OpenLLM-France/wikimedia huggingface dataset:
# Descriptive Geometry/Cone Loci
## Definition

A locus(loci) is a solution(s) that satisfy a given set of conditions.
[[[[Media:|thumbnail]]]] Depending on the situation, the locus can be a different solution. In Figure A, there is a vertical axis BO and a point a. When point a is revolved around BO, the path that point a creates is a circle. In this given set of conditions, the locus is the circular path that point a creates when revolved around BO because that circle is a collection of all the points that are the same distance from BO as point a. In Figure B, there is a vertical axis BO with a line segment AO touches BO to creates ∠AOB. When AO is revolved around BO, the path that the AO creates a surface that takes the shape of a cone. Therefore, in this particular set of conditions, the locus AO is a conical surface because that surface is a collection of all the line segments that can be represented by AO in a three-dimensional space.
The locus of two intersecting objects would be all the solutions that satisfy the intersection. In the case if cone "A" and cone "B" shared a vertex and had the same slant height, there are three possible solutions: 1 intersection, 2 intersections, or none. If the angle between the two axis is less than the sum of the two vertex angles, there are two locus intersection solutions. If the angle between the two axis is equal to the sum of the two vertex angles, there is only one solution. If the angle between the two axis is greater than the sum of the two vertex angles, there are no solutions.

## Solving Cone-Loci Intersections

Consider top and front views of two intersecting lines AO and BO with an angle of ∠AOB as given. The vertex angles formed by the line revolved around AO and BO(creating cones) are α and β respectively. Construct the views so that one view shows both the cone axis in true length (front) and the other in point view (top). In the true length view, construct a circle of arbitrary radius so that it intersects with the slant heights of the cones. Connect the intersections of the cone and the circle to create the bases of the cones. Mark all the points that each base of the cone intersects with another cone base. These are your loci of the cone intersections. The lines formed from the loci to the vertex are the edges in which each cone meets its neighboring cone.
If the axes of the cones are not segments, but infinitely long lines, it is necessary to test if there are more two solutions. The rotating line that creates the conic surface can point in different directions from the vertex, creating a possibility of two cones. Because of this, there can be a maximum of four loci intersections for four cones.
* Descriptive Geometry Cone Loci Problem 1
* Descriptive Geometry Cone Loci Solution 1
* Descriptive Geometry Cone Loci Solution 2
* Descriptive Geometry Cone Loci Problem 2
# Descriptive Geometry/Distances and True View

Distances and true views refer to the following topics in descriptive geometry:

## True Views

    Point view
    True length
    Edge view
    True shape

## Distances

    Distance from a point to a line
    Distance from a line to a line
       Parallel lines
       Skew lines
    Distance from a line to a plane
    Distances at an angle from the horizontal, as applied to line segments
    Distance from a point to a solid
    Distance from a line to a solid
    Distance from a plane to a solid
    Distance from a solid to a solid

## References

* Lamit, Louis Gary. Descriptive Geometry. Englewood Cliffs, NJ: Prentice Hall, 1983. Print.
* Krishnamurti, Ramesh. Descriptive Geometry course documents. Accessed 1 May 2013. Database.
# Clarinet/Clarinet Basics/Fingering
## Basic Key fittings

Once you have assembled you new clarinet, you need to learn to place your hands in the correct places on the keys and holes in the instrument. As a start, put your right hand thumb under the piece of metal that sticks out of the lower clarinet section. This allows you to hold your clarinet when you are playing the instrument. With the clarinet resting on your right hand thumb, place your left hand thumb on the hole in the back of the instrument. Then take your left hand's first three fingers, and place them firmly on the holes of your clarinet's upper section. Afterwards, take your right hand and place your first three fingers over the three holes on the lower clarinet section. Make sure you have all your fingers firmly in place. If you blow in to your instrument with the correct embouchure (mouth positioning), it will produce the lower G note.

## The notes

If you take all your fingers off of your clarinet, your instrument will produce a middle octave G. Practice tonguing this note several times before you are ready to move on to the next note.

## Suggestions for learning notes

If you are learning to play the clarinet, I would consider purchasing a fingering chart for the references of the notes on the clarinet. Some notes may not speak because your mouth and your lungs are not yet fully developed. Stick to the middle C, D E, F, G, A, and B if you are beginning. The G note requires no fingers to play. Practice that note until it sounds reasonable, then move to the next. Reading music is a useful skill as it widens enormously the range of music you will be able to attempt, as well as allowing the novice clarinetist to use the many printed clarinet tutorial materials available, all of which require the ability to read music. Since the clarinet is most commonly a Bb instrument, the note that is written as 'C' actually sounds as 'Bb'; in the same way, all notes for the clarinet are written a whole tone sharper than they actually sound. This is for convenience in writing, and should not present any problems in practice for the novice clarinetist. However, it is important to be aware that when reading music written for 'C' instruments (where 'C' sounds as 'C'), it will be necessary to transpose.
Also remember to tongue every long note. Keep a good embouchure.
# Clarinet/Clarinet Basics/Fingering/Crossing the 'Break'

