OpenLLM-France/wikimedia huggingface dataset:
# The Devonshire Manuscript/A my herte a what eilith the

* ←ffortune dothe frown || width="200" align="right" | hate whom ye list for I kare not→
* The Devonshire Manuscript facsimile 78v
f. [78v] 1 A my herte a what eilith the 2 to sett so light my libretye 3 making $^{me}$ bonde when{_e} I was fre 4 a my herte a . &c 5 {_o}[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+u+}]] when thou ware rid from all distresse 6 voyde of all paine & pen{_e}sifnesse 7 to chose againe a new mistresse 8 a my hert &c 9 when thou[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+u+}]] ware well thou[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+u+}]] could not holde 10 to to$^r$ne agayne that[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+t+}]] ware to bolde 11 thus to renue my sorrowes olde 12 a my herte &c 13 thou knoist full well that[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+t+}]] but of late 14 I was to$^r$nid out of loves gate 15 and now to guide me to this[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+is+}]] mate 16 amy hert &c 17 I hopte full well all had be don{_o}n 18 but nowe my hope is tane & woin 19 to my to$^r$men{_e}t to yelde so sone 20 a my harte &c fs

## Commentary

Attributed to Sir Thomas Wyatt, this poem was entered by H8. The speaker complains to his heart that it has once more bound him to a new mistress so soon after being freed from a painful love.
H8's shorter lines for the refrain separate each section visually and thus display clear stanza divisions.

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 276-77.

## Textual Notes
#### Texts Collated

DBLa02

#### Collation
## Textual Notes

1 herte] harte DBla02 a] A DBla02 eilith] eileth DBla02 2 sett] set DBla02 so light my] soo Lyght be DBla02 libretye] libertye DBla02 3 making] makyng DBla02 me] myee DBla02 bonde] bounde DBla02 when] where DBla02 4 herte] harte DBla02 a. & c] A what ayleth the DBla02 5 when thou ware rid] Where thow warte ryde DBla02 from] frome DBla02 distresse] Dist DBla02 6 voyde] voide DBla02 paine] payne DBla02 & pensifnesse] and pensyfnes DBla02 7 chose] chauoose DBla02 againe] agayne DBla02 mistresse] mestres DBla02 8 hert] harte DBla02 & c] a what Ayleth the DBla02 9 when] When DBla02 thou ware] thow warte DBla02 thou] thow DBla02 could] couldes DBla02 holde] hold DBla02 10 torne] turne DBla02 that ware] thow warte DBla02 11 renue] renew DBla02 sorrowes] Sorowes DBla02 12 a] A DBla02 herte] harte DBla02 & c] a what Ayleth the DBla02 13 thou] Thow DBla02 knoist] knowest DBla02 late] Late DBla02 14 tornid out of loves] turned owt of Loues DBla02 15 and] & DBla02 guide] gyde DBla02 16 amy] a my DBla02 hert] harte DBla02 & c] a what Ayleth the DBla02 17 hopte] hopped DBla02 be donn] ben doone DBla02 18 nowe] now DBla02 hope] hoppe DBla02 is] Is DBla02 & woin] and wone DBla02 19 torment] turment DBla02 to] To DBla02 yelde] yeld DBla02 so] soo DBla02 sone] Sone DBla02 20 harte] hart DBla02 & c] a what ayleth the DBla02
# The Devonshire Manuscript/A wel I hawe at other lost

* ←He Robyn gentyll robyn || width="200" align="right" | The knot which fyrst my hart did strayn→
* The Devonshire Manuscript facsimile 22v
f. [22v] 1 A wel I hawe at other lost$^1$ 2 not as my nowen I do protest 3 bot wan I hawe got that I hawe mest 4 I shal regoys among the rest Mary Shelton$^2$

## Notes & Glosses

1. A smudged character precedes the line.
 2. Compare this signature to the one on 1r and on 7r.

## Commentary

Written in Mary Shelton's hand, this poem is also signed "Mary Shelton" and could be an original creation by Shelton herself. The speaker expresses a hope to regain what he or she has lost and to accept the outcome.
"A wel I hawe at other lost" appears as the second poem entered on the page (placed at the bottom of 22v).
# The Developer's Guide to WordPress

WordPress has evolved beyond its humble beginnings as a blogging platform and fully into the arena of Content Management Systems. What sets WordPress apart is its elegant administrative interface, rich ecosystem of plugins and themes, and ease of extending.
This book will describe how WordPress works and how to successfully extend it.

