OpenLLM-France/wikimedia huggingface dataset:
# General Geometry

* Manifolds
* Euclidean geometry
* Symmetry
# General Mechanics/Analysis Using Newton's Laws
## Analysis Using Newton's Laws

The acceleration of the mass at any time is given by Newton's second law
    $a={\frac {d^{2}x}{dt^{2}}}={\frac {F}{m}}=-{\frac {kx}{m}}$
An equation of this type is known as a differential equation since it involves a derivative of the dependent variable . Equations of this type are generally more difficult to solve than algebraic equations, as there are no universal techniques for solving all forms of such equations. In fact, it is fair to say that the solutions of most differential equations were originally obtained by guessing!
There are systematic ways of solving simple differential equations, such as this one, but for now we will use our knowledge of the physical problem to make an intelligent guess.
We know that the mass oscillates back and forth with a period that is independent of the amplitude of the oscillation. A function which might fill the bill is the sine function. Let us try substituting,
    $x=A\sin(\omega t)$
where ω is a constant, into this equation.
We get
    $-\omega ^{2}A\sin(\omega t)=-A{\frac {k}{m}}\sin(\omega t)$
Notice that the sine function cancels out, leaving us with $\omega ^{2}={\frac {k}{m}}$ . The guess thus works if we set
    $\omega ={\sqrt {\frac {k}{m}}}$
This constant is the angular oscillation frequency for the oscillator, from which we infer the period of oscillation to be
    $T=2\pi {\sqrt {\frac {m}{k}}}$
This agrees with the result of the dimensional analysis. Because this doesn't depend on $A$ , we can see that the period is independent of amplitude.
It is easy to show that the cosine function is equally valid as a solution,
    $x=B\cos(\omega t)$
for the same $\omega$ .
In fact, the most general possible solution is just a combination of these two, i.e.
    $x=A\sin(\omega t)+B\cos(\omega t)$
The values of $A,B$ depend on the position and velocity of the mass at time $t=0$ .
# General Mechanics/Coupled Oscillators

We often encounter systems which contain multiple harmonic oscillators, such as this:
two identical masses, m, the first attached to a wall by a spring with constant k, and the second attached to the first by another, identical spring.
If the springs weren't linked they'd both vibrate at the same frequency, ω=√(k/m). Linking the springs changes this.
To find out how the linked system behaves, we will start with the Lagrangian, using the displacements of the masses, x$_1$ and x$_2$, as our coordinates.
A moment's inspection of the system shows
    $T={\frac {1}{2}}m\left({\dot {x}}_{1}^{2}+{\dot {x}}_{2}^{2}\right)\quad V={\frac {1}{2}}k\left(x_{1}^{2}+(x_{2}-x_{1})^{2}\right)$
so, using ω²=k/m,
    $L={\frac {1}{2}}m\left({\dot {x}}_{1}^{2}+{\dot {x}}_{2}^{2}\right)-{\frac {1}{2}}m\omega ^{2}\left(x_{1}^{2}+(x_{2}-x_{1})^{2}\right)$
The equations of motion immediately follow.
    ${\begin{matrix}{\ddot {x}}_{1}&=&-\omega ^{2}(2x_{1}-x_{2})\\{\ddot {x}}_{2}&=&-\omega ^{2}(x_{2}-x_{1})\end{matrix}}\quad (1)$
To solve these equations we try a solution in trig functions
    $x_{1}=A_{1}\sin \Omega t\quad x_{2}=A_{2}\sin \Omega t$
Substituting this into (1) gives
    ${\begin{matrix}-\Omega ^{2}A_{1}&+&\omega ^{2}(2A_{1}-A_{2})&=&0\\-\Omega ^{2}A_{2}&+&\omega ^{2}(A_{2}-A_{1})&=&0\\\end{matrix}}$
We would get the same equations from any trig function solution of the same frequency.
Gathering the coefficients of A$_1$ and A$_2$ together lets rewrite the last equation as
    ${\begin{pmatrix}2\omega ^{2}-\Omega ^{2}&-\omega ^{2}\\-\omega ^{2}&\omega ^{2}-\Omega ^{2}\end{pmatrix}}{\begin{pmatrix}A_{1}\\A_{2}\end{pmatrix}}={\begin{pmatrix}0\\0\end{pmatrix}}\quad (2)$
We can only solve this equation if the determinant of the matrix is zero.
    $\Omega ^{4}-3\omega ^{2}\Omega ^{2}+\omega ^{4}=0$
The solutions are
    $\Omega _{\pm }^{2}={\frac {3\pm {\sqrt {5}}}{2}}\omega ^{2}$
so the combined system has two natural frequencies, one lower and one higher than the natural frequency of the individual springs. This is typical.
We can also calculate the ratio of A$_1$ and A$_2$ from (2). Dividing by A$_2$ gives
    ${\frac {A_{1}}{A_{2}}}=1-{\frac {\Omega _{\pm }^{2}}{\omega ^{2}}}$
This behaviour is typical when pairs of harmonic oscillators are coupled.
The same approach can also be used for systems with more than two particles.
# General Mechanics/Energy Analysis
## Energy Analysis

