{ "query": "Please summarize the whole context. It is important that you include a summary for each file. All files should be included, so please make sure to go through the entire context", "namespace": "0a76a04b-33c5-49c2-95f8-63ccf41f8330", "messages": [], "stream": false, "language_level": "", "chat_channel": "", "language": "German", "tone": "neutral", "writing_style": "standard", "model": "gemini-1.5-flash", "knowledgebase": "ki-dev-large", "seed": 0, "client_id": 0, "all_context": true, "follow_up_for": null, "knowledgebase_files_count": 0, "override_command": "", "disable_clarity_check": true, "custom_primer": "", "logging": true, "query_route": "" } INITIALIZATION Knowledgebase: ki-dev-large Base Query: Please summarize the whole context. It is important that you include a summary for each file. All files should be included, so please make sure to go through the entire context Model: gemini-1.5-flash **Elapsed Time: 0.00 seconds** ROUTING Query type: summary **Elapsed Time: 1.65 seconds** PRIMER Primer: You are Simon, a highly intelligent personal assistant in a system called KIOS. You are a chatbot that can read knowledgebases through the "CONTEXT" that is included in the user's chat message. Your role is to act as an expert at summarization and analysis. In your responses to enterprise users, prioritize clarity, trustworthiness, and appropriate formality. Be honest by admitting when a topic falls outside your scope of knowledge, and suggest alternative avenues for obtaining information when necessary. Make effective use of chat history to avoid redundancy and enhance response relevance, continuously adapting to integrate all necessary details in your interactions. Use as much tokens as possible to provide a detailed response. **Elapsed Time: 0.32 seconds** FINAL QUERY Final Query: CONTEXT: ########## File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: * [Afrikaans](https://af.wikipedia.org/wiki/Wit%5FToring%5Fvan%5FLonden) * [العربية](https://ar.wikipedia.org/wiki/%D8%A7%D9%84%D8%A8%D8%B1%D8%AC%5F%D8%A7%D9%84%D8%A3%D8%A8%D9%8A%D8%B6) * [Deutsch](https://de.wikipedia.org/wiki/White%5FTower) * [Español](https://es.wikipedia.org/wiki/Torre%5FBlanca%5F%28Londres%29) * [فارسی](https://fa.wikipedia.org/wiki/%D8%A8%D8%B1%D8%AC%5F%D8%B3%D9%81%DB%8C%D8%AF%5F%28%D8%A8%D8%B1%D8%AC%5F%D9%84%D9%86%D8%AF%D9%86%29) * [Français](https://fr.wikipedia.org/wiki/Tour%5FBlanche) * [Gaeilge](https://ga.wikipedia.org/wiki/T%C3%BAr%5FB%C3%A1n%5F%28T%C3%BAr%5FLondan%29) * [한국어](https://ko.wikipedia.org/wiki/%ED%99%94%EC%9D%B4%ED%8A%B8%5F%ED%83%80%EC%9B%8C) * [Italiano](https://it.wikipedia.org/wiki/Torre%5FBianca%5F%28Torre%5Fdi%5FLondra%29) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: * [עברית](https://he.wikipedia.org/wiki/%D7%94%D7%9E%D7%92%D7%93%D7%9C%5F%D7%94%D7%9C%D7%91%D7%9F%5F%D7%A9%D7%9C%5F%D7%9E%D7%A6%D7%95%D7%93%D7%AA%5F%D7%9C%D7%95%D7%A0%D7%93%D7%95%D7%9F) * [Norsk bokmÃ¥l](https://no.wikipedia.org/wiki/Det%5Fhvite%5Ft%C3%A5rnet) * [Polski](https://pl.wikipedia.org/wiki/White%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Português](https://pt.wikipedia.org/wiki/Torre%5FBranca%5F%28Torre%5Fde%5FLondres%29) * [Русский](https://ru.wikipedia.org/wiki/%D0%91%D0%B5%D0%BB%D0%B0%D1%8F%5F%D0%B1%D0%B0%D1%88%D0%BD%D1%8F%5F%28%D0%9B%D0%BE%D0%BD%D0%B4%D0%BE%D0%BD%29) * [Slovenščina](https://sl.wikipedia.org/wiki/Beli%5Fstolp,%5FLondonski%5FTower) * [中文](https://zh.wikipedia.org/wiki/%E7%99%BD%E5%A1%94%5F%28%E5%80%AB%E6%95%A6%E5%A1%94%29) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: [Edit links](https://www.wikidata.org/wiki/Special:EntityPage/Q1528473#sitelinks-wikipedia) * [Article](/wiki/White%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Talk](/wiki/Talk:White%5FTower%5F%28Tower%5Fof%5FLondon%29) English * [Read](/wiki/White%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit) * [View history](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=history) Tools Tools move to sidebar hide Actions * [Read](/wiki/White%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit) * [View history](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=history) General #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: General * [What links here](/wiki/Special:WhatLinksHere/White%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Related changes](/wiki/Special:RecentChangesLinked/White%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Upload file](/wiki/Wikipedia:File%5FUpload%5FWizard) * [Special pages](/wiki/Special:SpecialPages) * [Permanent link](https://en.wikipedia.org/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&oldid=1242030145) * [Page information](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=info) * [Cite this page](/w/index.php?title=Special:CiteThisPage&page=White%5FTower%5F%28Tower%5Fof%5FLondon%29&id=1242030145&wpFormIdentifier=titleform) * [Get shortened URL](/w/index.php?title=Special:UrlShortener&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FWhite%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Download QR code](/w/index.php?title=Special:QrCode&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FWhite%5FTower%5F%28Tower%5Fof%5FLondon%29) * [Wikidata item](https://www.wikidata.org/wiki/Special:EntityPage/Q1528473) * [Expand all](#) * [Edit interlanguage links](https://www.wikidata.org/wiki/Special:EntityPage/Q1528473#sitelinks-wikipedia) Print/export #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: Print/export * [Download as PDF](/w/index.php?title=Special:DownloadAsPdf&page=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=show-download-screen) * [Printable version](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&printable=yes) In other projects * [Wikimedia Commons](https://commons.wikimedia.org/wiki/Category:White%5FTower%5F%28Tower%5Fof%5FLondon%29) Appearance move to sidebar hide Text * Small Standard Large This page always uses small font size Width * Standard Wide The content is as wide as possible for your browser window. Color (beta) * Automatic Light Dark This page is always in light mode. [Coordinates](/wiki/Geographic%5Fcoordinate%5Fsystem): [51°30′29″N 0°04′34″W / 51.508098°N 0.075977°W / 51.508098; -0.075977](https://geohack.toolforge.org/geohack.php?pagename=White%5FTower%5F%28Tower%5Fof%5FLondon%29¶ms=51.508098%5FN%5F0.075977%5FW%5Ftype:landmark) From Wikipedia, the free encyclopedia Central keep of the Tower of London [](/wiki/File:Tower%5Fof%5FLondon%5FWhite%5FTower.jpg) The White Tower seen from the southeast. To the fore is the projection housing the [apse](/wiki/Apse) of [St John's Chapel](/wiki/St%5FJohn%27s%5FChapel,%5FLondon). #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The **White Tower** is a former royal residence, the old [keep](/wiki/Keep), at the [Tower of London](/wiki/Tower%5Fof%5FLondon) in England. It was built by [William the Conqueror](/wiki/William%5Fthe%5FConqueror) during the early 1080s, and subsequently extended. The White Tower was the castle's strongest point militarily, provided accommodation for the king and his representatives, and housed a chapel. [Henry III](/wiki/Henry%5FIII%5Fof%5FEngland) ordered the tower [whitewashed](/wiki/Whitewash) in 1240\. Today the Tower of London is a museum and visitor attraction. The White Tower now houses the Royal Armouries collections. ## History \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=1)\] [](/wiki/File:The%5FWhite%5FTower%5Fat%5Fthe%5FTower%5Fof%5FLondon%5Fas%5Fseen%5Ffrom%5Fthe%5FNortheast%5Fat%5FNight.jpg) Nighttime shot of the White Tower. #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: Nighttime shot of the White Tower. The castle which later became known as the Tower of London was begun by [William the Conqueror](/wiki/William%5Fthe%5FConqueror) in 1066 and was built as a timber fortification enclosed by a [palisade](/wiki/Palisade).[\[1\]](#cite%5Fnote-1) In the next decade work began on the White Tower, the great stone keep that still dominates the castle today. The precise date of the White Tower's foundation is unknown, and it is also uncertain how long the construction took. It is traditionally held that construction began in 1078\. This is because the _[Textus Roffensis](/wiki/Textus%5FRoffensis)_ records that [Gundulf](/wiki/Bishop%5FGundulf), [Bishop of Rochester](/wiki/Bishop%5Fof%5FRochester), oversaw the building work under instruction from William the Conqueror.[\[2\]](#cite%5Fnote-ABC9-2) [Dendrochronological](/wiki/Dendrochronology) evidence suggests construction of the White Tower began in 1075–1079\. The archaeology of the standing building suggests there was a pause in construction between 1080 and 1090–1093, although it is unknown why.[\[3\]](#cite%5Fnote-I&P17-3) Gundulf did more than just oversee work and was a skilled architect. [Rochester's](/wiki/Rochester,%5FKent) [castle](/wiki/Rochester%5FCastle) and [cathedral](/wiki/Rochester%5FCathedral) were rebuilt under his auspices.[\[2\]](#cite%5Fnote-ABC9-2) As the main castle in England's capital,[\[nb 1\]](#cite%5Fnote-4) the Tower of London was an important royal building. The keep built by Gundulf bears testament to this as it was one of the largest in Christendom.[\[4\]](#cite%5Fnote-Allen%5FBrown%5F1976%5F44-5) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The White Tower was multi-purpose. It was the castle's strongest point militarily yet provided accommodation fit for the king and his representatives. In [Norman architecture](/wiki/Norman%5Farchitecture) the keep was a symbol of a lord's power. The White Tower was probably complete by 1100 at the latest, at which point it was used to imprison [Ranulf Flambard](/wiki/Ranulf%5FFlambard), [Bishop of Durham](/wiki/Bishop%5Fof%5FDurham).[\[5\]](#cite%5Fnote-6) It was probably during [Henry II](/wiki/Henry%5FII%5Fof%5FEngland)'s reign (1154–1189) that a fore-building was added to the south side of the tower to provide extra defences to the entrance, but it has not survived.[\[6\]](#cite%5Fnote-Parnell%5F1993%5F20-21-7) [Henry III's](/wiki/Henry%5FIII%5Fof%5FEngland) relations with his barons were uneasy, and in the 1220s and 1230s he enhanced the castle's defences and domestic buildings. Though the work he started may not have been finished within his lifetime, he extended the castle to the north and east, building a new stone wall to enclose the castle.[\[7\]](#cite%5Fnote-I&P25-27-8) A [brattice](/wiki/Hoarding%5F%28castle%29) (a timber gallery) was added to the top of the White Tower, projecting beyond its walls to better defend the base of the tower.