## Contents

* Introduction
* Fundamentals
* Getting Started

### Themes

* How Themes Work
* A Close Reading of Twenty Ten
* Rolling Your Own
* Theming Best Practices

### Plugins

* How Plugins Work
* Commonly Used Plugins
* Writing Your Own Plugins
* Plugin Best Practices

### Advanced Topics

* Custom Post Types
* Custom Taxonomies
* Short Codes and Other Strategies
* Optimal Hosting

### Bibliography

* Bibliography

## Notes to editors

This book is still a stub; please add whatever content you are knowledgeable about.
The {{The Developer's Guide to WordPress/Contents}} template should be added to every page in this book.
# The Developer's Guide to WordPress/Optimal Hosting
## Hosting for speed

Not all hosts are created equal, and this can impact page load times. Page load times greatly impact the user experience. In general look for the following in a host:
* Good bandwidth
* Close to your users
* Serves content from fast storage, such as an SSD instead of an HDD.

## Hosting for reliability and resiliance

Reliability is a key, and often overlooked attribute. Some services allow you to take advantage of features which help improve reliabiliy or at least help improve resiliance to failure.
* Automatic backups (Not a replacement for doing your own manual backups, but can be useful in a pinch)
* Geographically distributed

## Take the load off with a cache

Wordpress is a dynamic CMS, which means it does significant backend processing. For pages which are commonly accessed but do not change, a common practice is to use a cache to speed retrieval. One common solution is to use the open source varnish cache, which has a numbler of existing plugings.

## References

* ↑ https://www.varnish-software.com/wiki/content/tutorials/wordpress/index.html
# The Devonshire Manuscript
## Contents

* Acknowledgments   ·   Note on the Edition   ·   Page Images (British Library) ·   Peer Reviewed Print Edition (ACMRS P / Iter P)
A Study of the Devonshire Manuscript :
Introduction: The First Sustained Example of Men and Women Writing Together in the English Tradition :
Overview   ·   The Works of the Devonshire Manuscript   ·   Public and Private, Personal and Communal   ·   Current and Popular Contexts :
Contributors to the Devonshire Manuscript :
Biographies :
Genealogical Tables :
Family and Affairs of Henry VIII   ·   The Howard Family   ·   The Boleyn Family   ·   Connections of the Boleyn, Knyvet, Shelton, and Howard Families :
Textual and Bibliographic Materials :
Textual Introduction :
Bibliographic Analysis   ·   Provenance   ·   Punctuation and Scribal Marks   ·   Transcription :
Manuscripts & Early Printed Books Associated with the Devonshire Manuscript :
Sigla   ·   Witness Descriptions, Manuscript   ·   Witness Descriptions, Early Printed Books   ·   Items in the Devonshire Manuscript Without Witnesses :
Paleographic Information :
Witnesses :
Bibliography :
Bibliography A-M   ·   Bibliography N-Z   · :
The Devonshire Manuscript, British Library, Add. MS 17492 :
# The Design and Organization of Data Centers/Wiring

Keeping your wiring organized is a never-ending struggle. Make sure to make it as easy as possible.

## fire safety considerations

types of cable:
* riser
* CM, CMG, CMx
* plenum
* low-smoke zero halogen

## Under Floor Organization

Place your major power lines in properly grounded metal conduit.
Put all under-floor fiber connections in plenum-certified conduit, such as the orange crinkle tube.
If using electrical whips underneath floors, make sure the socket boxes are physically restrained in place and marked with the location on both ends.
Run all conduits and wires square to the floor panels to allow for easier under-floor organization.
When placing electrical power whips underneath the floor, take the time to make sure they are cut very close to length, as extra loops of this cable can take up a lot of space under the floor.
Physically separate power from network cabling as much as possible. You may have only power conduits and cables under the raised floor, and network cabling in overhead cable trays, or vice-versa.

