OpenLLM-France/wikimedia huggingface dataset:
# Ideas in Geometry/Instructive examples/Section 1.1

Consider segment AB with length x.
In order to make an equilateral triangle, we need all side length to be the same and all angle measures to be the same. From segment AB, you would draw a point C such that C is the same distance away from A and B as A is from B, length x. From here you would draw in segment AC and segment BC. Interior angles should all be equal since each of the side length constructed can only lend itself to equal angles, meaning that there is no other way to construct this triangle without equal angles. Thus you can make an equilateral triangle from one segment, with that segment ( such as AB) as its side.
(Hbrozowski 06:14, 25 October 2010 (UTC))
# Instructional design/Discussion Roles/Assessment: Recognizing Examples and Non-Examples of Instructor Roles

Practice recognizing the role of the instructor in a discussion approach classroom
1
The instructor makes sure the classroom is set up so that all learners face the front of the room where the instructor sits.
Example
Non-Example
2
The instructor will pose a question and let students respond until the correct answer is given.
Example
Non-Example
3
Each class session begins with the instructor posting the session goals.
Example
Non-Example
4
After a learner has made a contribution to the discussion, the instructor always responds directly to that learner.
Example
Non-Example
5
On the first day of class, the instructor circulates a brief questionnaire to gather some personal information, including preferred name or nickname. He uses this information to identify each student during discussion.
Example
Non-Example
6
When an interval of 30 seconds has passed after the instructor poses a question, she will simply answer the question to keep the discussion moving.
Example
Non-Example
Click to return to the lesson when you have completed the self-assessment :
* After completing Self-Assessment
* Click to return to the lesson when you have completed the self-assessment
# Instructional design/Digital story
## Learning Through Digital Storytelling
### Come and listen to a story ...

Do you want to motivate your students to think critically, reflect deeply and engage their natural creativity? Have them use the growing array of digital tools at their disposal to tell stories. Stories like the tale of Jed Clampett. Click here to watch it. (Ctrl+click or Command+click to open link in a new window)
As the Beverly Hillbillies theme shows, stories are all around us – in history, contemporary culture, literature, songs, everyday life. Stories capture how humans meet the challenge of making sense of their world. They hold the power to teach and to persuade. Harnessing them as a teaching tool can make you a more effective instructor or trainer. Digital storytelling tools give students control over how they express what they’ve learned.
This lesson will show you how to do just that by providing the tools for creating a digital storytelling plan for use in any learning experience. If you’re new to digital storytelling, don’t worry: You’ll be provided plenty of practice.

### Learning Objectives

After completion of this Wikiversity, you will be able to:
* Define digital storytelling.
* List the elements of a story arc.
* Create a story map.
* Choose the proper digital tools for different storytelling scenarios.
* Create a plan for implementing digital storytelling in a lesson and complete a self-assessment.
| ID Homepage | Next: What is a Story? |
# Instructional design/Developing Instructional Materials for the Interpersonal Domain: Media Selection Strategies

When developing your instructional materials you will need to consider your media options. The choice you make may be based on projected availability of media where instruction is to take place, ability of instructor and learners to use the media, cost, flexibility, durability, and convenience. This section will provide you with some strategies to help you make the right choice for your needs.
| Type | Benefits | Considerations | Examples |
| Simulations | permits independence in learning process contextualizes content can provide multiple perspectives develops thinking strategies | can be expensive feedback important to success | ]] |
| Training Games | highly motivational encourages teamwork uses problem solving skills develops communication skills | may require extensive preparation flexibility important | ]] |
| Web Sites | many resources multiple perspectives can provide for silent reflection | requires computer & internet access quality varies greatly requires self-motivation | ]] |
| Role Playing | real world situations promotes understanding of other positions emphasizes working together | difficult with large groups can require extensive guidance to be effective | ]] |
8 Steps for Conflict Resolution
Angry Neighbors Mediation
| Instructional Design | Interpersonal behaviors | < Content Development Strategies | Lesson Summary > |
# Instructional design/Digital story/Digital storytelling checklist

Check “yes” or “no” for each content area included or not included in your digital storytelling plan. An effective plan will score no less than 85 percent “yes.” (26 of 30)