[\[8\]](#cite%5Fnote-Parnell%5F1993%5F32-9) Henry also undertook maintenance of the White Tower and it was during his reign that the tradition of whitewashing the building began. In March 1240 the Keeper of the Works at the Tower of London was ordered: "to have the Great Tower whitened both inside and out". Later that year the king wrote to the Keeper, commanding that the White Tower's lead guttering should be extended with the effect that "the wall of the tower ... newly whitened, may be in no danger #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: with the effect that "the wall of the tower ... newly whitened, may be in no danger of perishing or falling outwards through the trickling of the rain".[\[7\]](#cite%5Fnote-I&P25-27-8) Henry did not explain his order to whitewash the keep but may have been influenced by contemporary fashion in Europe to paint prestigious buildings white. He also added decoration to the chapel in the keep, adding stained glass, statues, and paintings.[\[9\]](#cite%5Fnote-10) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: [](/wiki/File:Towrlndn.JPG) The 15th-century Tower in a manuscript of poems by [Charles, Duke of Orléans](/wiki/Charles,%5FDuke%5Fof%5FOrl%C3%A9ans) (1394–1465) commemorating his imprisonment there. The white forebuilding to the left of the duke was demolished in 1674\. ([British Library](/wiki/British%5FLibrary)). Activity at the castle in the early 14th century declined relative to previous periods. Though the Tower of London was still occasionally used as a residence, by the 1320s the chapel in the White Tower was used to store records. This marked the beginning of the castle's diminishing role as a royal residence.[\[10\]](#cite%5Fnote-I&P41-11) The records were briefly removed from the White Tower in 1360 to accommodate the captive French king, [John II](/wiki/John%5FII%5Fof%5FFrance).[\[11\]](#cite%5Fnote-I&P87-12) It may have been during the reign of [Edward III](/wiki/Edward%5FIII%5Fof%5FEngland) (1327–1377) that a building abutting the south side of the White Tower was created. Built as storage, it may have been part of Edward's building programme at the Tower of London which saw its role as a military store come to the fore. The structure no longer survives, but is recorded on plans from 1597 and 1717.[\[10\]](#cite%5Fnote-I&P41-11) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: [Richard II](/wiki/Richard%5FII%5Fof%5FEngland) was imprisoned at the Tower of London and abdicated there in 1399; according to tradition, the event took place in the White Tower.[\[12\]](#cite%5Fnote-13) In the 1490s a new floor was added to the White Tower, creating extra storage.[\[13\]](#cite%5Fnote-I&P57-14) Architecturally virtually no trace remains of the White Tower's forebuilding, although it appears in a manuscript drawing c. 1500 depicting the imprisonment of [Charles, Duke of Orléans](/wiki/Charles,%5FDuke%5Fof%5FOrl%C3%A9ans) and was recorded in a plan of 1597.[\[14\]](#cite%5Fnote-15) It was demolished in 1674.[\[15\]](#cite%5Fnote-I&P%5F46-47-16) On 17 June that year, during the course of the demolition, bones belonging to two children were discovered beneath the stairs in the forebuilding. It was assumed that they belonged to the [Princes in the Tower](/wiki/Princes%5Fin%5Fthe%5FTower). The remains were re-interred in [Westminster Abbey](/wiki/Westminster%5FAbbey).[\[16\]](#cite%5Fnote-17) The story of the Princes in the Tower is one of the most infamous stories related to the castle. After the death of [Edward IV](/wiki/Edward%5FIV%5Fof%5FEngland) his 12-year-old son was declared king as [Edward V](/wiki/Edward%5FV), but never crowned. [Richard Duke of Gloucester](/wiki/Richard%5FIII%5Fof%5FEngland) was named [Lord Protector](/wiki/Lord%5FProtector) while the prince was too young to rule.[\[17\]](#cite%5Fnote-Horrox-18) Edward was confined to the Tower of London along with his younger brother, [Richard of Shrewsbury](/wiki/Richard%5Fof%5FShrewsbury). The Duke of Gloucester #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The Duke of Gloucester was then proclaimed King Richard III in July 1483\. The princes had last been seen in public in June 1483;[\[15\]](#cite%5Fnote-I&P%5F46-47-16) the most likely reason for their disappearance is that they were murdered late in the summer of 1483.[\[15\]](#cite%5Fnote-I&P%5F46-47-16)[\[17\]](#cite%5Fnote-Horrox-18) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: By the [Tudor period](/wiki/Tudor%5Fperiod), the science of fortification had changed to deal with powerful cannons. The new designs, with low angled [bastions](/wiki/Bastion), were not emulated at the Tower of London. All the same, some adaptations to use cannons were made; the changes included adding a timber platform to the top of the White Tower for cannon emplacements.[\[18\]](#cite%5Fnote-I&P73-19) The weight of the guns damaged the roof so that it had to be reinforced.[\[19\]](#cite%5Fnote-20) The one documented use of these cannons was during [Wyatt's rebellion](/wiki/Wyatt%27s%5Frebellion) in 1554 and they were ineffective.[\[18\]](#cite%5Fnote-I&P73-19) The [Office of Ordnance](/wiki/Board%5Fof%5FOrdnance) and Office of Armoury were headquartered at the Tower of London until the 17th century. Their presence influenced activity at the castle and led to it becoming the country's most important military store. In the 1560s two armouries were created in the White Tower and by the reign of [Elizabeth I](/wiki/Elizabeth%5FI%5Fof%5FEngland) (1558–1603) most of the gunpowder at the Tower was stored in the White Tower.