Figure 11.2: Potential, kinetic, and total energy of a one-dimensional harmonic oscillator plotted as a function of spring displacement.
For a spring, Hooke's law says the total force is proportional to the displacement, and in the opposite direction.
    $F=-kx$
Since this is independent of velocity, it is a conservative force. We can integrate to find the potential energy of the mass-spring system,
$V(x)={\frac {1}{2}}kx^{2}$
Since a potential energy exists, the total energy
    $E={\frac {1}{2}}kx^{2}+{\frac {1}{2}}m{\dot {x}}^{2}$
is conserved, i. e., is constant in time.
We can now use energy conservation to determine the velocity in terms of the position
    ${\dot {x}}=\pm {\sqrt {{\frac {2E}{m}}-{\frac {k}{m}}x^{2}}}$
We could integrate this to determine the position as a function of time, but we can deduce quite a bit from this equation as it is.
It is fairly evident how the mass moves. From Hooke's law, the mass is always accelerating toward the equilibrium position, so we know which sign of the square root to take.
The velocity is zero when
    $x=\pm {\sqrt {\frac {2E}{k}}}$
If x were larger than this the velocity would have to be imaginary, clearly impossible, so the mass must be confined between these values. We can call them the turning points.
If the mass is moving to the left, it slows down as it approaches the left turning point. It stops when it reaches this point and begins to move to the right. It accelerates until it passes the equilibrium position and then begins to decelerate, stopping at the right turning point, accelerating toward the left, etc. The mass thus oscillates between the left and right turning points.
How does the period of the oscillation depend on the total energy of the system? We can get a general idea without needing to solve the differential equation.
There are only two parameters the period, T, could depend on; the mass, m, and the spring constant, k.
We know T is measured in seconds, and m in kilograms. For the units in Hooke's law to match, k must be measured in N·m$^{-1}$, or equivalently, in kg·s$^{-2}$.
We immediately see that the only way to combine m and k to get something measured in seconds is to divide, cancelling out the kg's.
Therefore T∝${\sqrt {m/k}}$
We have established the general way the period depends on the parameters of the problem, without needing to use calculus.
This technique is called dimensional analysis, and has wide application. E.g., if we couldn't calculate the proportionality constant exactly, using calculus, we'd be able to deduce by doing one experiment. Without dimensional analysis, if calculus failed us we'd have to do scores of experiments, each for different combinations of m and k.
Fortunately, the proportionality constants are typically small numbers, like $3{\sqrt {2}}$ or ${\sqrt {\pi }}/2$.
# General Mechanics
## Newton's Laws: First principles

This book is part of a series on Modern Physics:
Waves General Mechanics Special Relativity Quantum Mechanics Electrodynamics Nuclear Physics
* Fundamental Principles of Kinematics
* Fundamental Principles of Dynamics
* Work and Power
* Partial Derivatives
* Motion in Two and Three Dimensions
* Force and Motion
* Momentum
* Statics

## Rotational Dynamics

* Cross Product
* Torque and Angular Momentum
* The Uneven Dumbbell
* Index Notation
* Many Particles
* Rigid Bodies

