OpenLLM-France/wikimedia huggingface dataset:
# Gender, Communication, and Technology/Other book chapter topics

Use this page to write down any suggestions for other book chapters:
A Few Suggestions:
1. NGOs and Web 2.0 technologies: Problems and possibilities
2. Trops/images beyond just the Cyborg
3. Assumptions about emotions, in Information Technology research
# Gender and ICT
## Table of Contents

* List of Abbreviations
* Foreword
* Preface
* Introduction
* Taking a Closer Look at Women's Realities
* Placing a Women's Empowerment Back Into the Gender Equality Framework
* Gender Analysis in Development is a Conscious Choice
* Lessons Yet Unlearnt
* Implications of Integrating a Gender Perspective at National Level
* Final Analysis and Conclusion
* Resources
* References
* About the Authors

## Information

This book is donated by UNDP Asia-Pacific Development Information Programme (UNDP-APDIP) to the community. The original publication by:
Authors: Angela M. Kuga Thas, Chat Garcia Ramilo, Cheekay Cinco) © UNDP-APDIP, ELSEVIER, 45 pages ISBN 81-312-0494-4 ISBN 978-312-0494-8 Invalid ISBN
is located at http://www.apdip.net/publications/iespprimers/eprimer-gender.pdf
This wikibook is available under the terms of GNU Free Documentation License and Creative Commons Attribution License 2.5

## Notes

Numbers that are just placed in the middle of the sentence are citations, and should be linked to the Notes page. Do not delete these citation numbers! Use the {{genderictcite}} template to link them instead.
# Gender, Communication, and Technology
## Gender, Communication, and Technology: Women's Creative Networking Across Disciplinary and National Borders
### Table of contents

* Feminist Invitational Collaboration in a Digital Age: Looking over Disciplinary and National Borders
* Other book chapter topics
* Notes on contributors
We invite interested readers to co-edit and comment on Feminist Invitational Collaboration in a Digital Age: Looking over Disciplinary and National Borders, which serves as the first chapter of the Wikibook Gender, Communication, and Technology: Women's Creative Networking Across Disciplinary and National Borders.
We hope to develop this Wikibook and relevant resources together with teachers and students in different universities; we are open to many sorts of collaboration. We also welcome discussion of the chapters and ideas for collaboration. For discussion, click on "discussion"; for editing, click on "edit this page" (see tabs on the top of this page); For contributions on other book chapter topics, click on Other book chapter topics.
We suggest starting with a list of guidelines for our Wikibook:
* A commitment to keep the conversation about diversity and unity alive throughout the collaboration;
* A commitment to a fluid and circuitous process of collaboration;
* A commitment to the active recruitment and support of minority people and diverse viewpoints; and
* A commitment to encouraging these voices to have special advisory roles in the work to contribute to diversity of experiences and viewpoints.
Invitational collaboration assumes that bringing many perspectives into the conversation is not left to chance. We are writing about academic research and discussion. Yet, we are proposing much more diversity of contributions than is usually present in academic discussions.
Please, make sure that your additions are your own work, not copied from other sources. And please enter your name in the section of Notes on contributors. Thank you!
# Gender, Communication, and Technology/Notes on contributors

Cheris Kramarae. I am delighted to work again with Zhang Wei on a collaborative project. We met in Beijing, where Wei teaches at the University of Peking and where, in 1999, Cheris was guest teaching for a term at the International College of Beijing (a joint educational program between China Agricultural Univ. and the Univ. of Colorado at Denver). Then we worked together as co-organizers of a "Future of Education" course at the International Women's University, in Hamburg, in 2000, where we worked with postgraduates from 14 countries. I am now associated with the Center for the Study of Women in Society at the University of Oregon, USA.
Zhang Wei. I am associated with the English Department, School of Foreign Languages, Peking University, China. Working with Cheris should be categorized as "playing". Hope *YOU* will also enjoy the process of women's creative networking!
# Foundations and Assessment of Education/Edition 1/Foundations Table of Contents/Chapter 2/Author Sign-Up Page

* Students...
* To sign up for an author duty, click "edit this page", and sign your username (using four tildes) directly after the name of the duty you want to claim.
* Remember, each author duty will be completed by only one student. This means, if a username appears next to a duty, that duty is not available. Please choose another author duty in this or another chapter.
* EXAMPLE:
* Chapter FAQ PbakerODU (talk) 19:21, 11 May 2009 (UTC)
* This indicates that PbakerODU correctly signed up for this editor duty.