[\[20\]](#cite%5Fnote-I&P58-21) By the last quarter of the 16th century the castle was a tourist attraction with visitors allowed inside despite its use by the Offices of Ordnance and Armoury.[\[21\]](#cite%5Fnote-I&P97-22) Its role in providing storage directly impacted on the White Tower's structure, and posts were added to support the floors. In 1636 a hole was knocked through the White Tower's north wall to ease the movement of provisions. In 1639–1640 the White Tower's external appearance was changed, with much of its facing material replaced.[\[20\]](#cite%5Fnote-I&P58-21) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: In 1640 [Charles I](/wiki/Charles%5FI%5Fof%5FEngland) ordered that the Tower of London should be prepared for conflict. Platforms for cannons were built and 21 were installed on top of the White Tower with three additional [mortars](/wiki/Mortar%5F%28weapon%29). Despite the new defences the [Parliamentarians](/wiki/Roundhead) captured the Tower of London without the cannon being used. In January 1642, Charles I attempted to arrest five Members of Parliament. When this failed he fled the city, and Parliament retaliated by removing Sir [John Byron](/wiki/John%5FByron,%5F1st%5FBaron%5FByron), the Lieutenant of the Tower. The Trained Bands had switched sides, and now supported Parliament; together with the London citizenry, they blockaded the Tower. With permission from the King, Byron relinquished control of the Tower. Parliament replaced Byron with a man of their own choosing, Sir [John Conyers](/wiki/Conyers%5Fbaronets). By the time the [English Civil War](/wiki/English%5FCivil%5FWar) broke out in November 1642, the Tower of London was already in Parliament's control.[\[22\]](#cite%5Fnote-23) By 1657 the entire building apart from the chapel was being used to store gunpowder.[\[20\]](#cite%5Fnote-I&P58-21) Storing both gunpowder and government records in the White Tower was not ideal, and there were repeated suggestions in 1620, 1718, and 1832 to move the gunpowder to a new location, although the proposals were unsuccessful.[\[11\]](#cite%5Fnote-I&P87-12) [](/wiki/File:Tower%5Fof%5Flondon%5F812.jpg) The [Royal Armouries](/wiki/Royal%5FArmouries) still have displays in the White Tower. This suit of armour belonged to [Henry VIII](/wiki/Henry%5FVIII%5Fof%5FEngland). #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: By 1661 plans had been proposed to clear an area 6 metres (20 ft) around the White Tower to safeguard the dangerous material inside. Nothing was done until after the [Great Fire of London](/wiki/Great%5FFire%5Fof%5FLondon) in 1666\. During the fire, it was feared the flames might reach the castle, specifically the White Tower, highlighting the need for safety measures. In the following years, a protective wall was built around the White Tower. In the 1670s buildings that had accumulated around the White Tower to provide storage for the Offices of Ordnance and Armoury were pulled down. After this, repairs were carried out on the face of the White Tower. A staircase was also added on the south face, allowing direct access to the records in the chapel.[\[23\]](#cite%5Fnote-24) While the Tower of London had been open to visitors for centuries, it was not until the early 19th century that alterations were made explicitly for visitors. In 1825 a building, the New Horse Armoury, to contain effigies of England's kings was constructed against the south of the White Tower. The [Gothic revival](/wiki/Gothic%5FRevival%5Farchitecture) design of the structure – one of the first purpose-built museums in England – was widely reviled. By the end of the century, the effigies and Queen Elizabeth's Armoury were distributed in displays in the White Tower.[\[24\]](#cite%5Fnote-25) In the mid-19th century, under the encouragement of Prince Albert, [Anthony Salvin](/wiki/Anthony%5FSalvin) undertook a programme of restoration at the castle. In 1858 the White Tower's roof was reinforced with iron girders.[\[25\]](#cite%5Fnote-26) On 26 January 1885 a bomb in the White Tower damaged some of the displays.[\[21\]](#cite%5Fnote-I&P97-22) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The roofs of the White Tower and its turrets were repaired in the 1960s and 1970s. Accumulated dirt was washed from the exterior and the floors inside were replaced. Also in this period, a staircase was added against the south face of the keep, reopening access through the original entrance.[\[26\]](#cite%5Fnote-27) In [1974, there was a bomb explosion](/wiki/1974%5FTower%5Fof%5FLondon%5Fbombing) in the [Mortar](/wiki/Mortar%5F%28weapon%29) Room in the White Tower, leaving one person dead and 35 injured. No one claimed responsibility for the blast, but the police investigated suspicions that the [IRA](/wiki/Provisional%5FIrish%5FRepublican%5FArmy) was behind it.[\[27\]](#cite%5Fnote-28) In 1988, the Tower of London as a whole was added to the [UNESCO](/wiki/UNESCO) list of [World Heritage Sites](/wiki/World%5FHeritage%5FSite), in recognition of its global importance and to help conserve and protect the site.[\[28\]](#cite%5Fnote-29)[\[29\]](#cite%5Fnote-30) The Tower of London is in the care of [Historic Royal Palaces](/wiki/Historic%5FRoyal%5FPalaces), a charity, and between 2008 and 2011 a £2 million conservation programme was undertaken at the White Tower. Repairs were carried out and the keep was cleaned, removing pollution that was causing damage to the structure.