AN INTRODUCTION to BRAILLE MATHEMATICS Using UEB and the Nemeth Code Provisional Online Edition 2017
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Declaration of Independence Font Style
Declaration Of Independence Font Style Heliocentric and implanted Jeremiah prize her duteousness cannonades while Tabor numerate some Davy tonally. How integrant is Juergen when natatory and denticulate Xenos balk some inmate? Outsize and unmeant Shimon spottings fundamentally and synthesise his loungers ghastfully and aguishly. Headings should be closer to the text they introduce than the text that preceeds them. Son foundry was divided among his heirs. HTML hyperlinks are automatically converted. Need help finding the right font for your brand? Prince currently defaults to the RGB color space. Characters are in this declaration independence calligraphy font was the lanston caslon. Mulberry comes as a group of six fonts that cover a whole array of different styles and ligatures. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. Now check your email to confirm your subscription. Research on font trustworthiness: Baskerville vs. Files included in attentions to hear from the depository of? Writers used both cursive styles: location, contents and context of the text determined which style to use. In general, although some of the shapes of individual characters are different, the biggest variation is in line spacing and character size. Some fonts give off assertiveness. The Declaration of Independence in its popular calligraphic form, with signatures. Should this be of importance, use the second approach instead. There are several bibles that are set with Lexicon as well. Garamond will undoubtedly fit the bill. However, it will be tricky to support nested styles this way. Who are your people, and how do you want to talk to them? QUILTSportraits of famous African Americans as a way to document and commemorate their achievements. -
Agricultural Soil Carbon Credits: Making Sense of Protocols for Carbon Sequestration and Net Greenhouse Gas Removals
Agricultural Soil Carbon Credits: Making sense of protocols for carbon sequestration and net greenhouse gas removals NATURAL CLIMATE SOLUTIONS About this report This synthesis is for federal and state We contacted each carbon registry and policymakers looking to shape public marketplace to ensure that details investments in climate mitigation presented in this report and through agricultural soil carbon credits, accompanying appendix are accurate. protocol developers, project developers This report does not address carbon and aggregators, buyers of credits and accounting outside of published others interested in learning about the protocols meant to generate verified landscape of soil carbon and net carbon credits. greenhouse gas measurement, reporting While not a focus of the report, we and verification protocols. We use the remain concerned that any end-use of term MRV broadly to encompass the carbon credits as an offset, without range of quantification activities, robust local pollution regulations, will structural considerations and perpetuate the historic and ongoing requirements intended to ensure the negative impacts of carbon trading on integrity of quantified credits. disadvantaged communities and Black, This report is based on careful review Indigenous and other communities of and synthesis of publicly available soil color. Carbon markets have enormous organic carbon MRV protocols published potential to incentivize and reward by nonprofit carbon registries and by climate progress, but markets must be private carbon crediting marketplaces. paired with a strong regulatory backing. Acknowledgements This report was supported through a gift Conservation Cropping Protocol; Miguel to Environmental Defense Fund from the Taboada who provided feedback on the High Meadows Foundation for post- FAO GSOC protocol; Radhika Moolgavkar doctoral fellowships and through the at Nori; Robin Rather, Jim Blackburn, Bezos Earth Fund. -
19. Punctuation
punctuation 19. Punctuation Punctuation is important because it helps achieve clarity and readability . ’ Apostrophes Use • before the “s” in singular possessives: The prime minister’s suggestion was considered. • after the “s” in plural possessives: The ministers’ decision was unanimous. Do not use • in plural dates and abbreviations: 1930s, NGOs • in the possessive pronoun “its”: The government characterised its budget as prudent. See also: Capitalisation, pp. 66-68. : Colons Use • to lead into a list, an explanation or elaboration, an indented quotation • to mark the break between a title and subtitle: Social Sciences for a Digital World: Building Infrastructure for the Future (book) Trends in transport to 2050: A macroscopic view (chapter) Do not use • more than once in a given sentence • a space before colons and semicolons. 