## Author Duties

Experts Take Sides Rebecca.hechler (talk) 23:40, 16 May 2009 (UTC)
In the News BitterAsianMan (talk) 18:08, 17 May 2009 (UTC)
Chapter FAQHcogg001 (talk) 16:53, 12 May 2009 (UTC)
The Scoop From Someone Who Knows
* Questions? Refer to How to Use This Book
# History of wireless telegraphy and broadcasting in Australia/Topical/Biographies/Herbert Edward Baker

Herbert Edward Baker was briefly a prominent amateur operator and amateur broadcaster in the mid 1920s. His station callsign was 4HB (4=Queensland, H=Herbert, B=Baker) and he operated from Gowrie station near Charleville, Queensland. He and his brothers and brothers-in-law comprised Baker Bros. which firm held extensive rural holdings in western Queensland. Pressures of business, aeronautical interests and a love of world travel soon pushed amateur radio to the background, but he remains as one of Queensland's early amateur experimenters. A summary biography has not yet been prepared however the following resources have been assembled in preparation:
* Transcriptions and Notes - Herbert Edward Baker - More than 10 transcriptions and notes
* Photos, QSL cards and other graphics - Herbert Edward Baker - Nothing uploaded as yet
# History of wireless telegraphy and broadcasting in Australia/Topical/Biographies/Horace Bruce Rockwell
## Transcriptions and Notes

More than 50 key articles relevant to Horace Bruce Rockwell, mainly from the NLA's Trove Digitised Newspapers have been transcribed for ease of reference here: Horace Bruce Rockwell - Transcriptions and Notes
# History of wireless telegraphy and broadcasting in Australia/Topical/Biographies/John Clarey Price

John Clarey Price was a prominent amateur operator, amateur broadcaster, amateur club administrator in the late 1920s and early 1930s. From the mid 1920s, his wireless retail activities with his own business "Wireless House" increasingly precluded amateur activities. From 1910 through 1922, he was with the PMGD, eventually qualifying as an engineer. His station callsign was either 4FI or 4FJ (4=Queensland, F=??, I=?? or J=??) and he operated from Brisbane (Bardon), Queensland. A summary biography has not yet been prepared however the following resources have been assembled in preparation:
* Transcriptions and Notes - John Clarey Price - More than 50 transcriptions and notes
* Photos, QSL cards and other graphics - John Clarey Price - Nothing uploaded as yet
# Guitar/Hammer-ons, Pull-offs, and Trills

Hammer-ons and pull-offs are two closely related techniques. They are used to play legato, that is, in a smooth manner, and are also used to help the guitarist to play faster. They are most commonly used in electric guitar work, but can be used in acoustic tunes as embellishments.

## The hammer-on

Hammer-ons can be done anywhere on the fretboard, but for the beginner it is easiest using an open string. To quickly learn, strike an open E on the first string. While the note is still ringing, quickly and firmly press a finger on the third fret. If done properly, a G note should be sounding.
Quickly pressing your finger down and raising the note without hitting the string again is called "hammering on". Without electric amplification, the hammer-on tends to be quieter than regularly struck notes, especially if you haven't practiced it! Because the strings are closer to the fretboard, hammer-ons are easier to execute on an electric guitar. However, this doesn't make them less common on an acoustic guitar, where they are used frequently to embellish open chords
The hammer-on can just as easily be played with fretted notes: just play the note normally and hammer onto another (higher-numbered) fret on the same string. If you practice hammer-ons, eventually you will be able to move each finger smoothly and independently.