[\[30\]](#cite%5Fnote-31) The White Tower is a Grade I [listed building](/wiki/Listed%5Fbuilding),[\[31\]](#cite%5Fnote-32) and recognised as an internationally important structure.[\[32\]](#cite%5Fnote-33) The [Royal Armouries](/wiki/Royal%5FArmouries) still have displays at the White Tower.[\[33\]](#cite%5Fnote-34) ## Architecture #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: ## Architecture \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=2)\] [](/wiki/File:Whitetowerlondon.jpg) The original entrance to the White Tower was at first-floor level. The White Tower is a [keep](/wiki/Keep) (also known as a donjon), which was often the strongest structure in a medieval castle and contained lodgings suitable for the lord—in this case, the king or his representative.[\[34\]](#cite%5Fnote-35) According to military historian Allen Brown, "The great tower \[White Tower\] was also, by virtue of its strength, majesty and lordly accommodation, the donjon _par excellence_".[\[35\]](#cite%5Fnote-36) One of the largest keeps in the [Christian world](/wiki/Christendom),[\[4\]](#cite%5Fnote-Allen%5FBrown%5F1976%5F44-5) the White Tower has been described as "the most complete eleventh-century palace in Europe".[\[36\]](#cite%5Fnote-I&P%5F16-37) The influences on the White Tower's design are unclear. Magnates in northern France had been building stone keeps since the mid-9th century so the general design was well-established. More specifically the keep of [Château d'Ivry-la-Bataille](/wiki/Ch%C3%A2teau%5Fd%27Ivry-la-Bataille), built around 1000, may have been a particularly prominent influence as it included a semi-circular projection in one corner.[\[37\]](#cite%5Fnote-38) Allen Brown and P. Curnow suggested that the design may have been based on the now vanished 10th-century keep of [Château de Rouen](/wiki/Ch%C3%A2teau%5Fde%5FRouen), which belonged to the Dukes of Normandy.[\[38\]](#cite%5Fnote-39) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: At the western corners are square towers, while to the north-east a round tower houses a spiral staircase. At the south-east corner is a larger semi-circular projection which accommodates the [apse](/wiki/Apse) of the chapel.[\[36\]](#cite%5Fnote-I&P%5F16-37) Excluding its projecting corner towers, the keep measures 36 by 32 metres (118 by 105 ft) at the base, and rises to a height of and is 27 m (90 ft) high at the southern battlements where the ground is lower. The structure was originally three storeys high, comprising a basement floor, an entrance level, and an upper floor. The entrance, as is usual in [Norman](/wiki/Norman%5Farchitecture) keeps, was above ground (in this case on the south face) and accessed via a wooden staircase which could be removed in the event of an attack. The forebuilding added in the 12th century no longer survives.[\[6\]](#cite%5Fnote-Parnell%5F1993%5F20-21-7) As the building was intended to be a comfortable residence as well as a stronghold, latrines were built into the walls, and four fireplaces provided warmth.[\[36\]](#cite%5Fnote-I&P%5F16-37) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The main building material is [Kentish](/wiki/Kent) [rag-stone](/wiki/Rag-stone), though some local [mudstone](/wiki/Mudstone) was also used. Although little of it survives, [Caen stone](/wiki/Caen%5Fstone) was imported from northern France to provide details in the Tower's facing, much of it replaced by [Portland stone](/wiki/Portland%5Fstone) in the 17th and 18th centuries under the direction of architect [Inigo Jones](/wiki/Inigo%5FJones). As most of the Tower's windows were enlarged in the 18th century, only two original – albeit restored – examples remain, in the south wall at gallery level.[\[39\]](#cite%5Fnote-Parnell%5F1993%5F22-40) The White Tower was terraced into the side of a mound, so the northern side of the basement is partially below ground level.[\[40\]](#cite%5Fnote-Parnell%5F20-41) ### Interior \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=3)\] #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The purpose of each room is interpreted based primarily on its design. As a result, there can be some ambiguity in what individual chambers were used for.[\[3\]](#cite%5Fnote-I&P17-3) Each floor was divided into three chambers, the largest in the west, a smaller room in the north-east, and the chapel taking up the entrance and upper floors of the south-east.[\[6\]](#cite%5Fnote-Parnell%5F1993%5F20-21-7) As was typical of most keeps,[\[41\]](#cite%5Fnote-42) the bottom floor was an [undercroft](/wiki/Undercroft) used for storage. One of the rooms contained a well. Although the layout has remained the same since the tower's construction, the interior of the basement dates mostly from the 18th century when the floor was lowered and the pre-existing timber [vaults](/wiki/Vault%5F%28architecture%29) were replaced with brick counterparts.[\[40\]](#cite%5Fnote-Parnell%5F20-41) The basement is lit through small slits.[\[36\]](#cite%5Fnote-I&P%5F16-37) The sole access to the floor was via the north-east staircase turret.