OpenLLM-France/wikimedia huggingface dataset:
# English Opening: Drill Variation

Black launches an attack on the kingside, perhaps too early.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
1.c4 e5 2.g3 h5
| 3 | 4 | 5 | 6 |
| Nf3 e4 | Nh4 Be7 | Nf5 d6 | Nxe7 Qxe7 | += |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Taming Wild Chess Openings: How to Deal with the Good, the Bad and the Ugly over the Chess Board (2015). John Watson. ISBN 9056915703.
* This Chess related article is a stub. Please assist Wikibooks by expanding it.
# English Opening
### 4...Be7
## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
1.c4 e6 2.Nf3 d5 3.g3 Nf6 4. Bg2 Be7
| 5 | 6 |
| O-O O-O | b3 b6 | = |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Nunn's Chess Openings. 1999. John Nunn (Editor), Graham Burgess, John Emms, Joe Gallagher. ISBN 1-8574-4221-0.
* This Chess related article is a stub. Please assist Wikibooks by expanding it.
# English Opening: Agincourt Defence
### 1...e6

1.c4 e6 is the Agincourt Defence (named for the Battle of Agincourt, fought between the English and the French). Black fights for control of d5 and plans to put a pawn there. Common replies to this opening are 2.Nf3, 2.Nc3, and 2.g3.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation.
| 1.c4 e6 |
| | 1 |
| 1 | d4 | | See 1. d4 e6 2. c4 |
| 2 | Nf3 d5 | = |
| 3 | Nc3 Nf6 | = |
| 3 | g3 d5 | = |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Kasparov, Garry, & Keene, Raymond 1989 Batsford chess openings 2. ISBN 0-8050-3409-9.
* This Chess related article is a stub. Please assist Wikibooks by expanding it.
# English Opening
### 3. g3
## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
1.c4 e6 2.Nf3 d5 3.g3
| 3 | 4 |
| g3 Nf6 | Bg2 Be7 | = |
| g3 dxc4 | Qa4+ Nd7 | = |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Nunn's Chess Openings. 1999. John Nunn (Editor), Graham Burgess, John Emms, Joe Gallagher. ISBN 1-8574-4221-0.
* This Chess related article is a stub. Please assist Wikibooks by expanding it.
# English Opening
### 1...e6 2. Nf3
## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
| 2 | 3 |
| Nf3 d5 | g3 Nf6 | Bg2 dxc4 | = |
| ... Nf6 | g3 a6 | Bg2 b5 | = |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Nunn's Chess Openings. 1999. John Nunn (Editor), Graham Burgess, John Emms, Joe Gallagher. ISBN 1-8574-4221-0.
* This Chess related article is a stub. Please assist Wikibooks by expanding it.
# Circuit Idea/Op-amp Inverting RC Integrator

Circuit idea: The op-amp compensates the voltage drop across the capacitor adding as much voltage to the input voltage source as it loses across the capacitor.

## Problem: The capacitor affects the current

The main idea is that in picture we have a constant voltage source, which, across the resistor , will drive a constant current. At the beginning, when the voltage is up, the conductor material will be a support for potential propagation and the voltage will be applied all on capacitor, but the current will be zero. If the capacitance is infinite, there will be no current in resistor, and the resistor will be connected to "wind". When the voltage reach steady state ,as the capacitor between the armature, has a finite resistance , the current will be non zero, and the resistor will be not conected in "wind" but at ground through in-between armature material. The non-zero current will drop a voltage across the resistor, and the output voltage will be the source voltage without the resistance voltage. We can replace the capacitor with a current source, which will be the present disturbance or Norton equivalent voltage source only for discharge time. We prefer the last one. Do not consider the ohmic non linear effects.

