OpenLLM-France/wikimedia huggingface dataset:
# Crowdsourcing/Restoration and reuse of images/Image restoration

Restoration can include cropping, fixing colour balance, contrast, orientation and hiding damage. It is achievable with widely available software, including free software such as GIMP. This is an ideal task for crowdsourcing.
* The tools and skills are widely distributed, not restricted to institutions
* The task of restoring a batch of images can be broken down into many small steps which do not depend on each other
* The open process means that nothing is lost if someone does a bad job: another restorer can start again from the origina.
* It is publicly verifiable what each user has contributed, so contributors can get recognition for their work
* Involving the crowd does not prevent professionals from doing the work: it just gives the professionals another platform to work on and a chance for more feedback
Volunteers will not work systematically through an entire archive but will pick the images they find interesting or which are most likely to be valued by the wider community. Wikipedia volunteer Durova’s motivation is clear when she writes about restoring a picture of the Wright Brothers’ first flight from an original provided by the US Library of Congress:
* First successful flight of the Wright Flyer, by the Wright brothers – US Library of Congress via Wikimedia Commons
* Restored image of Wright Brothers’ first flight – US Library of Congress/ Commons user Durova via Wikimedia Commons
This may contrast with motivations of professionals, who want to get a whole batch of work finished. The trade-off for professionals is that crowdsourcing might speed up restoration of the whole batch, but working efficiently might require them to concentrate their own effort on the less interesting parts of the collection.
| Previous | Index | Next |
# Crowdsourcing/Restoration and reuse of images/Improving image metadata

Once an image is uploaded to Commons, its description and metadata are open for editing by anyone, just like Wikipedia. Possible changes include:
* linking terms in the description to explanations (such as Wiktionary definitions or Wikipedia articles)
* translating the description into other languages
* categorising
* in rare cases: improving or correcting the description
The more discoverable files are on Commons, the more likely they are to be found. So it is strongly advisable to include a full catalogue description and meaningful categories when the files are uploaded. There are Wikimedia noticeboards and mailing lists which can be used to raise awareness of media collections that are being shared.
A set of images shared by the US Library of Congress included one from the aftermath of the Wounded Knee Massacre. That image showed "scattered debris" according to the catalogue description. With the image substantially cleaned up by a Commons volunteer, the "debris" was identifiable as four corpses of Sioux people. The Library's description was updated to reflect this, as was the programme of an exhibition featuring the photograph.
* Battle of Wounded Knee ‘scattered debris’ – US Library of Congress via Wikimedia Commons
* Battle of Wounded Knee, four bodies – US Library of Congress / Commons user Durova via Wikimedia Commons

#### Other media

Similar restoration and improvement can happen with audio, and free software for editing and clean-up is widely available as it is for images. An example is an interview with British politician Tony Benn which has been cleaned up for use in a Wikinews article, fixing the frequency balance and removing pauses. Commons has relatively little audio content and its requirement for unrestricted formats means that OGG and FLAC audio files are used rather than the more familiar (but patent-encumbered) MP3.
* Original interview with Tony Benn - Brian McNeil via Wikimedia Commons
* Edited, cropped and filtered interview - Brian McNeil and User:Symode09 via Wikimedia Commons
| Previous | Index | Next |
# Crowdsourcing/In practice

This section looks at some crowdsourcing projects related to research and education and how they illustrate the principles described in earlier sections. The next section will look in more detail at crowdsourcing related to digital media.
* Division of labour for a scholarly database
* Defining progress: geographical data
* Motivation: documenting a town
| Previous | Index | Next |
# Crowdsourcing/Restoration and reuse of images

The educational and research value of images or other digital media can be enhanced by additional work:
* restoration (such as cropping, colour balance, removing specks)
* contextualisation (such as embedding a portrait in text about the subject)
* improving metadata (categorising, adding machine-readable information, translating the description into other languages)
Image collections often have content and expertise but not the capacity to do this in detail for every one of their images. So it makes sense to work with a community of volunteers who appreciate such images and care about enhancing them.
Wikimedia Commons hosts the digital media files that are embedded in Wikipedia and the other Wikimedia sites. Its content is freely reusable, either because its copyright has lapsed or it has been given a relevant free licence. It has reached many millions of files, partly as a result of partnerships with museums, libraries, and other cultural institutions. Its purpose is not just to host media but also to enable crowdsourced improvements.
* Keeping everybody happy
* Image restoration
* Contextualisation
* Improving image metadata
* Summing up
| Previous | Index | Next |
# Crowdsourcing/Gamification/Summing up

