OpenLLM-France/wikimedia huggingface dataset:
# LMIs in Control/Stability Analysis/Continuous Time/Output Energy Bound for Discrete-Time Autonomous LTI Systems

Output Energy Bound for Discrete-Time Autonomous LTI Systems
Autonomous systems are initialized under a given set of initial conditions, and then run without any additional inputs. It is useful to know ahead of time the bounds such a system will operate within. This analysis can be used to determine the upper bound on the output of a given autonomous LTI system operating in discrete time.

## The System

Consider the discrete-time, LTI autonomous system with state space representation
${\mathbf {x}}_{k+1}={\mathbf {A}}_{d}{\mathbf {x}}_{k}$,
${\mathbf {y}}_{k}={\mathbf {C}}_{d}{\mathbf {x}}_{k}$,
where ${\mathbf {A}}_{d}\in \mathbb {R} ^{n\times n}$ and ${\mathbf {C}}_{d}\in \mathbb {R} ^{p\times n}.$

## Determining an Upper Bound

The output of this system will satisfy
$\left\vert \left\vert {\mathbf {y}}\right\vert \right\vert _{2k}\leq \gamma \left\vert \left\vert {\mathbf {x}}_{0}\right\vert \right\vert _{2},\forall k\in \mathbb {Z} _{\geq 0}$
if there exists some matrix ${\mathbf {P}}\in \S ^{n}$and scalar $\gamma \in \mathbb {R} _{>0}$ such that
${\mathbf {P}}>0$,
${\mathbf {P}}-\gamma {\mathbf {I}}\leq 0$,
${\begin{bmatrix}{\mathbf {A_{d}^{T}PA_{d}}}-{\mathbf {P}}&{\mathbf {C_{d}^{T}}}\\*&-\gamma {\mathbf {I}}\end{bmatrix}}\leq 0$.

## Conclusion

Given an autonomous system operating in discrete-time conditions, the parameter $\gamma$ can be used to determine the largest feasible bound on the output of that system.

## External Links

A list of references documenting and validating the LMI.
* LMI Methods in Optimal and Robust Control - A course on LMIs in Control by Matthew Peet.
* LMI Properties and Applications in Systems, Stability, and Control Theory - A List of LMIs by Ryan Caverly and James Forbes.
* LMIs in Systems and Control Theory - A downloadable book on LMIs by Stephen Boyd.
# LMIs in Control/Robustness/Continuous Time

      * Robust Stabilization of Second-Order Systems
      * Robust Stabilization of $H{\infty }$ Optimal State Feedback Control
# LMIs in Control/Robustness/Continuous Time/DKIteration

This methods uses LMI techniques iteratively to obtain the result.

## The System

Given a state-space representation of a system $G(s)$ and an initial estimate of reduced order model ${\hat {G}}(s)$.
    ${\begin{aligned}\ G(s)&=C(sI-A)B+D,\\\ {\hat {G}}(s)&={\hat {C}}(sI-{\hat {A}}){\hat {B}}+{\hat {D}},\\\end{aligned}}$
Where $A\in \mathbb {R} ^{n\times n},B\in \mathbb {R} ^{n\times m},C\in \mathbb {R} ^{p\times n},D\in \mathbb {R} ^{p\times m},{\hat {A}}\in \mathbb {R} ^{k\times k},{\hat {B}}\in \mathbb {R} ^{k\times m},{\hat {C}}\in \mathbb {R} ^{p\times k}$ and ${\hat {D}}\in \mathbb {R} ^{p\times m}$.

## The Data

The full order state matrices $A,B_{1},B_{2},C_{1},C_{2},D_{11},D_{12},D_{21}$.

## The Optimization Problem

Alternate fixing $K,\Theta$ in an iterative process to estimate a solution for Dynamic Output Feedback Synthesis with Structured Norm-Bounded Uncertainty.