## Basic non-electrical idea: Removing a disturbance by an "antidisturbance"

Let see the polarity of disturbance in "passive" picture. The current will flow in conventional way from + wire to - wire through capacitor. As we know the output of an op-amp is a voltage source ,but it's input a current source.(Voltage source has small infinite resistance, ideally zero, but in reality fractions of ohms, even ohms).The Norton replacement of current source with voltage source series with a high resistance equal with in-between armature resistance make the op-amp feasible. The polarity in "passive" circuit for C Norton replacement with voltage source will be with + connected to minus of initial voltage source. See this link www.circuit-fantasia.com/circuit_stories/understanding_circuits/current_source/inv_op-amp_current_source/circuit1_1000.jpg

## Applications of the op-amp RC integrator

Op-amp RC integrator = op-amp V-to-I converter + I-to-V C integrator

## Comparison with other techniques

Deboo integrator.
# Circuit Idea/Reinventing Circuits
## The Idea

The idea of ​​the heuristic approach in circuitry is simple - instead of presenting the circuits in their complete and perfect form, we reinvent them. Thus, we can delve deeply into the essence of phenomena, realize the meaning of technical solutions and develop heuristic thinking. This will allow us not only to analyze the operation of electronic devices, but also to create, synthesize, why not actually invent them?

## Examples

* From Ohm's basic electrical circuit we can "invent" six passive analog devices: voltage-to-current, resistance-to-current, current-to-voltage and resistance-to-voltage converters; voltage/current divider; current x resistance multiplier.
* Thevenen and Norton's real electrical circuits give us the idea of ​​a voltage and current divider. From Kirchhoff branch circuits we naturally obtain the parallel current summer and the series voltage summer.
* The reactive elements capacitor and coil can play the role of current and voltage integrators, etc.
# Circuit Idea/Putting yourself in the place of the device under study

Another heuristic technique is to mentally put yourself in the place of the electronic devices being studied. Thus we dentify with them (this is actually the concept of empathy known from Synectics). For this purpose, we replace active elements (transistors and operational amplifiers) with manually controlled elements and begin to perform their functions mentally. Through this empathy, we identify with them and can "feel" the circuit operation. For example, in the inverting voltage summer, we can replace the operational amplifier by a manually controlled voltage source, a null indicator, and an "actor".
# IB Economics/Microeconomics

* 2.0 Key Terms
* 2.1 Markets
* 2.2 Elasticities
* 2.3 Theory of the Firm (HL)
* 2.4 Market Failure
# IB Economics/Microeconomics/Key Terms
## Key Terms

Abnormal profits (HL)
Accounting cost/profit (HL)
Ad valorem tax (HL)
Allocative efficiency (HL)
Average costs (HL)
Average revenue (HL)
Barriers to entry (HL)
Break even price (HL)
Buffer stock scheme *Not needed in the current syllabus.
Cartel (HL)
Collusive oligopoly (HL)
Commodity
Commodity agreements
Contestable market (HL)
Cross price elasticity
Demand
Demerit goods
Diminishing marginal returns (HL)
Direct tax
Diseconomies of scale (HL)
Economic cost/profit (HL)
Economies of scale (HL)
Elasticity
Elastic demand
Elastic supply
Equilibrium price
Externalities
Fixed costs (HL)
Flat rate tax (specific tax) (HL)
Giffen goods (HL)
Incidence of tax (HL)
Income elasticity
Indirect tax
Inelasticity
Inelastic demand
Inelastic supply
Inferior goods
Law of demand
Law of diminishing average returns (HL)
Law of diminishing marginal returns (HL)
Law of supply
Long run (HL)
Market
Market failure
Market success
Marginal costs (HL)
Marginal revenue (HL)
Maximum price
Merit goods
Minimum price
Monopolistic competition (HL)
Monopoly (HL)
Natural monopoly (HL)
Negative externalities
Non-collusive oligopoly (HL)
Normal goods
Normal profits (HL)
Oligopoly (HL)
Perfect competition (HL)
Positive externalities
Price discrimination (HL)
Price elasticity of demand
Price elasticity of supply
Product differentiation (HL)
Productive efficiency (HL)
Profit-maximizing level of output (HL)
Public goods
Quotas
Short run (HL)
Shut down price (HL)
Subsidy
Supply
Sustainable development
Total costs (HL)
Total revenue (HL)
Tradeable permits
Variable costs (HL)
Veblem goods (HL)
# IB Economics/Macroeconomics/Macroeconomic Models
### Macroeconomic models

