-MM-DD, when convenient.'' 

== Invitation to edit this book ==

You, dear reader, are invited to contribute questions, ideas and citations to support or refute claims made in this book possibly adding chapters. Wikiversity like other Wikimedia Foundation Projects invites humans to [[w:Wikipedia:Be bold|“be bold but not reckless,”]] while writing from a [[Wikiversity:Disclosures|neutral point of view]], [[Wikiversity:Cite sources|citing credible sources]]. Others are invited to change or revert what you wrote. What stays tends to be written from a neutral point of view citing credible sources. If someone reverts your edit or you have a question, take it to the ''[[Wikiversity:FAQ|''''“Discuss”'''' page]]'' associated with the specific Wikiversity page most related to your concerns. 

Those who teach media literacy are encouraged to invite their students to debate and revise the contents of this book. Doing so would build on a tradition of [[:w:Wikipedia:Student assignments|instructors requiring students to edit wikipedia article(s).]]  Editing [[:w:Wikipedia|Wikipedia]] and other [[:w:Wikimedia Foundation|Wikimedia Foundation]] projects like this book is itself an exercise in media literacy: 

:''Central tenets of media literacy include writing from a neutral point of view citing credible sources and engaging others, some of whom may disagree, in civil, supportive conversations about what can and cannot be said based on a reasonable evaluation of the available evidence. Wikimedia rules invite contributors to do just that, encouraging them to “be bold but not reckless,” contributing revisions written from a neutral point of view, citing credible sources -- and raising other questions and concerns on the ''''“Discuss”'''' page associated with the specific Wikiversity page most related to your concerns, as mentioned above.'' 

== Text and self-help book and point of discuss ==

This book is intended both as a text and self-help book and as a point of discussion on media literacy from three perspectives: 

:1. Passive media literacy, which is helping individuals understand the importance of looking for information that might contradict one's preconceptions (including suggestions on how to find alternative source of information). This suggests a need for ''disconfirmation bias'' to overcome the [[w:confirmation bias|confirmation bias]] that is a problematic feature of human psychology exploited by the major media, including for-profit social media, to please those who control most of their money.

:2. Proactive media literacy, which is helping individuals learn how to engage others in open, non-threatening and supportive conversations to share concerns, compare sources of information, and build relationships in which different humans can collaborate productively on areas on of common concern while agreeing to disagree agreeable where they differ. 

:3. Active media literacy, by which students of media literacy educate others on media literacy. If each one teaches two&lt;ref&gt;&quot;[[:w:Each one teach one|Each one teach one]]&quot; is an African-American proverb from the time of legalized slavery. However, if each one teaches only one, the growth in literacy will only be linear. Having &quot;each one teaching two&quot;, on average, unleashes the power of doubling and [[:w:exponential growth|exponential growth]], which has the potential of educating the entirety of humanity in a reasonable period of time -- namely after 33 doublings starting from one.&lt;/ref&gt; in a certain period of time, that time period becomes a [[:w:Doubling time|doubling time]]. Ten doublings is a thousand -- actually 1,024 to be precise.&lt;ref&gt;2 time 2 = 4 times 2 = 8 times 2 = 16 times 2 = 32 times 2 = 64 times 2 = 128 times 2 = 256 times 2 = 512 times 2 = 1024: That's 10 doublings, as anyone with a modest understanding of modern digital [[:w:computer|computer]]s will tell you.&lt;/ref&gt; Twenty doublings become a million. Thirty doublings become a billion. Three more doublings become 8 billion, the [[:w:World population|world population]] as of approximately 2022-11-15.&lt;ref&gt;This book uses dates in [[:w:ISO 8601|ISO 8601]], YYYY-MM-DD, when convenient.&lt;/ref&gt; Many organizations, including several United Nations agencies, already have active [[w:media literacy|media literacy]] programs that have already trained many.&lt;ref&gt;''[[Wikibooks:Antiracist Activism for Teachers and Students]]'' includes a chapter on [[Wikibooks:Antiracist Activism for Teachers and Students/Points to Consider for Teaching Anti-racism/Media Literacy In Schools|Media Literacy In Schools]].&lt;/ref&gt; This book is being written hoping to increase the effectiveness and accelerate the rate of growth in media literacy and thereby accelerate progress against many of the most pressing issues facing humanity today.

Much of this book serve as a [[w:Monograph|research monograph]] summarizing research that seems to have been underreported by the major media to avoid offending people who control most of the money for the media. These research results seem to be central to major political divisions. Each chapter ends in exercises to help the reader practice media literacy skills and have fun doing it. Remember: 

:''I am entitled to my [[Wiktionary:cockamamie|cockamamie]] ideas, and you are entitled to yours.''

Humor is important but must be offered in a way that does not offend others. If others are offended, they may be less interested in dialogue. The term &quot;cockamamie&quot; is used here, hoping that this style of [[w:Self-deprecation|self-deprecation]] might be more inviting for dialogue.

''Never say, &quot;You're wrong, and I'm right!&quot; instead, ask, &quot;May I offer a contrary perspective?&quot; Or &quot;May I share with you another view that I've heard?&quot; ''

Much of the information in this book seems to have been largely overlooked and perhaps suppressed, apparently because it would increase the cost of producing news, some of which would clearly offend people who control much of the money for the media; see the brief discussion of conflicts of interest by the major media in the next &quot;Key claims&quot; section.

==Key claims==

* ''Primary drivers of every major conflict include differences between the media that the different parties find credible''.
:-- This works, because everything we think we know is coded in systems of connections between neurons in our brains. These systems are more unique than fingerprints and evolve over time. The words we use do not mean the same to two different humans nor even to the same human at different points in time. In many cases these differences are inconsequential. ''Sometimes they are fatal.''&lt;ref&gt;Graves and Bailey (2026).&lt;/ref&gt;
:-- ''[[w:Social constructionism|Show me someone who knows the truth]], and I will show you someone who is dangerous'' -- especially during war or any other situation where humans may be moved to violence mandated by their belief system.&lt;ref&gt;[[w:Collateral damage|Collateral damage]] that &quot;they&quot; commit proves to &quot;us&quot; that &quot;they&quot; are subhuman or at best criminally misled and must be resisted by any means necessary. By contrast, collateral damage that &quot;we&quot; commit is unfortunate but necessary.&lt;/ref&gt;
* The major media everywhere have [[w:Conflict of interest|conflicts of interest ]] in honestly reporting on [[v:Information is a public good per communications prof Pickard|anything that might offend anyone who controls large portions of the money for the media]].&lt;ref&gt;Pickard and Graves (2025), accessed 2026-02-08; Pickard (2020).&lt;/ref&gt; [[v:Media Reform Coalition challenges anti-democratic media bias in the UK|British journalist and media reform advocate Dan Hind]] said that the content produced by the [[w:BBC|BBC]] was frivolous, soap opera stuff, because leading media personalities know very little about issues of substance and believe &quot;they might get in trouble if&quot; they produced anything serious. Similar analyses seem to apply to the major media everywhere&lt;ref&gt;Hind and Graves (2025), accessed 2026-02-09.&lt;/ref&gt; but may not apply to non-profit and local media, which seem more likely to produce [[w:Investigative journalism|investigative]] / [[v:Dean Starkman and the watchdog that didn't bark|accountability journalism]]:&lt;ref&gt;Usher and Kim-Leffingwell (2022); see also Starkman and Graves (2025), accessed 2026-02-09.&lt;/ref&gt; [[w:Watchdog journalism|Watchdogs]] tend to protect the people who feed them. Argentine journalist [[w:Horacio Verbitsky|Horacio Verbitsky]] said, &quot;Journalism is disseminating information that someone does not want known; the rest is [[w:propaganda|propaganda]].&quot;&lt;ref&gt;p. 16 in Verbitsky (1997); English translation from [[Wikiquote:Horacio Verbitsky]], accessed 2026-02-09.&lt;/ref&gt;
* The major media everywhere create the stage upon which politicians read their lines. 
:- Their selection of acceptable topics for news and entertainment create and maintain the &quot;[[w:Overton window|Overton window]]&quot;, which is the range of acceptable political discourse. For example, in early 1964, US President [[w:Lyndon B. Johnson|Lyndon Johnson]] understood that he could lose the 1964 presidential election that year if he were seen to be soft on communism. His response was to clandestinely provoke an attack on US naval vessels in the Gulf of Tonkin, which he could then denounce as &quot;unprovoked&quot;. During a dark and stormy night 1964-08-04 the [[w:USS Maddox (DD-731)|USS ''Maddox'']] and [[w:USS Turner Joy|''Turner Joy'']] spent a couple of hours &quot;defending themselves&quot; against radar snow, then [[w:Gulf of Tonkin incident|reported that they had sunk two attacking North Vietnamese torpedo boats]]; subsequent investigations found no evidence of the reported attacks. That incident was used to justify the [[w:Gulf of Tonkin Resolution|Gulf of Tonkin Resolution]], with only two dissenting votes in the US Congress: Those two dissenters were defeated in their next reelection campaigns, illustrating the point that the major media create the environment in which many politicians cannot get elected without betraying the nation. 

=== The value of noncommercial news outlets ===

Some of the problems with the media and their contributions to increasing political polarization and violence are documented in the research summary on &quot;[[Information is a public good: Designing experiments to improve government]]&quot; and in the podcast series available on Wikiversity under &quot;[[:Category:Media reform to improve democracy]]&quot; with leading experts discussing their recommendations. One of the most compelling of the references discussed in that podcast series is Usher and Kim-Leffingwell (2022), who tallied all the federal prosecutions for political corruption in each of the 94 [[w:United States federal judicial district|US federal court district]]s between 2003 and 2019. During that period, the number of journalists in the US fell by a factor of roughly 3 -- between 60 and 70 percent. They found no statistically significant impact on federal prosecutions for political corruption of that decline in the number of journalists. 

However, each member of the [[w:Institute for Nonprofit News|Institute for Nonprofit News]] (INN) in a federal court district in one year was associated with on average 1.4 additional prosecutions for political corruption the following year. 

This suggests that the major media outlets that had so dramatically reduced their staffs had not substantively reduced the amount of investigative journalism they did. If we assume that the people prosecuted for political corruption also control substantive advertising budgets, then the major media outlets have conflicts of interest in honestly reporting on such. They may report on it if some other organization like a member of INN does the research and they are threatened with a loss of audience from not reporting on it. 