## The LMI: D-K Iteration

Objective: $\min \gamma$.
Subject to:: Initialize: $\Theta =I$\\ Define:\\
${\begin{aligned}\ {\hat {G}}_{\Theta }(s)&={\begin{bmatrix}\ A&|&B_{1}\Theta ^{-1/2}&B_{2}\\\hline \ \Theta ^{1/2}C_{1}&|&\Theta ^{1/2}D_{11}\Theta ^{-1/2}&\Theta ^{1/2}D_{12}\\\ C_{2}&|&D_{12}\Theta ^{-1/2}&0\\\end{bmatrix}}\end{aligned}}$
Step 1:
Fix: $\Theta$ and solve:
$\inf _{k}\|{\underline {S}}(G_{\Theta },K)\|_{H_{\infty }}$
Step 2:
Fix K and minimize $\gamma$ such that there exists $\Theta \in \mathbf {P\Theta }$ and $X>0$ such that
${\begin{aligned}{\begin{bmatrix}\ A_{cl}^{T}X+XA_{xl}&XB_{cl}\\\ B_{cl}^{T}X&-\Theta \\\end{bmatrix}}+\gamma ^{-2}{\begin{bmatrix}\ C_{cl}^{T}\\\ D_{cl}^{T}\\\end{bmatrix}}\Theta {\begin{bmatrix}\ C_{cl}&D_{cl}\\\end{bmatrix}}\ >0\end{aligned}}$ where $A_{cl},B_{cl},C_{cl},D_{cl}$ define $\inf _{k}\|{\underline {S}}(G_{\Theta },K)\|_{H_{\infty }}$ (Bisection)
Step 3: Go to Step 1

## Conclusion:

This is less of an LMI and more of a heuristic that allows us to solve for time-invariant scalings $\Theta$ and controller K. However, there are no guarantees that this process will return an globally optimized result.

## Implementation

* https://github.com/mosmith3asu/WikibooksLMIs/blob/main/DKiteration.m - Example Code

## Related LMIs

* https://en.wikibooks.org/wiki/LMIs_in_Control/pages/Discrete_Time_H%E2%88%9E_Optimal_Dynamic_Output_Feedback_Control - $H_{\infty }$- Dynamic Output Feedback Controller Synthesis

## External Links

A list of references documenting and validating the LMI.
* http://control.asu.edu/MAE598_frame.htm LMI Methods in Optimal and Robust Control- A course on LMIs in Control by Matthew Peet.
# IB Music/Music History/Renaissance Period
## Characteristics
### Society

* Church less powerful because of reformation
* Humanism
* Printing press spread learning
* Educated people all taught music
* Musical activity shifted to courts
* Composers sought credit for work
* Rebirth of culture of ancient Greece and the Roman Empire

### Words and music

* Music to enhance meaning of text
* Word painting

### Texture

* Chiefly polyphonic: 4-6 important voices
* Homophony in dances
* Bass register used: richer harmony
* Stable chords with triads
* A cappella—little accompaniment

### Rhythm and melody

* Rhythm a gentle flow, not sharp beat
* Rhythmic independence between lines
* Melody moves along a scale; few large leaps

## Sacred music
### Renaissance Mass

* Less polyphonic than that of the late middle ages, so that the latin texts could be heard more easily. This was done for religious purposes.

### Josquin Desprez

* Flemish composer
* Motet = polyphonic choral work set to a sacred Latin text
* Wrote Ave Maria…Virgo Serena

### Giovanni Pierluigi da Palestrina

* 16th century Italian composer, music director for St. Peter’s
* Wrote for Catholic church
* Pope Marcellus Mass convinced polyphony okay
* Famous for the Renaissance mass

## Secular music
### Vocal music

* The Renaissance madrigal
** Piece for several solo voices set to a short poem
** First Italian, then English
** Usually polyphonic with unusual harmonies
* The Renaissance ballett
** Also called a fa-la
** Mostly homophonic

### Instrumental music

* Subordinate to vocal music
* Mostly meant for dancing
* Pavane, galliard, passamezzo some dances
* Shawm, recorder, lute, cornett, sackbut, viol, organ, regal, harpsichord some instruments

## The Venetian school

* 16th century Venice became center of music, esp. St. Marco
* Characteristic: parts written esp. for instruments, not voice
* Giovanni Gabrieli
** 16th century Venetian composer, organist at St. Marco
** Wrote instrumental ensemble works and polychoral motets
** Cori spezzati
# IB Music/Music Theory
## Overview

While a strong knowledge of music theory is not essential to the IB Music test, the candidate should be familiar with the rudiments. A basic knowledge of terminology will help the candidate more competently answer questions and earn a higher score.