90 oecd style guide - third edition @oecd 2015 punctuation , Commas Use • to separate items in most lists (except as indicated under semicolons) • to set off a non-restrictive relative clause or other element that is not part of the main sentence: Mr Smith, the first chairperson of the committee, recommended a fully independent watchdog. • commas in pairs; be sure not to forget the second one • before a conjunction introducing an independent clause: It is one thing to know a gene’s chemical structure, but it is quite another to understand its actual function. • between adjectives if each modifies the noun alone and if you could insert the word “and”: The committee recommended swift, extensive changes. Do not use • after “i.e.” or “e.g.” • before parentheses • preceding and following en-dashes • before “and”, at the end of a sequence of items, unless one of the items includes another “and”: The doctor suggested an aspirin, half a grapefruit and a cup of broth. -
Czech and Slovak Typesetting Rules
Czech and Slovak Typesetting Rules Tomáš Hála Mendel University in Brno, CZ BachoTEX 2019 Czech and Slovak Typesetting Rules Selected sources − ON 88 2503:1974 − Pop, Flégr and Pop: Sazba I [Typesetting I], 1989 (textbook) − ČSN 01 6910:2007 and older − ČSN 01 6910:2011 − STN 01 6910:2011 − Pravidla českého pravopisu [Rules of Czech Ortography], 1987, − Pravidla českého pravopisu [Rules of Czech Ortography], 1993 − Pravidlá slovenského pravopisu [Rules of Slovak Ortography], 1993, 2000 2 Czech and Slovak Typesetting Rules Spaces intersentence spacing interword space non-breaking interword space thin space 3 Czech and Slovak Typesetting Rules Spaces between sentences intersentence spacing % Czech, Slovak \frenchspacing % English (American) \nonfrenchspacing 4 Czech and Slovak Typesetting Rules Spaces between sentences intersentence spacing % ConTeXt \installlanguage [\s!en] [\c!spacing=\v!broad, ... \installlanguage [\s!cs] [\c!spacing=\v!packed, ... 5 Czech and Slovak Typesetting Rules Dashes: punctuation usage en-dash XOR em-dash en-dash v em-dash: designer’s opinion dashes v spaces: semanticising usage 6 Czech and Slovak Typesetting Rules Dashes: punctuation usage dashes must not open the new line \def\ip{\pdash} % Czech, Slovak \def\pdash{~-- } 7 Czech and Slovak Typesetting Rules Dashes: interval usage Czech and Slovak ∘ 35–45 %, 5–8 C English ∘ ∘ 35%–45%, 5 C–15 C, 70–72 percent %Czech and Slovak \def\idash{\discretionary{\char32až}{}{--}} \def\az{\idash} %English \def\idash{\discretionary{\char32to}{}{--}} 8 Czech and Slovak Typesetting -
AGU Grammar and Style Guide
AGU Grammar and Style Guide 1. Hyphenation . 1 1.1. Attributive Adjectives . 1 1.2. Nouns . 5 1.3. Words Formed With Prefixes . 6 1.4. Words of Equal Weight . 7 2. Commas . 8 2.1. Examples of Correct Usage. 8 2.2. AGU Style . 9 2.3. Comma Usage at Beginning of Sentence . 9 2.4. Some Parts of Speech and Common Examples . 10 3. Additional Grammar/Punctuation Rules . 11 3.1. Adjective/Adverbial Phrases . 11 3.2. Comprise Versus Compose . 11 3.3. Singular Versus Plural With Certain Nouns. 11 3.4. Other Rules . 12 4. Spelling . 14 4.1. Alternate Spellings . 14 4.2. Commonly Used Proper Names . 14 4.3. Countries . 15 5. Capitalization . 16 5.1. Geographical Terms . 16 5.2. Text Capitalization . 17 5.3. Stratigraphic Divisions . 18 6. Numbers . 19 6.1. Cardinal Numbers/Arabic Numerals . 19 6.2. Ordinal Numbers . 19 6.3. Miscellaneous Style for Numbers . 19 7. Miscellaneous Style Rules . 20 8. Special Notations. 22 8.1. Astronomical Notation for Dates and Time. 22 8.2. Degrees, Minutes, and Seconds of Arc. 22 8.3. Units of Measure . 22 8.4. Dimensions. 25 8.5. Seismology. .. 25 8.6. Mineralogy. .. 26 8.7. Ranges. 26 8.8. Ships and Spacecraft. 26 8.9. Comets. .. 27 8.10. Temperature. .. 27 8.11. Times. .. 27 8.12. Storms. 27 8.13. Biology. 27 9. Word List . 28 GRAMMAR/STYLE GUIDE 2/03 ATTRIBUTIVE ADJECTIVES 1 1. Hyphenation The main reason for hyphenation is increased clarity. 1.1. Attributive Adjectives Always hyphen. The following should always be hyphened as attributive adjectives: 1. -
Pageflex Character Entitiesa