[\[40\]](#cite%5Fnote-Parnell%5F20-41) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The entrance floor was probably intended for the use of the [Constable of the Tower](/wiki/Constable%5Fof%5Fthe%5FTower) and other important officials. The south entrance was blocked during the 17th century, and not reopened until 1973\. Those heading to the upper floor had to pass through a smaller chamber to the east, also connected to the entrance floor. The [crypt](/wiki/Crypt) of [St John's Chapel](/wiki/St%5FJohn%27s%5FChapel,%5FLondon) occupied the south-east corner and was accessible only from the eastern chamber. There is a recess in the north wall of the crypt; according to Geoffrey Parnell, Keeper of the Tower History at the Royal Armouries, "the windowless form and restricted access, suggest that it was designed as a strong-room for safekeeping of royal treasures and important documents".[\[40\]](#cite%5Fnote-Parnell%5F20-41) The north floor contained a grand hall in the west and a residential chamber in the east – both originally open to the roof and surrounded by a gallery built into the wall – and St John's Chapel in the south-east. The top floor was added in the 15th century, along with the present roof.[\[3\]](#cite%5Fnote-I&P17-3)[\[6\]](#cite%5Fnote-Parnell%5F1993%5F20-21-7) The absence of domestic amenities such as fireplaces suggest it was intended for use as storage rather than accommodation.[\[13\]](#cite%5Fnote-I&P57-14) In the 17th century lead cisterns were installed on top of the White Tower.[\[42\]](#cite%5Fnote-43) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: The White Tower has contained at least two armouries, historically. The Horse Armoury, located on the tower's north side and 150 ft (46 m) long and 33 ft (10 m) wide, was built in 1825.[\[43\]](#cite%5Fnote-:0-44) From its northeast corner, a wooden staircase ornamented with two carvings titled "Gin" and "Beer" ascended to Queen Elizabeth's Armoury.[\[43\]](#cite%5Fnote-:0-44)[\[44\]](#cite%5Fnote-45) Gin and Beer represent the two most important [alcoholic beverages](/wiki/Alcoholic%5Fbeverages) of their time. They are believed to have originally been placed in the great hall at [Palace of Placentia](/wiki/Palace%5Fof%5FPlacentia) in [Greenwich](/wiki/Greenwich).[\[45\]](#cite%5Fnote-46) ### Whalesbourne \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=4)\] **Whalesbourne** was a notorious [Tudor](/wiki/Tudor%5Fperiod) [dungeon](/wiki/Dungeon) in the White Tower, a central keep in the [Tower of London](/wiki/Tower%5Fof%5FLondon). It was described by [Robert Hutchinson](/wiki/Robert%5FHutchinson%5F%28historian%29) as "_where sunlight never penetrated, perhaps part of the Coldharbour gate that once stood at the south-eastern corner of the White Tower,[\[46\]](#cite%5Fnote-47) where rats supposedly tore flesh...from the arms and legs of prisoners during sleep._"[\[47\]](#cite%5Fnote-48) ### St John's Chapel \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=5)\] #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: See also: [St John's Chapel, London](/wiki/St%5FJohn%27s%5FChapel,%5FLondon) [](/wiki/File:Whitetowerchapel.jpg) [St John's Chapel](/wiki/St%5FJohn%27s%5FChapel,%5FLondon), inside the White Tower. The semi-circular projection in the south-east corner to accommodate St John's Chapel is almost unparalleled in castle architecture. The only other keep in England with a similar projection is that of [Colchester Castle](/wiki/Colchester%5FCastle),[\[48\]](#cite%5Fnote-ABC10-11-49)[\[nb 2\]](#cite%5Fnote-50) the largest in England.[\[49\]](#cite%5Fnote-51) St John's Chapel was not part of the White Tower's original design, as the apsidal projection was built after the basement walls.[\[40\]](#cite%5Fnote-Parnell%5F20-41) Due to changes in function and design since the tower's construction, except for the chapel little is left of the original interior.[\[50\]](#cite%5Fnote-52) The chapel's current bare and unadorned appearance is reminiscent of how it would have been in the Norman period. In the 13th century, during Henry III's reign, the chapel was decorated with such ornamentation as a gold-painted cross, and [stained glass](/wiki/Stained%5Fglass) windows that depicted the Virgin Mary and Holy Trinity.[\[8\]](#cite%5Fnote-Parnell%5F1993%5F32-9) ## Footnotes \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=6)\] #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 1. **[^](#cite%5Fref-4)** There were three Norman castles in London: the Tower of London, [Baynard's Castle](/wiki/Baynard%27s%5FCastle), and [Montfichet's Tower](/wiki/Montfichet%27s%5FTower). 2. **[^](#cite%5Fref-50)** According to Allen Brown and P. Curnow "Technically in its plan ... and more especially in its apsidal projection at the south-east angle housing the chapel ... there is nothing else like it in Europe save only at Colchester".