While contributors appreciate attribution, and can earn status from the quality or quantity of their work, explicit gamification and badging are not essential to successful crowdsourcing. In fact they are potentially disastrous if enforced when the project’s goal is one that contributors already admire, such as free education or advancing science.
Status and badges motivate some people, and creating and awarding badges is an opportunity for creative expression and social interaction. Designed well, badges can direct competitive instincts into collaborative behaviour. Then again, personalities differ: badges that appeal to one contributor might seem offensively infantile to another.
| Previous | Index | Next |
# Crowdsourcing/In practice/Motivation: documenting a town

In an ambitious but successful project, a small group of Wikipedians worked with local people, public bodies and businesses to thoroughly document the Welsh town of Monmouth. They wrote articles and shared digital media relating to its history, buildings, notable people, and even individual objects in local museums. This spawned hundreds of articles and over 1000 uploaded images, resulting in about 400,000 hits on Monmouth-created content in one year. The booklet "How to create a Wikipedia Town" summarises their methods and lessons learned.
The motivation for the wiki contributors took many forms. There were competitions to encourage articles and translations, with on-wiki badges and prizes such as t-shirts. While not financially very valuable, the prizes were a tangible sign of appreciation for the volunteers, many of whom were in countries far away. Wikipedia project pages had leaderboards to highlight users who had created or translated particularly large numbers of articles, and examples of the best images submitted.
So the opportunities for recognition and competition were there if contributors wanted the elements of a game, but visibility was not the only motivation. The project’s publicity focused on the historical and political significance of Monmouth, its density of museums and other cultural and educational institutions. It also emphasised the value of free knowledge, of developing skills, and of working online with people from different languages and cultures. The project also showed that everyone in the community could contribute, from the local authority who released digital media under a Wikipedia-compatible licence to individual enthusiasts with computers or cameras.
Monmouth also illustrates the value of open and free content in the sustainability of a project. People are presently encouraged to access the local articles through multilingual QR codes that can be read with a mobile phone, but technology will move on. The main achievement of the project is a great amount of freely-available content in a form that can be endlessly remixed and repurposed. When new location-related technologies arrive, Monmouth will be ready for them because so many of its features are described in Wikipedia articles with embedded geographical data.
| Previous | Index | Next |
# Crowdsourcing/In practice/Division of labour for a scholarly database

Improving a highly specialised scientific database might seem the sort of task that needs to be kept to experts rather than opened up to the general public. In fact, it fits the earlier description of tasks that benefit from crowdsourcing. It can be broken down into many small, independent steps, each of which can be checked individually, and at least some of the necessary skills are widely available. A crowdsourcing project does not have to leave everything to the public but can invite them to build on something created by professionals.
The Pfam protein families database, used extensively by biochemists, has benefitted from a bi-directional linking with Wikipedia. Encyclopedia articles have been populated with information from Pfam and corrections or expansions can be fed back into it. This puts the Pfam data where it will be very easily found and used by researchers, students and other users, with links to the official site for verification. It also puts any errors where they can be seen and acted upon. The Pfam maintainers realise that minor errors can occur in a large database, but they use that as a reason to make the data as visible as possible rather than as an argument against publication.
Changes to the Wikipedia articles are not copied immediately into the database, but are collected by a script and manually checked. The Pfam maintainers write:
With a more controversial topic (such as current politicians) the proportion of vandal edits would be much higher, but protein families are stable enough that anyone editing an article is at least trying to improve it.
So there is a role for the public to play in maintaining a scholarly database. Since “the public” includes highly qualified people, this role is not restricted to low-value contributions. Collaboration between the professional Pfam community and interested members of the public would be impossible to arrange prospectively, but thanks to wiki technology and shared data they can work in parallel.