## Newton's Laws: A second look

* Motion Under Constraint
* Alternate Formulations of Newton's Laws
* Velocity Dependent Forces
* Mach's Principle

## Harmonic Oscillators

* Energy Analysis
* Analysis Using Newton's Laws
* Forced Oscillator
* Coupled Oscillators
* The Continuum Limit
# Hemp Products/Authors

cauri started this wikibook he also founded the MovieMakingManual wikibook. He would like the experts on hemp industry products to contribute extensively to this book.
# Hemp Products

Over 51000 products derived form the hemp plant exist. Broadly these fall into the following categories
* textiles & fabrics
* paper & canvas
* paints & varnishes
* rope & cordage
* biomass energy
* food oils and protein
* medicine
* building materials
* recreation & creativity
This book intends to teach specific methods for farming hemp and using the plant mass to create each of the 51000 products.
The Hemp Products book concentrates on specific processes, methods and machines used for harvesting, processing and treating hemp to generate the real-world products available to the public.

## Contents

    Authors · Development

### Introduction

* History
* Farming

### Products

* Textiles & Fabrics
* Paper & Canvas
* Toiletries
* Paints & Varnishes
* Rope & Cordage
* Biomass Energy
* Food Oils & Protein
* Medicine
* Building Materials
* Recreation & Creativity
# Heliciculture/Population and Density

Population density also affects successful snail production. Pens should contain no more than six to eight fair-sized snails per square foot, or about four large H. pomatias; or figure one kilogram per square meter (about .2 pounds of snail per square foot), which automatically compensates for the size of the snails. If you want them to breed, best results will occur with not more than eight snails per square meter (.8 snails per square foot). Some sources say that, for H. pomatia to breed, .2 to .4 snails per square foot is the maximum.
Snails tend not to breed when packed too densely or when the slime in the pen accumulates too much. The slime apparently works like a pheromone and suppresses reproduction. On the other hand, snails in groups of about 100 seem to breed better than when only a few snails are confined together. Perhaps they have more potential mates from which to choose. Snails in a densely populated area grow more slowly even when food is abundant, and they also have a higher mortality rate. These snails then become smaller adults who lay fewer clutches of eggs, have fewer eggs per clutch, and the eggs have a lower hatch rate. Smaller adult snails sell for less. Dwarfing is quite common in snail farming and is attributable mainly to rearing conditions rather than heredity factors. Crowding snails is false economy. A recommended rate for H. aspersa is not more than one-third pound per square foot of soil surface for snails that weigh more than 1 gram and not more than .2 pound per square foot for snails that weigh less. (One ounce is about 28 grams.)
# Heliciculture/Shipping Snails
## Shipment Selection

Select only active snails for canning, processing or shipping. An inactive snail may be sick or dying. It is best to ship live snails (laws permitting) while dormant, between late Fall and early March, although it is then difficult to be sure they are "active." Inspect each snail to be sure it looks healthy. Put them in a container packed in ice to keep the temperature near (but not below) freezing to keep the snails dormant. When the weather warms up and the snails are active, they cannot be packed so closely in cartons. As live animals, you must handle them humanely. Some sources say not to ship live snails (H. pomatia) after June begins, as they no longer have good flavor. H. aspersa has a fragile shell until it matures and forms a lip, so immature snails are not commercially desirable.

## Shipment Preparation

Snails tend not to eat during shipping. Do not provide food, as it will spoil and may make the snails sick or die. Purge the snails' digestive tracts to ensure that they are clear of grit or previously-eaten food. Three or 4 days before transporting, put the snails in a separate container without dirt or other kinds of food. Feed the snails cornmeal or bran for several days. As it passes through the digestive tract, it will clean out previously-eaten food. Stop feeding, but continue to supply water. Clean the pens and snails several times a day to keep out mucus and fecal matter.