Crossing the break is a major step in a clarinetist's journey into accomplishing their instrument. The "break" is the end of the first register (called the chalumeau register) and the second register (called the clarion register). The first necessary thing a clarinetist must do is to know the notes that straddle the break.
* The first note we will learn is the middle A. For this note, leave all keys unpressed except for the key right above where your left index finger should be. Pressing this key alone should produce an A.
* For the next note, B-flat, finger the "A" but press at the same time the long key right above your left thumb. This key is called the register key. This key, pressed in conjunction with the "A" key, should produce a "B-flat." This is the end of the chalumeau register, and the last note before the break.
* The next note, "B" is produced by fingering a low "E" and pressing the register key also. To review a low E, there are two ways to produce this note. Finger all holes and either the bottom right fork key, or the left pinky key.
* To produce the next note, clarion C, finger a low F in conjunction with the register key. To review a low F, there are two ways: cover all holes plus either the top right fork key, or the center pinky key.
Players need to remember that when playing in the clarion register, they should keep their embouchure as free and open as the lower register. Don't "clamp down" when you get to the next register, because your tone will suffer, and it is easy to squeak this way. A good exercize to demonstrate this is to play a low F. Have someone come while you are playing the F and hold down the register key (so that the instrument goes up to a clarion C). If you feel yourself "clenching down" on your embouchure, you are playing incorrectly. You should feel no difference in your embouchure between the low F and the C.
Next, practice going between the notes that require only keys being pressed (such as B flat or A) and that of the basic notes ( such as C, D, E, F, and G.) After practicing this technique for at least five minutes, now try going from the middle and basic G (no fingers) to the upper C (requires both hands) If you do not yet know how to play an upper C, consult a fingering chart. In process of going from G to C, you simply put all your fingers down for the C, and lifting them up for the G. After you have mastered this, try moving on to another note, such as middle C, to upper C. After you accomplished C to C, move on to other notes that you think will challenge you. After you sit down and practice these transitions, it should seem seamless to you.
# Clarinet/Clarinet Basics
## Clarinet Basics

The clarinet is one of the harder woodwind instruments to learn how to play well. One must balance tone, embouchure, tonguing, and good technique all at the same time, while trying to adjust the clarinet the way you want it due to it having the most variables of any other woodwind instrument. It is believed that clarinetists should have a list of priorities that they need to accomplish in a certain order to become refined clarinetist; this particular order is the same order that's in this chapter.
The clarinetist needs to create a good solid airstream; without airflow, the clarinet doesn't work. This is its "breath of life", both literally, and metaphorically. Without a good solid airstream there is no possible way that any clarinetist can produce the desired fluid tone that the clarinet is famous for. A good solid airstream is one of two key elements in creating a good tone.
After the player can give a consistent airstream, next is acquiring a good embouchure. Embouchure is the second aspect of creating a good tone and is the airstream's doorway into the clarinet. The embouchure holds the reed and mouthpiece in check, regulates the tone, the tuning and poises the tongue to articulate when necessary.
Once a clarinetist has achieved the first two objectives, next is learning how to poise the tongue and how to articulate. Most clarinetists aren't taught how to correctly articulate. Thus the articulations are sloppy, usually fat, and it becomes easier and easier to fall behind in tempo when it comes to playing.
Now that everything is right with the face of the clarinetist, he or she can now work on technique. This is when the clarinetist learns what fingerings should go with what note combinations. How to get past complex rhythms, and just become an all 'round better musician. This step must not be the focus until the preceding steps are completed.
The above is a lay out of how the clarinetist should approach learning this fine instrument. Theoretically the clarinetist should work on all of these aspects at once. Although, beginners should concentrate on one step at a time, while still touching the others, then go in order from there.
# Clarinet/Clarinet Basics/Tone
## Tone

Tone is usually made up of two parts, airflow and embouchure. There is still the matter of deciding your mouthpiece/reed combination that best suits you, but the player doesn't need that until he or she can establish good airflow, and a good embouchure. The tone of the clarinet has made it famous. Before the clarinet and even today there isn't an instrument with the dark and fluid sound of a clarinet. The tone of a clarinet depends nearly solely on what's going on at the top of the clarinet, i.e. is there a steady airstream going through the clarinet? Is the embouchure set correctly? Is there a good reed that's compatible with the mouthpiece and the player? Does the mouthpiece suit the player well? All of these questions are questions to ask when trying to create a good tone on the clarinet.
# Civic Technology/Preserve History
## Digitize artifacts

Local museums and libraries often have collections of artifacts, photographs, and documents. In many cases, underfunded institutions have been unable to commit resources to preserving these objects digitally, while retaining and preserving the original article.
When properly digitized, backed up, and distributed these artifacts can be more easily shared with the world, and a facsimile can aid scholars should the original be destroyed in a disaster. Of course the original should always be retained and safeguarded. Ask their staff If there is a way you can help out, either by volunteering your time, spreading the word, or donating.