#### References

* ↑ Finn, R. D. et al. (1 January 2014) "Pfam: the protein families database" Nucleic Acids Research volume 42 issue D1 DOI 10.1093/nar/gkt1223
| Previous | Index | Next |
# Chess/Puzzles/Middlegame
## Actual matches

* A. Karpov vs. E. Gyk (1968)
* M. Tal vs. M Botvinnik (1960)
* W. Steinitz vs. J. Rock (1863)
* W. Steinitz vs. G. Thomas (1911)
# Chess/Puzzles/Endgame/Puzzle 2

White to play and win.
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
Authored by M. Tal and E. Pogosyantz.
Solution
# Chess/Puzzles/Endgame/Puzzle 2/Solution

1.Nd4+ Ke1
1...Kd1 leads to 2.Qb1#
2.Qh2! Kd1!
2...Qf2 3.Nc2+ Ke2 (3...Kf1 4.Qh1+, 3...Kd1 4.Qh1+) 4.Qh5+ transposes to 4...Qf2
2...Qa6 leads to 3.Nc2+ Kd1 4.Nxe3+ Ke1 (4...Kc1 5.Qc2#) 5.Qd2#
Other moves lose the queen or allow 3.Qe2#
3.Qh7! Ke1!
White's threat is 4.Qb1#. 3...Kc1 leads to 4.Qc2#
3...Qe1+ leads to 4.Kb3 transposing to 6.Kb3 in the 4...Kd1 line
4.Qh4+
4.Qe4? leads to 4... Kf2 5.Qf3+ Kg1 6.Ne2+ Kh2 7.Qxf1 (stalemate!!)
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
The problem now branches into two main possibilities
a)4...Kd1
5.Qe4! Qe1+
6.Kb3 Qf2
6...Qd2 leads to 7.Qh1+ Qe1 8.Qh5+ e2 (8...Kd2 9.Nf3+; 8...Kc1 9.Qc5+ followed by Qc2# or winning the Black queen) 9.Nf3 and Black must loses his queen or allow 10.Qd5+ Kc1 11.Qd2+ Kb1 12.Qb2#
Other Queen moves lose the queen or allow 7.Qc2+ Ke1 8.Qe2#
7.Qb1+ Kd2
8.Qc2+ Ke1
9.Qc1#
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
b)4...Qf2
5.Nc2+ Ke2
5...Kf1 leads to 6.Qh1+ transposing to 7.Qh1+
5...Kd1 leads to 6.Qh1+ Qg1 (6...Ke2 7.Nd4#) 7.Qxg1+ Ke2 8.Nd4#
6.Qh5+ Kf1
6...Qf3 leads to 7.Nd4+ forking king and queen
7.Qh1+ Qg1
7...Ke2 leads to 8.Nd4#
8.Qf3+ Qf2
9.Nxe3+ Kg1
9...Ke1 leads to 10.Qd1#
10.Qd1+ Kh2
11.Ng4+, and white has a queen and king v. king situation.
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
# Chess/Puzzles/Middlegame/Match 2

Starting from the following position, white starts and wins.
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
M. Tal v. M. Botvinnik (1960).
Solution
# Chess/Puzzles/Middlegame/Match 3/Solution

1. dxe6!! Nxb3
2. exf7+ Kd7
3. Be6+ Kc6
4. Ne5+ Kb5
5. Bc4+ Ka5
6. Bb4+ Ka4
7. axb3#
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
# Chess/Puzzles/Middlegame/Match 4

Starting from the following position, white starts and wins.
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
Position from move 11 of E. Lasker vs. G. Thomas (1912).
Solution
# Chess/Puzzles/Middlegame/Match 1/Solution

1.Rf5!! (threatening Qxf7#) Qxb3+
1... exf5 brings the bishop on b3 into play, and 2.Qxf7# follows
2.cxb3 exf5
3.Nf4 Rd8
4.Qh6+ Ke8
5.Nxg6 fxg6
6.Qxg6+ Ke7
7.Qg5+ Ke8
8.exf5 Rc8
9.Qg8+ Ke7
10.Qg7+
Black Resigns (cannot stop f5 from promoting)
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |

## PGN

[Event ""] [Site ""] [Date ""] [Round ""] [White ""] [Black ""] [ECO ""] [Result "*"] [SetUp "1"] [FEN "r4k2/pp1b1p1Q/3pp1n1/7R/4P3/1B3q2/P1P1N3/1K6 w - - 0 1"]
1.Rf5 Qxb3+ 2.cxb3 exf5 3.Nf4 Rd8 4.Qh6+ Ke8 5.Nxg6 fxg6 6.Qxg6+ Ke7 7.Qg5+ Ke8 8.exf5 Rc8 9.Qg8+ Ke7 10.Qg7+ *
# Chess/Puzzles/Middlegame/Match 3