### Classroom Implementation

1. Introduction to Digital Storytelling
Direct attention: present DS example ____ Yes ____ No
Introduce task ____ Yes ____ No
Invite reflection: What is digital storytelling? ____ Yes ____ No
Define Digital Storytelling ____ Yes ____ No
Provide example/nonexample ____ Yes ____ No
Provide multiple DS representations ____ Yes ____ No
2. Story Roadmaps
Define story arc ____ Yes ____ No
Provide simple story arc example ____ Yes ____ No
Practice: write out story arc from example ____ Yes ____ No
Invite reflection ____ Yes ____ No
Define story mapping ____ Yes ____ No
Provide story map examples ____ Yes ____ No
Practice: create story map from examples ____ Yes ____ No
Invite reflection ____ Yes ____ No
Provide multiple DS representations ____ Yes ____ No
Handout: Story arc, story map examples ____ Yes ____ No
3. Digital Storyteller’s Toolbox
Introduce DS tools ____ Yes ____ No
Provide examples of tool use ____ Yes ____ No
Provide nonexamples of tool use ____ Yes ____ No
Practice: realistic DS scenario/define tools ____ Yes ____ No
Invite reflection ____ Yes ____ No
Provide multiple tool representations ____ Yes ____ No
Handout: List of approved tools, uses ____ Yes ____ No
4. Transfer: Put skills to work
Learners conceive/map a DS project ____ Yes ____ No
Learners practice using tools ____ Yes ____ No
Learners create a DS project ____ Yes ____ No
Handout: Grading/scoring rubric ____ Yes ____ No

### Assessment

DS tool practice benchmarks, grading rubric ____ Yes ____ No
Story arc/map grading rubric ____ Yes ____ No
DS project grading rubric ____ Yes ____ No
# Instructional design/Divergent Thinking

| ID Homepage | 1. Framing the Conversation | 2. Why use it? | 3. Intro to SCAMPER | 4. Example SCAMPER Activities | 5. Assess Your Learning | 6. Summary |

## Understanding Divergent Thinking

Framing the conversation
Let’s start with the end in mind. Ultimately, what are you hoping your learners will gain from their interactions with you or designed content? Are you just hoping to transfer information from you to them? If so, go ahead and click out of this module. You’re going to hate what is going to presented.
Okay, you’re still here. That means either you’re intrigued with what we are going to discuss or you’re you have your “ya, buts” ready to fire. That’s the not the point of this lesson. The point of this lesson is to help instructional designers learn new ways to help open their learners’ minds to explore more than just the presumed “right answer.” If someone did not employ divergent thinking to some of our great inventors, we might not even be having this discussion right now because the technology that we are using might not even exist.
Yet, take a mental inventory with your ideas and prejudices about divergent thinking. Reflect on your own personal values when answering these questions. Go ahead, I’ll wait.
* Was your personal educational experience more divergent or convergent?
* As an instructional designer or educator, do you create interventions that reflect a convergent stream of thinking?
* Do you allow learners to experience divergent thinking before attempting to solve the problem?
* When is a learner is struggling on a solution to a problem, how do you coach or advise?
Now, you’re probably thinking “so what?” I have a job to do and that’s to get my learners to understand the content that is before them. Wrong. That’s the short game. Divergent thinking helps spurn creativity that will help your learners increase their abilities to think of multiple responses to a given situation.
There are four major areas of divergent thinking according to Guilford’s Structure of Intellect (SOI) model:
* Fluency (thinking of many ideas)
* Flexibility (Thinking of different categories or point of view)
* Originality (thinking of unusual ideas)
* Elaboration (Adding Details to Improve Ideas) (Starko, 2005)
This brief lesson will give you an opportunity to learn about the SCAMPER method to add to your toolbox. SCAMPER is a method that you can implement easily for any age and skill level that will help your learners down the path of divergent thinking with practical activities you can insert into new and existing implementations that will allow learners to open their minds to multiple solutions to a problem.
Just remember this… the peanut butter and banana sandwich is the result of divergent thinking. It’s invention is the result of fluency (what else beside jelly?), flexibility (Out of my thoughts, what else could go with peanut butter), originality (come on… bananas and peanut butter is pretty unique), and elaboration (someone took a plain ol’ PB&J sandwich and made it better).
Click the Next button to continue.
* Next
# Instructional design/Divergent Thinking/Example Activities with SCAMPER