:'''''Major point''''': You and I benefit, the vast majority of humans on earth benefit, from news reports presumably published by members if INN that contributed to those on average 1.4 additional prosecutions for political corruption estimated by Usher and Kim-Leffingwell (2022). We benefit even if we never heard about the news reports that contributed to those prosecutions. We benefit even if we have never heard of the news outlets that presumably did the investigative journalism behind those additional prosecutions. Why? Because on average those news reports likely deterred other incidents of political corruption, which likely contributed to broadly shared economic growth and the development of new technology that ultimately benefit the vast majority of humanity. Other aspects of this are documented in the research on the impact of [[w:news desert|news desert]]s, which we summarize next.  

=== Costs increase in news deserts===

There's a growing body of research describing what happens when local newspapers die. 

Perhaps most important, a 2018 research report by Gao et al. reported that the death of a local newspaper was followed by … increases in local tax revenue, averaging $85 per human per year.&lt;ref name = Gao2018&gt;Gao et al. (2018).&lt;/ref&gt; That $85 was roughly 13 hundredths of a percent of the 2019 US GDP. That's mentioned in the 2025-07-17 interview with [[Democratic delusions: Fix the media to fix democracy|Natalie Fenton about her new book, ''Democratic Delusions, How the Media Hollows out democracy and What We Can Do About It'']].

One of the most spectacular example of the cost of a news desert is the [[w:City of Bell scandal|Scandal of Bell, California]]. Their local newspaper died around 1999. Roughly a decade later the city was nearly bankrupt in spite of having property tax rates among the highest in the nation. An investigation by the ''[[w:Los Angeles Times|Los Angeles Times]]'' documented that the city manager had a compensation package worth $1.5 million a year, well over double that of the President of the United States. Other senior city officials were similarly well-remunerated. Some of the city officials went to jail over that. Did the city manager decide after 1999, &quot;Wow: The watchdog is dead. Let's have a party&quot;? 

Malfeasance also increases in business as pollution and workplace accidents increase as does the cost of capital, because investors know their money is not as secure without a local newspaper. That leads to a reduction in investments in new products, services and processes -- slowing economic growth. See &quot;[[Local newspapers limit malfeasance]]&quot;, esp. Kim et al. (2021). 

And executive compensation in increases in nonprofits, so less of what people donate goes to the charitable purpose for which they donated, according to Felix et al. (2024). Also, voter participation and split-ticket voting decline, per Benton (2019) and other references discussed in &quot;[[Information is a public good: Designing experiments to improve government]]&quot;. And the ultra-right does better, as noted in [[News from Germany 1900-1945 and implications for today]] and the section on &quot;[[Information is a public good: Designing experiments to improve government#Previous research|Previous research]]&quot; in the Wikiversity article on &quot;[[Information is a public good: Designing experiments to improve government]]&quot;.&lt;ref&gt;Flößer (2024).&lt;/ref&gt; 

The 0.13 percent of GDP savings estimated by Gao et al. (2018) is roughly $120 per human per year. With over 300 million humans in the U.S, that is roughly $40 billion nationwide. 

{| class=&quot;wikitable&quot;
|+ Table 1. Costs increase in news deserts
|- 
! Entity !! What !!Source
|-
| local government || costs incr. 0.13% || Gao et al. (2018)
|- 
| local businesses || pollution &amp; workplace accidents incr., innovation &amp; econ growth decr. || Kim et al. (2021)
|- 
| nonprofits || exec. compensation incr. || Felix et al. (2024) 
|- 
| rowspan=2 | elections
| voter participation &amp; split-ticket voting decl. || Benton (2019)
|-
| Ultra-right does better || Flößer (2024)
|}

=== Government subsidies === 

John (1995) documented how in the first half of the nineteenth century the US had more independent newspaper publishers per million population than at any other time or place in human history.&lt;ref&gt;This is discussed in the 2025-06-08 [[Media concentration per Columbia History Professor Richard John|interview with him]], available on Wikiversity under [[:Category:Media reform to improve democracy]], accessed 2026-04-30.&lt;/ref&gt; This encouraged literacy and limited political corruption, both of which helped [[The Great American Paradox|the early United States stay together and grow]]  while contemporary [[w:New Spain|New Spain]] / [[w:Mexico|Mexico]], fractured, shrank, and stagnated economically. As documented with Figure 1 in the chapter below on [[/The impact of the media on political economy since the time of the Pharaohs/]], that growth catapulted the young United States into its current position of dominance in the international political economy, a position it has been losing since at least 1990 -- or since the Reagan Revolution began in 1981, according to the analysis in the chapter below on [[/Fox, the Great Depression, the Great Recession, and our future/]]. Other countries now have stronger democracies due in part to government subsidies for media in the range of 0.05 and 0.25 percent of GDP with a firewall that limits political interference in the content, according to Neff and Pickard (2024). Table 1 in &quot;[[Information is a public good: Designing experiments to improve government]] compares media subsidies in various places with &quot;other points of reference&quot;.  

McChesney and Nichols (2010, pp. 310-311, note 88) suggested that the relatively high rate of economic growth of the economy in the early US was due in part to postal subsidies under the US [[w:Postal Service Act|Postal Service Act]] of 1792.&lt;ref&gt;See also the Wikiversity article on &quot;[[The Great American Paradox]]&quot;, accessed 2026-04-30.&lt;/ref&gt; They estimated those subsidies at 0.21 percent of GDP. To improve the current political economy of the US, they recommended subsidies of 0.15 percent of GDP distributed to local news nonprofits on the basis of local elections.&lt;ref&gt;McChesney and Nichols (2021, 2022).&lt;/ref&gt; The Wikipedia article on &quot;[[Information is a public good: Designing experiments to improve government]]&quot; documents how some jurisdictions can devote that much money to local news nonprofits by matching what they spend on accounting, advertising, and public relations.&lt;ref&gt;See the section on &quot;[[Information is a public good: Designing experiments to improve government#Sampling units / experimental polities|Sampling units / experimental polities]]&quot; in the Wikiversity article on &quot;[[Information is a public good: Designing experiments to improve government]]&quot;, accessed 2026-04-30.&lt;/ref&gt;  

Pickard (2023) describes three basic strategies for confronting concentrated commercial media power: (1) break them up, (2) regulate them, and (3) create non-commercial, public alternatives. A fourth possibility might be [[w:externality|a graduated tax on income and wealth]] in proportion to the threat that major corporations pose to democracy. 

One class of noncommercial alternatives that Packard mentions is local multi-media / Public Media Centers (PMCs) with management split between local journalists and boards, e.g., selected at random from registered voters. A key here is to have the boards selected in a way that cannot be influenced by people with power, whether business or political elites. Picard recommends considering '''six discrete layers''' when discussing PMCs, each of which, he says, must be radically democratised: 
# funding, 
# governance, 
# ascertainment (to determine a community’s ''critical information needs''), 
# infrastructure (including universal broadband service), 
# algorithmic (e.g., not allowing companies like Google and Facebook to suppress indexing information the might challenge their hegemony of those markets, [[w:Deep web|treating them like pedophilia and the Islamic State]]), 
# engagement, involving local communities in making their own news and in communicating their own stories; this is paramount to building trust and the grassroots-level support that this new local journalistic model requires.

All this needs to be managed in ways that provide substantive support to news deserts and underserved communities that have long been subjected to various kinds of informational redlining. This might be done by including the proposed PMCs within local libraries staffed by professional journalists, who provide training in media literacy in local schools for children and supervise students producing school newspapers. 

Management of such PMCs might be split between journalists on staff and boards of, e.g., six members selected at random from voter registration rolls serving staggered terms of one year with a new member rotated in every 2 months.  

Another alternative that could be done in parallel with local PMCs calls for 200 journalists in each US Congressional district funded at $10 billion annually in 2022 dollars, which is just a little under 4 hundredths of one percent of GDP; if such allocations are expressed as fractions of a percent of GDP, they would grow naturally with the economy. (The nominal GDP for the US was roughly $26.1 trillion in 2022.&lt;ref&gt;Johnston and Williamson (2026).&lt;/ref&gt; For 2026 it is estimated at $32.4 trillion.&lt;ref&gt;[[w:United States|United States]], accessed 2026-04-30.&lt;/ref&gt;) 

A similar model is the [[w:BBC|BBC]]’s Local Democracy Reporting Service (LDRS), in which the BBC funds journalists to cover the work of local councils and other local public bodies, funded at £8 million per year, which is a little under 2 hundredths of a percent of the [[w:United Kingdom|UK]]'s GDP of £7.27 trillion.&lt;ref&gt;[[w:United Kingdom|United Kingdom]], accessed 2026-04-30.&lt;/ref&gt; 

Pickard (2023) ended by saying, &quot;Today we face a crossroads: technocracy and oligarchy from above or radical democracy and structural reform from below. ... [T]his is not just a journalism crisis: it is a
democracy crisis.&quot;

==[proposed] Table of Contents==
*[[/Introduction/]] including an exercise, asking all to discuss perceptions of the settlement of ''[[w:Dominion Voting Systems v. Fox News Network|Dominion Voting Systems v. Fox News Network]]'' in a friendly supportive manner with humans with whom they may vehemently disagree, because the alternative could be killing humans over misunderstandings. 

===Part I. The media and political economy===
# [[/The impact of the media on political economy since the time of the Pharaohs/]] describes how hierarchical societies prior to [[w:James VI and I|King James of the King James bible]] were divided between those who fought, prayed, and worked. It was the responsibility of those who prayed to convince those who worked to live in poverty while giving increasing shares of what they produced so those who fought and prayed could live lives of leisure and opulence. During the reign of King James, pamphlets and newspapers began to compete with the church for helping commoners understand their roles in society. This produced the Industrial Revolution and modern democracies. Media consolidation since World War II gradually slowed and then reversed this trend. 
# [[/Fox, the Great Depression, the Great Recession, and our future/]] describes the unprecedented performance of the US political economy during the presidency of Franklin Roosevelt (FDR), insisting that much of what FDR achieved can be replicated, giving a media system that supports honest discussion of the available evidence. 
# [[/Media consolidation, social media, and political polarization/]] (Combine from McChesney and Nichols discussing the [[w:Postal Service Act|US Postal Service Act]] of 1792 with [[Media concentration per Columbia History Professor Richard John]], the section on &quot;[[v:Information is a public good: Designing experiments to improve government#Threats from social media|Threats from social media]]&quot; in &quot;[[Information is a public good: Designing experiments to improve government]], and the comments by [[v:Facebook whistleblower Frances Haugen says|Facebook whistleblower Frances Haugen that, &quot;the shortest path to a click is anger or hate.&quot;]].

