OpenLLM-France/wikimedia huggingface dataset:
# Short introduction to the use of cutting plotter machines/Use of Adobe Illustrator for cutting plotter machines

In this sections of the book will be described how to use Adobe Illustrator to create patterns to be used in cutting plotter machines.

## Creation of a new file

Open Adobe Illustrator and create a new file.

## Design of lines and objects

To create lines, draw images, create shapes or designs will be used Illustrator left menu, the options: Pen, pencil, text, shapes tools, etc. with them will be created lines, draw other images, make shapes such as rectangles, circles, etc. Or create new design.

## Draw a line

Draw a line with the pen tool (the icon of a pen), press left click on the canvas to draw the first point, then press the left click in other part of the canvas to trace or make a line.
Even when a lines is easy to make and does not look to useful, can be use to cut pieces in a straight line (or curved line) in the cases we just want to cut a piece of material to reduce its form or make a new form.

## Creation of shapes

Choose the shape tool, select a shape and draw it to create a rectangle, circle, star, etc.
A tool that is used to properly adjust the dots that form part of the lines or objects is the rule.

## Creation of more forms

New forms can be easily created with the pen tool, just draw 2 or more points, then adjust their position of each dot changing the value for x (diagonal point) or y (vertical point).
x value of 0 is located at the beginning of the page in the left size and it increases towards the right side. y value of 0 is located at the beginning of the page in the top of the page and it increases towards the bottom of the page (canvas).
The coordinates are written in the form (x, y), for example the first dot can be located in 2 inches beside the left corner of the canvas and 2 inches down of the top of the canvas, making the first dot (2, 2).
For example: To create a triangle, can be used 3 points, to create a rectangle use four points. The shape tool can also be used.
A tool that is used to properly adjust the dots that form part of the lines or objects is the rule.

## Round corners

The corners of created objects (with pen tool or shape tool) can be rounded selecting Effect menu, Stylize, Round Corners and choosing how rounded the shape is desired.

## Use of the rule

To see the rule in the canvas press Ctrl + R or select view, rulers, show rulers.
A measuring tape can be used to measuring of physical objects, and the using these measures to draw them in the canvas using the rule to choose the dots.

## Use of the coordinates for each dot or object

The rule may not be necessary when using the x and y values, for example, drawing a straight line of 2 inches, the first dot can use the coordinate (2,2) and the second dot can use the coordinate (4, 2).
If a object has more than one dot, they can be aligned in the same way, for example a rectangle with 4 dots, 2 inches long can have the following dots:
(2, 2) (2, 4) (4, 2) (4, 4).
The objects can also be aligned with the align tool, for this, click in the window menu and choose align (or press shift + F7)
# Sustainable Consumption and Production
## What is this about?
### The CSCP

The Centre on Sustainable Consumption and Production (CSCP) provides scientific support to activities undertaken by UNEP and other organisations in the field of SCP. This support includes the development, testing, implementation and monitoring of concrete projects, especially in developing countries, which will enable these countries to leapfrog to sustainable consumption and production patterns using life cycle thinking and regional perspectives as guiding principles.
In this respect the Centre supports the integration of environmental, social and cultural concerns into decision making at the level of national governments, regional and local authorities, the private sector, and consumer groups.
The Centre works on the exchange of experiences with partners in both developing and developed countries, with support for capacity building and training approaches as an integral part of its programmes.

### The Idea Factory: How it began

The CSCP Idea Factory is a regular meeting of the members of the CSCP team, where new ideas are brainstormed. One of these ideas was to create an interactive Book where experts and other interested people can contribute.

### The Book: Short background information

The future book is intended to be for the interested reader. No technical background is necessary, but it might be helpful in some parts.

### How you can contribute

If you are an expert on any of the subjects below or have a very keen interest, please feel free to contribute. You can do so by adding articles, article titles that might spark ideas or even just some ideas, like keywords or titles of interesting studies that you have read.

## Sustainable Consumption and Production: The Book
### Chapter 1: Introduction

From policy to practice
What is the Marrakech Process?
Marrakech Task Forces
What is Sustainable Consumption and Production?