Starting from the following position, white starts and wins.
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
Position from move 12 of W. Stienitz vs. J. Rock (1863).
Solution
# Chess/Puzzles/Middlegame/Match 1

Starting from the following position, white starts and wins.
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
A. Karpov v. E. Gyk (1968).
Solution

## PGN

[Event ""] [Site ""] [Date "2010.06.10"] [Round ""] [White ""] [Black ""] [ECO ""] [Result "*"] [SetUp "1"] [FEN "r4k2/pp1b1p1Q/3pp1n1/7R/4P3/1B3q2/P1P1N3/1K6 b - - 0 1"]
# Chess/Puzzles/Middlegame/Match 2/Solution

1.Rxa6+! Kb8
1...bxa6 leads to 2.Qb6+ Ka8 3.Qxa6+ Ra7 4.Qxc8#
2.Qa4
Black Resigns
There is a defense against 2.Qa4 and prevents Ra8+ and Qa5#, but it is still a loss for black.
Analysis by Gordon B. Elo rating 2681 Starting from original position 1.Rxa6+! Kb8 2.Qa4 Rxc5!! 3.dxc5 Qxc5+ 4.Kh1 Kc7 5.Ra7 Kd6 6.Ra5 Qxa5 7.Qxa5 Ke7 8.Qc5+ Ke8 9.Rxb7 Rd1+ 10.Ng1 Nd7 11.Qb4 Rd3 12.Qa4 Rd5 13.Nf3 f6 14.Nd4 Ke7 15.Kg1 g5 16.Qa7 Ke8 17.Nxe6 Rd1+ 18.Kf2 Rd2+ 19.Ke1 Rd3 20.g4 g6 21.Ke2 Rd6 22.Nc5 Rd5 23.Nxd7 Rd2+ 24.Kxd2 Ke7 25.Qc5+ Kf7 26.Nxf6+ Kxf6 27.Qe7#
| | a | b | c | d | e | f | g | h | |
| 8 | | | | | | | | | 8 |
| 7 | | | | | | | | | 7 |
| 6 | | | | | | | | | 6 |
| 5 | | | | | | | | | 5 |
| 4 | | | | | | | | | 4 |
| 3 | | | | | | | | | 3 |
| 2 | | | | | | | | | 2 |
| 1 | | | | | | | | | 1 |
| | a | b | c | d | e | f | g | h | |
# Circuit Idea/My CircuitLab bag of tricks

(This is a personal story written by Circuit-fantasist)
I am an "inventor at heart"; so after I started working with the CircuitLab simulator, I immediately began to come up with various clever tricks, which are much easier with the simulator than in reality. Here are some of them:
# Circuit Idea/Introducing Sensomotor Activities

We can use heuristic principles to build sensorimotor (kinesthetic) representations in the students, in which a series of motor acts are performed on the studied circuit and its reactions to these effects are sensed. "Live" objects are convenient for this (analogies, voltage bars and diagrams, graphic IV curves, which reflect the state of the object under study on the screen.

## Real experiments

To "feel" the operation of more abstract electronic devices, we can manually emulate them and then show their evolution to fully automatic. For example, the role of an operational amplifier in negative feedback circuits can be performed first by a "manually controlled voltage source", then by a personal computer with analog ports and appropriate software, and finally by a real operational amplifier . In this way, by actually "playing" the evolution of an electronic circuit from "manual" to fully automatic, the person mentally identifies with the studied object (personal analogy, empathy), imagines how it performs its functions, and thus understands even better its operation.