## Chapters

* Introduction
* Notation
* Meter
* Scales
* Chords
* Phrases
# IB Music/Music Theory/Chords

Chords
Chords can have different inversions which alter the "feel" of the chord. For example chords can have different notes in their bass. Here is 3 different inversions of C Major.
"C Major, with a C in the Bass"- This is a strong solid chord. "C Major, with a E in the Bass"- This is more of a passing chord and would not be used in a cadence. "C Major, with a G in the Bass"- As above
When these "weaked" inversions are used, they can imply different things. In most music, they are just used as part of a harmonic progression. In other pieces, such as choral pieces, an inversion can be placed under certain words to reiterate the meaning of the text. For example if the libretto is unsure and ambiguous the composer could use weaker inversions to emphasize this.
# IB Music/Music Theory/Meter

Metre is important when a musical passage has a text. However it can be relevant in other music. Metre refers to stresses on notes or words in passages of text or music.

## Iambic Metres

The stress falls on the second syllable.
_ I (the _ refers to a un-stressed and I refers to the stressed syllable)
Iambic metres are flowing and allow for lyrical patterns. They could be used in "love" songs, and in impressionist music. Any music that has a flowing lyrical feel could have an iambic metre.

## Trochaic Metres

The stress falls on the first syllable.
I _
Trochaic metres are disjointed and jarring in their feel. When passages are conflicting they may use a trochaic metre. For example in the set work "Dido and Aeneas" (Next year Mozart Jupiter Suite), the fight between Dido and Aeneas has a trochaic metre when she refers to Aeneas as a "deceitful crocodile".
The extension of these two metres is Anapaestic _ _ I, and Dactylic, I _ _
# IB Music/Music History/Latin American

- caribbean - argentina -brazilian
# IB Music/Music Theory/Introduction
## Set Works

It is important to know the technical terminology that is relevant to the current set work. Currently this is the Baroque Opera "Dido and Aeneas".
Here are important considerations when analysing the opera:
* Tonic Pedals: A tonic pedal is a single bass note that is sustained under the libretto or other parts. This can be used to emphasise the meaning of the text or to highlight a particular theme or motif.
* Metre: The metre of the text is important in emphasising the meanings of the text, as well as creating more contrapuntal rhythms and rhythmic interest. The metre is where the stresses fall in the words. See "Metre".
* Affection of Key: Various keys are used to assert different themes or emotions. For example G Minor is the "Death" key, and C Major is the "Royal" key. Theory of affection is a typically baroque characteristic as musical theorists of the time believed different keys could conjure different emotions.
* Word Painting: Is an originally renaissance technique, however it is predominant in Baroque Music as well. See the baroque and renaissance sections for a description.
* Circles of 5ths and 4ths: The use of this sequence can tell you which baroque style the passage is idiomatic of. For example, the German baroque style very often makes use of the whole circle of fifths, and incorporates it as a main feature of the music. English baroque tends to use part of the circle as a stylistic feature, or a way of modulating between keys. It is not necessarily a unitary feature but is used as a way of changing key.
* Types of Baroque: ENGLISH BAROQUE- Very often makes wide use of chromatics. FRENCH BAROQUE- Uses dotted rhythms and spritely metres. For an example see the overture. GERMAN BAROQUE- Very defined key structure, and very organised and strict rhythmic structure.
# Maple/Using Maple in Calculus, PDEs, and ODEs
## Symbolic Integration with Maple

Tired of looking up tables of integrals? In case you don't have access to Maple, here's a cheatsheet that is extremely useful for your reference: Tables of Integrals, Trig Identities, Advanced Mathematics, and much more
Want to check the correctness of your hand-worked solution? Want an easy way to generate/learn mathematical LaTeX?
To make sure that the typed integral is right, before asking Maple to actually evaluate it, use the inert command Int:
$\int _{0}^{2\pi /\omega }{\cos(\omega t+\phi )}^{2}dt$
To evaluate the integral use the command value.
${\frac {\pi }{\omega }}$

## Symbolic Differentiation with Maple

The inert differentiation operator is Diff:
${\frac {d}{dx}}\ln(x)$
${\frac {1}{x}}$

## Solving partial fraction decompositions with Maple

A borrowed trick from Matlab (using the fundamental theorem of calculus):
To integrate it, it will probably have to do a partial fraction expansion, so we let it do the expansion when it integrates, then differentiate to get our rational expression converted/decomposed into partial fractions:
${\frac {3}{x-1}}+{\frac {2}{1+x}}$
Maple has partial fraction expansion built in, though, if you want to do it directly. The command is
${\frac {3}{x-1}}+{\frac {2}{1+x}}$