===Part II. The media and war===
# [[/Deterrence without threat/]] (Draft in [https://peaceworkskc.org/deterrence-without-threat/ &quot;Deterrence without threat&quot; on the website of PeaceWorks Kansas City], noting that the historical record is clear: Nations that have prepared for war often got war, not peace. This happens for at least two reasons: First, some leaders cannot resist the temptation to use force inappropriately, sometimes clandestinely provoking others to do things that are then denounced as &quot;unprovoked&quot;. Alternatively, potential adversaries may believe -- or claim -- that you are actually preparing a first strike, and they must move preemptively or lose their ability to retaliate adequately. We can avoid these possibilities with three supportive policies: [a] Legislation that ''prohibits'' projecting force beyond our own borders. [b] Civilian-based defense training in nonviolent noncooperation like what helped Denmark survive Nazi occupation with minimal damage. And [c] A media system that makes it harder for the people who control most of the money for the media to create an environment that makes it hard for common folk to understand, &quot;Why they hate us&quot;, and that encourages leaders to be more bellicose than would best support broadly shared peace and prosperity. It is naive to assume that (i) military command, control and communications systems never malfunction, (ii) potential adversaries will behave as we expect, and (iii) no one wants to initiate Armageddon. Supporters of the current US system claim that (i) is virtually foolproof, though [[w:Daniel Ellsberg|Daniel Ellsberg]], who was a nuclear war planner prior to releasing the Pentagon Papers, disagrees; see [[w:Gold Codes|Gold Codes]]. The other two assumptions are demonstrably false. Under current practice, major media can defame poor folk and foreigners with impunity. Major wars like the US-led invasions of Iraq in 2003, Afghanistan in 2001, and Vietnam decades earlier might have played out very differently if individual foreigners and foreign governments had successfully sued the major US media, especially the [[w:Big Three (American television)|Big three US television networks]], [[w:NBC|NBC]], [[w:CBS|CBS]], and [[w:American Broadcasting Company|ABC]], for defamation following the principle in ''[[w:New York Times Co. v. Sullivan|New York Times Co. v. Sullivan]]''.) Another policy for parties to the [[w:Treaty on the Prohibition of Nuclear Weapons|Treaty on the Prohibition of Nuclear Weapons]] (TPNW) would be to institute gradually increasing tariffs on trade with nuclear-weapon states. Free trade agreements supported by the [[w:World Trade Organization|World Trade Organization]] allow exemptions for national security and other objectives. Even a minor nuclear war between India and Pakistan would have a negative impact on the entirety of humanity. It therefore seems sensible for parties to the TPNW to institute gradually increasing tariffs on nuclear weapon states, not so great as to seriously impact the economies of parties to the TPNW but aggressive enough to gradually wean their economy from reliance on trace with nuclear-weapon states. Regarding [a], [https://www.rsn.org/001/inside-the-ukrainian-interceptor-drones-wanted-around-the-gulf.html?ref=messenger.rsn.org see &quot;Inside the Ukrainian Interceptor Drones Wanted Around the Gulf&quot; Dan Peleschuk / Reuters, 2026-03-18] and [https://www.rsn.org/001/building-tanks-while-the-ukrainians-master-drones.html?ref=messenger.rsn.org &quot;Building Tanks While the Ukrainians Master Drones&quot;, Simon Shuster / The Atlantic, 2026-03-18.]. Regarding [b], [https://www.zinnedproject.org/news/tdih/bree-newsome-removes-confederate-flag/?emci=45687920-ee1c-f111-9a48-000d3a14b640&amp;emdi=3b97ae4e-de25-f111-9a48-000d3a14b640&amp;ceid=19269752 On June 27, 2015, while politicians debated the implications of taking down the Confederate flag after the white supremacist murder of nine African Americans at Emmanuel AME Church] and several arson fires on Black churches in the South that followed, 30-year-old Ms. [[w:Bree Newsome|Bree Newsome]] scaled the South Carolina state flag pole and took the flag down. [[w:Bree Newsome#2015|twelve days later, the SC House of Reps]] voted to discontinue the use of the Confederate flag, and it was removed the next day.
# [[/Responding to a nuclear attack/]] (draft in [[Responding to a nuclear attack]]. Add a discussion of Russia's Poseidon nuclear powered unmanned underwater vehicle, armed with nuclear weapons. With that, cite the record of &quot;[[w:System accident|system accident]]s&quot;. Also add material from [[Nuclear weapons and effective defense]]). 
# [[/Threats from excessive government secrecy/]] (draft in [https://sanjosepeace.org/restrict-secrecy-more-than-data-collection/ &quot;Restrict secrecy more than data collection&quot;], adding material from [https://kkfi.org/program-episodes/does-us-government-secrecy-threaten-national-security/ Connelly (2023) ''The Declassification Engine: What History Reveals About America's Top Secrets''], [[Wikipedia:Moynihan Commission on Government Secrecy]] and [[1998 Embassy bombings and September 11]].

===Part III. Climate, immigrants, education, public health, and criminal justice===
# [[/Global warming/]] [Summarize research especially on conflicts of interest of major media in honestly reporting on this issue and the research on global warming itself and activities of groups concerned about this issue. Decompose into global population times CO2 equivalents per human.] 
# [[/Immigrants/]] [Summarize research documenting that [[w:Sanctuary city|sanctuary cities tend to have higher median incomes and no more crime than non-sanctuary jurisdictions]], and some studies report less crime. Moreover economists have documented that immigrants tend to be more entrepreneurial, overrepresented in patent applications, and generally increasing the rate of economic growth. See, e.g., Aghion et al. (2022) ''The power of creative destruction''; Aghion shared the 2025 Nobel Memorial Prize in Economics with two others.] 
# [[/Education/]] (draft in [[Invest in children]].) 
# [[/Public health/]] [Draft in [[UN public health data]] to be revised to be consistent with Bezruchka (2023, 2025).]
# [[/Criminal justice/]] (The section on &quot;[[w:United States incarceration rate#Editorial policies of major media|Editorial policies of major media]]&quot; in &quot;[[Wikipedia:United States incarceration rate]]&quot; cites research claiming that within the range range of experience in the US political economy since 1925, the incarceration rate is uncorrelated with crime: It's a function of the public's perception of crime, and that's a function of the media.)
# [[/Substance abuse and addictive behavior/]] (Research in cited in &quot;[[Wikipedia:War on drugs]]&quot; insists that the US and the world would have fewer problems with substance abuse and addiction problems with 100 percent public funding for treatment programs and complete decriminalization of possession and use of retail quantities of addictive substances. We would also likely have fewer problems with immigrants, as that would make it harder for the US to intervene in the internal affairs of fohttps://en.wikiversity.org/wiki/Wikiversity:FAQ/Editing/Edit_summaryreign countries funded off the books, as exposed in the [[w:Iran–Contra affair|Iran–Contra affair]].)
# [[/Empower women and girls/]] [Cite research claiming that a primary restraint on population growth is empowering women and girls. Empowering women and girls is not just a matter of equity: It is also a means to reduce the threats of global warming, of increasing exposure to animal diseases and other problems that come with unrestrained population growth.]

=== Continuation ===

* [[/The evolving media literacy movement/]] to invite others to keep this book current with the evolving understanding of media literacy, how to encourage and promote it and the benefits of doing so.

==See also==

* [[Wikibooks:Antiracist Activism for Teachers and Students/Points to Consider for Teaching Anti-racism/Media Literacy In Schools]]

==Notes==
{{reflist}}
	
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* [[d:Q131398359|Victor Pickard (2020) ''Democracy without journalism? : confronting the misinformation society'' (Oxford U. Pr.)]].
* [[d:Q138037937|Dean Starkman and Spencer Graves (2025) &quot;Dean Starkman and the watchdog that didn't bark anglais&quot; on Wikiversity]].
* [[d:Q134715465|Nikki Usher and Sanghoon Kim-Leffingwell (2022) &quot;How Loud Does the Watchdog Bark? A Reconsideration of Local Journalism, News Non-profits, and Political Corruption&quot;, ''SSRN Electronic Journal'']].
* [[d:Q61013892|Horacio Verbitsky (1997) ''Un mundo sin periodistas'' (in Spanish: A world without journalists; Editorial Sudamericana)]].

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The '''Reiter''' family is associated with traditions of service within the Habsburg Monarchy, particularly in the fields of military, administrative, and educational activity. The name is historically connected with Tyrol, where individuals bearing the surname ''Reiter'' are recorded in positions of judicial, military, and territorial responsibility from the 16th century onward.&lt;ref name=&quot;Ferdinandeum_general&quot;&gt;Tiroler Landesmuseen Ferdinandeum, ''Fischnaler Wappenkartei'', entries for Reiter family (Lienz, Klausen, Innsbruck, Ynsprugg/Innsbruck, Lengberg).&lt;/ref&gt;

The available material suggests the development of a pattern of service characterized by disciplined administrative function, military organization, and structured education within the institutional framework of the Habsburg Monarchy, a composite state marked by decentralized governance and service-based advancement.&lt;ref name=&quot;Ingrao&quot;&gt;Charles W. Ingrao, ''The Habsburg Monarchy, 1618–1815'', Cambridge University Press.&lt;/ref&gt;&lt;ref name=&quot;Judson&quot;&gt;Pieter M. Judson, ''The Habsburg Empire: A New History'', Harvard University Press, 2016.&lt;/ref&gt; These patterns of service later appear in connection with Vienna as the imperial center and subsequently extend into the southern regions of the Monarchy.

Presented as a research-based learning resource, the page explores patterns of administrative and military service in the Habsburg Monarchy using the Reiter surname as a case study. Rather than reconstructing a continuous genealogy, the focus lies on identifying recurring functional roles and institutional integration across different historical contexts.

In addition to published and archival materials, the reconstruction is informed by private sources, including family-held materials such as parish records, educational documentation (e.g., enrollment records, diplomas, and institutional certificates), and historical correspondence. These provide supplementary context but are not fully represented in publicly accessible archives and are therefore treated with methodological caution.