Pageflex Character EntitiesA A list of all special character entities recognized by Pageflex products n 1 Pageflex Character Entities The NuDoc composition engine inside Pageflex applications recognizes many special entities beginning with the “&” symbol and end with the “;” symbol. Each represents a particular Unicode character in XML content. For information on entity definitions, look up their Unicode identifiers in The Unicode Standard book. This appendix contains two tables: the first lists character entities by name, the second by Unicode identifier. Character Entities by Entity Name This section lists character entities by entity name. You must precede the entity name by “&” and follow it by “;” for NuDoc to recognize the name (e.g., “á”). Note: Space and break characters do not have visible entity symbols. The entity symbol column for these characters is purposely blank. Entity Entity Name Unicode Unicode Name Symbol aacute 0x00E1 á LATIN SMALL LETTER A WITH ACUTE Aacute 0x00C1 Á LATIN CAPITAL LETTER A WITH ACUTE acirc 0x00E2 â LATIN SMALL LETTER A WITH CIRCUMFLEX Acirc 0x00C2 Â LATIN CAPITAL LETTER A WITH CIRCUMFLEX acute 0x00B4 ´ ACUTE ACCENT aelig 0x00E6 æ LATIN SMALL LIGATURE AE AElig 0x00C6 Æ LATIN CAPITAL LIGATURE AE agrave 0x00E0 à LATIN SMALL LETTER A WITH GRAVE Agrave 0x00C0 À LATIN CAPITAL LETTER A WITH GRAVE ape 0x2248 ALMOST EQUAL TO aring 0x00E5 å LATIN SMALL LETTER A WITH RING ABOVE n 2 Entity Entity Name Unicode Unicode Name Symbol Aring 0x00C5 Å LATIN CAPITAL LETTER A WITH RING ABOVE atilde 0x00E3 ã LATIN SMALL LETTER A WITH TILDE Atilde 0x00C3 Ã LATIN CAPITAL LETTER A WITH TILDE auml 0x00E4 ä LATIN SMALL LETTER A WITH DIERESIS Auml 0x00C4 Ä LATIN CAPITAL LETTER A WITH DIERESIS bangbang 0x203C DOUBLE EXCLAMATION MARK br 0x2028 LINE SEPERATOR (I.E. -
UEB Guidelines for Technical Material
Guidelines for Technical Material Unified English Braille Guidelines for Technical Material This version updated October 2008 ii Last updated October 2008 iii About this Document This document has been produced by the Maths Focus Group, a subgroup of the UEB Rules Committee within the International Council on English Braille (ICEB). At the ICEB General Assembly in April 2008 it was agreed that the document should be released for use internationally, and that feedback should be gathered with a view to a producing a new edition prior to the 2012 General Assembly. The purpose of this document is to give transcribers enough information and examples to produce Maths, Science and Computer notation in Unified English Braille. This document is available in the following file formats: pdf, doc or brf. These files can be sourced through the ICEB representatives on your local Braille Authorities. Please send feedback on this document to ICEB, again through the Braille Authority in your own country. Last updated October 2008 iv Guidelines for Technical Material 1 General Principles..............................................................................................1 1.1 Spacing .......................................................................................................1 1.2 Underlying rules for numbers and letters.....................................................2 1.3 Print Symbols ..............................................................................................3 1.4 Format.........................................................................................................3 -
Not-So-Frequently Asked Questions for LATEX
Not-So-Frequently Asked Questions for LATEX Miles 2010 This document addresses more esoteric issues in LATEX that have nonethe- less actually arisen with the author. We hope that somebody will find it useful! • Why is LATEX telling me that a command I use is undefined? Answer. Make sure that you're using the amsmath package. This is included in rsipacks.sty (so it will automatically be included in your RSI paper and minipaper). To include it in other documents, put \usepackage{amsmath} in your preamble, before \begin{document}. Just to be safe, throw in amssymb and amsthm as well (so that you have all the fonts and symbols you would expect, and so that you can define theorems environments). If the command is a standard one, be sure that you spelled it correctly. If it's a command you defined (or thought you did), make sure that you really defined it. • How do I get script letters, like L , H , F , and G ? Answer. You need the mathrsfs package, so put \usepackage{mathrsfs} in your preamble. Then you can use the font name mathscr to get the desired font in math mode. For example, \mathscr{L} yields L . • How do I typeset a series of displayed equations so that the equals signs line up? Answer. First, you need the amsmath package (see above). Once you have that, you use the align* environment, like this : \begin{align*} math &= more math \\ &= more math \\ 1 other math &\le different math \\ &= yet more math \end{align*} This will produce something like n i X X X f(i; j) = f(i; j) i=1 j=1 1≤j≤i≤n n n X X = f(i; j); j=1 i=j 1 + 1 + 1 = 2 + 1 = 3: You can replace the equals signs with whatever other appropriate sym- bol you like (≤, ≥, ≡, =∼, ⊂, etc.). -
Tibetan Romanization Table