## Resource Listing

List of mathematical internet resources
# Maple/Using Maple in Linear Algebra

Maple has two packages for linear algebra:
LinearAlgebra is more recent, it is based on the rtable data structure, hence it is more efficient for numerical calculations and uses direct evaluation.
linalg has an older design, it is based on the table data structure, hence uses "last name evaluation", but it could still be useful for abstract linear algebra.
# Maple/Saving results of Maple calculations
## Export data from a plot

You can then export this data to a file and insert in a spreadsheet.
1. Export to a tab delimited file:
Right-click on the output and choose:
Export As -> Tab Deliminated
save it to a tab-delimited format file with extension .xls. Click on the file (if the extension is associated) or import as tab delimited. Your data will then be in the spreadsheet.
2. The same result by a command:
3. Only in Standard GUI (Maple 11 or later), export to .xls format:
# Maple/Sequences, lists, sets, and tables in Maple

In comparison to the standard description of arrays in other languages, the variety of ways to group several elements into a single object in Maple may look a little bit tricky.
If one plots (see Graphic functions) several functions at the same graphic, the correct sequence may have, for example the form
plot([sin(x),cos(x)],x=0..9);
By default, the first function will be plotted with red, second with green, thirds with yellow (almost invisible at the white background) and so on. The similar if can be obtained with
plot({sin(x),cos(x)},x=0..9);
but then the color become dependent on the values of the functions.
Compare, for example,
[1,2,3,4,5,4,3,2,1]
to
{1,2,3,4,5,4,3,2,1}
In the first case, a list, the sequence remains the form in which it was typed; in the second case, a set, duplicates are removed and the original order is forgotten.

### Sequence

The sequence of element can be generated with function seq. Example of use:
seq( n^2, n=-2 .. 2 );
generates
Sequences are spliced within the argument list where they occur. This makes seq a rather general tool for writing various kinds of container literals:
The way of evaluation of expressions may be a little bit different from that we could expect in the command line; compare, for example, outputs of > seq\sin(x) , n = -2 .. 2/
which gives 1/sin(x)^2, 1/sin(x), 1, sin(x), sin(x)^2
and sin^(-2)(x), sin^(-1)(x), sin^0(x), sin^1(x), sin^2(x)
which gives
# Maple/Using Maple in Analysis

There are many various kinds of analysis, and in very few of them Maple may help. One of the "maplable" analyses is the Asymptotical analysis. It is typical, that at calculus of cumbersome expressions, small values of some parameters are especially interesting. One can evaluate derivatives and then approximate the function with truncated Taylor series. As these operations often appear together, there is special service called series.

### Examples of series

returns
because the function sin has known derivatives. If the function is not known, the derivatives remain in general form:
One can guess that the sequence
means second derivative of function whose name is s.
In general, arguments of series can be: expression, variable which is supposed to be small, and the minimal power of this argument dropped out.
If no obvious dependency of the expression on the variable is found, the result is just expression:
returns just
Not all functions can be expressed as Tailor expansion. Nevertheless Maple series tries to do its best, for example,
returns
which may have sense in asymptotic analysis.
It is not difficult to write a function when the series cannot help, for example,
returns
although it is easy to see, that, at least for the real values of the argument, all the derivatives in zero are just zero. By default, Maple considers all variables as complex; in the complex plane, behavior of the function in the last example is pretty singular and no simple expansion is possible.
# MapleStory/Authors

* MapleStory
* Complete Table of Contents
* Jobs
* Locations
* Shops
* Monsters
* Quests
* FAQs
* Glossary
* Authors list

## Primary Authors
### Those who have contributed a significant amount of work to this book. Basically, they do the work of Editors, citations, photographers, and proofreaders. Additionally, they patrol this book for vandals; in alphabetical order.