### Chapter 2: Sustainable Consumption and Production for National and Local Development

Capacity building to tackle national and local development needs
Cooperation for implementing SCP

### Chapter 3: Changing Individual and Institutional Patterns of Consumption

Innovative strategies to promote sustainable lifestyles
On the road to Sustainable Lifestyles

### Chapter 4: Encouraging Responsible Industrial Development

Support for enterprises to undertake corporate environmental and social responsibility
# Sustainable Business/Starting your business

ABOUT THIS BOOK | THE BUSINESS PLAN | BOOKLETS | PRINT THIS BOOK
There are characteristics of successful business worth highlighting:

## The time line to start

While the cash flow has a representation of what must be spent prior to opening and the time frame in which the money should be spent there are many tasks that must be completed that cannot be expressed in monetary terms - especially it you are wanting to save money by doing something yourself. To tey and ensure that all tasks are completed prior to opening we need a time line that has tasks attached. In complex projects or start-ups it is common to use a planning tool like Microsoft Project. To keep things simple we suggest that a diary is kept with a page for each weeks activities up to the date of opening. Some people keep these on spreadsheets and others use word processing software. the benefit of using software as opposed to hard copy is that uncompleted tasks can simply be copied into the next weeks schedule.

## NZ Ministry of economic development

An ongoing requirement will be to file an annual return. Once a business is incorporated failure to file a return will mean the legal entity is struck off its register. The legal implications can be that the viel of incorporation is removed. An entity can be reinstated but at a cost.
The Companies Office

## Local authority

In New Zealand Local Authorities ("LA's") have roles that can have big impacts on how some businesses operate. The best examples are the restaurants and liquor retail businesses. LA's are responsible for administering food hygene regulations which which all restaurants must comply. They are also responsible for the granting of liquor liscences.
through their district plans LA's also specify what activities can be undertaken in what areas. When choosing premesis for your business you will need to consult with your LA to ensure your proposed activity does not breech their district plan.

## Health and safety

Occupational Safety and Health

## Tax

Tools For Business
Issues to consider:
* The need for record keeping
* The need to register for GST
* PAYE
* FBT
* Tax in the first years trading
* Provisional tax

## Day-to-Day management
### Management

Monitoring sales Gross margin Fixed costs Variable costs Debtors Stock Control

### Administration
## Banking

* check that the procereds of your sales and any payments by debtors actually get paid into your account. In retail businesses this is checked daily.

## Updating accounting records

Pg 73
# Sustainable Business/Your reasons for starting a business

Being clear about why you have established the business will enable you to keep perspective as the business grows and develops and you are faced with the challenges of a growing business.
Every day in the business, there will be decisions to make about how to do business. It will be helpful to have clarity over what is most important to you about how you run your business and what your bottom lines are to ensure you continuously make decisions in line with what is important to you.
Rank the following values from 1 to 9 with 1 being the most important value to you:
Making a living for myself and/or my family
Being the best and most well known at my business
Contributing toward a healthy, sustainable planet for future generations to inherit
Being a contribution to other people – both in my local community and elsewhere
Being a good employer – being committed to employees satisfaction, development and wellbeing and treating everyone fairly
Encouraging others to treat the environment and people with respect
Having a good balance between how much time I spend working vs other things that are important to me (family, hobbies etc.)
Treating everyone I interact with fairly
All my decisions are honest and ethical
And to support me in operating this way, how do I ensure that those I work with know what is important to me and are able to integrate it into the way they do business?
# Sustainable Business/What's important to you

ABOUT THIS BOOK | THE BUSINESS PLAN | BOOKLETS | PRINT THIS BOOK
It is useful to consider what is important to you in terms of how you run your business to help you know how to spend your time and what to pay attention to.
Every day in the business, there will be decisions to make about how to do business. It will be helpful to have clarity over what is most important to you about how you run your business and what your bottom lines are to ensure you continuously make decisions in line with what is important to you.
Rank the following values from 1 to 8 with 1 being the most important value to you: (this needs work)
Making a living for myself and/or my family
Being the best and most well known at my business
Contributing toward a healthy, sustainable planet for future generations to inherit
Being a contribution to other people – both in my local community and elsewhere
Being a good employer – being committed to employees satisfaction, development and wellbeing and treating everyone fairly
Encouraging others to treat the environment and people with respect
Having a good balance between how much time I spend working vs other things that are important to me (family, hobbies etc)
Treating everyone I interact with fairly
All my decisions are honest and ethical
And to support me in operating this way, how do I ensure that those I work with know what is important to me and are able to integrate it into the way they do business?
# Sustainable Consumption and Production/Marrakech Task Forces