## The pull-off

The pull-off is the opposite of the hammer-on. Again, using the E string, hold it at the third fret. Strike the string and while the note is still ringing, release the fretting finger. If done properly, the G should be followed by an open E. If the note doesn't ring out properly, try hitting the G harder and releasing faster.
Like the hammer-on, the second note tends to be less loud than the first. To help alleviate this, a slight sideways motion of the fretting finger while pulling off will add extra vibration to the string, and give you some extra volume. Often it is hard for a beginner to accomplish, and the sideways movement helps greatly.
A pull-off looks like this:

## The trill

A trill is two alternating notes, such as an A and A#. Only the first note is struck; the rest are rapidly hammered-on and pulled off
# Guitar/Guitar chords cheat sheet of popular songs preceding the 1960s

The following is a list of notable easy to learn guitar songs from the 1970s. These are informal chords to songs which represent many different authors' own interpretations of the original songs. Most of the chords on the list are relatively easy to learn, and would be a great start for novice guitar players who are interested in improving their playing abilities.
The technical difficulty and skill level required to play each of the songs is defined with a star rating system:
* - Easy Song
* - Intermediate Song
* - Difficult Song

### 1950's

Bill Haley & His Comets - (We're Gonna) Rock Around The Clock
Bill Haley & His Comets - Shake, Rattle and Roll
Bobby Darin - Dream Lover
Bobby Day - Rockin' Robin
Chuck Berry - Johnny B. Goode
Domenico Modugno - Volare (Nel Blu Dipinto Di Blu)
Elvis Presley - Heartbreak Hotel
Elvis Presley - Hound Dog
Elvis Presley - Jailhouse Rock
Elvis Presley - Love Me Tender
Fats Domino - Blueberry Hill
Guy Mitchell - Singing the Blues
Harry Belafonte - Day-O
Nina Simone - My Baby Just Cares for Me
Perry Como - Magic Moments
Phil Phillips - Sea of Love
Ray Charles - What'd I Say
Ricky Nelson - Lonesome Town
The Champs - Tequila
The Chordettes - Lollipop
The Chordettes - Mr Sandman
NEEDS TO BE REDONE Capo 5
| Intro: | C - Am - Dm - G (x2) |
| Verse 1: | C - B - E7 - A - D - G - C - G# - G C - B - E7 - A - Dm - Fm - C - D - G - C |
| Bridge: | F - Dm - A#- C (x2) |
| Verse 2: | F - E7 - A - D - G - C - F - C# - C F - E7 - A - D - Gm - A#m- F - G - C - F |
| Bridge: | F - Dm - Dm - G - Dm - G - C - G |
| Verse 3: | C - B - E7 - A - D - G - C - G# - G C - B - E7 - A - Dm - Fm - C - D - C - D - C - C - D - G - C |
The Everly Brothers - All I Have to Do Is Dream
Capo 4
| Intro: | C - Am - F - G (x2) |
| Verse 1: | C - Am - F - G (x4) |
| Verse 2: | C - Am - F - G (x3) C - F - C - C7 |
| Chorus: | F - Em - Dm-G - C-C7 F - Em - D - Dm-G |
| Verse 3: | C - Am - F - G (x3) C - F - C - C7 |
| Verse 4: | C - Am - F - G (x5) C |
The Penguins - Earth Angel (Will You Be Mine)
Capo 8 (Original), Capo 5 (Marvin Berry & The Starlighters cover)
| Intro: | C - Am - F - G (x2) |
| Verse 1: | C - Am - F - G (x2) C - Am - F - G - C - Am - F - G |
| Verse 2: | C - Am - F - G (x2) C - Am - F - G - C - F - C - C7 |
| Chorus: | F - C - F - C - C7 F - C - D - D7 - G - G7 |
| Verse 3: | C - Am - F - G (x2) C - Am - F - G - C - F - C - C7 |
| Chorus: | F - C - F - C - C7 F - C - D - D7 - G - G7 |
| Outré: | C - Am - F - G (x2) C - Am - F - G - C |
The Platters - Only You (And You Alone)
Capo 3
| Verse 1: | C - E Am - C F - G - E - Am D - D7 - G |
| Verse 2: | C - E Am - C F - Fm - C - A D - G7 - C - F C |
| Repeat verse 2 | |