* DarkNShadow
* Dragontamer
* Prod

## Editors
### Those who have contributed to this book, in alphabetical order.

* Brady1234 - reviving monster list after someone deleted it and permanently erased it
* Bonekhan - contributing to the Maps Section (IGN (Bera): Bonekhan)
* Captain Kevles - Classes, General Info, Formatting (IGN: Messiah/BuddyChrist)
* EchelonThree - the Weapons (Bow) Section
* Embok
* EMP Demon
* Gamefreak - added some quest info
* Geekyaznboy - Cleaned up book and added stuff here and there
* Jacob Clark - Bits of info/tips here and there (IGN: Royle)
* Harakuso - minor contributions to some sections
* Kalani - cleaned up the book
* MajesticMystic
* masterdestiny - KMS,JMS,CMS notes
* K~man (Kevin Lee) - introduction and monster notes for GMS
* Kenjoki Ikari - contributions to the Lubridium PQ section.
* La Hire
* Posala - Some glossary stuff, and a couple of other things.
* Raylena - added a few bits of info here and there, esp. to glossary
* Steventrouble - made list of weapons!

## Proofreaders
### Corrected errors in the book, technical or factual; in alphabetical order.

* BlindingDarkness
* iFat
* Josen
* NutZero
* Vazzaroth

## Photographer
### Created Screenshots for this game, in alphabetical order.

* Derek Leung
* Kenneth Ng
* K~man

## Citations
### Sources of facts for this book.

* Hidden Street
* Maple Tip
* Sleepywood Community
** Notably: Butterz and DingDong for damage formulas
* MapleStory ~ Sauna
* MapleStory ~ Omega Sector
* Newest KoreaMS and KoreaMS BETA info, InSoya
* And finally those many anonymous sources. Thank you.
# Issues in Interdisciplinarity 2020-21/Death penalty

Evidence
Death penalty? Case study in the US? Forensic evidence? Psychological tests?
# Learn to Play Drums

This is, essentially, not only a guide just to playing a drum kit, but a guide also to buying and looking after your drum kit, and playing with other people. That might not sound like a lot, but there will be a lot of material to cover. It will be assumed that you, the reader, have no musical knowledge, to make this book as easy to understand as possible to total beginners.

## Contents

* Buying a Drum Kit
** Cymbals
** Hardware
** Accessories
* Drum Tabs
* Starting Out
* Lessons
** A 4/4 beat
** Fills
** Exploring the Hi-Hats
** Lots of 8/8 Beats
** Single Strokes and Double Strokes
** More advanced beats
** Lessons/Beats
* Other topics
** Tuning Drums
** Reading Sheet Music
** Playing with Other Musicians
List of Learn to Play Drums' contributors
# Learn Shavian/Vowels/1

The first two letters you will learn are called if and eat. They look like this
| Name | Letter |
| if | 𐑦 |
| eat | 𐑰 |
You can imagine that someone wanted to make the if letter longer, so they broke it in the middle and tried to pull it apart to lengthen it. That is how we got the eat letter.

### Vocabulary

| Latin | Shavian |
| if | 𐑦f |
| eat | 𐑰t |
| this | th𐑦s |
| these | th𐑰se |
| in | 𐑦n |
| we | w𐑰 |

### Reading Practice

Now w𐑰 can use th𐑰se letters 𐑦n some text like th𐑦s.
𐑦n the quaint v𐑦ll𐑦ge of W𐑦llow Cr𐑰k, L𐑦l𐑰, a l𐑦ngu𐑦st𐑦cs 𐑦nthus𐑰ast, d𐑦scovered an old manuscr𐑦pt contain𐑦ng m𐑦sterious s𐑦mbols. 𐑦ntr𐑰gued, sh𐑰 𐑦mbarked on a l𐑦ngu𐑦st𐑦c journ𐑰, unravel𐑦ng the en𐑦gma. The gl𐑦phs led her to an ancient librar𐑰, where sh𐑰 met an 𐑦ccentr𐑦c librarian named B𐑦ll𐑰. W𐑦th a tw𐑦nkle 𐑦n h𐑦s eye, B𐑦ll𐑰 r𐑦v𐑰led the s𐑰crets of a forgotten langu𐑦ge, 𐑦gnit𐑦ng L𐑦l𐑰's cur𐑦os𐑦t𐑰. Am𐑦dst dust𐑰 tomes, they d𐑦ciphered 𐑦ntr𐑦cate scr𐑦pts, 𐑦mmers𐑦ng themselves 𐑦n the thr𐑦ll of l𐑦ngu𐑦st𐑦c exploration. As they uncovered h𐑦dden phonet𐑦c patterns, the echoes of “𐑦f” and “𐑰t” resonated through the silent corr𐑦dors, transform𐑦ng the forgotten 𐑦nto a l𐑦ngu𐑦st𐑦c s𐑦mphon𐑰.
# Learn to Play Drums/Accessories
## Accessories