| ID Homepage | 1. Framing the Conversation | 2. Why use it? | 3. Intro to SCAMPER | 4. Example SCAMPER Activities | 5. Assess Your Learning | 6. Summary |
* This looks like a lot of work
* Alright, by now you're thinking this is way more that I can do on my own. Well, just with anything else, getting started is the most difficult thing to do. So, here are three different examples, that can get you started. They can be applied to mostly any age group you are doing work. But if you don't like any of these, well guess what? You can practice SCAMPER and see what else you can make from these activities.
* Activity 1
* Classroom Activity
* Take your class to visit an art museum. Try to find pieces of art that may have been generated using SCAMPER verbs. Pop Art or Modern Art Museums would be a good place to start.
* Activity 2
* Put to Other Uses: Using Part of SCAMPER
* Joan Steiner's book Look Alikes is a great example of putting objects to other uses. For this example, using common objects to create extraordinary landscapes. It can provide a challenge for anyone from a child to adult to find new ways to use the things around us.
* Activity 3
* Any age level
* Look through magazines, web searches or gift catalogs. On your own or with others help, collect pictures that illustrate the use of each of the SCAMPER verbs in developing new products. You many want to use the pictures to create a collage, bulletin board, or a Pintrest page if done digitally.
* Or you could bring in a series of household items and ask students to pick one, then use one of the SCAMPER verbs to create another use for it and share it out to the group.
Click the Next button to continue.
| Back | Next |
# Instructional design/Digital story/This checklist
## Digital Storytelling Checklist

Check “yes” or “no” for each content area included or not included in your digital storytelling plan. An effective plan will score no less than 85 percent “yes.” (26 of 30)
    Classroom Implementation
1. Introduction to Digital Storytelling
Direct attention: present DS example ____ Yes ____ No
Introduce task ____ Yes ____ No
Invite reflection: What is digital storytelling? ____ Yes ____ No
Define Digital Storytelling ____ Yes ____ No
Provide example/nonexample ____ Yes ____ No
Provide multiple DS representations ____ Yes ____ No
2. Story Roadmaps
Define story arc ____ Yes ____ No
Provide simple story arc example ____ Yes ____ No
Practice: write out story arc from example ____ Yes ____ No
Invite reflection ____ Yes ____ No
Define story mapping ____ Yes ____ No
Provide story map examples ____ Yes ____ No
Practice: create story map from examples ____ Yes ____ No
Invite reflection ____ Yes ____ No
Provide multiple DS representations ____ Yes ____ No
Handout: Story arc, story map examples ____ Yes ____ No
3. Digital Storyteller’s Toolbox
Introduce DS tools ____ Yes ____ No
Provide examples of tool use ____ Yes ____ No
Provide nonexamples of tool use ____ Yes ____ No
Practice: realistic DS scenario/define tools ____ Yes ____ No
Invite reflection ____ Yes ____ No
Provide multiple tool representations ____ Yes ____ No
Handout: List of approved tools, uses ____ Yes ____ No
4. Transfer: Put skills to work
Learners conceive/map a DS project ____ Yes ____ No
Learners practice using tools ____ Yes ____ No
Learners create a DS project ____ Yes ____ No
Handout: Grading/scoring rubric ____ Yes ____ No
    Assessment
DS tool practice benchmarks, grading rubric ____ Yes ____ No
Story arc/map grading rubric ____ Yes ____ No
DS project grading rubric ____ Yes ____ No
# Instructional design/Divergent Thinking/Example with SCAMPER

* Boxes for Wikiversity lesson pages
# Instructional design/Divergent Thinking/Review your learning

| ID Homepage | 1. Framing the Conversation | 2. Why use it? | 3. Intro to SCAMPER | 4. Example SCAMPER Activities | 5. Assess Your Learning | 6. Summary |
* Review Your Learning
* For each element of the SCAMPER method, identify the question that best reflects that element:
Click the Next button to continue.
| Back | Next |
# Introduction to Category Theory/Equivalence of categories

Given two categories C,D, we can have functors going both ways. If there were two functors f:C ->D and g:D->C such that the two compositions gf: C->C and fg: D->D are naturally isomorphic to the identity functors in C and D respectively, then we say that "C and D are equivalent categories"; and that "f and g give an equivalence of categories C and D".