   * Aggregate demand- components: Aggregate demand is composed of four parts.
      * Consumption: How much households demand.
      * Investment: How much firms demand.
      * Government spending: How much Governments spend
      * [Exports- Imports]: How many exports are demanded from a country minus the number of imports said country demands.
         * This all makes for a very elegant equation: Aggregate demand= C+I+G+[X-M]
   * Aggregate supply: Aggregate supply is national output which is equal to national income.
   * Short run: In the short run demand and supply are the same.
   * Long-run (Keynesian versus neo-classical approach): There are two different examples of long-run supply curves. Keynesians believe that the long-run supply curve is a flipped L shaped. That we are never reaching an economy's full capacity and working towards it. Neo-classicals believe that this is not the case, and the supply curve is in fact- perfectly inelastic.
   * Full employment level of national income: It means the level of total output attained when unemployment is at a socially acceptable level. In most cases this is around 5%, however it does tend to vary.
   * Equilibrium level of national income : injections(j)= leakages (w). Therefore, j-w=0. (Government expenditure - taxes) + (export - imports) + (investment - savings)=0.
   * Inflationary gap: the gap between actual output and full employment output (+) OR the excess of Agg demand at the full employment level of real GDP
   * Deflationary gap: the gap between full employment output and actual output (-) OR the shortfall in Agg demand at the full employment level of real GDP
   * Diagram illustrating trade/business cycle:
       A business cycle is composed of four parts.
         * Peak
         * Recession
         * Trough
         * Expansion
# Human Physiology/Wish List

* In any chapter you could add a section called "In the News" and post a link to an online news article with a short description of the article (you could search science news websites, such as newscientist.com for appropriate articles).
* You could search Wiki commons for images related to specific topics in a chapter that you think should be illustrated.
* You could go through the chapters and try to make the format more consistent (see notes on the preferred style and formatting at: Human Physiology/Formatting).
* You could look at the Review Questions for each chapter and make sure answers are provided in the Answers chapter.
* You could find contact information for people in other physiology classes (students or teachers) and email them to encourage use of the book
* You could write an interesting case study for a chapter as part of the introduction.
* You could adopt a chapter and do careful proofreading for grammar and spelling
* You could look for places where writing is not neutral, or where opinions are expressed rather than facts presented
* Sometimes we have focused too much on anatomy and have not highlighted critical physiological principles as much as we should have. If there is a particular principle you think is important, then you could add it and explain it.
* If you are an expert in a health field, then surely you have something to contribute. Just remember that this is an introductory physiology textbook.
* More images are always welcome. However, you cannot simply copy/paste any image. You must be sure the image is free of copy right (if you took it yourself, then all is well). The image must then be uploaded to commons:Category:Medicine before it can be referenced within a chapter.
This list is not conclusive by any means. There are many opportunities to express your creativity, learn new things, teach other people physiology, and contribute to worldwide learning. Provophys 19:02, 24 April 2007 (UTC)
# Human Sexuality and Gender
## Contents

* History of Sexuality
* Research
* Developmental
* Gender
* Sexual Behavior
* Contraception and Abortion
* Pregnancy
* Sexually Related Diseases
* STIs and HIV/AIDS
* Sexual Orientation
* Sexual violence
# Cosmetic Science/Contributors

Note to contributors: You may use an internet moniker for privacy reasons. Brief personal description is optional.

### Writers

* Tu Van Nguyen: Computer Science major fascinated by the biochemistry and chemistry behind cosmetics. A novice home formulator offline.
# Cosmetic Science
## Contents
### Introduction

* Welcome
* Purpose
* Research methods

### Skin

* Skin Anatomy and Physiology
* Skin Conditions (acne, oiliness, scars, etc.)
* Ageing

### Hair

* Hair Structure
* Hair damage
* Hair loss

### Active Ingredients

* Skin Penetration
* Antioxidants
* Chemical Exfoliators
* DHT blockers

### Formulation

* pH control
* Solvents and Solutions
* Emulsions
* Suspensions
* Gels

### Color Cosmetics

* Safe Pigments
* Liquid Makeup
* Powder Makeup
* Hair Dye

### Preservation

* Microbial Infection
* Oxidation
* Preservatives

### Appendices

* Appendix A: Ingredients Glossary
* Appendix B: Contributors
# Corset/Popular culture