The account does not attempt to represent the full historical extent of the surname ''Reiter'', which occurs in multiple independent contexts across Central Europe. Such an approach allows for the examination of broader structural patterns through limited but traceable historical evidence.

== History ==

=== Tyrolean Origins ===
The earliest occurrences of the name are associated with Tyrol, a region of considerable strategic, military, and administrative importance within the Habsburg lands. Positioned along key Alpine transit routes linking Central Europe with northern Italy, Tyrol functioned both as a defensive frontier and as a corridor of economic, political, and administrative exchange.&lt;ref name=&quot;Ingrao&quot; /&gt;

From the late 16th century onward, individuals bearing the name ''Reiter'' appear in documented positions of authority within local governance and territorial administration. Recorded roles include ''Stadtrichter'' (city judge, combining judicial authority with administrative oversight) in Lienz and Klausen, as well as a ''Stadthauptmann'' (urban military commander responsible for defense and coordination) in Innsbruck.&lt;ref name=&quot;Ferdinandeum_roles&quot;&gt;Tiroler Landesmuseen Ferdinandeum, ''Fischnaler Wappenkartei'': Ruep Reiter (Stadt-Richter zu Lienz, 1580–1582, 1591–1593); Gabriel Reiter (Stadtrichter in Klausen, 1625); Michael Reiter (former Stadthauptmann in Ynsprugg/Innsbruck, c. 1648–1650).&lt;/ref&gt;

These offices formed part of a governance structure in which judicial, fiscal, and military responsibilities were not rigidly separated but instead overlapped within the framework of territorial lordship. Local officials operated within a layered administrative system linking municipalities, regional estates (''Landstände''), and central Habsburg authority. In this capacity, such figures acted as intermediaries, translating territorial and dynastic directives into local practice while maintaining regional stability.&lt;ref name=&quot;Ingrao&quot; /&gt;

The recurrence of these roles across multiple Tyrolean centers suggests a sustained integration of the name within a service-oriented administrative milieu, where advancement depended on demonstrated competence, reliability, and the ability to operate within established institutional frameworks. This reflects broader processes of early modern state formation, in which governance relied on locally embedded yet centrally aligned officeholders.&lt;ref name=&quot;Ingrao&quot; /&gt;

=== Reiter von Ritterfels ===

[[File:Reiter_v_Ritterfels_reconstruction.png|right|thumb|230px|Modern reconstruction of the coat of arms associated with Franz Reiter von Ritterfels (1692), for illustrative purposes.]]

A significant archival entry records '''Franz Reiter von Ritterfels''' as ''Pflegsverwalter'' (territorial administrator) at Lengberg between 1692 and 1702.&lt;ref name=&quot;Ferdinandeum_Ritterfels&quot;&gt;Tiroler Landesmuseen Ferdinandeum, ''Fischnaler Wappenkartei'', entry for Franz Reiter v. Ritterfels; Lengberg (1692; 1702).&lt;/ref&gt;

The office of ''Pflegsverwalter'' combined executive authority, judicial competence, fiscal management, and oversight of territorial order within a defined jurisdiction. Such officials functioned as direct representatives of territorial authority, responsible for enforcing legal norms, managing estates, and maintaining administrative continuity.&lt;ref name=&quot;Ingrao&quot; /&gt;

The designation ''von Ritterfels'' appears in connection with this entry and may reflect a territorial, administrative, or locational association within the imperial system rather than a fixed hereditary title. In later usage, shortened forms such as ''von Reiter'' appear and may indicate the adaptation or reinterpretation of such identifiers within evolving social and bureaucratic contexts.

=== The ''&quot;von Reiter&quot;'' Designation ===
The use of the particle ''&quot;von&quot;'' in Central European naming conventions has historically been fluid. While often associated with forms of social distinction, it has also been employed to denote geographic origin, administrative affiliation, or adopted identifiers within military and bureaucratic environments. In addition, ''&quot;von&quot;'' could carry cultural significance, reflecting regional identity, linguistic tradition, and inherited naming practices that shaped personal and family heritage across generations.

In this context, the designation ''von Reiter'' is best understood as reflecting patterns of documented usage rather than constituting definitive evidence of formally recognized status, illustrating the flexibility of naming practices within the Habsburg administrative world and their intersection with broader cultural and hereditary expressions of identity.

=== Heraldry ===

[[File:Reiter_v_Ritterfels_archival.jpg|right|thumb|230px|Archival depiction attributed to Franz Reiter von Ritterfels (1692–1702), Tiroler Landesmuseen Ferdinandeum.]]

A coat of arms associated with the name ''Reiter von Ritterfels'' is preserved in the collections of the Tiroler Landesmuseen Ferdinandeum.&lt;ref name=&quot;Ferdinandeum_heraldry&quot;&gt;Tiroler Landesmuseen Ferdinandeum, Wappensammlung (Josef Oberforcher), Blatt 76.&lt;/ref&gt;

The archival entry attributes the coat of arms to '''Franz Reiter von Ritterfels''' in his capacity as ''Pflegsverwalter'' at Lengberg. The depiction reflects the heraldic conventions of late 17th-century Tyrol, including shield, helmet, and crest elements.

No formal blazon is recorded in the available material. The reconstructed depiction suggests a quartered shield featuring a mounted rider and a lion, consistent with symbolic motifs associated with mobility, authority, and strength.

No historically attested motto is recorded. In later interpretive usage, the phrase ''Disciplina et Virtus'' ('''&quot;Discipline and Virtue&quot;''') has been associated with the reconstructed context as a conceptual summary derived from patterns of administrative and military service. References to similar formulations appear in private correspondence; however, these remain fragmentary and do not constitute formal heraldic attribution.

=== Imperial Service and Ennoblement ===

[[File:Reiter von Reitersfeld Coat of Arms (Original).png|right|thumb|260px|Original coat of arms associated with the ennoblement of '''Stephan Anton Reiter von Reitersfeld''', dated 25 August 1792, preserved in the Austrian State Archives, AVA Adel HAA AR 786.18, fol. 4.]]

A significant development in the historical trajectory associated with the surname ''Reiter'' is the ennoblement of '''Stephan Anton Reiter''', who was elevated to the nobility by '''Emperor Franz II''' on 25 August 1792 with the predicate ''“von Reitersfeld”''.&lt;ref name=&quot;OeStA-Reiter-1792&quot;&gt;Austrian State Archives (Österreichisches Staatsarchiv), Haus-, Hof- und Staatsarchiv, LA OLMA F 30: &quot;Kaiser Franz II. erhebt den Oberstleutnant Stephan Anton Reiter in den Adelsstand und verleiht ihm das Prädikat ‚von Reitersfeld‘ und ein Wappen&quot;, 25 August 1792. Available at: https://www.archivinformationssystem.at/detail.aspx?ID=2568377&lt;/ref&gt;&lt;ref name=&quot;OeStA-AVA-Reiter-1792&quot;&gt;Austrian State Archives (Österreichisches Staatsarchiv), Allgemeines Verwaltungsarchiv, Adelsarchiv, Hofadelsakten, AT-OeStA/AVA Adel HAA AR 786.18: &quot;Reiter, Stephan Anton, Oberstleutnant beim Generalkommando in Wien, Adelsstand, ‚von Reitersfeld‘&quot;, 25 August 1792. Available at: https://www.archivinformationssystem.at/detail.aspx?ID=4349005&lt;/ref&gt;

The administrative nobility dossier in the '''Allgemeines Verwaltungsarchiv''' identifies him more specifically as '''''Oberstleutnant beim Generalkommando in Wien''''' (lieutenant colonel attached to the General Command in Vienna). The record gives the date of ennoblement as 25 August 1792, the place of issue as Vienna, and records the grant as an elevation into the '''''Adelsstand''''' with the predicate '''''“von Reitersfeld”'''''. The dossier further notes that the coat of arms appears on folio 4, while seals are recorded on folios 12, 14, and 16; the file extends from folio 1 to folio 25.&lt;ref name=&quot;OeStA-AVA-Reiter-1792&quot; /&gt;

The parallel patent record preserved in the Haus-, Hof- und Staatsarchiv confirms that Emperor Franz II raised Stephan Anton Reiter into the nobility and granted him both the predicate ''“von Reitersfeld”'' and a coat of arms. The record is catalogued under LA OLMA F 30 within the Niederösterreichisches Landmarschallamt material.&lt;ref name=&quot;OeStA-Reiter-1792&quot; /&gt;

A later printed notice in '''Johann Georg Megerle von Mühlfeld's ''Österreichisches Adels-Lexikon''''' also records an ''Anton Reiter, Oberstlieutenant'', ennobled in 1792 with the predicate ''von Reitersfeld''. This compressed form is best understood as a secondary corroborating notice, while the fuller official archival form ''Stephan Anton Reiter'' remains preferable for identification.&lt;ref name=&quot;Adelslexikon_Reitersfeld&quot;&gt;Johann Georg Megerle von Mühlfeld, ''Österreichisches Adels-Lexikon des achtzehnten und neunzehnten Jahrhunderts'', Vienna, 1822, entry for Reiter: &quot;Anton, Oberstlieutenant, im Jahre 1792 mit von Reitersfeld&quot;. Digitized copy available via Internet Archive: https://archive.org/details/bub_gb_tA0NAAAAYAAJ/mode/2up&lt;/ref&gt;

At the time of ennoblement, Reiter therefore held an established officer rank within the imperial military-administrative structure centered in Vienna. Ennoblements of this type formed part of the system of '''Dienstadel''' (service nobility), through which individuals could attain noble status on the basis of demonstrated military or administrative merit.

The designation '''''“Reiter von Reitersfeld”''''' represents the formal establishment of a noble predicate within this framework. The available catalogue descriptions identify the grant as ''Adelsstand'' and do not specify a higher titled rank such as ''Ritterstand'' or ''Freiherrenstand''. For this reason, the safest interpretation is that the grant represented untitled nobility with a nobiliary predicate, unless the full patent text demonstrates otherwise.

Within the broader context of the Habsburg Monarchy, this ennoblement situates the name ''Reiter'' within the centralized institutional framework coordinated through Vienna, the administrative and military core of the empire. Even where service was carried out across different regions, careers of this kind were embedded in structures linked to the capital.

In this perspective, the ennoblement of 1792 may be understood as part of an ongoing pattern of service associated with the surname, connecting earlier regional administrative contexts with later, more fully documented military activity in Vienna during the 19th century.