[\[48\]](#cite%5Fnote-ABC10-11-49) ## Citations \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=7)\] #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 1. **[^](#cite%5Fref-1)** [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), pp. 5–9 2. ^ [Jump up to: _**a**_](#cite%5Fref-ABC9%5F2-0) [_**b**_](#cite%5Fref-ABC9%5F2-1) [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), p. 9 3. ^ [Jump up to: _**a**_](#cite%5Fref-I&P17%5F3-0) [_**b**_](#cite%5Fref-I&P17%5F3-1) [_**c**_](#cite%5Fref-I&P17%5F3-2) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 17 4. ^ [Jump up to: _**a**_](#cite%5Fref-Allen%5FBrown%5F1976%5F44%5F5-0) [_**b**_](#cite%5Fref-Allen%5FBrown%5F1976%5F44%5F5-1) [Allen Brown 1976](#CITEREFAllen%5FBrown1976), p. 44 5. **[^](#cite%5Fref-6)** [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), pp. 9–12 #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 6. ^ [Jump up to: _**a**_](#cite%5Fref-Parnell%5F1993%5F20-21%5F7-0) [_**b**_](#cite%5Fref-Parnell%5F1993%5F20-21%5F7-1) [_**c**_](#cite%5Fref-Parnell%5F1993%5F20-21%5F7-2) [_**d**_](#cite%5Fref-Parnell%5F1993%5F20-21%5F7-3) [Parnell 1993](#CITEREFParnell1993), pp. 19–23 7. ^ [Jump up to: _**a**_](#cite%5Fref-I&P25-27%5F8-0) [_**b**_](#cite%5Fref-I&P25-27%5F8-1) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), pp. 25–27 8. ^ [Jump up to: _**a**_](#cite%5Fref-Parnell%5F1993%5F32%5F9-0) [_**b**_](#cite%5Fref-Parnell%5F1993%5F32%5F9-1) [Parnell 1993](#CITEREFParnell1993), p. 32 9. **[^](#cite%5Fref-10)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 27 10. ^ [Jump up to: _**a**_](#cite%5Fref-I&P41%5F11-0) [_**b**_](#cite%5Fref-I&P41%5F11-1) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 41 #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 11. ^ [Jump up to: _**a**_](#cite%5Fref-I&P87%5F12-0) [_**b**_](#cite%5Fref-I&P87%5F12-1) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 87 12. **[^](#cite%5Fref-13)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), pp. 41–42 13. ^ [Jump up to: _**a**_](#cite%5Fref-I&P57%5F14-0) [_**b**_](#cite%5Fref-I&P57%5F14-1) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 57 14. **[^](#cite%5Fref-15)** [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), p. 20 15. ^ [Jump up to: _**a**_](#cite%5Fref-I&P%5F46-47%5F16-0) [_**b**_](#cite%5Fref-I&P%5F46-47%5F16-1) [_**c**_](#cite%5Fref-I&P%5F46-47%5F16-2) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), pp. 46–47 16. **[^](#cite%5Fref-17)** [Parnell 1993](#CITEREFParnell1993), p. 68 17. ^ [Jump up to: _**a**_](#cite%5Fref-Horrox%5F18-0) [_**b**_](#cite%5Fref-Horrox%5F18-1) [Horrox 2004](#CITEREFHorrox2004) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 18. ^ [Jump up to: _**a**_](#cite%5Fref-I&P73%5F19-0) [_**b**_](#cite%5Fref-I&P73%5F19-1) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 73 19. **[^](#cite%5Fref-20)** [Parnell 1993](#CITEREFParnell1993), p. 58 20. ^ [Jump up to: _**a**_](#cite%5Fref-I&P58%5F21-0) [_**b**_](#cite%5Fref-I&P58%5F21-1) [_**c**_](#cite%5Fref-I&P58%5F21-2) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 58 21. ^ [Jump up to: _**a**_](#cite%5Fref-I&P97%5F22-0) [_**b**_](#cite%5Fref-I&P97%5F22-1) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 97 22. **[^](#cite%5Fref-23)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 74 23. **[^](#cite%5Fref-24)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), pp. 61–62 24. **[^](#cite%5Fref-25)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), pp. 97–101, 117 25. **[^](#cite%5Fref-26)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 118 #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 26. **[^](#cite%5Fref-27)** [Parnell 1993](#CITEREFParnell1993), p. 115 27. **[^](#cite%5Fref-28)** [_On This Day 1974: Bomb blast at the Tower of London_](http://news.bbc.co.uk/onthisday/hi/dates/stories/july/17/newsid%5F2514000/2514429.stm), [BBC News Online](/wiki/BBC%5FNews%5FOnline), 17 July 1974, retrieved 16 June 2010 28. **[^](#cite%5Fref-29)** [_UNESCO Constitution_](http://portal.unesco.org/en/ev.php-URL%5FID=15244&URL%5FDO=DO%5FTOPIC&URL%5FSECTION=201.html), [UNESCO](/wiki/UNESCO), retrieved 17 August 2009 29. **[^](#cite%5Fref-30)** [_Tower of London_](https://whc.unesco.org/en/list/488), [UNESCO](/wiki/UNESCO), retrieved 28 July 2009 30. **[^](#cite%5Fref-31)** Simmons, Tracy, [_The White Tower conservation project_](http://www.hrp.org.uk/learninganddiscovery/caringforthepalaces/conservethis/thewhitetowerconservationproject), Historic Royal Palaces, retrieved 3 October 2011 31. **[^](#cite%5Fref-32)** [Historic England](/wiki/Historic%5FEngland), ["The Tower of London, The White Tower (1260258)"](https://HistoricEngland.org.uk/listing/the-list/list-entry/1260258?section=official-list-entry), _[National Heritage List for England](/wiki/National%5FHeritage%5FList%5Ffor%5FEngland)_, retrieved 1 October 2011 #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 32. **[^](#cite%5Fref-33)** ["Frequently asked questions"](https://web.archive.org/web/20071111223206/http://www.imagesofengland.org.uk/Faqs/default.aspx?topic=4#25), _[Images of England](/wiki/Images%5Fof%5FEngland)_, English Heritage, archived from [the original](http://www.imagesofengland.org.uk/Faqs/default.aspx?topic=4#25) on 11 November 2007, retrieved 1 October 2011 33. **[^](#cite%5Fref-34)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 124 34. **[^](#cite%5Fref-35)** [Friar 2003](#CITEREFFriar2003), p. 163 35. **[^](#cite%5Fref-36)** [Allen Brown 1976](#CITEREFAllen%5FBrown1976), p. 15 36. ^ [Jump up to: _**a**_](#cite%5Fref-I&P%5F16%5F37-0) [_**b**_](#cite%5Fref-I&P%5F16%5F37-1) [_**c**_](#cite%5Fref-I&P%5F16%5F37-2) [_**d**_](#cite%5Fref-I&P%5F16%5F37-3) [Impey & Parnell 2000](#CITEREFImpeyParnell2000), p. 16 37. **[^](#cite%5Fref-38)** [Impey & Parnell 2000](#CITEREFImpeyParnell2000), pp. 18–19 38. **[^](#cite%5Fref-39)** [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), p. 11 #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 39. **[^](#cite%5Fref-Parnell%5F1993%5F22%5F40-0)** [Parnell 1993](#CITEREFParnell1993), p. 