## Wikimedia Commons

Wikimedia Commons is a sister project to Wikibooks and Wikipedia. It aims to be a collective repository of freely licensed images. By taking your own photos of local landmarks, events, and natural sites, you can help preserve local history for future generations.
Examples of features you should consider adding to commons if they are missing.
* Important local buildings.
* Monuments and structures.
* Important parks and natural features.
* Major events.
* Historical Sites.
Visit the Wikimedia Commons welcome page to get started.

## Record a Story

Many people have stories to tell, which are passed down verbally. These stories could one day help historians, but are all too often lost to time. By using a simple recording application, you can ask someone with such a story allow you to record and submit their story, preserving it for future generations. One example of an application that can help you do this is StoryCorps, which is focused on the United States. Other countries often have similar programs.
For more information on StoryCorps read their Wikipedia article.
If you live in a region without access to a service like StoryCorps there are other ways of sharing a story. A local library or historical society might be interested in a copy of your stories. You could share it as a podcast, or otherwise publish it online.
Example story ideas to record:
* Family history.
* Major events in someone's life.
* Stories about a local event or business.

## Transcribe Documents

There exist vast numbers of documents which predate computers which have been scanned, but not formatted for efficient digital use. This creates problems, as such documents can't be searched, and can also not be used with a screen reader by those with vision impairments.
* Wikisource has a number of transcription projects.
* The Smithsonian Institution recruits digital volunteers for such work.
# Civic Technology/Teach

If you have a particular skill, you may be able to share it online.

## Wikibooks

Wikibooks is a collection of open source books. By editing and improving Wikibooks articles, you can help share your knowledge with others. Editing Wikibooks is also a good opportunity to practice English skills.
# Civic Technology/Translation
## Translate

The World Wide Web provides a wonderful resource, yet all too often many bits of important information are only available in one language such as English. Many open projects such as Wikibooks allow content to be translated into a number of languages. If you know an additional language, you can help keep it alive by translating content from English to another language.
One example of such a project is Wikibooks and its sister projects such as Wikipedia. A full list of Wikimedia projects can be seen here.

## Train AI

* A banner for Mozilla Common Voice.
Oftentimes AI are trained to recognize speech patterns from a specific group, and then are unable to understand those with a regional accent. You can help AI understand your accent by giving samples of your voice to help train software. Common Voice, a project by the nonprofit Mozilla, allows you to easily help train an AI on your own unique voice.
You can read more about Common Voice on Wikipedia or you can also jump in and get started on their website.
# Clarinet

* Introduction
* General Information
* History
* Clarinet Basics
* Building tone, rhythm, and improve playing style
** Tone
*** Airflow
*** Embouchure
*** Creating Good Tone Quality
** Tonguing
** Technique
** Fingering
*** Fingering Chart
*** Crossing the 'Break'
* Intermediate
** Double Tonguing
** Vibrato
** Reed Adjustments
* Equipment
** Reed
** Mouthpiece
** Clarinet Models
** Other Equipment
* Clarinet Repertoire
* Bibliography
# Development Cooperation Handbook/The video resources linked to this handbook/The Documentary Story/At Brussels

At Brussels
We had completed the four planned locations in the developing countries, where we collected stories from the projects “on the ground”. But before closing the production cycle I felt the need of showing “where the money comes from” and put faces to the donors. So we went to Brussels.
After hearing a lot of complains about “EU bureaucracy” I expected that it would not have been easy to get access to the powerhouse and talk to the powerful ones. But I was wrong. Not only we could hold interviews to EuropeAid spokesperson, but also to the Commissioner himself. At the EU parliament was even better and we could have 5 nice long interviews to Parliamentarians.
We met also persons working in the Association of European NGOs working in the international Development Cooperation sector.
Brussels had shown us her smiling face.
Next ⇒ The motorcycle journey back to Rome

## Interviews

Andris Piebalgs - EU Commissioner Development ⇒ playlist
Catherine Ray - Spokesperson for EuropeAid ⇒ playlist
David Sassoli - EU Parliamentarian ⇒ playlist
Etikwa Ikutu - CONCORD ⇒ playlist
Nirj Deva - Vice President Development Committee ⇒ playlist
Olivier Consolo - Director CONCORD ⇒ playlist
Rilli Lappalainen - NGDO Platform ⇒ playlist
Roberto Gualtieri - EU Parliamentarian ⇒ playlist
Silvia Costa - EU Parliamentarian ⇒ playlist
Toine Mandres - EU Parliamentarian ⇒ playlist