=== Imperial Military Service and Vienna ===

The integration of the surname ''Reiter'' into the imperial military framework in the late 18th century is reflected more directly in the 19th century through documented military records associated with Vienna, the administrative and military center of the Habsburg Monarchy.

During the mid to late 19th century, individuals bearing the name are associated with Vienna, reflecting participation in the military and administrative structures of the Habsburg Monarchy, whose capital functioned as the central node of imperial governance, bureaucracy, and military command.&lt;ref name=&quot;Beller&quot;&gt;Steven Beller, ''The Habsburg Monarchy, 1815–1918'', Cambridge University Press, 2018.&lt;/ref&gt;&lt;ref name=&quot;Judson&quot; /&gt;

A documented representative is '''Franz von Reiter''' (also recorded as '''Franz Reiter'''), recorded in the '''Militär-Schematismus''' (official military register) between 1850 and 1876.&lt;ref name=&quot;Schematismus&quot;&gt;
Militär-Schematismus des österreichischen Kaiserthums (Vienna: k.k. Hof- und Staatsdruckerei), annual issues, 1852–1877.
&lt;/ref&gt; He entered service as an ''Unterleutnant'' (second lieutenant) in the 38th Infantry Regiment and advanced to ''Oberleutnant'' (first lieutenant), later attaining the rank of ''Hauptmann 1. Classe'' (captain, first class) in the 32nd Hungarian Infantry Regiment.

The infantry regiments (''Infanterieregimenter'') of the Habsburg army were organized as numbered units tied to specific recruitment districts (''Ergänzungsbezirke''), though their operational deployment frequently extended far beyond these regions. The surviving military archival framework also reflects this territorial logic, with personnel and recruiting records often organized by recruiting district, regiment, or crown land.&lt;ref name=&quot;OxfordRecruitment&quot;&gt;
Conscription in the Habsburg Monarchy, 1740–1792, British Academy / Oxford Scholarship Online: the system was reorganized into regimental recruitment districts under Joseph II.
&lt;/ref&gt;&lt;ref name=&quot;WredeRecruitment&quot;&gt;
Alphons von Wrede, Geschichte der k.u.k. Wehrmacht, Bd. 1 (1898–1905), including Übersicht über die Werbbezirkseinteilung 1781–1889 and Ergänzungsbezirke um 1900 (Austrian State Archives, Kriegsarchiv).
&lt;/ref&gt;

These regiments were composed of soldiers drawn from multiple ethnic, linguistic, and regional backgrounds, illustrating the multinational character of the imperial army. Officers were regularly transferred between units and stationed across different crown lands, contributing to a shared institutional culture based on standardized training, discipline, and loyalty to central command rather than local affiliation.&lt;ref name=&quot;Beller&quot; /&gt;&lt;ref name=&quot;Judson&quot; /&gt;

Units of this type were regularly engaged in major military theaters of the 19th century, including campaigns associated with the Italian Wars of Independence and the suppression of revolutionary movements in 1848–1849. Although direct participation of specific individuals in particular engagements cannot always be verified, service within such regiments situates them within the broader framework of imperial military operations.&lt;ref name=&quot;Beller&quot; /&gt;

This period coincided with profound structural transformations, including the Revolutions of 1848 and the Austro-Hungarian Compromise of 1867, which reshaped political authority, administrative organization, and military command structures. The army underwent processes of modernization and professionalization, introducing more uniform training systems, clearer hierarchies, and increasingly centralized coordination across diverse territories.&lt;ref name=&quot;Beller&quot; /&gt;&lt;ref name=&quot;Judson&quot; /&gt;

Within this evolving system, military service provided a pathway for advancement that relied less on hereditary privilege and more on education, discipline, and demonstrated competence. The mobility of officers across different regions contributed to the development of a cohesive imperial administrative and military culture despite the growing complexity of the dual monarchy.&lt;ref name=&quot;Beller&quot; /&gt;

A later individual, '''Franz Reiter''' (born 1878 in Vienna), very likely the son of the aforementioned officer, can be identified in editions of the Militär-Schematismus from the early 1900s as an artillery officer of the Austro-Hungarian army.&lt;ref name=&quot;Schematismus_KuK&quot;&gt; Schematismus für das Kaiserliche und Königliche Heer und für die Kaiserliche und Königliche Kriegs-Marine.
Vienna: k. k. Hof- und Staatsdruckerei, various years (1901–1911).
&lt;/ref&gt;
Within these registers, he appears initially as a ''Leutnant'' (second lieutenant) and subsequently as an ''Oberleutnant'' (first lieutenant), with annotations indicating formal military education ('''Militärakademiker''', i.e. graduate of a military academy). This designation reflects his formation within the institutionalized officer training system of the late Habsburg army, in which structured education and technical specialization played an increasingly central role. His early assignment to artillery formations suggests a technically oriented professional profile, while his subsequent advancement and the recorded indication of decoration in later registers indicate continued service and recognized standing within the officer corps.

By the early 20th century, he is further associated with relocation to the southern territories of the Monarchy, where he is recorded in regional historical materials as having acquired a mill in the ''Ivanec'' area of Varaždin County in the early 1910s.&lt;ref name=&quot;Ivanec&quot;&gt;Regional historical materials for Ivanec, including references to ''Rajterov mlin'' in local historiography (Kukuljević collection and related studies, Varaždin region).&lt;/ref&gt;

The recurrence of the surname ''Reiter'' in both the late 18th-century ennoblement of '''Stephan Anton Reiter von Reitersfeld''' and in the 19th-century military records of '''Franz Reiter''' in Vienna reflects a sustained presence of the name within the imperial military structures of the Habsburg Monarchy.

This continuity suggests the persistence of a service-oriented profile associated with the surname, extending from earlier phases of imperial integration into the more fully documented military environment of Vienna.

=== Southern Transition ===

==== Linguistic and Regional Adaptation ====
In the regional context, the surname appears in the localized form ''Rajter'', reflecting phonetic adaptation within South Slavic linguistic environments.

The transformation from '''''Reiter''''' to '''''Rajter''''' follows identifiable phonological patterns characteristic of the adaptation of German-language surnames into South Slavic linguistic systems. The German diphthong ''ei'' is regularly rendered as ''aj'', while the consonantal structure remains largely preserved, resulting in a form that is both phonetically consistent with the original and integrated into local pronunciation norms.

Such transformations were not isolated phenomena but part of a broader pattern within multilingual regions of the Habsburg Monarchy, where administrative, military, and civilian populations interacted across linguistic boundaries. Surnames were frequently adapted in parish records, civil registries, and everyday usage, reflecting both practical pronunciation and evolving linguistic standardization.

This process intensified during the late 19th and early 20th centuries, particularly in regions such as northern Croatia, where administrative bilingualism gradually gave way to the increased standardization of South Slavic languages in official and educational contexts. Following the dissolution of Austria-Hungary in 1918, newly formed national frameworks introduced more consistent orthographic and linguistic norms, further reinforcing localized surname forms.&lt;ref name=&quot;Beller&quot; /&gt;&lt;ref name=&quot;Judson&quot; /&gt;

==== Rajterov mlin and Regional Integration ====
The reference to ''Rajterov mlin'' (also recorded as ''Kukuljević–Rajterov mlin'' and in some instances as ''Reiterov mlin'' in regional historical materials) provides a concrete example of this transition, illustrating how a name associated with imperial administrative and military contexts became embedded within a regional economic setting.&lt;ref name=&quot;IvanecMlinovi&quot;&gt;Ivanečki mlinovi (Ivanec watermills), regional historical overview.&lt;/ref&gt;

In this context, '''Franz Reiter''' (1878) is associated with the Ivanec area in the early 20th century. Within the regional South Slavic linguistic environment, his name appears in the localized form '''Franjo Rajter''', reflecting both phonetic adaptation and integration into local cultural and administrative usage.

This transformation from '''''Franz von Reiter''''' to '''''Franjo Rajter''''' corresponds to broader patterns of linguistic and social adaptation characteristic of the late Habsburg and immediate post-imperial period, in which individuals moving between German-speaking and South Slavic regions frequently adopted localized forms of personal and family names in accordance with prevailing administrative, educational, and social norms.

Regional documentation identifies the mill as one of several significant milling installations, explicitly referring to a ''Kukuljević–Rajterov mlin'', indicating either successive ownership, shared association, or historiographical layering of naming conventions within local records.&lt;ref name=&quot;IvanecMlinovi&quot; /&gt;

The variation between ''Reiterov'', ''Rajterov'', and ''Kukuljević–Rajterov'' reflects the multilingual administrative and historiographical environment of the late 19th and early 20th centuries. German-derived naming conventions, South Slavic phonetic adaptation, and later standardized Croatian historiography intersect in these forms, preserving multiple layers of linguistic and social identity within the documentary record.

Beyond its linguistic and historiographical significance, the mill functioned not only as a private enterprise but also as a structurally important component of the regional agrarian economy. Watermills in this period served as key infrastructural nodes, linking agricultural production (grain cultivation), processing (milling), and local distribution networks. Their operation was often tied to landownership, tenancy relations, and local administrative frameworks, embedding them within both economic and social hierarchies.

The association of '''Franz Reiter''' (Franjo Rajter) with this environment reflects the transformation of identity from an imperial service-oriented context into a localized economic and social presence. It also corresponds to a broader pattern observed in post-imperial regions, where individuals and families formerly connected to administrative or military structures adapted to new roles within regional economic systems following the restructuring of political authority after the dissolution of Austria-Hungary.

==== Family Continuity and 20th-century Development ====
'''Franz Reiter''' (Franjo Rajter) is recorded in family-related materials as having had seven children—six daughters and one son. His son, '''Franjo Rajter''' (born 1917), represents the continuation of the localized form of the surname within the regional context.

He is associated in family-held and related materials with studies in law and economics at the University of Zagreb and with subsequent professional activity within Jugoslav Railways (''Jugoslavenske Željeznice''), reflecting continued participation in structured institutional environments requiring formal education and administrative competence.

Within the context of the Yugoslav state, such positions were embedded within centralized administrative and infrastructural systems, continuing earlier patterns of institutional integration, albeit within a transformed political and organizational framework.

==== Migration and Post-Imperial Transition ====
Migration patterns further reflect adaptation to changing historical conditions. During the 20th century, individuals associated with this branch are documented in family-related and regional materials as emigrating to countries including the United States, Australia, and Argentina. These movements correspond to broader Central and Eastern European migration trends driven by economic factors, political change, and the reconfiguration of state structures.