Under the Marrakech Process, “Marrakech Task Forces” (MTFs) have been created with participation of experts from both developed and developing countries. The main objectives of MTFs are three-hold:
* Support the implementation of concrete projects for SCP (Phase 3 of the Marrakech Process)
* Focus SCP activities on specific themes or sectors
* Strengthen North-South cooperation in the SCP implementation
This concept of developing informal task forces on specific issues was agreed at the Marrakech meeting in 2003. These Task Forces are voluntary initiatives led by countries or a group of countries that – in cooperation with other partners – commit themselves to carrying out a set of activities that support the implementation of specific SCP projects. So far, seven task forces of the following themes have become operational:
* Cooperation with Africa (hosted by Germany)
* Sustainable Products (hosted by the UK)
* Sustainable Lifestyles (hosted by Sweden)
* Sustainable Public Procurement (hosted by Switzerland)
* Sustainable Tourism (hosted by France)
* Sustainable Buildings and Construction (hosted by Finland)
* Education for Sustainable Consumption (hosted by Italy)
There are no specific rules or obligations for the Task Forces as it is a purely voluntary initiative. How-ever, they are expected to be output-oriented and aim at showing added value of an approach on the ground or for very specific product categories (i.e. meetings and publications should not be the core output). Ideally, a Task Force should have around 5-10 interested governments keeping the geographical balance. The objectives and the current status of each task force are introduced below.
# The Lyrics of Henry VIII/Departure is my chef payne, Henry VIII

[f. 60$^v$]
| Early Modern English | Modern English |
| Departure is my chef payne | Departure is my chief pain |
| I trust ryght wel of retorn agane | I trust right well of return again. |

## Textual Commentary

Robbins, perhaps tongue in cheek, notes that “Departure is my chef payne” is “a late love song.” As the bass part suggests, this song of departure—the lyrics of which are in keeping with contemporary proverbial expression—may be intended as a musical representation of the words “retorn agane” (Stevens M&P 408). Proverbial sayings suggest that Henry’s is a variation upon a common theme.
    1–2 Cf. “Parting is a privye payne, But old friends cannot be called againe!” (Eger and Grime, ed. Caldwell, ll. 1341–42); “Departyt y aim with mekill payn, / And went till Ingland hame again” (Barbour, Barbour’s Bruce 7.633–34); the sections of Barclay’s Eclogues wherein the miseries of courtiers are recounted (l. 468), and wherein Coridon takes leave of Cornix: “Adewe swete Cornix, departing is a payne, / But mirth reneweth when louers mete againe” (ll. 823–24); and Wyatt’s “Absens absenting causithe me to complaine”: “And departing most pryvie increasithe my paine” (l. 3; LDev f. 81$^r$); see also Tilley (P82).
This three-part round is built musically above a bass part of “Departure is my chef payne.” “Departure is my chef payne” is listed in H’s table of contents as the ninety-sixth work.
This piece is indexed in Robbins Index & Suppl. 676.5, Boffey, and Ringler MS TM349. Reprinted in Flügel Anglia 243, Flügel Neuengl 136, Stevens M&P 408, Stevens MCH8 44, and Trefusis 23–24.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (f. 60$^v$).
    2 agane] agayne De parture H$^3$
# The Lyrics of Henry VIII/Dulcis amica (Prioris, Incipit)

[ff. 88$^v$-89$^r$]
Dulcis amica

## Textual Commentary

“Dulcis amica” is an anonymous prayer to the Virgin. The piece appears as an incipit in H in only one of four voices. Although all voices have spaces for large initial block capitals, they are left blank in voices two through four, and filled with a capital in voice one slightly large than the text of the incipit. There is space among the musical notation for further text. “Dulcis amica” is listed in the manuscript’s table of contents as the fifty-eighth work. Unattributed in H, it is attributed elsewhere to Prioris.
The best source of “Dulcis amica,” as noted by Keahey and Douglas (3.XI), is CaP1760 (f. 2$^r$), and it is also found in Am162 (f. 117$^v$), C1848 (413), Cb124–8 (f. 133$^v$), CCap (16–17), L35087 (ff. 61$^v$–62$^r$), Mu326 (f. 13$^v$), P1597 (ff. 4$^v$–5$^r$), P2245 (ff. 31$^v$–32$^r$), PBA31 (ff. 106$^v$–107$^v$), PBLau (f. 20$^r$), PBMiss (f. 4$^v$), PBMot (f. 16$^v$), PBRha (#3), PBTre (ff. 7$^v$–8$^r$), SG462 (9), SG463 (#140), T27 (f. 35$^v$), Up76a (ff. 55$^v$–56$^r$), WLab (ff. 139$^v$–140$^r$), and elsewhere. Of these, full texts of the lyric are extant in Am162, C1848, CaP1760, Cb124–8, L35087, P1597, PBLau, PBMiss, PBMot, SG462, SG463, T27, Up76a, and WLab. A slight variant is provided by SG462, which reads “Dulcis Maria”; PBRha and Mu326 (a copy of the former) provide an entirely different text, “Qui credit in filium habet vitam aeternam…” (see Albrecht, ed., 3.6).
The first voice of CaP1760, a chansonnier at one time likely belonging to Henry VIII’s elder brother Prince Arthur, provides the following text:
DVlcis amica dei Rosa vernans stella decora Tu memor esto mei dum mortis venerit hora
This piece is reprinted in Stevens (MCH8 64), Keahey and Douglas, eds. (5.44), and Albrecht (ed. 3.6), among others. It is indexed in Fallows (Catalogue 580–1), among others.
# The Lyrics of Henry VIII/Downbery down, Daggere