## Rack to Rack Connections

Consider whether you want to use network switches and hubs in each rack and connect those to a central location, or use patch panels that go from rack to rack.
Use patch panels and other techniques to minimize how often you have to go into the floor. You should not need to lift floor panels to install a new computer.

## Keyboard Video Mouse Switches

Consider using your KVM connections sparingly, using only one or two per rack and moving them when necessary for maintenance.
Buy a high-quality KVM, as quality counts, and go with an on-screen menu that allows you to label the computers.
Make sure your KVM allows for keyboard switching.
Compare against serial terminal servers if you have Unix boxes.
Use true KVM cables. Cables that you zip-tie together are harder to remove later. Also, the video connection that uses screws is shorter than the PS/2 connections, to reduce cable pull out.

## Cable Management

Many products for rack cable management.
Velcro zipties are reusable.
Use Ethernet cables of many color and lengths. Consider color coding by length. Use only booted cables as they won't get caught up when being moved around.
Consider putting a unique serial number on both ends of every single cable going into your data center.
Use the shortest power cables possible. Put serial numbers on the power cables and consider using black and beige colored cables to show side-to-side redundancy.
Pre-plan location of power outlets on rack systems.

## Planning for Expansion

Plan for extra analog phone jacks during construction, as they are often used for modems on equipment. Consider making them 56K leased-line capable.

## References

* ↑ "Video: Flammability Tests".
# The Devonshire Manuscript/Absens absenting causithe me to complaine

* ←I abide and abide and better abide || width="200" align="right" | I finde no peace and all my warre is donne→
* The Devonshire Manuscript facsimile 81v
* The Devonshire Manuscript facsimile 82r
f. [81v] 1 Absens absenting causithe me to com{_o}plaine 2 {es}{_o} my sorofull complayntes abiding in distresse 3 and depar{p+}ting most pryvie increasithe my paine 4 thus lyve I vncomfortid wrappid all in hevines f. [82r] 5 In hevenes I am wrapid devoyde of all solace 6 nother pastyme nor pleasure can{_a} revyve my dull wytt 7 my sprites{es} be all taken . and dethe dothe me manace 8 withe his fatall knif the thrid for to kitt 9 ffor to kit the thrid of this wretchid lif 10 and shortelye bring me owt of this cace 11 I se yt avaylith not yet must I be pensif 12 sins fortune from{_o} me hathe turnid her face 13 {_o}{w+t+} her face she hathe turnid with cownten$^a$nce contrarious 14 and clene from{_o} her presens she hathe exilid me 15 yn sorrowe remayning as aman a man most dolorous 16 exempte from{_o} all pleasure and wo$^r$ldelye felicitie 17 all wordelie felicitye nowe am I pryvate 18 and left in deserte moste solitarilye 19 wandring all about as on with{w+t+}owt mate 20 my dethe aprochithe what remedye 21 what remedye alas to reioise my wofull herte 22 withe sighis suspiring most rufullie 23 nowe wellcome I am redye to deperte 24 fare well all plesure welcome paine / and smar{m'}te / fs

## Commentary

Attributed to Sir Thomas Wyatt, this poem was entered by H8. Fortune has turned her face away from the speaker and leaves him in misery. The speaker seems cut off from human contact in a private world. Similar to many courtly love lyrics, this poem can be interpreted as commenting on both love and politics.