In some cases, later return movements toward Austria, particularly Vienna, are also noted, indicating continued connections with earlier administrative and cultural centers of the Habsburg world.

These developments may be situated within the broader context of post-imperial transformation, including the dissolution of imperial administrative systems, the emergence of nation-states, and the redefinition of identity markers such as language, surname, and institutional affiliation. In this environment, the adaptation from ''Reiter'' to ''Rajter'' represents both a linguistic adjustment and a reflection of integration into new socio-political frameworks.
== Methodology ==

This learning resource is based on a combination of primary, secondary, and supplementary private materials, analyzed using a case study approach focused on the occurrence of the surname ''Reiter'' within the administrative and military structures of the Habsburg Monarchy.

Primary sources include archival records and official registers, while secondary sources provide regional and historical context. Supplementary private materials, including parish documentation, educational records, and correspondence, are used cautiously to provide continuity where public records are incomplete.

The methodological framework corresponds to a prosopographical and microhistorical approach, examining individual instances as part of broader patterns of institutional service, social mobility, and administrative integration.&lt;ref name=&quot;Judson&quot; /&gt;

Interpretation distinguishes between documented evidence, contextual inference, and later interpretive elements, acknowledging the limitations inherent in fragmentary and heterogeneous source material.

== Interpretive analysis ==

The available evidence suggests a pattern of functional continuity characterized by repeated integration into military, administrative, and educational institutions across different historical periods. These patterns reflect broader dynamics of governance, professionalization, and mobility within the Habsburg Monarchy rather than a fixed hereditary identity.&lt;ref name=&quot;Ingrao&quot; /&gt;&lt;ref name=&quot;Beller&quot; /&gt;&lt;ref name=&quot;Judson&quot; /&gt;

== References ==
&lt;references /&gt;

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      <text bytes="10196" sha1="jjzg01n8oyza8qvndmes7zux2s1zefy" xml:space="preserve">'''neutrino gradient induced gravitation'''; spacetime is warped by neutrinos; proof that neutrino gradients are the key to uniting quantum theory with gravity theory;


Isaac Newton proved that mass density gradients warp the refractive index and change the speed of transverse radiation; slower radiation in higher mass density; this is called optics.

John Kerr proved that transverse radiation gradients warp the refractive index and change the speed of transverse radiation; slower radiation in higher intensity of radiation; this is called the AC Kerr effect.


Neutrinos have both mass and a transverse radiation component, therefore I predict that neutrino gradients warp the refractive index and change the speed of transverse radiation (effecting both photons and neutrinos); slower neutrinos in higher intensity neutrinos.


I predict that photons may be reverberations or resonance of/between neutrinos... similar to how phonons are reverberations or resonance of/between atoms.

I predict that matter is a self-focusing refraction curvature stabilized vortex of photons and neutrinos.

I predict atmospheres and stellar and galactic media are Lundberg lens to the cosmic neutrino background; therefore there is a neutrino gradient associated with each the atmospheres and stellar and galactic media; therefore there is slower and higher intensity neutrinos in each.

The vacuum refractive index defines the reference units. Therefore it is a constant in any frame of reference. However since the refractive index changes in neutrino gradients the ACTUAL refractive index across a neutrino gradient is itself a gradient. Therefore I predict the actual vacuum refractive index changes according to altitude in a neutrino gradient.

One of the results (I predict) being that as the vacuum refractive index increases, the Bohr radius shrinks [metaphor; imagine an electron orbiting an atom at a particular velocity and orbital frequency, if you slow the velocity (by increasing the refractive index) the orbit length would have to shrink to maintain the same orbital frequency] i.e. LENGTH CONTRACTION according to altitude.

when matter length contracts moving into higher refractive index (higher neutrino intensity), the mass of matter shrinks, but mass-energy is conserved therefore there is the creation of kinetic energy or thrust down the gradient i.e. gravity &lt;ref&gt;https://web.archive.org/web/20230128155849/http://www.newtonphysics.on.ca/gravity/index.html&lt;/ref&gt;. this process may need continuous atomic movement such as from brownian motion; I predict brownian motion is from ambient radiation adsorption recoiling.


Global Flood Model; since the continental plates (which are granite) are 20 times older than the oceanic crust (which are basalt) and the continental plates fit together on a smaller earth; I predict that earth's core was length contracted by higher intensity neutrinos in the past compared to the current neutrino intensity because the oceanic water was in the atmosphere in the past; which means the atmosphere was a larger Lundberg lens to the cosmic neutrino background; which means there was higher intensity neutrinos in the core of the earth length contracting the core of the earth; which means once this water fell to the earth the core of the earth length expanded breaking up the continental plates. As the earth expanded it created the oceanic basalt crust... which is a different process than when the original granite crust was formed.


time dilation can be measured most accurately with nuclear clocks; nuclear clocks work by using the radio active decay rate; the radio active decay rate is effected by neutrino intensity&lt;ref&gt;https://web.archive.org/web/20150528020329/http://news.stanford.edu/news/2010/august/sun-082310.html&lt;/ref&gt;&lt;ref&gt;https://www.scirp.org/journal/paperinformation?paperid=100032&lt;/ref&gt;&lt;ref&gt;https://www.icr.org/article/5656/&lt;/ref&gt;&lt;ref&gt;https://www.sciencedirect.com/science/article/abs/pii/S0375960115000894&lt;/ref&gt;&lt;ref&gt;https://www.governmentattic.org/35docs/NeutDecayRatesDOEtechsource_2016-2019.pdf&lt;/ref&gt;; therefore the lower the neutrino intensity the faster the time

Therefore I predict that according to the Global Flood Model; the radioactive decay rate is not a constant, but that the radio active decay rate was lower before the flood because of the higher neutrino intensity. which means the dating methods that assume constants in radioactive decay rate across time; while precise are not accurate.

I predict the flood must be the last mass extinction event.

I predict the K-T iridium aerosols [presumably from meteoroids] and any possible volcanic ash would have acted like cloud condensation nuclei, cloud seeding the deluge


I predict if God saved all the original animals in the Ark then the genera after the flood (notice blue line) matches the genera at Adam's creation (notice yellow line) proving God saved all the original animals; https://commons.wikimedia.org/wiki/File:Phanerozoic_Biodiversity-2.png


I predict If we assume that Adam was 44a when Eve was born and that the creative days are 221Ma (according to the dating inaccuracy) then a creative day is 9,500 years

Eve became the Mother of Seth at 86a. Genesis 5:3 Seth became the father of Enosh at 105. Genesis 5:6 Enosh became the father of Kenan at 90. Genesis 5:9 Cainan became the father of Mahalalel at 70. Genesis 5:12 Mahalalel became the father of Jared at 65. Genesis 5:15 Jared became the father of Enoch at 162. Genesis 5:18 Enoch became the father of Methuselah at 65. Genesis 5:21 Methuselah became the father of Lamech at 187. Genesis 5:25 Lamech became the father of Noah at 182. Genesis 5:28 The Flood started when Noah was 600. Genesis 7:6

(86+105+90+70+65+162+65+187+182+600)=1612a of creative day seven [Eve's creation to the flood]

1612a*221/37.5=9500 [this is a creative day]

Fifth day

510 Ma the first fish, the jawless ostracoderms.

410 Ma the first fish with jaws, the acanthodians.

365 Ma the tetrapods.

350 Ma the dragonfly (the first flying creatures were insects).

340 Ma the amniotes.

And God went on to say: Let the waters swarm forth a swarm of living souls and let flying creatures fly over the earth upon the face of the expanse of the heavens. And God proceeded to create the great monsters and every living soul that moves about, which the waters swarmed forth according to their kinds, and every winged flying creature according to its kind. And God got to see that [it was] good. ... And there came to be evening and there came to be morning, a fifth day. (Genesis 1:20-23)

Surprisingly enough, the flying creatures in this verse is not birds (as many may have thought), rather, it is insects!

Sixth day

285 Ma the therapsids.

230 Ma the dinosaurs.

225 Ma the first true mammals, Gondwanadon tapani or Morganucodon watsoni.

150 Ma the first bird, Archaeopteryx.

And God went on to say: Let the earth put forth living souls according to their kinds, domestic animal and moving animal and wild beast of the earth according to its kind. And it came to be so. And God proceeded to make the wild beast of the earth according to its kind and the domestic animal according to its kind and every moving animal of the ground according to its kind. And God got to see that [it was] good. (Genesis 1:24, 25)

As you can see this work clarified our understanding of the bible (first flying creatures are insects) and the creation of the other animals matches the day of their biblical creation


Jehovah told me that the creation of Eve to the present has been about 6000a

Therefore I predict Tyranusourus Rex fossils are dated between the creation of Eve and the date of the Flood; somewhere around 800a of creative day seven or ~5,200 years ago (inaccurately dated to 80Ma)

https://s.hdnux.com/photos/10/17/62/2161798/6/1200x0.jpg

https://www.science.org/cms/10.1126/science.1108397/asset/f350e639-3ffd-48d9-a488-2dfa943596dd/assets/graphic/307_1952_f2.jpeg

How old is this T. Rex blood and soft tissue? 5,200 years old or 80 MILLION years old?


I predict that the soft tissue found in T. Rex bone will Carbon 14 date to around 5,200 years old!

This will verify my theory about the Deluge Geology, Radio Dating Inaccuracy, and Creative 'Days'.


That said, how could man, birds, and land animals have survived the deluge?

According to the bible (and over a hundred of other ancient sources), there was a great flood that destroyed the ancient world, for which, the gods spared some men and animals.

Jehovah claimed to cause the flood. In any cause we must grant at least the existence of advanced extraterrestrials (or gods exist or even that God exists) such that they could have spared some men, otherwise, mankind and all the animals on land could not have possibly survived such an event.

Ron Wyatt found a formation in the mountains of Ararat of petrified wood in the shape of a boat having the same length as described of the Ark in the Bible; https://i.pinimg.com/originals/55/8a/cb/558acb1d59f1dab953c3fcaa16cc2670.jpg


Discussion;

Birds are not spoken of in the creative days as flying creatures because the first birds originally did not strictly fly about; &quot;Gliding, not strong flight: Fossil evidence suggests that Archaeopteryx and other early birds had weaker feathers and skeletal structures that were not strong enough for sustained, powered flight, but were likely capable of gliding between trees or other high points. Flight developed later: Powered flight developed over time, with some ancient birds evolving the flight-friendly feather structures of modern birds later in the Cretaceous period.&quot;-Google AI

The Ark found by Ron Wyatt is located at the base of the mountains of Ararat, not &quot;on&quot; them (as is otherwise so translated). But no worries, the word translated &quot;on&quot; can actually be translated as &quot;among, at, or touching&quot;.