### 1900–1949

Édith Piaf - La Vie en rose
capo 1
| Intro: | G - Bm - Em - C - Am - G - D |
| Verse 1: | G - Am - C - G - E - C - Am - D |
| Chorus: | G - Bm - Em - Am - D D7 - D - G - D G - Bm - Em - C Am - G - Am - C - Am - D - D7 G - Bm - Em - C - Am - D - G |
| Verse 2: | G - Am - C - G - E - C - Am - D |
| Repeat chorus | |
| Outré | G - Bm - Em - C - G - Am - D - G |

## See also

* Guitar/Guitar Chords Song Library
# Guitar/Guitar chords cheat sheet of popular songs from the 2010s

The following is a list of notable easy to learn guitar songs from the 2010s. These are informal chords to songs which represent many different authors' own interpretations of the original songs. Most of the chords on the list are relatively easy to learn, and would be a great start for novice guitar players who are interested in improving their playing abilities.
The technical difficulty and skill level required to play each of the songs is defined with a star rating system:
* - Easy Song
* - Intermediate Song
* - Difficult Song
Adele - Someone Like You
Bruno Mars - Just the Way You Are
Bruno Mars - Locked Out of Heaven
Bruno Mars - The Lazy Song
Colbie Caillat - Brighter Than the Sun
Coldplay - Paradise
Ed Sheeran - The A Team
Foster the People - Pumped up Kicks
fun. - We Are Young
Gotye - Somebody That I Used To Know
Keane - Silenced by the Night
Katy Perry - The One That Got Away
Michel Teló - Ai Se Eu Te Pego
Katy Perry - Wide Awake
Lady Gaga - The Edge of Glory
Lady Gaga - Yoü and I
Lana del Rey - Summertime Sadness
Michael Jackson - Hold My Hand
Mumford & Sons - I Will Wait
Of Monsters and Men - Little Talks
Capo 1
| Intro: | Am - F - C - G (x4) |
| Verse 1: | Am - F - C (x6) |
| Pre-bridge: | Am - F - C - G Am - F - C |
| Bridge: | Am - F - C - G (x4) |
| Verse 2: | Am - F - C (x6) |
| Pre-chorus: | Am - F - C - G Am - F - C |
| Chorus: | Am - F - C - G (x4) |
| Bridge: | Am - F - C - G (x3) Am - F - C Am ~ |
| Verse 3: | Am - Fm (x4) Am - F - C Am - F - C - G |
| Repeat chorus: | Am - F - C - G (x8) |
| Outré: | Am - F - C - G Am - F - C |
Onerepublic - Good Life
Paramore - The Only Exception
Ray LaMontagne - New York City's Killing Me
Selena Gomez - Love You Like A Love Song
Capo 4
| Verse 1: | Am - Dm - G - C - F - Dm - E - E7 |
| Verse 2: | Am - Dm - G - C - F - Dm - E - E7 |
| Chorus: | Am - Dm - G - C - F - Dm - E - Am (x2) |
| Verse 3: | Am - Dm - G - C - F - Dm - E - E7 - Am |
| Verse 4: | Dm - G - C - F - Dm - E - E7 |
| Chorus: | Am - Dm - G - C - F - Dm - E - Am (x2) |
| Bridge | F - Dm - G - C - F - Dm - E - E7 |
| Chorus: | Am - Dm - G - C - F - Dm - E - Am (x2) |
Michael Jackson - Billie Jean Verse: F#m - G#m - AM And repeats Bass: F#2 C#2 E2 F#2 E C#2 B1 C#2 And repeats
The Script - Hall of Fame
Capo 3
| Intro: | Em - C - G - D (x4) |
| Verse 1: | Em - C - G - D (x4) |
| Chorus: | D - Em - C - G G - D |
| Verse 2: | Em - C - G - D (x3) Em - C - G |
| Repeat chorus | |
| Bridge | Em - C, G - D, Em - C, G - D Em - C - G - D (x4) |
| Repeat chorus | |
| Repeat verse 1 | |
| Outré | Em - C - G - D (x8) |

## See also

* Guitar/Guitar Chords Song Library
# Guitar/Guitar chords cheat sheet of popular songs from the 1980s