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 277.
# Visual Rhetoric/Modality and Visual Representations of Reality

Visual Rhetoric Class, see drupal site.
We expect images to relay some kind of truth. Whether it is a graph or a picture, there are certain qualities that they possess to portray the highest level of truth. This is the modality of the image. “Each realism has its naturalism, that is, a realism is a definition of what counts as real, a set of criteria for the real, and it will find its expression in the “right”, the best, the (most) “natural” form of representing that kind of reality, be it a photograph or a diagram.”
In their book Reading Images: The Grammar of Visual Design, Kress and van Leeuwen identify eight markers that help determine the modality of an image: color saturation, color differentiation, color modulation, contextualization, representation, depth, illumination, and brightness. They define the following as,
“Color Saturation, a scale running from full color saturation to the absence of color, that is to black and white.
Color differentiation, a scale running from a maximally diversified range of colors to monochrome.
Color modulation, a scale running from fully modulated color, with for example, the use of many different shades of red, to plan, unmodulated color.”
These are the three markers that deal with color. It is important to realize that high scales of all these will dilute the truth to the image by created a mess of colors; the message will be extremely distorted.
“Contextualization, a scale running from the absence of background to the most fully articulated and detailed background.”
“Representation, a scale running from maximum abstraction to maximum representation of pictorial detail.”
“Depth, a scale running from the absence of depth to maximally deep perspective.”
“Illumination, a scale running from the fullest representation of the play of light and shade to its absence.”
“Brightness, a scale running from a maximum number of different degrees of brightness to just two degrees: black and white, or dark grey and lighter grey, or two brightness values of the same color.”
Kress and van Leeuwen basically argue that any extreme of their particular modality sub-categories will cause the believability of an image to suffer. For example, too much color saturation or too much brightness cause an inherent dissonance that conveys a sub-reality. However, all their categories have a "Mid-range" and this is where the believability of an image is strongest.
Kress, Gunther and Theo van Leeuwen. Reading Images: The Grammar of Visual Design. London: Routledge, 2001.
# TCAT Rider Guide/Routes

Currently, there are more than thirty bus routes that comprise the TCAT system. Routes are identified by number and are usually indicated on a marquee at the front of the bus, and sometimes on the side as well. Some notable routes are as follows:
Route 10 is a loop shuttle service between the Cornell University Campus and downtown Ithaca (The Commons.) Service is every ten minutes, the most frequent of any route on the system, and runs Monday through Friday 7:30am to 5:30pm
Route 11 connects the Ithaca College Campus with downtown Ithaca. It runs every half hour Monday through Saturday until 7:00 PM and hourly on Sunday until around 5:00 PM. It also serves the Longview Retirement Home.
Route 15 connects the Ithaca Commons with Wegmans Supermarket, also stopping at Walmart, Kmart, Lowes Home Improvement and other shops along the way. Connects with the 11 route.
Route 30 links the Commons with the Pyramid Mall, running through the Cornell Campus along the way. Service is every half hour, during peak periods every fifteen minutes. Runs seven days a week.
Routes 80 and higher solely serve the Cornell Campus, many other routes pass through the Cornell Campus. Route 81 serves between A lot and B lot in Cornell campus. Route 82 serves between Hasbrouk apartment complex for graduate students and East Hill Plaza. Route 83 serves between West Campus and North Campus via Uris Hall in Central Campus.
Routes 90 and higher provides night services. Route 90 serves between Ithaca Commons and Robert Purcell Community Center in Cornell campus. Route 92 and 93 serves various points at Cornell campus including North campus, West campus, and East Hill Plaza. More frequent services are provided during the weekend.
# TI-Basic 84 Programming/A Basic Program
### Opening the program

To begin programming, open the Program Editor with the keystrokes PGRM:NEW. Then enter the desired name of your program and press enter. The program should be completely blank. The following examples are the only ones that will show the actual program name.
For the sake of this chapter, the program's name is TEMP.