Corsets in popular culture
This list is incomplete; you can help by expanding it.
In movies and television series
* Moulin Rouge! — several costumes feature corsets as characteristic of the era.
* w:Pirates of the Caribbean: The Curse of the Black Pearl — Elizabeth Swann (Keira Knightley) almost suffocates from wearing a tight corset.
* Star Trek: Voyager — Catsuits Seven of Nine (Jeri Ryan) worn throughout her term contained built in corsets.
* Underworld — Selene (Kate Beckinsale) wears a black leather corset over matching latex Catsuit.
* Van Helsing - Anna Valerious (Kate Beckinsale) wears an ornate underbust corset as part of her costume.
In music videos
* Don't! — Shania Twain is wearing the corset in the hotel scene.
* Lady Marmalade — Christina Aguilera, Lil' Kim, Mýa and Pink are shown corsetted.

## Link

* staylace: films
# Corset/Tightlacing/Edwardian

In the Edwardian era, they have a great experience by Tightlacing.
1
2
3
4
5
# Icelandic/Lesson 4

| Icelandic | Forsíða | Inngangur | Stafróf og framburður | 01 | 02 | 03 | 04 |
| Icelandic | Viðaukar: Stórir Bókstafir | Nafnorð | Sagnorð | Óregluleg sagnorð | Lýsingarorð | Atviksorð | Töluorð | Orðtök | Klukkan | Annað: Verkfæri |
Kafli 4 :
Dagbók
Januar: Frá 7 til 13
* Þirðjudagur, 7 :
** Ég ætla að kaupa mér eitthvað í dag.
* Miðvikudagur, 8 :
** Ég ætla að fara á bókasafn.
* Fimmtudagur, 9 :
** Ég ætla að spila fótbolta.
* Förstudagur, 10 :
** Ég ætla að fara fara í veisluna.
* Laugardagur, 11 :
** Við ætlum að fara í leikvang.
* Sunnudagur, 12 :
** Við ætlum að fara í bíó.
* Mánudagur, 13 :
** Ég ætla að þýða eina grein yfir á ensku.
Translate
Diary
January: Since 7 to 13
* Thursday, 7 :
** I'm gonna buy myself something.
* Wednesday, 8 :
** I will go to the library.
* Thursday, 9 :
** I'm going to play football.
* Friday, 10 :
** I'm going to go to the party.
* Saturday, 11 :
** We are going to go to a stadium.
* Sunday, 12 :
** We are going to go the cinema.
* Monday,13 :
** I'm going to translate a report into English.

## Málfræði
### Sagnorð

The conjugation of the future tense often uses the auxiliary verbs ætla and munu. Respectively translating to "going to / intending to do something" and "will" do something. However, munu is not often used when someone is doing something willingly. There is also the slightly less common skulu which is like "shall" in English.
Dæmi
* Hún ætlar að fara með mér til hafnar.
* She is going to go with me to the port.
* Ég skal syngja fyrir þig.
* I shall sing for you.
Here we have some conjugation examples using these auxiliary verbs.
| að hlaupa | to run |
| ég ætla að hlaupa | i am going to run |
| þú ætlar að hlaupa | you are going to run |
| hann/hún ætlar að hlaupa | he/she is going to run |
| við ætlum að hlaupa | we are going to run |
| þið ætlið að hlaupa | you are going to run |
| þeir/þær/þau ætla að hlaupa | they are going to run |
| að leika | to play |
| ég mun leika | i will play |
| þú munt leika | you will play |
| hann/hún mun leika | he/she will play |
| við munum leika | we will play |
| þið munuð leika | you will play |
| þeir/þær/Þau munu leika | they will play |
| að fara | to go |
| ég skal fara | i will go |
| þú skalt fara | you will go |
| hann/hún skal fara | he/she will go |
| við skulum fara | we will go |
| þið skuluð fara | you will go |
| þeir/þær/Þau skulu fara | they will go |
# Icelandic/Numbers