[f. 25$^r$]
Downbery down now am I exild my lady fro and no cause geuyn ther to wherfor to her. I me complayn hey now 5
trustyng that dysdayn sone shal be slayne and never more to remayne. Downbery.
Wylliam Daggere

## Textual Commentary

“Downbery down” is a lyric of a lover’s exile from his lady with no known reason (ll. 3–4). The “dysdayn” (l. 6) mentioned shares a similar quality to that of the nearly-allegorized entity of disdain noted in Henry’s own lyrics, that of a force which keeps true lovers apart.
    5 hey now A common refrain; see Farthing’s “Hey now now” (H 16) and Kempe’s “Hey nowe nowe” (H 10) both present in H as incipits; “hey now now now” is the burden to “Swet Iesu is cum to vs / this good tym of crystmas” (OxEP ff. 45$^v$–47$^v$; Greene #93), which is stated to be “A song in the tune of / And y were a mayden” (“And I war a maydyn” [H 67]); see also Skelton’s “Agaynste a Comely Coystrowne”: “Rumbyll downe, tumbyll downe, hey go, now, now” (l. 30). Also an exclamation, as in “hey now I howte” (Castle of Perseverance 61).
    6 dysdayn Cf. Henry’s “Whoso that wyll all feattes optayne” (H 28.2,4,8,11,14) and elsewhere; see the note to line 2 of the aforementioned lyric.
“Downbery down” is in the form of a round, transcribed exactly here.
“Downbery down” is indexed in Robbins Index & Suppl. 688.8, Boffey, Ringler MS TM367, and Crum D451. It is reprinted in Flügel Anglia 260, 232, Stevens MCH8 18, and Stevens M&P 391.

## Textual Notes
### Texts Collated

Texts Collated: H$^1$ (f. 25$^r$), LR58 (f. 4$^v$).
    1 down] down down down hay down LR58
    5 now] now hey now hey now LR58
    6 that dysdayn] this day LR58
    7 sone] sum LR58
    8 never more] neuer LR58
    9 substitute hey now downbery down. LR58
# The Lyrics of Henry VIII/En frolyk weson (Barbireau, Incipit)