## Shipping Packages

Shipping cartons must have air holes, preferably screened to prevent escape or injury to the snails. Be careful not to injure snails with wires or staples when closing the carton. Also remember, snails can push upward against a barrier with a force equal to several times their own weight. Enough snails may cause the carton lids to pop off and may even loosen nails.
# Heliciculture/Turning Snails into Escargot

Snails are mature when a lip forms at the opening of their shell. Before they mature, their shells are more easily broken, making them undesirable. For H. aspersa, commercial weight is 8 grams or larger.
The nutrient composition of raw snails (per 100 grams of edible portion), according to information from the nutrient databank of France, is:
* Energy (kcal): 80.5
* Water (g): 79
* Protein (g): 16
* Available carbohydrates (g): 2
* Fiber (g): 0
* Fat (g): 1
* Magnesium (mg): 250
* Calcium (mg): 170
* Iron (mg): 3.5
* Vitamin C (mg): 0
Snails are washed, steamed, shelled, then washed in a vinegar- (or lemon juice) and water-solution before they are canned. Producing a quality canned product is somewhat tricky, and you must take care to prevent food poisoning. To prepare live snails for cooking, remove the membrane, if any, over the shell opening. Soak the snails in enough water to cover them. (Add 1/2-cup salt or 1/4-cup vinegar for every 50 snails.) Mucus will turn the water white. Change the water several times during the 3- to 4-hour soaking. Rinse several times or under running water until no mucus remains. Put snails in cold water and bring to a boil. Boil about eight minutes, then drain and plunge the snails into cold water. Drain. With a needle or small fork, pick the snails out of their shells. Remove the intestine and cut off all black parts. (Some cooks also cut off the head, tail, and all "cartilage or gristle.") Prepare according to your recipe. An alternate method is: Wash the snails well in clear water. Drop into boiling salt water (to which you may add lemon juice and/or herbs), and cook--about 10-15 minutes--until you can easily remove the snails from their shells. Drain and rinse.
Prepare the giant African snail by breaking away the shell, then cutting the foot away from the rest of the body. The traditional way to remove the slime is to rub wood ashes on the snail, then wash the snail (or part of the snail) under running water, then repeat until no slime remains. You may substitute substances like flour (to which you may add salt and vinegar) for ashes. Cut up the foot into convenient-sized pieces. [You may dehydrate the leftover visceral mass, crush it up with the shell, and mix it in poultry feed to make up 10% of your snail feed.] Another source says put the live snails in boiling water for 30 minutes to kill them and to make removal from the shell easy. During boiling, the snails will release a large quantity of mucus. Data varies, but 28% to 46% of the live weight of Achatina is shell.
# Hemp Products/Development

Use this page to develop sections that will eventually go into the book Hemp Products (only if there exists enough material present to justify a new subpage).
# Inclusive Data Research Skills for Arts and Humanities/Section 1

Data Skills Session
Facilitators: Gauti Sigthorsson (U. of Roehampton), Carla Fernandez (UAL), Harry Solomons (UAL, LCC)

# Session Summary

This session supports the overall aim of today's event, to co-create inclusive data skills assets and materials for arts and humanities researchers with Wikimedia UK and the DAReS project team. The theme of this session is "What works for Arts & Humanities practitioners when working with data?" Therefore, we aim to explore arts and humanities-specific approaches to data, tools, methods and research outputs. Facilitators will work with the following themes as starting points. Participants are welcome to move between groupings as they wish:
What counts as data in arts and humanities? Facilitator: Harry Solomons. Focusing on the distinction between qualitative and quantitative data, this session unpacks what counts as data in the arts and humanities, including quantitative and qualitative data, as the most readily apparent form of data in social sciences. Case studies, data sources and primary/secondary data considered, along with specific case studies.
How can you tell stories with data? Facilitator: Carla Fernandez. Focusing on data visualisation as both a research method and a practice, this session focuses on the route to exploration, discovery and the storytelling of information. Explore, Discover, Explain.
Data Practices Facilitator: Gauti Sigthorsson. This session focuses on key data skills questions to connect arts and humanities projects or topics to specific tools and methods
* What implications do choices of tools and methods have for inclusion/exclusion?
* It is necessary to give less privileged groups/communities voices through new ways to access existing data/content platforms.
* The Wikimedia/wiki book or a university department could create a new system of accreditations to allow those groups to access the many block/paywall websites.
* What works for artists and humanities researchers when working with data?
* Methods, techniques, tools: What are the tools of choice for you as arts and humanities researchers and/or practitioners?
* What data and digital research skills are most relevant for arts and humanities practitioners/researchers?
* The existing data/research supplied by those knowledgeable in their fields/themes can allow new practitioners to develop those subjects further, adding the many missing voices. Also, translating the many existing works from other continents, namely from the Global South, could add much value to make the current Arts and humanities texts more factual.
External link to Google Doc: Document for drafting
# Inclusive Data Research Skills for Arts and Humanities/Storytelling