| Icelandic | Forsíða | Inngangur | Stafróf og framburður | 01 | 02 | 03 | 04 |
| Icelandic | Viðaukar: Stórir Bókstafir | Nafnorð | Sagnorð | Óregluleg sagnorð | Lýsingarorð | Atviksorð | Töluorð | Orðtök | Klukkan | Annað: Verkfæri |
| arabískur tölustafur (höfuðtala) | rómverskur tölustafur | höfuðtala | arabískur tölustafur (raðtala) | raðtala |
| 0 | - | núll | | |
| 1 | I | einn m /ein f /eitt n | 1. | fyrsti m /fyrsta f, n |
| 2 | II | tveir m /tvær f /tvö n | 2. | annar m /önnur f /annað n |
| 3 | III | þrír m /þrjár f /þrjú n | 3. | þriðji m /þriðja f, n |
| 4 | IV | fjórir m /fjórar f /fjögur n | 4. | fjórði m /fjórða f, n |
| 5 | V | fimm | 5. | fimmti m /fimmta f, n |
| 6 | VI | sex | 6. | sjötti m /sjötta f, n |
| 7 | VII | sjö | 7. | sjöundi m /sjöunda f, n |
| 8 | VIII | átta | 8. | áttundi m /áttunda f, n |
| 9 | IX | níu | 9. | níundi m /níunda f, n |
| 10 | X | tíu | 10. | tíundi m /tíunda f, n |
| 11 | XI | ellefu | 11. | ellefti m /ellefta f, n |
| 12 | XII | tólf | 12. | tólfti m /tólfta f, n |
| 13 | XIII | þrettán | 13. | þrettándi m /þrettánda f, n |
| 14 | XIV | fjórtán | 14. | fjórtándi m /fjórtánda f, n |
| 15 | XV | fimmtán | 15. | fimmtándi m /fimmtánda f, n |
| 16 | XVI | sextán | 16. | sextándi m /sextánda f, n |
| 17 | XVII | sautján | 17. | sautjándi m /sautjánda f, n |
| 18 | XVIII | átján | 18. | átjándi m /átjánda f, n |
| 19 | XIX | nítján | 19. | nítjándi m /nítjánda f, n |
| 20 | XX | tuttugu | 20. | tuttugasti m /tuttugasta f, n |
| 21 | XXI | tuttugu og einn | 21. | tuttugasti og fyrsti m /tuttugasta og fyrsta f, n |
| 22 | XXII | tuttugu og tveir | 22. | tuttugasti og annar m /tuttugasta og önnur f /tuttugasta og annað n |
| 23 | XXIII | tuttugu og þrír | 23. | tuttugasti og þriðji m /tuttugasta og þriðja f, n |
| 30 | XXX | þrjátíu | 30. | þrítugasti m /þrítugasta f, n |
| 31 | XXXI | þrjátíu og einn | 31. | þrítugasti og fyrsti m /þrítugasta og fyrsta f, n |
| 40 | XL | fjörutíu | 40. | fertugasti m /fertugasta f, n |
| 50 | L | fimmtíu | 50. | fimmtugasti m /fimmtugasta f, n |
| 60 | LX | sextíu | 60. | sextugasti m /sextugasta f, n |
| 70 | LXX | sjötíu | 70. | sjötugasti m /sjötugasta f, n |
| 80 | LXXX | áttatíu | 80. | áttugasti m /áttugasta f, n |
| 90 | XC | níutíu | 90. | níutugasti m /níutugasta f, n |
| 99 | IC | níutíu og níu | 99. | níutugasti og níundi m /níutugasta og níunda f, n |
| 100 | C | hundrað | 100. | hundraðasti m /hundraðasta f, n |
| 101 | CI | hundrað og einn | 101. | hundraðasti og fyrsti m /hundraðasta og fyrsta f, n |
| 200 | CC | tvö hundruð | 200. | tvöhundraðasti m /tvöhundraðasta f, n |
| 300 | CCC | þrjú hundruð | 300. | þrjúhundraðasti m /þrjúhundraðasta f, n |
| 1.000 | M | þúsund | 1000. | þúsundasti m /þúsundasta f, n |
| 2.000 | MM | tvö þúsund | 2000. | tvöþúsundasti m /tvöþúsundasta f, n |
| 1.000.000 = 10$^6$ | ... | ein milljón | 1000000. | |
| 2.000.000 = 2x10$^6$ | ... | tvær milljónir | 2000000. | |
| 1.000.000.000 = 10$^9$ | ... | einn miljarður | 1000000000. | |
| 2.000.000.000 = 2x10$^9$ | ... | tveir miljarðar | 2000000000. | |
| ∞ | - | óendanlegur | - | - |
# Icelandic/Resources