Tibetan Comment [LRH1]: Transliteration revisions are highlighted below in light-gray or otherwise noted in a comment. ALA-LC romanization of Tibetan letters follows the principles of the Wylie transliteration system, as described by Turrell Wylie (1959). Diacritical marks are used for those letters representing Indic or other non-Tibetan languages, and parallel the use of these marks when transcribing their counterpart letters in Sanskrit. These are applied for the sake of consistency, and to reflect international publishing standards. Accordingly, romanize words of non-Tibetan origin systematically (following this table) in all cases, even though the word may derive from Sanskrit or another language. When Tibetan is written in another script (e.g., ʼPhags-pa) the corresponding letters in that script are also romanized according to this table. Consonants (see Notes 1-3) Vernacular Romanization Vernacular Romanization Vernacular Romanization ka da zha ཀ་ ད་ ཞ་ kha na za ཁ་ ན་ ཟ་ Comment [LH2]: While the current ALA-LC ga pa ’a table stipulates that an apostrophe should be used, ག་ པ་ འ་ this revision proposal recommends that the long- nga pha ya standing defacto LC practice of using an alif (U+02BC) be continued and explicitly stipulated in ང་ ཕ་ ཡ་ the Table. See accompanying Narrative for details. ca ba ra ཅ་ བ་ ར་ cha ma la ཆ་ མ་ ལ་ ja tsa sha ཇ་ ཙ་ ཤ་ nya tsha sa ཉ་ ཚ་ ས་ ta dza ha ཏ་ ཛ་ ཧ་ tha wa a ཐ་ ཝ་ ཨ་ Vowels and Diphthongs (see Notes 4 and 5) ཨི་ i ཨཱི་ ī རྀ་ r̥ ཨུ་ u ཨཱུ་ ū རཱྀ་ r̥̄ ཨེ་ e ཨཻ་ ai ལྀ་ ḷ ཨོ་ o ཨཽ་ au ལཱྀ ḹ ā ཨཱ་ Other Letters or Diacritical Marks Used in Words of Non-Tibetan Origin (see Notes 6 and 7) ṭa gha ḍha ཊ་ གྷ་ ཌྷ་ ṭha jha anusvāra ṃ Comment [LH3]: This letter combination does ཋ་ ཇྷ་ ◌ ཾ not occur in Tibetan texts, and has been deprecated from the Unicode Standard. -
The Creation of Josquin's Reputation and Legacy
The Creation of Josquin’s Reputation and Legacy Chengxuan Li Quotation “Josquin’s influence on the music of the sixteenth century was so profound that it seems impossible to isolate a special ‘school of Josquin’. He has created the musical language of his age to an extent far exceeding that of any other composer. His music had the impact of an epochal event.” Helmuth Osthoff (1958) This quotation shows that how Josquin’s reputation is widely spread, even to the present day WHAT FACTORS CONTRIBUTE TO JOSQUIN’S FAME? v Humanism affects his music style a lot, which is consisted of individual expression and delight senses v Ave Maria is a prime example of how Josquin experimented with varied combinations of voices and textures to highlight different emotional aspects of the text v The invention of printing was a way to preserve and transmit music. That’s why his music could be published and well-known even NOW Josquin and Authentication David Mather Issues with Attributing Pieces to Josquin v Josquin is not only the most popular composer of his day, but is a talented singer; he travels all over Europe singing in the papal choir and studying composition v It becomes difficult to place Josquin securely in some periods; compositions from different locations leads to appearances of music attributed to Josquin in lone sources, questioning the credibility of the source and copyist v Josquin is not the only composer traveling during this period to study composition; music and notation is studied in church libraries, and composers would hear others’ -
Council of Europe English Style Guide
COUNCIL OF EUROPE ENGLISH STYLE GUIDE Better English and style, in print and online 2017 COUNCIL OF EUROPE ENGLISH STYLE GUIDE 2017 Editorial Unit Documents and Publications Production Department (SPDP) Council of Europe French edition: Typomémo – Mémento typographique français 2017 The Council of Europe English style guide and the Typomémo – Mémento typographique français are available in electronic form (PDF) on the DGA intranet pages: – on the DGS portal, in the “Useful links” rubric; – on the Publications production page, in the “Theme Files” rubric. They are also available in the Administrative Handbook. A paper version can be printed using the in-house SCRIB printing system. For complete instruc- tions, please consult the guide “How to print the English style guide using SCRIB”, available in the Administrative handbook. Design and layout: Documents and Publications Production Department (SPDP) Cover photos: © Shutterstock © Council of Europe, November 2016 Printed at the Council of Europe Contents Alphabetical listing quick access links: A – B – C – D – E – F – G – H – I – J – K – L – M – N – O – P – Q – R – S – T – U – V – W – X – Y – Z Foreword .................................................................................................................................................................................................. 5 FAQs – Frequently asked questions .................................................................................................................................................. 7 1. Sources -
1 Symbols (2286)
1 Symbols (2286) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6