Arguments in favor of this interpretation of the Global Flood, time dilation, length contraction, spacetime warping, vortex nature of matter, and gravity;

(1) I predict this quantum field theory of gravity can be renormalized

(2) this theory suggests that gravity is engineerable

(3) this proves God's existence

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      <comment>Created page with &quot;== Starting activity == Watch [https://www.youtube.com/watch?v=ITThmEXn1zc this video] about theatre and art activities in prison.  Now, ask yourself a few questions:  * What makes the prison environment particularly marginalized? * Why are theatre and other artistic activities important in the lives of inmates? * What other approaches could have the same effect? * Are there other contexts where the marginalization of social groups is just as significant? Which ones?  ==...&quot;</comment>
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      <text bytes="9409" sha1="fwvlstb8034nkt7pidxcp6up9xmg6jn" xml:space="preserve">== Starting activity ==
Watch [https://www.youtube.com/watch?v=ITThmEXn1zc this video] about theatre and art activities in prison.

Now, ask yourself a few questions:

* What makes the prison environment particularly marginalized?
* Why are theatre and other artistic activities important in the lives of inmates?
* What other approaches could have the same effect?
* Are there other contexts where the marginalization of social groups is just as significant? Which ones?

== Objectives ==
By the end of this section, you should be able to…

* identify socially marginalized contexts
* characterize these contexts from a social and linguistic perspective
* analyze the needs for plurilingual education in these contexts
* describe concrete practices aimed at developing plurilingualism in marginalized contexts
* outline the individual and social benefits of these practices

== Keywords ==
Marginalized contexts, human dignity, inclusion, plurilingual communication, intercomprehension, translanguaging, carceral environment 

== Prerequisites ==
You may  want to check out the pages on [[theories and models of plurilingualism]], [[intercomprehension]], and [[translanguaging]]. 

== Introduction ==
The Common European Framework of Reference for Languages (CEFR) highlights the risk of exclusion faced by people who do not speak the “useful” languages in an increasingly interconnected society. For example, linguistic minorities, such as speakers of Catalan, Basque, or Galician in Spain, have often been stigmatized or silenced in the past, and revitalizing their languages remains a challenge. In disadvantaged neighborhoods, people from immigrant backgrounds or precarious circumstances face a double disadvantage: their native language is devalued, and access to learning dominant languages is limited. Marginalized contexts, such as prisons, depopulated rural areas, or communities where people with disabilities live, also illustrate these inequalities. In prison, for example, inmates have few educational opportunities tailored to their language, which exacerbates their exclusion. Similarly, immigrants and refugees face obstacles in having their credentials recognized or accessing essential information in their language. Finally, power dynamics between languages create hierarchies: institutional languages (such as English or French) are privileged, while minority languages are often relegated to a lower status. This can discourage speakers of these languages from using or passing them on, reinforcing their marginalization. 

To combat the inequalities named above, the CEFR promotes plurilingual and intercultural education, which values all languages and cultures, and trains teachers and professionals on issues of diversity. Initiatives exist, such as language enrichment programs for immigrant students or intercomprehension courses in prisons, but they remain insufficient given the scale of the needs. The challenge, therefore, is to recognize and actively support this diversity to build a more inclusive society.

Plurilingualism develops through measures that strengthen linguistic and intercultural skills, which are essential in multicultural societies. It encourages the learning of multiple languages and fosters intercultural awareness to promote mutual understanding. Plurilingual education, by integrating diverse pedagogical approaches, becomes a tool for social inclusion. It adapts educational programs to the needs of learners from varied backgrounds, particularly in disadvantaged neighborhoods and marginalized contexts such as prisons or rural areas. Intercomprehension courses are offered there, often in partnership with associations and universities. Appropriate language policies are necessary to support these initiatives and allocate the required resources. Examples, such as programs for immigrant students in the Basque Country or integration measures in Quebec, demonstrate a commitment to a more equitable society. Raising awareness of linguistic diversity and protecting minority languages remain crucial to ensuring an environment that respects all cultures.

== History/Concept ==
If we take a European national context as an example, the foreign inmates in Spanish correctional facilities  account for 29.5% and live in an environment characterized by linguistic and cultural diversity. This diversity gives rise to complex communication situations, where language poses a major obstacle in three distinct levels:

* An administrative setting, where Spanish is the dominant language, which can exclude non-Spanish-speaking inmates.
* Interactions among foreign inmates, whose diverse backgrounds involve languages belonging to different linguistic families, make communication difficult.
* Interactions between foreign and Spanish inmates in common areas, where linguistic and cultural differences can hinder mutual understanding.

Added to this linguistic diversity is cultural diversity, as each individual brings a unique linguistic and cultural background. Some inmates lack access to basic education or do not speak any language other than their L1. Thus, the language barrier is not the only challenge they face in their interpersonal relationships and their integration within the facility.

== Concepts / Practical Applications ==
A module of plurilingual intercomprehension was implemented in prisons in Spain as a 20-hour summer course offered by the Universidad Nacional de Educación a Distancia (National University of Distance Education), bringing together external students, inmates, and prison staff. The method combined oral materials (advertisements, films, TV shows) and written materials (authentic texts) in five Romance languages (Portuguese, Italian, French, Catalan, Romanian), with a strong cultural focus (gastronomy, native stories, plurilingual workshops).

The teaching team, composed of L1-speakers (Spanish, Italian, French, Portuguese), created an immediate linguistic immersion. The benefits include the development of active listening and textual analysis, enabling learners to acquire linguistic structures that can be reused in other contexts.

== Take Home messages ==

* Plurilingual and intercultural communication in the prison setting is part of an effort to adapt to contemporary trends in mobility and societal diversity.
* Prisons house a population characterized by significant linguistic and cultural diversity, making it essential to establish communication models tailored to this pluralistic reality.
* Taking this linguistic and cultural diversity into account within the prison setting is a fundamental challenge for ensuring effective and inclusive communication.
* The plurilingual approach promotes linguistic understanding and respect for sociocultural differences, ensuring inmates’ equitable access to their rights and instilling fundamental values such as respect and tolerance.
* This approach strengthens inmates’ autonomy and cooperation while reducing their dependence on institutions. It fosters values such as tolerance and linguistic and cultural mutual understanding, and develops their skills for more effective and appropriate communication.

== Self-assessment ==

# How can effective and inclusive communication be ensured in prisons?
# What types of communication models could be implemented in prisons to address linguistic and cultural diversity, and how do they differ from traditional methods?
# How does a plurilingual  approach promote equity in prisoners’ access to their rights?
# What concrete impacts does this approach have on inmates’ autonomy, cooperation, and institutional dependence?

== Further reading ==

* Benucci, A. (2007). ''Italiano libera-mente. L’insegnamento dell’italiano a stranieri in carcere''. Guerra Edizioni.
* Benucci, A. &amp; Monaci, V. (2025). ''Questioni di genere, lingue e culture in carcere. Tutela della differenze contrasto all’emarginazione e all’esclusione in carcere''. Edizioni Ca’ Foscari.
* Gómez Fernández, A. (2023). Educación y centros penitenciarios. Comunicación plurilingüe e intercultural como modo de inclusión. In J. L. Muñoz de Baena Simón &amp; J. M. Enríquez Sánchez (Eds.), ''Vigilar y Educar: buenas prácticas formativas en centros penitenciarios'' (pp. 207 - 227). Tirant lo Blanch, Colección Márgenes.
* Pacini Volpe, P. (2021).  ''L’enseignement universitaire en milieu carcéral. Expériences comparées entre la France et l’Italie''. Champ social éditions.

= References =
Audras, I. (2014). Impact de séances d’éveil aux langues au sein d’un atelier parents-enfants dans une “Maison pour tous” : entretiens avec les acteurs de la structure. In C. Troncy (Ed.), ''Didactique du plurilinguisme. Approches plurielles des langues et des cultures. Autour de Michel Candelier'' (pp. 355-361). Presses Universitaires de Rennes.

Béacco, J-C. (2000). ''Les dimensions culturelles des enseignements de langue : des mots aux discours''. Hachette.

Conseil de l’Europe (2011). ''Cadre européen commun de référence pour les langues : apprendre, enseigner, évaluer'' – Volume complémentaire. Conseil de l’Europe.