The following is a list of notable easy to learn guitar songs from the 1980s. These are informal chords to songs which represent many different authors' own interpretations of the original songs. Most of the chords on the list are relatively easy to learn, and would be a great start for novice guitar players who are interested in improving their playing abilities.
The technical difficulty and skill level required to play each of the songs is defined with a star rating system:
* - Easy Song
* - Intermediate Song
* - Difficult Song
38 Special - Hold On Loosely
A Flock of Seagulls - Space Age Love Song
a-ha - Take on Me
Air Supply - All Out Of Love
Alphaville - Big in Japan
Alphaville - Forever Young
Billy Joel - It's Still Rock and Roll to Me
Black Sabbath - Crazy Train
Bon Jovi - Wanted Dead or Alive
Bryan Adams - Heaven
Bryan Adams - Summer of 69
Crowded House - Don't Dream It's Over
Dire Straits - Brothers in Arms
Dire Straits - Romeo and Juliet
Dire Straits - Walk of Life
Don Henley - The Boys of Summer
Europe - The Final Countdown
George Thorogood - Bad To The Bone
Gheorghe Zamfir - The Lonely Shepherd
Guns N' Roses - Sweet Child O' Mine
INXS - New Sensation
INXS - Never Tear Us Apart
Journey - Any Way You Want It
Journey - Faithfully
Keith Whitley - When You Say Nothing At All
Koreana - Hand in Hand
The Korgis - Everybody's Got to Learn Sometime
Leonard Cohen - Hallelujah
Men at Work - Down Under
Modern Talking - Brother Louie
Opus - Live Is Life
The Outfield - Your Love
Pat Benatar - We Belong
Pete Townshend - Let My Love Open the Door
The Proclaimers - I'm Gonna Be (500 Miles)
R.E.M - The One I Love
REO Speedwagon - Take It On The Run
Roxette - It Must Have Been Love
Roxette - Listen to Your Heart
Roxy Music - Oh Yeah (There's a Band Playing On the Radio)
Scorpions - Wind of Change
Smiths - Panic
Tears For Fears - Head Over Heels
The Romantics - What I Like About You
The The - This Is The Day
Tracy Chapman - Talkin' Bout a Revolution
Traveling Wilburys - End Of The Line
U2 - All I Want Is You
U2 - With or Without You
UB40 - I Got You Babe

## See also

* Guitar/Guitar Chords Song Library
# Guitar/How to Continue Learning

If you are an intermediate to advanced guitarist and you want to continue to develop and remain intellectually stimulated, there are several options:
* Learn a new genre or style of guitar. If you have reached a high level in rock guitar, for example, you could try learning blues, jazz or country guitar, as all of these styles will add new depth and variety to your sound. As well, you could learn a new role. If you are mainly a rhythm guitarist, you could work on soloing. If you are mainly a solo guitarist, you could learn more rhythm playing and chording.
* Learn to sing. Even if you do not intend to sing live, learning to sing can help you to develop musical ideas, create new melodies. As well, you may want to add singing to your guitar performances, thus becoming a guitarist-singer. As well, even if you don't sing at a solo singer level, you may learn to sing well enough to provide backup vocals.
* Learn a new instrument: Learning a non-guitar instrument can give you new musical insights. Learning piano can give you different harmonic ideas. Learning sax could give you new melodic or riffing ideas. Learning drums could give you new rhythmic ideas. If you get good enough at your new instrument, you could play it for one song in your regular band, adding variety to the set.
* Learn about the electronics and production aspect of music: in the 2010s, you don't need to buy a costly 24 channel mixing board and multitrack tape recorder to learn about recording and production: your existing laptop may have enough processing power to run popular DAW recording software. By experimenting with recording loops, riffs and guitar solos, you may stimulate new musical ideas.
# Guitar/Guitar chords cheat sheet of popular songs from the 2000s