| Icelandic | Forsíða | Inngangur | Stafróf og framburður | 01 | 02 | 03 | 04 |
| Icelandic | Viðaukar: Stórir Bókstafir | Nafnorð | Sagnorð | Óregluleg sagnorð | Lýsingarorð | Atviksorð | Töluorð | Orðtök | Klukkan | Annað: Verkfæri |
Orðaforði
| Fjölskyldan | The family |
| móðir | mother |
| mamma | mom/mum |
| faðir | father |
| pabbi | dad/papa |
| bróðir | brother |
| syster | sister |
| amma | grandma |
| afi | grandpa |
| frændi | uncle |
| frænka | aunt |
| Atvinnu | Jobs |
| arkitek | architect |
| kokkur | chef |
| vélstjóri | enginner |
| blaðamaður | journalist |
| málvísindamaður | linguistic |
| flugmaður | pilot |
| kerfisfræðingur | programmer |
| Hætt stöfum | retired |
| sölumaður | salesman |
| visindamaður | scientist |
| ritari | secretary |
| í bænum | in town |
| borg | city |
| bær | town |
| smábær | village |
| bygging | building |
| flugvöllur | airport |
| stoppistöð | bus stop |
| veitingahús | restaurant |
| vegur | road |
| íþróttavöllur | stadium |
| verslun | store/shop |
| neðanjanðarlest | subway |
# Icelandic/What time is it?

| Icelandic | Forsíða | Inngangur | Stafróf og framburður | 01 | 02 | 03 | 04 |
| Icelandic | Viðaukar: Stórir Bókstafir | Nafnorð | Sagnorð | Óregluleg sagnorð | Lýsingarorð | Atviksorð | Töluorð | Orðtök | Klukkan | Annað: Verkfæri |
Athugið: Klukkan er í hvorugkyni, mínúta og klukkustund eru í kvenkyni og klukkutími er í karlkyni.

## Dæmi:

* Hvað er klukkan? - What's the time?
* Klukkan/hún er... - (It's... )
| | Klukkan er tólf. |
| | Klukkan er korter yfir eitt. Klukkan er fimmtán mínútur yfir eitt. |
| | Klukkan er hálfþrjú. |
| | Klukkan er korter í fjögur. Klukkan er fimmtán mínútur í fjögur. |
| | Klukkan er fimm mínútur yfir fjögur. |
| | Klukkan er fimm mínútur í hálfsex. |
| | Klukkan er tíu mínútur yfir hálfsjö. |
| | Klukkan er tíu mínútur í átta. |
| | Klukkan er ein mínúta yfir níu. (Klukkan er rúmlega níu.) |
| | Klukkan er tvær mínútur í fjögur. (Klukkan er tæplega fjögur.) |
| 17:34 | Klukkan er sautján þrjátíu og fjögur. |
| 08:00—15:00 | Frá klukkan átta til fimmtán. |
| 07:00↔16:00 | Milli klukkan sjö og sextán. |
* See also Viðauki:Klukkan
# Juggling/Symmetric Passing Patterns/Notation
## Passes, Symmetry

The patterns are notated using a simple extension of siteswaps which involves putting a p next of a pass. This is essentially Jack Boyce’s passing notation. Essentially each jugglers role is notated from that jugglers perspective, regardless of how many other jugglers are playing. That way a self will be written as a 3 whether its a solo pattern or in a 7 person pattern.
Since most of the patterns in this article are symmetric, with all the jugglers doing the same job, in many situations only one juggler’s job is shown. So for example the well known 7 object Triple Singles, if written in its full form:
< 5p 3 3 3 | 3 3 5p 3 >
The ﬁrst part of the pattern gives Juggler 1’s role and the second part gives juggler 2s role. So for conciseness we will often only write: 5p 3 3 3.
# Juggling

Learning to juggle is not as complicated as it may seem. By taking five simple steps, one at a time, you should be able to juggle three balls within one hour. This may vary depending on your motor skills.

## Table of Contents

* Preparation

### Techniques

* Three Ball Cascade
* Basic Tricks
* Symmetric Passing Patterns
* Poi tricks

### Games

* Combat