[ff. 6$^v$-7$^r$]
En frolyk weson

## Textual Commentary

This piece appears as an incipit in H, in all three voices each with small initial block capitals, though with little room left among the musical notations for text. “En folyk weson” is listed in H’s table of contents as the fourth work. Here anonymous, the piece is widely attributed to composer Jacob Barbireau. The music of this piece was circulated with a number of texts, among them “Se une fois avant que mourir,” which is implied by incipits in RG27 (f. 9$^v$ / f. 16$^v$) and P10660 (f. 47$^r$), with a fuller text found in LCA.xxvi (ff. 4$^v$–5$^r$); [2] “Qu’en dictes vous,” which appears with text twice in C1848 (373, 418); [3] the German “Ein frolich wesen,” which appears in SG462 (ff. 28$^v$–29$^r$), SG463 (#153), and Tu26 (f. 26$^v$); [4] “Mes ieuix ont veu une plaisant figure” which, found in PBLiv (D1$^r$–D2$^v$), is a relatively close and literal translation of the Flemish text listed next; [5] the Flemish text “Een vraulic wesen,” found in T/Br (ff. 15$^v$–16$^r$; ff. 26$^v$–27$^r$) and elsewhere.
The Flemish and German texts provide incipits compatible with that found in H. The fuller German text, as given by Stevens (MCH8 4; after Bournoulli and Moser, eds.), is as below:
Ein frölich wesen hab ich erlesen und seh mich um wo ich hinkum in fremde land 5 wirk mir bekant mer args dann gut durch senens flut gliech heur als ferd auf dieser erd 10 tu ich mich gliech erkennen.
Wo ich dann lend lang als behend mit grosser gir begegnet mir 15 manch wunder da wie ich umscha gilt es mir gleich in allem reich kum war ich well 20 kein gelt kein gsell doch tu ich mich nit nennen.
Wann es nun kem das mir gezem ging wie es wolt 25 tet was ich solt recht willig gern in zucht und ern in zucht und ern für mein person auf guten won 30 in treuer pflicht on args geschicht doch kummert mich gross senen.
The Flemish text, according to Stevens (MCH8 101; after R. Lenaerts [87]) is as follows:
Een vraulic wesen myn oogskins saghen, wien ic ghetrauwicheyt moet thoe scriuen, al wilt my haer jonst vvt liefden driuen, nae dese gheen ander om my te behagen.
“En frolyk weson” is reprinted in Stevens MCH8 (4, 101), Atlas (ed. 1.67–68), Meier (ed. Barbireau 2.ii), Bournoulli and Moser, Lenaerts (87), and elsewhere.

## References

* ↑ For a detailed discussion of the settings and the variant texts, see Fox ("Barbireau" 90-92, 100-101) and Atlas (ed. 1.67-78) and, for a small list of musical concordances, Meier (ed. Barbireau 2.ii).
# The Lyrics of Henry VIII/Fortune esperee (Busnois, Incipit)

[ff. 4$^v$-5$^r$]
Fortune esperee

## Textual Commentary

This piece appears as an incipit in H in four voices, each with a large block initial capital, though with little room left within the musical notations for text. “Fortune esperee” is listed in the manuscript’s table of contents as the second work. The origins of this piece are in a work by Antione Busnois. “Fortune esperee” has been interpreted by others (including Felice) and is more commonly known as “Fortuna Desperata,” but remains unattributed in H.
“Fortune esperee” also appears in BQ16 (ff. 117$^v$–118$^r$), CT3.b.12 (ff. 79$^v$–80$^r$), Fl121 (ff. 25$^v$–26$^r$), FlP27 (ff. 22$^v$–23$^r$), Fr20 (f. 1$^r$), L35087 (ff. 11$^v$–12$^r$), Le1494 (ff. 62$^r$, 162$^v$), P676 (ff. 24$^v$–25$^r$), PBCan (ff. 126$^v$–127$^r$), PBS07 (I #29), Pe431 (ff. 93$^v$–94$^r$ [entered and then deleted], ff. 94$^v$–95$^r$), Ps1144 (25–7, 31–5), PT1 (#103), RC2856 (ff. 147$^v$–149$^r$), RG27 (ff. 56$^v$–57$^r$ / ff. 63$^v$–64$^r$), S/P (n11$^v$–n12$^r$), SAM (ff. 115$^v$–116$^r$, f. 174$^r$, f. 182$^r$), SG462 (20–1), SG463 (#144), and Zw78 (2, #54), among others (see Fallows [Catalogue]). Of these, Atlas notes that full texts of the lyric are extant in L35087, P676, FlP27, Pe431 (second instance), SAM, S/P, and SG462; fragmentary texts, incipits, and alternate texts are extant in BQ16, CT3.b.12, Fr20, Fl121, Le1494, PBCan, Pe431 (first instance), Ps1144, PT1, RC2856, RG27, SG463, and Zw78.
The text given below is that of L35087:
Fortuna dessperata Inigua maledicta che di tal dona electa la fama la fama ay denegata Ay deniga ta electa la fama ay denigata
Stevens notes that the music of S/P is closest to that in H (MCH8 2); this text is as below:
FOrtuna fortuna despera ta Ini qua emalede ta che de tal dona elle ta la fama ay denega ta fortuna desperatta
“Fortune esperee” is printed in Atlas (ed., 2.38), Geering (ed., 17–18), Smijers (ed., des Prés 1.105–107), Smijers (ed., Obrecht 1.170–71), Stevens MCH8 (2), Torrefranca (297–98), Wolf (ed., Isaac 190), Wolf (ed., Obrecht 1[suppl.].136), and elsewhere. It is indexed in Fallows (Catalogue 518), among others.