## Exercise

1. Take your favourite field (for example, the field of real or complex numbers). Consider the category C of finite-dimensional vector spaces over it. Then consider the category D of finite-dimensional vector spaces together with the datum of a fixed basis. Are they equivalent?
# Introduction to Category Theory/Pullbacks
## Example in Sets

Sometimes a picture tells more than thousand words. In category of sets, 3 sets {a,b,c,d,e,f,g}, {1,2,3,4,5}, {v,w,x,y,z}, 2 function

## Pullback
### Properties

* preserves monos
* pullback of pullback is pullback

### Limit notation
## Related Resources

* w:Pullback (category theory)
* w:Pushout (category theory)
# Introduction to Category Theory/Equalizers
## Example

    $f(x,y)=x^{2}+y^{2},g(x,y)=1\;$
Equalizer is $\{(x,y)\in \mathbb {R} ^{2}\;|\;x^{2}+y^{2}=1\}$ plus projection map.

## Related Resources

* w:Equaliser (mathematics)
* w:Coequalizer
# Introduction to Category Theory/Functors
## Functor

A structure-preserving map between categories is called functor. A (covariant) functor F from category ${\mathcal {C}}$ to category ${\mathcal {D}}$ satisfies
* $F$ sends objects of ${\mathcal {C}}$ to objects of ${\mathcal {D}}$.
* $F$ sends arrows of ${\mathcal {C}}$ to arrows of ${\mathcal {D}}$.
* If $m$ is an arrow from $A$ to $B$ in ${\mathcal {C}}$, then $F(m)$ is an arrow from $F(A)$ to $F(B)$ in ${\mathcal {D}}$.
* $F$ sends identity arrows to identity arrows: $F(1_{A})=1_{F(A)}\;$.
* $F$ preserves compositions: $F(g\circ f)=F(g)\circ F(f)$.
A contravariant functor reverses arrows:
* If $m$ is an arrow from $A$ to $B$ in ${\mathcal {C}}$, then $F(m)$ is an arrow from $F(B)$ to $F(A)$ in ${\mathcal {D}}$.
* $F$ preserves compositions: $F(g\circ f)=F(f)\circ F(g)$.

## Natural Transformations

If F and G are covariant functors between the categories ${\mathcal {C}}$ and ${\mathcal {D}}$, then a natural transformation $\eta$ from F to G associates to every object X in ${\mathcal {C}}$ a morphism $\eta _{X}:F(X)\to G(X)$ in ${\mathcal {D}}$ called the component of $\eta$ at X, such that for every morphism $f:X\to Y$ in ${\mathcal {C}}$ we have $\eta _{Y}\circ F(f)=G(f)\circ \eta _{X}$. This equation can conveniently be expressed by the commutative diagram
If both F and G are contravariant, the horizontal arrows in this diagram are reversed. If $\eta$ is a natural transformation from F to G, we also write $\eta :F\to G$. This is also expressed by saying the family of morphisms $\eta _{X}:F(X)\to G(X)$ is natural in X.
If, for every object X in C, the morphism $\eta _{X}$ is an isomorphism in ${\mathcal {D}}$, then $\eta$ is said to be a natural isomorphism (or sometimes natural equivalence or isomorphism of functors). Two functors F and G are called naturally isomorphic or simply isomorphic if there exists a natural isomorphism from F to G.
Natural transformations are usually far more natural than the definition above.

## Related resources

* w:Functor
* w:Natural transformation
# Introduction to Category Theory/Limits
## Diagrams

Diagram is a functor-like mapping from a directed graph to a category.

## Related Resources

* w:Diagram (category theory)
* w:Cone (category theory)
* w:Limit (category theory)
* w:Comma category
# Intensive Care Nursing/Trauma/Trauma
## The impact of trauma