Under construction.
# Learn Shavian/Vowels/Reading Practice 1

By this point, you should know the following 8 Shavian vowels.
| Name | Letter |
| if | 𐑦 |
| eat | 𐑰 |
| egg | 𐑧 |
| age | 𐑱 |
| ash | 𐑨 |
| ice | 𐑲 |
| ado | 𐑩 |
| up | 𐑳 |
In the below text, we will utilize all of these letters. Read carefully and have fun!

### Text

𐑩 scorpion and 𐑩 frog m𐑰t on the b𐑨nk of 𐑩 str𐑰m and the
scorpion asks the frog to c𐑨rr𐑦 h𐑦m 𐑩cross on 𐑦ts b𐑨ck. The
frog asks, “How do 𐑲 know you won’t st𐑦ng m𐑰?” The scorpion
s𐑧s, “B𐑦cause 𐑦f 𐑲 do, 𐑲 w𐑦ll d𐑲 too.”
The frog 𐑦s s𐑨t𐑦sf𐑲ed, and th𐑱 s𐑧t off. M𐑦dstr𐑰m,
the scorpion st𐑦ngs the frog. The frog f𐑰ls the ons𐑧t of
par𐑨l𐑩s𐑦s and starts s𐑦nk𐑦ng 𐑳nder the water. Know𐑦ng th𐑱 both w𐑦ll drown,
the frog h𐑨s just 𐑦n𐑳gh t𐑲me to croak “W𐑲?”
The scorpion r𐑦pl𐑲s: “Th𐑦s 𐑦s m𐑲 n𐑱ture.”
# Learn to Play Drums/Cymbals
## Buying Cymbals

Cymbals can be used to add variety to your playing. They come in many different types, in different sizes. Cymbals prices differ largely between types and brands. For example, from the cheapest name brand cymbals (Solar cymbals by Sabian), a small 10" splash cymbal costs £24.00. It's a lot of money really, especially including the Hardware/Cymbal stands. But the same size and type cymbal from another brand could cost around £90.00! So if you're only just starting out, you shouldn't really go for some insanely high-priced ones.

## Types of Cymbals

Here's a list of cymbal types and their sound (well as close as we can get to describing it to actually letting you hear it):

### Hi-hats

One of the main parts of the drum kit, along with the snare and bass drum. These are usually used as a backbeat (look at drum tab to see what the hi-hat is (mostly) used for. The hi-hats can also be used occasionally as a ride cymbal. Hi-hats can be played open or closed, operated with one foot (look at Exploring the hi-hats)

### Crash cymbals

Usually come in sizes between 14" and 18". These are usually used to pack a punch at the end of a bar (the end of a beat). These produce bright, short sounds.

### Ride Cymbals

By far the largest type of cymbal you are likely to come across. These come in sizes from 18" to 22" mostly, but the 20" ride is the most common. Ride cymbals produce long, dark sounds, opposite to that of the crash.

### China Cymbals

The cymbals provide a 'trashy' and 'explosive' tone. Most china cymbals are used as a more explosive ride cymbal i.e. backbeats.

### Splash Cymbals

These are the smallest types of cymbals. The most common size is 8", and its normal function is to provide a short, snappy accent.

### Sizzle Cymbals

Cymbals with chains or rattles to change the sound. It is possible to buy separate chains (or rattles) and attach them to your cymbal, or make your own (however, that is not recommended by us). Chains and rattles are usually found on ride cymbals.

## Help

Feel free to edit this, or any, of this book's pages. Help us improve!
# Learn Shavian/Vowels

There is a logical design to the Shavian alphabet. Sounds that are related usually have some similarities in the way the letters look as well.
We will begin by teaching you the vowels of Shavian.
We will replace standard English vowels with Shavian vowels and keep the English consonants.
This will allow you to gradually learn the Shavian letters little by little while also leveraging your existing knowledge of English.
Starting with the vowels will be good because Latin English vowels are already so nonsensical that this will be a benefit to you no matter what you end up doing with Shavian. It will get you thinking more about all of the strange homonyms and pronunciations in English.