Storytelling is at the heart of everything we do as artist-researchers. We have explored together how data can tell stories and about data positionalities as well as data discrimination, and there is more work to be done on how we make the storytelling around data as transparent and open as possible...
# Inclusive Data Research Skills for Arts and Humanities/Section 3
## Session plan: Hacking the Research Journey
### Brief session description

A core challenge for arts and humanities researchers interested in pursuing data-oriented research is finding ways to navigate their research pathways. During the DAReS project thus far, the research journey was important for both inclusion and data skills. This includes challenging the structural inequalities that limit arts and humanities researchers’ access to data skills but also figuring out ways to plan, design and identify sources of funding. This session critically engages with these challenges, hacking the research journey itself, the solutions to common problems, with the objective of forming a self-sustaining network of arts and humanities researchers potentially co-launching projects.
The objectives of this section were to:
* Co-develop three data-oriented arts and humanities research projects, which have potential to develop into funding applications and conference panels
* Creating a self-sustaining community of arts and humanities researchers interested in data and digital research
* Co-write a research journey guide for arts and humanities researchers interested in data and digital research, using Wikibooks as a tool.
# Inclusive Data Research Skills for Arts and Humanities/Section 4

Feedback and Reflection
During the Hackathon our wonderful IT support (Iza) will be hosting a feedback and reflection booth. This will be a place to stop and leave a note about the day, the project or the wiki book. You can use paper and pens, leave a video or audio note or log on to our padlet and leave a comment digitally. Even if you just want to say ‘Hi’.
Padlet for reflection and feedback
# Inclusive Data Research Skills for Arts and Humanities/Introductory context: How we came to data epistemologies and decolonial approaches

One of the challenges we face as arts and humanities researchers who want to engage with data-oriented computational tools and methods is that these are usually embedded within scientific as well as colonial disciplinary priorities and biases which can be very hard to unpick and work with in critical research. In this session, we focus on asking: What kinds of thinking, epistemologies and colonial practices come with data tools, skills and methods? How can we engage decolonial approaches to data for arts and humanities? How might we move towards empowering forms of data research?
Sana Batool and Marika Grasso, two of the DAReS project co-designers, will introduce the way in which the DAReS project has come to the ‘data epistemologies and decolonial approaches’ theme, providing important context for the session.
From this basis, we will then focus on asking: What kinds of thinking, epistemologies and colonial practices come with data tools, skills and methods? How can we engage decolonial approaches to data for arts and humanities? How might we move towards empowering forms of data research? To meet these challenges we will work in small groups around these specific related problems:
Each of these groups will engage these questions and work to identify what these challenges look like in research and their experience. The aim is to better understand these areas and co-create collaborative resources for sharing across Arts and Humanities and with under-represented groups.
# Inclusive Data Research Skills for Arts and Humanities/Self Sustaining Community of Researchers
## A Community of Researchers

We are developing a community of researchers to continue the work started by the DAReS project.

## Reading List: Data and Digital Research Skills for Arts and Humanities Researchers

As part of the community in which we are developing, we have created a reading list that may be helpful for thinking about work related to this project.

## Conferences and Opportunities

Please add any conferences or opportunities that are relevant to the work of this book
# Inclusive Data Research Skills for Arts and Humanities/Project Team

The project team consists of an interdisciplinary team with the following roles:
Principal Investigator
Co-Investigators
* Anna Troisi
* Maitrayee Basu
* Nessa Keddo
* Gauti Sigthorsson
Post-Doctoral Research Fellow
Project Coordinator
Senior IT Support Analyst
Project Partners
* Richard Nevell, Wikimedia UK
* CRAC / Vitae