## Mental experiments

Sensorimotor representations can even be constructed using thought experiments. So, for example, we can study a common-emitter circuit by mentally "raising" and "lowering" the voltage of the transistor base. In a common-base circuit, we can move the voltage of the emitter; in a differential amplifier, we can move both.
# Circuit Idea/Introducing Sensorimotor Activities

Heuristic principles are used to build sensorimotor (kinesthetic) skills in students, in which a series of motor acts are performed on the studied circuit and its reactions to these impacts are perceived sensibly. "Live" objects are convenient for this (analogies, voltage bars and diagrams, graphic IV curves that show the state of the studied object on the screen.
To "feel" the action of more abstract electronic devices, they can be manually emulated and then their evolution to fully automatic can be "played out". Thus, for example, the role of an operational amplifier in negative feedback circuits can be performed first by a "manually controlled voltage source", then by a personal computer with analog I/O peripherals and appropriate software, and finally by a real operational amplifier. In this way, by actually "playing" the evolution of an electronic circuit from "manual" to fully automatic, the person mentally identifies with the studied object (personal analogy, empathy), imagines how it performs its functions, and thus understands even better its action.
Sensorimotor skills can even be constructed using thought experiments. So, for example, a common-emitter circuit can be studied by mentally "raising" and "lowering" the voltage of the transistor base; a common-base circuit - by "moving" the emitter voltage, and a differential amplifier - by "moving" both at the same time.
# Nakhmanson Gambit, Kf6 Defence, Rook Attack
### 11. Bg5

The immediate 11...Kg8 is too compliant. With the e7-knight pinned, White doesn't have to take three times on e7 straight away, but can resolve the pawn situation with 12.bxc3 and restore material equality.
Black can't remove the pin just yet. 11…Qe8 is just stepping out of one pin into another, and does nothing to free the knight. But with 11...d5, Black can at least prepare to remove the pin.
Or Black can resolve the pawn situation herself with 11...cxb2, now that the bishop can't recapture from c1.
It turns out that with best play 11...d5 and 11...cxb2 transpose into each other, but 11...d5 is a better practical choice because the juicy morsel on c3 might tempt White into accidentally losing a piece.
When contributing to this Wikibook, please follow the Conventions for organization.
# Nakhmanson Gambit, Kf6 Defence, Rook Attack
### 11...d5

Black is threatening to unpin the knight with ...Qd7 or ...Qd6. White's hopes of capturing the knight rest on immediately driving off one of its three defenders, while keeping three attackers on it (so, not blocking the rook with Ne5+). The only move that accomplishes this is 12. Qf4+, intending Qh4.
When contributing to this Wikibook, please follow the Conventions for organization.
# Scotch Gambit Accepted
### 6. Re1!

White pins the greedy knight on e4. As f5 would be too slow and Qe7 is still a major piece pin, d5! is the only sensible followup.
d5 is only temporary, however, as Bxd5! followed by Nc3! taking advantage of both pins on the heavy pieces equalizes. An immediate Nc3 is an option as well, though less common.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation.
    1. e4 e5 2. Nf3 Nc6 3. Bc4 Nf6 4.d4 exd4 5. O-O Nxe4 6. Re1
| | 6 | 7 | 8 |
| Main Line | ... d5 | Bxd5 Qxd5 | Nc3 Qa5 | ∞ |
When contributing to this Wikibook, please follow the Conventions for organization.
# Scotch Gambit Accepted
### 6...d5!

d5! simultaneously defends the e4-knight and attacks the c4-bishop. However, instead of retreating, White may try the move Bxd5! with hopes of Qxd5 Nc3! attacking the pinned knight on e4 and the queen, and cannot be captured as dxc3?? Qxd5! wins the queen.
A rarer followup is Nc3!! with the intention of dxc3 Bxd5! winning the knight on e4.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
    1. e4 e5 2. Nf3 Nc6 3. Bc4 Nf6 4.d4 exd4 5. O-O Nxe4 6. Re1 d5
| | 7 | 8 | 9 |
| Main Line | Bxd5 Qxd5 | Nc3 Qa5 | Nxe4 Be6 | ∞ |
When contributing to this Wikibook, please follow the Conventions for organization.
# Scotch Gambit Accepted
### 8. Nc3!

Nc3! uses the queen to queen pin as well as the rook to king pin to fork the Black queen and knight, which will fall the next turn. Black most commonly moves the queen to a5 or h5.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation.
1. e4 e5 2. Nf3 Nc6 3. Bc4 Nf6 4.d4 exd4 5. O-O Nxe4 6. Re1 d5 7. Bxd5 Qxd5 8. Nc3
| | 8 | 9 | 10 | |
| Main Line | ... Qa5 | Nxe4 Be6 | Neg5 O-O-O | ∞ |
When contributing to this Wikibook, please follow the Conventions for organization.