## Backstage

Stefano e Francesco a Brussels - Dialogo sulla UE
# Development Cooperation Handbook/The video resources linked to this handbook/The Documentary Story/CMTP ROM Mission

Results Oriented Monitoring - Centrally Managed Thematic Projects (ROM CMTP)
ICCS-NTUA (GR) leads the Consortium that is a contractor of the European Commission for the external Results-Oriented Monitoring (ROM).
For Eugad project it is conducting a monitoring mission that will include: A participation to the Round Table of Grosseto of the 21st and 22nd September 2009, which will include also bilateral meetings with the Partners. Other monitoring missions to the Countries of the Partners (Bulgaria, Romania, India , etc.) to be finalized.
The monitoring mission is an independent reporting mechanism, preparing and submitting status reports and analytical assessment to the project management with the objective of:
* Allowing a rapid appreciation of project progress towards the achievement the expected result and the contribution of the set objectives;
* To enable focused project management decisions in order to: allow adjustments to be made with minimal disruption and ensure that projects remain on course and reach their objectives.
The monitoring procedure consists of interviews with the project’s coordinator and, depending on the structure of the monitoring mission, also to partners and actors involved in the project’s implementation, in order to determine the progress of the project and the likelihood that it achieves its objectives.
See : The Monitoring Concept" according to ROM CMTP
* Full Monitoring report.
* List of questions and answers that the Eugad Team asks to the Monitoring Team|List of questions and answers and answers that the Eugad Team asks to the Monitoring Team
* Summary of the suggestions provided by the Monitor
# Development Cooperation Handbook/The video resources linked to this handbook/The Documentary Story/Adding more stories in India

Adding more stories in India
Francesco had done "his" stories about Jaggi Vasudev, the environmentally minded hindu guru of Coimbatore, in the Indian State of Tamil Nadu and about Tiziano Terziani, an Italian journalist who had been living in the Himalayas in the State of Uttarkhand.
It was Vrinda who sounded the alarm bell. Francesco had collected video material that was outside the programme objectives. We needed to return to the field and collect more stories. Fausto and Gauri did it.
They went to Kolkata for a story on sexual workers.
And in the proximity of Varanasi they covered a story of education and one about the right to work in rural India.
Next ⇒ Wiki threads between definitions and openness

### Stories

⇒ Employment as a Right
⇒ Living with Dignity
⇒ Right to Learn

### Video clips

On YouTube ⇒ Employment as a Right - playlist
On YouTube ⇒ Sarva Shiksha Abhiyan - playlist
On YouTube ⇒ Living with Dignity - playlist

### Interviews

Amitabh Behar - Campaign Conveyor of Wada Na Todo Abhiyan ⇒ - playlist
Anand Kumar - development expert ⇒ - playlist
C.B. Rao - United Nation officer - - playlist
Jean Drèze - economist ⇒ - playlist
J.M. Balmorugan - Indian Government Officer ⇒ - playlist
Megan Willams - journalist ⇒ - playlist
Pietro Cocco - journalist ⇒ playlist
R.K. Pachauri - , TERI ⇒ - playlist
Rajesh Kumar Jha - Programme Officer for the Centre for World Solidarity ⇒ - playlist
Sadhguru - founder of the Isha Foundation ⇒ - playlist
Shiva Kumar - development economist ⇒ - playlist
Vandana Shiva

### Backstage

Backstage - India - Stefano and Fausto
# Development Cooperation Handbook/The video resources linked to this handbook/The Documentary Story/Aired TV7s

Aired TV7s
While we were continuing with the production, Francesco had prepared three more reportages that had been broadcast by the Italian Television in a news magazine named TV7. Probably the most important news magazine produced by the Italian State television. It has a great history and it is still a good programme, although its quality had been constantly declining.
Besides the reportage on Syrian and Lebanese archeology, a reportage on the Italian military presence in Lebanon and a reportage on the child soldiers in Sierra Leone had been aired. They were good news pieces. But again they lacked power and innovation.
My problem now was to justify the work progress this in front of the colleagues at Armadilla. Are RAI people just taking the footage they find it useful for their purpose but derailing from the project objectives? I had some tough time trying to convince Marco that the main reportage that was going to be centered on the project objectives would have been prepared at the end, with the whole footage collected. And that in any case I was collecting other material that I could have edited more in line with the project objectives.
In fact for me the process was going in the right direction, because it was continuing to show the mental stereotypes of news makers, which had in fact become the main documentary focus.
Next ⇒ Francesco’s work in India with Fausto

## Video clips

On Youtube ⇒ Utilisation of collected resources for TV broadcast - playlist