The following is a list of notable easy to learn guitar songs from the 2000s. These are informal chords to songs which represent many different authors' own interpretations of the original songs. Most of the chords on the list are relatively easy to learn, and would be a great start for novice guitar players who are interested in improving their playing abilities.
The technical difficulty and skill level required to play each of the songs is defined with a star rating system:
* - Easy Song
* - Intermediate Song
* - Difficult Song
3 Doors Down - Here Without You
The Axis Of Awesome - 4 Chords
The Black Eyed Peas - Where Is the Love?
Bob Sinclar - Love Generation
Coldplay - Clocks
Coldplay - Don’t panic
Coldplay - Fix You
Coldplay - Life in Technicolor II
Coldplay - The Scientist
Coldplay - Viva La Vida
Coldplay - Yellow
The Dandy Warhols - Bohemian like you
Daniel Powter - Bad Day
Dido - Here With Me
Dido - Life For Rent
Enya - Only Time
Evanescence - My Immortal
The Fray - Never Say Never (Don't Let Me Go)
Gnarls Barkley - Crazy
Gorillaz - 19-2000
Gorillaz - Feel Good Inc.
Green Day - 21 Guns
Green Day - Boulevard of Broken Dreams
Incubus - Drive
James Blunt - You're Beautiful
Jason Mraz - I'm Yours
Kelly Clarkson - Breakaway
The Killers - Human
Linkin Park - In the End
Michelle Branch - Everywhere
Michelle Branch - Goodbye to You
Myslovitz - Sound Of Solitude
Oasis - Little by Little
Oasis - Stop Crying Your Heart Out
OneRepublic - Secrets
Owl City - Fireflies
Ozzy Osbourne - Dreamer
Peter Bjorn and John - Young Folks
Plain White T's - 1, 2, 3, 4
Reamonn - Supergirl
Ray LaMontagne - Trouble
Ray LaMontagne - You Are The Best Thing
Robbie Williams - Feel
Sister Hazel - Change Your Mind
Snow Patrol - Chasing Cars
Staind - It's Been Awhile
Travis - Sing
U2 - Stuck in a Moment You Can't Get Out Of
U2 - Walk On
Weezer - Island in the Sun
Westlife - My Love
Wheatus - A Little Respect
Yael Naim - New Soul

## See also

* Guitar/Guitar Chords Song Library
# HydroGeoSphere/Flow Solution

The following instructions affect the I/O for the flow solution.

## Echo to output

Causes heads, saturations, concentrations and velocities for the subsurface domain to be written to the .lst file as well as to the binary output files.

## Flux output nodes

* new_noutfc Number of new output nodes desired. Read the following new_noutfc times:
       (a) ioutfc(i) Flux output node number. These values should be entered one per line.
Listed nodes are flagged as flux output nodes, at which detailed fluid flux [L$^3$ T$^{−1}$] information for the subsurface domain is output at each timestep. Flux output is written to a file called prefixo.flu. For each timestep in the flow solution, one line per flux output node will be written to the file. Each line contains the node number, time, fluid flux and nodal coordinates. Such output can be imported into an editor (e.g. Microsoft Excel) and sorted by column to facilitate, for example, the creation of a plot of fluid flux versus time at a node.
For an example which uses flux output nodes, see verification problem in Section 4.5.1.

## Flux output nodes from chosen

This instruction works in a similar way to Flux output nodes except that all currently chosen nodes are flagged as flux output nodes.

## Binary flux output nodes

This instruction works in a similar way to Flux output nodes and requires identical input. However, it creates a binary file called prefixo.flu_b.

## Binary flux output nodes from chosen

This instruction works in a similar way to Binary flux output nodes except that all currently chosen nodes are flagged as flux output nodes.

## Output saltwater head

By default, when running density-dependent flow problems, the equivalent freshwater head is written to the head file (e.g. f_cdo.head.001). This instruction causes salt water heads to be written instead.
# HydroGeoSphere/Finite-Difference Options
## Finite difference mode

Causes HydroGeoSphere to use the finite difference approach instead of the default finite element method.
The following instructions affect the transport simulation in a general way when finite difference method is being used:

## Compute fd cross terms

Causes HydroGeoSphere to compute cross terms explicitly when a finite difference representation is chosen, which, by default, are ignored.

## Control volume

Causes the control-volume finite difference approach to be used instead of the default standard finite difference approach. This instruction has no effect when the finite element approach is being used because the control volume approach is always used in that case.