### Enter

Here's the initial screen - your clean slate.
PROGRAM:TEMP
Hitting the ENTER key will add a new line. After pressing ENTER, the screen will look like this:
PROGRAM:TEMP

### Hello, World

Now, one of the most very basic programs will be created: Hello, World!
Enter the list of commands as follows:
    PGRM:I/O:8 (ClrHome)
    ENTER
    PGRM:I/O:3 (Display)
    "HELLO, WORLD!"
Make sure that "HELLO WORLD" is enclosed in quotation marks or string markers. To use them, key ALPHA +. If you followed the commands, the program should look like -
    ClrHome
    Disp "HELLO, WORLD!"
The ClrHome command clears the home screen, removing any clutter on it before your program started. The Disp command displays anything after it. There are other ways of displaying output, but Disp is the simplest. To run the program, press 2nd:Quit(Mode) then PGRM, find the program in the menu, and hit enter. The program name will be prefixed by 'pgrm' when displayed on the homescreen ("prgmTEMP"). Press enter again and the program will run, displaying:
And that's your first program. A more thorough explanation of each command used can be found in later chapters.
To edit the program again, go to PGRM:EDIT and find the name of the program.
After toying around with the program editor for a while, you might have noticed something if you've had experience programming. There's no indentation. This may be a scary notion - after all, how do you keep track of those blocks of code? The lack of indentation does interfere with readability, but there is simply not enough screen real estate to allow for indentation. The screen resolution on your calculator is extremely poor, and individual pixels can be seen with the naked eye without squinting. Unfortunately, it's one of the things you'll just have to get used to in TI-BASIC programming.
Previous: Book Conventions Next: Basic Variables Table of Contents: TI-Basic 84 Programming
# TCAT Rider Guide/Zones and Fares

Fares are based on TCAT's zone system. When riders travel within one zone (which is the case for the majority of passengers), they pay the single-zone fare. Riders that travel through two or more zones pay the multi-zone fare. On weekends there is one fare for all zones -- the single zone fare.
Zone 1 includes all of the City of Ithaca and the neighborhoods of South, East, and West Hill, and the Northeast neighborhood areas -- including the Tompkins County Airport, the Cayuga Medical Center, and Pyramid Mall.
Zone 2 covers the outer suburban areas of the county and the rural towns (includes Lansing, Etna, Freeville, Dryden, McLean, Groton, Brooktondale, Slaterville Springs, Danby, Newfield, Enfield, and Trumansburg).
Adult single fares are $1.50 and $3.00 for single and multi zone trips respectively. Child fares are $1.25 and $2.50, and fares for seniors and disabled persons are 75 cents and $1.50. Various pass options also exist ranging from a single day pass to an annual one offering unlimited travel anywhere on the system. Although no special fares for college students exist, there are several semester pass options for Ithaca College and Cornell University students.
# TCAT Rider Guide

Tompkins Consolidated Area Transit, usually referred to as TCAT, is a network of bus services in Tompkins County, New York. The vast majority of TCAT service is based around the City of Ithaca, New York, and several routes serve Ithaca College, Cornell University, and Tompkins Courtland Community College (TC3).

## Table of Contents

* Routes
* Zones and Fares

## External Links

https://tcatbus.com/ - TCAT Official Website
# Systems Theory/Resources
## Related Wikibooks

* Futurology
* Communication Theory
* Signals and Systems
* Communication Systems
# Systems Theory/Systems Approach to Instruction
## What is a System

A system, S, is viewed as a whole made up of many parts or subsystems which are interconnected. To be considered as a system, S MUST have one or more objectives. In turn, each subsystem may itself be viewed as a system, leading to a hierarchy of systems (or subsystems). The system's parts are working together as a whole to accomplish the system's objective(s) by performing certain tasks. Ex. a computer. A system can also be defined as separate bodies coming together to form a system.
Keywords: system, subsystem, interconnection, objective

## Systems Approach

The systems approach developed out of the 1950s and 1960s focus on language laboratories, teaching machines, programmed instruction, multimedia presentations and the use of the computer in instruction. Most systems approaches are similar to computer flow charts with steps that the designer moves through during the development of instruction. Rooted in the military and business world, the systems approach involved setting goals and objectives, analyzing resources, devising a plan of action and continuous evaluation/modification of the program. (Saettler, 1990)