Coste, D. (2010). Diversité des plurilinguismes et formes de l’éducation plurilingue et interculturelle. ''Recherches en didactique des langues et des cultures''.  [online], ''Les Cahiers de l’Acedle'', 7-1. https://doi.org/10.4000/rdlc.2031</text>
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    <title>Leatherworking/Lesson 1 – Tools</title>
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      <comment>Tag</comment>
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      <comment>PROD</comment>
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Tagesu</text>
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      <comment>Yes</comment>
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      <comment>/* */ Yes</comment>
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      <text bytes="33" sha1="jd2fo9ol9kk30pacl0lakkfpf5iabak" xml:space="preserve">An MesharyAlarada MHK BanglaDeshi</text>
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      <comment>Created page with &quot;[[File:TR_at_Bull_Moose_convention_1912.jpg|thumb|right|300px| The term [https://en.wikipedia.org/wiki/Bully_pulpit bully pulpit], meaning &quot;superb&quot; or &quot;wonderful&quot;, was coined by United States President [https://en.wikipedia.org/wiki/Theodore_Roosevelt Theodore Roosevelt], founder of the [https://en.wikipedia.org/wiki/Bull_Moose_Party Bull Moose Party].]]&quot;</comment>
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      <text bytes="356" sha1="m8llxp75snnzjfhbge5gu8u6hlwxit9" xml:space="preserve">[[File:TR_at_Bull_Moose_convention_1912.jpg|thumb|right|300px| The term [https://en.wikipedia.org/wiki/Bully_pulpit bully pulpit], meaning &quot;superb&quot; or &quot;wonderful&quot;, was coined by United States President [https://en.wikipedia.org/wiki/Theodore_Roosevelt Theodore Roosevelt], founder of the [https://en.wikipedia.org/wiki/Bull_Moose_Party Bull Moose Party].]]</text>
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      <text bytes="188" sha1="fdt3l2rx2yikhrtx23ah0ydhvc3zxvk" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|300px| The Metonic cycle is a period of almost exactly 19 years after which the lunar phases recur at nearly the same time of the year. ]]</text>
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      <text bytes="1940" sha1="4kgy3nr2izzc124vbpbq5lo7za17e6b" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|300px| The Metonic cycle is a period of almost exactly 19 years after which the lunar phases recur at nearly the same time of the year. ]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 2733 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
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      <text bytes="2837" sha1="fbtt60p7oevseucrzlqizbmglcmo2ob" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|300px| The Metonic cycle is a period of almost exactly 19 years after which the lunar phases recur at nearly the same time of the year. The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 2733 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
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      <text bytes="2709" sha1="iew73g78ud08rxnu3kczg96c9jtrhq4" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|300px| TThe darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 2733 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
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      <text bytes="2708" sha1="nbhadss9cjpfs4t6ll9t6q9zz0wkirm" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|300px| The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 2733 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
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      <text bytes="2708" sha1="obk16vx4ybjtljg2jhgs0ou41idb9xw" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|500px| The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 2733 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
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      <comment>/* Metonic Alignment Example */</comment>
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      <text bytes="2708" sha1="nqo1iq2n7dtwj4wdun8rluv7ndn7y16" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|500px| The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 27FF 9BFA}} || {{mono|9BFF}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
      <sha1>nqo1iq2n7dtwj4wdun8rluv7ndn7y16</sha1>
    </revision>
    <revision>
      <id>2807190</id>
      <parentid>2807189</parentid>
      <timestamp>2026-05-01T03:13:13Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* Metonic Alignment Example */</comment>
      <origin>2807190</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2708" sha1="lz7nhit208t8fuw13k6ijxdvyef175f" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|500px| The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 27FF 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
      <sha1>lz7nhit208t8fuw13k6ijxdvyef175f</sha1>
    </revision>
    <revision>
      <id>2807193</id>
      <parentid>2807190</parentid>
      <timestamp>2026-05-01T03:24:59Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807193</origin>
      <model>wikitext</model>
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      <text bytes="2726" sha1="qffh23po8tcpidvnmm8c6ojy4f8bg2e" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|500px| TThe darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment, which occurs every 19 years.
]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 27FF 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
      <sha1>qffh23po8tcpidvnmm8c6ojy4f8bg2e</sha1>
    </revision>
    <revision>
      <id>2807194</id>
      <parentid>2807193</parentid>
      <timestamp>2026-05-01T03:25:18Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807194</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2724" sha1="nleuphjqkw2yujpmgil435ansj2s5nj" xml:space="preserve">[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|500px| The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment, which occurs every 19 years.]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 27FF 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
      <sha1>nleuphjqkw2yujpmgil435ansj2s5nj</sha1>
    </revision>
    <revision>
      <id>2807196</id>
      <parentid>2807194</parentid>
      <timestamp>2026-05-01T03:31:27Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <origin>2807196</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3137" sha1="n4898r70jabvt1wo1hri3zny6w3zwc2" xml:space="preserve">[[Bully_Metric|Bully Metric Main Page]]&lt;br /&gt;
[[Bully_Metric_Timestamps|Bully Metric Timestamps Main Page]]&lt;br /&gt;
[[Bully_Metric_Metonic_cycle|The Metonic Cycle in Bully Metric]]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Java_Bully.html Current Bully Timestamp (GitHub)]&lt;br /&gt;
[https://unitfreak.github.io/Bully-Row-Timestamps/Earth_Gravity_Calculator.html Earth Gravity Calculator (GitHub)]&lt;br /&gt;

[[File:Bully_Metric_Metonic_Cycle.png|thumb|right|500px| The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment, which occurs every 19 years.]]

The '''Metonic cycle''' is a period of approximately 19 solar years, after which the moon's phases recur on the same days of the year. This historical cycle has a remarkably simple relationship with the Bully Timestamp System: the Metonic cycle completes in almost exactly the time it takes for the last four hexadecimal digits of a Bully timestamp to cycle three times.

In the Bully system, the last four digits represent an interval of &lt;math&gt;16^{4}&lt;/math&gt; units. Since each unit is 3,055 seconds, one full cycle of the last four digits equals:
:&lt;math&gt;65,536 \times 3,055 \text{ seconds} \approx 6.34 \text{ Julian years}&lt;/math&gt;

Three such cycles equal approximately '''19.03 Julian years''', aligning closely with the '''19.00 solar years''' of the traditional Metonic cycle. This relationship allows the Bully system to track complex lunar-solar patterns using simple hexadecimal increments.

=== Metonic Alignment Example ===

The following table demonstrates the Metonic relationship. Every 19 years, the December Equinox and a New Moon occur at nearly the same position within the Bully hexadecimal cycle (the last four digits). 

{| class=&quot;wikitable&quot; style=&quot;text-align:center;&quot;

|+ Table 1: Metonic Alignment (19-Year Intervals)
|-
! Year !! December Equinox Bully Timestamp !! New Moon (Last 4 Digits) !! Delta (Units)

|-
| 1995 || {{mono|8209 27FF 9B3A}} || {{mono|9B33}} || −7
|-

| 2014 || {{mono|8209 2802 99E1}} || {{mono|99E4}} || +3
|-

| 2033 || {{mono|8209 2805 9888}} || {{mono|988E}} || +6
|}

As shown, despite a 38-year span, the &quot;drift&quot; between the solar equinox and the lunar phase is only a few Bully units. This precision demonstrates how the system’s 12-digit structure naturally captures ancient astronomical cycles.</text>
      <sha1>n4898r70jabvt1wo1hri3zny6w3zwc2</sha1>
    </revision>
  </page>
  <page>
    <title>File:Bully Metric Metonic Cycle.png</title>
    <ns>6</ns>
    <id>329378</id>
    <revision>
      <id>2807184</id>
      <timestamp>2026-05-01T02:59:32Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if...</comment>
      <origin>2807184</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="951" sha1="kczlx3wewlahgq1mvkh59gli645k9st" xml:space="preserve">== Summary ==
The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.

== Licensing ==
{{self|GFDL|cc-by-4.0}}</text>
      <sha1>kczlx3wewlahgq1mvkh59gli645k9st</sha1>
    </revision>
    <revision>
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      <timestamp>2026-05-01T03:16:18Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
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      <comment>/* Summary */</comment>
      <origin>2807191</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="956" sha1="scaptg3j2wrvidydlzujojij8fue1cl" xml:space="preserve">== Summary ==
The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This near &quot;one-third&quot; annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment.

== Licensing ==
{{self|GFDL|cc-by-4.0}}</text>
      <sha1>scaptg3j2wrvidydlzujojij8fue1cl</sha1>
    </revision>
    <revision>
      <id>2807192</id>
      <parentid>2807191</parentid>
      <timestamp>2026-05-01T03:19:02Z</timestamp>
      <contributor>
        <username>Unitfreak</username>
        <id>695864</id>
      </contributor>
      <comment>/* Summary */</comment>
      <origin>2807192</origin>
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      <format>text/x-wiki</format>
      <text bytes="968" sha1="mpmrf02fttpdiqmbh6xm15te29d7sra" xml:space="preserve">== Summary ==
The darkest nights in the Northern Hemisphere occur when the '''December Solstice''' coincides with a '''New Moon'''. While the Metonic cycle predicts this alignment every 19 years, there are significant &quot;near-matches&quot; at the 8th and 11th-year marks. 

This progression follows a predictable drift: whatever the phase of the Moon is during the solstice in one year, the subsequent year's solstice will see the Moon's phase advanced by slightly more than '''one-third of a cycle'''. For example, if a New Moon occurs during the December Solstice of 2014, the 2015 solstice will feature a '''Waxing Gibbous''' moon.

This annual shift explains why the 8th and 11th years appear as near-matches in the accompanying image; they represent intervals where the cumulative drift is closest to a full-cycle integer, falling just short or just past a total &quot;reset&quot; of the lunar-solar alignment, which occurs every 19 years.

== Licensing ==
{{self|GFDL|cc-by-4.0}}</text>
      <sha1>mpmrf02fttpdiqmbh6xm15te29d7sra</sha1>
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  <page>
    <title>User:Mackiwg</title>
    <ns>2</ns>
    <id>329379</id>
    <redirect title="User:Mackiwg~enwikiversity" />
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      <timestamp>2026-05-01T04:06:27Z</timestamp>
      <contributor>
        <username>Sj</username>
        <id>2660</id>
      </contributor>
      <comment>Redirected page to [[User:Mackiwg~enwikiversity]]</comment>
      <origin>2807199</origin>
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      <text bytes="40" sha1="exup6pi8ulzurc2kcyyt7eyzgpq3q0l" xml:space="preserve">#redirect [[User:Mackiwg~enwikiversity]]</text>
      <sha1>exup6pi8ulzurc2kcyyt7eyzgpq3q0l</sha1>
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  <page>
    <title>File:LCal.9A.Recursion.20260429.pdf</title>
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      <contributor>
        <username>Young1lim</username>
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      <comment>{{Information
|Description=LCal.9A: Recursion (20260429 - 20260428)
|Source={{own|Young1lim}}
|Date=2026-05-01
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
}}</comment>
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      <model>wikitext</model>
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      <text bytes="263" sha1="mebl1iq1gr56qaw801cgj8uefxup8s3" xml:space="preserve">== Summary ==
{{Information
|Description=LCal.9A: Recursion (20260429 - 20260428)
|Source={{own|Young1lim}}
|Date=2026-05-01
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
}}

== Licensing ==
{{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}</text>
      <sha1>mebl1iq1gr56qaw801cgj8uefxup8s3</sha1>
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    <title>File:LCal.9A.Recursion.20260430.pdf</title>
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        <id>21186</id>
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      <comment>{{Information
|Description=LCal.9A: Recursion (20260430 - 20260429)
|Source={{own|Young1lim}}
|Date=2026-05-01
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
}}</comment>
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      <text bytes="263" sha1="jsoiznj2vja74wwkd6bnfplaklchamt" xml:space="preserve">== Summary ==
{{Information
|Description=LCal.9A: Recursion (20260430 - 20260429)
|Source={{own|Young1lim}}
|Date=2026-05-01
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
}}

== Licensing ==
{{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}</text>
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