Trauma is considered a disease affecting all ages of the population. Each year in the United States, trauma accounts for 41 million emergency department visits and 2.3 million hospital admissions (CDC, 2014). The economic burden of trauma accounts for $585 billion a year, including both health care costs and lost productivity (CDC, 2014). According to US data, trauma ranks as the number one cause of death for age group 1-46, or 47% of all deaths in this age range (Mattox et al, 2013).
"Injuries continue to kill 5 million people each year. Road traffic injuries claimed nearly 3500 lives each day in 2012 – more than 600 more than in the year 2000 – making it among the 10 leading causes in 2012" (cited World Health Organisation, 2015).
"In England, trauma is the leading cause of death across all age groups, with over 16,000 deaths per year" (cited Kanakaris & Giannoudis, 2011).
Trauma impacts significantly on the victims, families and on the wider community. Not only from the humanistic perspective of the effects of injury and prolonged rehabilitation, but also from an economic perspective and loss of productivity costs from death and disability are much more difficult to estimate. The human cost and impact of trauma is profound when you consider the potential effect of grief and loss experienced by victims families of fatal trauma or, in the case of disability, the personal cost of ongoing care requirements, loss of independence and restriction on lifestyle. Measurements such as 'Life Years Lost' in trauma injury, are higher than cancer and heart disease.
Trauma and injury has many variants from degree of severity, rates of incidence, prevalence and mortality. Age, gender, socioeconomic status, drugs and alcohol can all influence the occurrence of trauma.
# Intensive Care Nursing/Sepsis Scenarios/Surgical Sepsis Unfolding Case Study/Surgical Sepsis Scenario p2/Surgical Sepsis Scenario p3
## The Next Day

The patient has been scheduled to go to the OR during your present shift for exploratory laparotomy for possible cleanout of abdomen and peritoneum. Blood pressure had decreased during the procedure and norepinephrine was started at 5 mcg/min. After cleanout, 2 accordion drains were placed to facilitate with drainage removal. Patient remains drowsy after procedure and has required oxygen via nasal cannula.
Current vital signs are:
Temperature: 37.5 C (99.5 F)
HR: 122
BP: 95/62
RR: 18
SpO2: 98% @ 6LNC
Preliminary results from blood cultures drawn on admission grew Gram Positive Cocci
# Intensive Care Nursing/Systematic Assessment

A systematic and holistic assessment of the intensive care patient are considered necessary skills. Seeing past the monitor, ventilator and other technology can be a daunting task for the nurse new to the ICU environment. Handover of information between healthcare professionals assists the transferring of responsibility and care within the multi-disciplinary team, ensure this important communication is not just considered 'routine'.
First review of the situation
* Airway
* Breathing
* Circulation
* Any signs of deterioration or need for immediate intervention
Systematic
* CNS
* Respiratory (including auscultation for adventitious sounds)
* Cardiac (including auscultation for S1, S2, S3, S4, and murmurs)
* Renal
* GI
* Integumentary
* Medications (drug chart and infusions)
* Social
* Current admission pathway with cause of ICU admission, past medical history, resuscitation status
Give your patient a fast hug every shift as a means of identifying and checking some important key aspects in the general care of critically ill patients.

#### 'FAST HUG' by Vincent (2005):

Regardless of the patients medical condition using the popularised FAST HUG mnemonic for identifying issues ensures a systematic review when looking after a critically ill patient. This can be utlised as a tool on a shift to shift basis for prioritising care planning.
* Feeding/fluids
* Analgesia
* Sedation
* Thromboprophylaxis
* Head up position
* Ulcer prophylaxis
* Glycemic control
This provides a standardised baseline that ensures shift to shift issues are being managed for safety, patient progression and future planning.
Reference
Vincent JL. Give your patient a fast hug (at least) once a day. Crit Care Med. 2005 Jun;33(6):1225-9. Review.

## Acknowledgments

https://en.wikiversity.org/wiki/User:ICUnurses
ICUnurses (discuss • contribs) 12:30, 24 August 2014 (UTC)
# Intensive Care Nursing/Trauma

Principles and practice of the management of the trauma patient. The speciality of the trauma nurse.
* Trauma
* Trauma Network and Systems
* Systematic Trauma Assessment
* Mechanism of Injury
* Head Trauma and Intracranial Pressure Management
* Spinal Management
* Thoracic Trauma
* Pelvic and Abdominal Trauma
* Musculoskeletal Trauma
* Shock- Care and Management
* Burns Management

## Introduction

Patients presenting to the Intensive Care or the emergency department following a trauma require knowledge and skills that support a systematic and timely approach.
In this trauma section we will be exploring the concepts that underpin a rapid and systematic response to trauma presentations, including identification of major trauma; recognition of the role mechanism of injury plays in producing trauma and injury; the importance of the pre-hospital period; and the approach to the assessment and resuscitation of major trauma patients.