22 40. ^ [Jump up to: _**a**_](#cite%5Fref-Parnell%5F20%5F41-0) [_**b**_](#cite%5Fref-Parnell%5F20%5F41-1) [_**c**_](#cite%5Fref-Parnell%5F20%5F41-2) [_**d**_](#cite%5Fref-Parnell%5F20%5F41-3) [_**e**_](#cite%5Fref-Parnell%5F20%5F41-4) [Parnell 1993](#CITEREFParnell1993), p. 20 41. **[^](#cite%5Fref-42)** [Friar 2003](#CITEREFFriar2003), p. 164 42. **[^](#cite%5Fref-43)** [Parnell 1993](#CITEREFParnell1993), p. 75 43. ^ [Jump up to: _**a**_](#cite%5Fref-:0%5F44-0) [_**b**_](#cite%5Fref-:0%5F44-1) [_The British metropolis in 1851_](https://archive.org/details/britishmetropol00unkngoog). Arthur Hall, Virtue & Company, Paternoster Row. 1851\. p. [64](https://archive.org/details/britishmetropol00unkngoog/page/n330). gin and beer white tower. #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 44. **[^](#cite%5Fref-45)** Wheeler, Joseph (1842). [_A Short history of the Tower of London; with a list of the interesting curiosities contained in the Armories and Regalia_](https://books.google.com/books?id=6ws-AAAAcAAJ&q=%22gin+and+beer%22+%22tower+of+london%22&pg=PA28). T. Hodgson. p. 28. 45. **[^](#cite%5Fref-46)** (Publisher.), Samuel LEIGH (1830). [_Leigh's New Picture of London ... New edition, carefully revised_](https://books.google.com/books?id=vadfAAAAcAAJ&q=%22gin+and+beer%22+%22tower+of+london%22&pg=PA177). Samuel Leigh. p. 177. 46. **[^](#cite%5Fref-47)** Bellamy, John (2013). [_The Tudor Law of Treason_](https://books.google.com/books?id=7eeOAQAAQBAJ&dq=Whalesbourne&pg=PA96) (3rd ed.). Abingdon, UK: Routledge. p. 96\. [ISBN](/wiki/ISBN%5F%28identifier%29) [9781315883649](/wiki/Special:BookSources/9781315883649). 47. **[^](#cite%5Fref-48)** Hutchinson, Robert (2020). _Henry VIII : the decline and fall of a tyrant_. \[S.l.\]: [Weidenfeld & Nicolson](/wiki/Weidenfeld%5F%26%5FNicolson). p. 141\. [ISBN](/wiki/ISBN%5F%28identifier%29) [978-1474605809](/wiki/Special:BookSources/978-1474605809). #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: 48. ^ [Jump up to: _**a**_](#cite%5Fref-ABC10-11%5F49-0) [_**b**_](#cite%5Fref-ABC10-11%5F49-1) [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), pp. 10–11 49. **[^](#cite%5Fref-51)** [Friar 2003](#CITEREFFriar2003), p. 16 50. **[^](#cite%5Fref-52)** [Allen Brown & Curnow 1984](#CITEREFAllen%5FBrownCurnow1984), p. 12 #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: ## Bibliography \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=8)\] #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: * Allen Brown, Reginald (1976) \[1954\], _Allen Brown's English Castles_, [The Boydell Press](/wiki/The%5FBoydell%5FPress), [ISBN](/wiki/ISBN%5F%28identifier%29) [1-84383-069-8](/wiki/Special:BookSources/1-84383-069-8) * Allen Brown, Reginald; Curnow, P (1984), _Tower of London, Greater London: Department of the Environment Official Handbook_, [Her Majesty's Stationery Office](/wiki/Her%5FMajesty%27s%5FStationery%5FOffice), [ISBN](/wiki/ISBN%5F%28identifier%29) [0-11-671148-5](/wiki/Special:BookSources/0-11-671148-5) * Friar, Stephen (2003), _The Sutton Companion to Castles_, [Sutton Publishing](/wiki/Sutton%5FPublishing), [ISBN](/wiki/ISBN%5F%28identifier%29) [978-0-7509-3994-2](/wiki/Special:BookSources/978-0-7509-3994-2)\* Horrox, Rosemary (2004). "Edward V (1470–1483), king of England and lord of Ireland". [_Oxford Dictionary of National Biography_](http://www.oxforddnb.com/view/article/8521). _[Oxford Dictionary of National Biography](/wiki/Dictionary%5Fof%5FNational%5FBiography#Oxford%5FDictionary%5Fof%5FNational%5FBiography)_ (online ed.). Oxford University Press. [doi](/wiki/Doi%5F%28identifier%29):[10.1093/ref:odnb/8521](https://doi.org/10.1093%2Fref%3Aodnb%2F8521). (Subscription or [UK public library membership](https://www.oxforddnb.com/help/subscribe#public) required.) (subscription required) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: * [Impey, Edward](/wiki/Edward%5FImpey); Parnell, Geoffrey (2000), [_The Tower of London: The Official Illustrated History_](https://archive.org/details/toweroflondon00edwa), Merrell Publishers in association with [Historic Royal Palaces](/wiki/Historic%5FRoyal%5FPalaces), [ISBN](/wiki/ISBN%5F%28identifier%29) [1-85894-106-7](/wiki/Special:BookSources/1-85894-106-7) * Parnell, Geoffrey (1993), _The Tower of London_, [Batsford](/wiki/Batsford%5FBooks), [ISBN](/wiki/ISBN%5F%28identifier%29) [978-0-7134-6864-9](/wiki/Special:BookSources/978-0-7134-6864-9) * Gower, Ronald C. (1901). [_The Tower of London_](https://www.gutenberg.org/files/65712/65712-h/65712-h.htm). George Bell & Sons. * Poyser, Arthur (1908). [_The Tower of London_](https://www.gutenberg.org/files/55504/55504-h/55504-h.htm). Wentworth Press. #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: ## Further reading \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=9)\] * Impey, Edward (2008), _The White Tower_, [Yale University Press](/wiki/Yale%5FUniversity%5FPress), [ISBN](/wiki/ISBN%5F%28identifier%29) [978-0-300-11293-1](/wiki/Special:BookSources/978-0-300-11293-1) ## External links \[[edit](/w/index.php?title=White%5FTower%5F%28Tower%5Fof%5FLondon%29&action=edit§ion=10)\] Wikimedia Commons has media related to [White Tower (Tower of London)](https://commons.wikimedia.org/wiki/Category:White%5FTower%5F%28Tower%5Fof%5FLondon%29). * [Historical Royal Palaces](http://hrp.org.uk/) | hide[Authority control databases](/wiki/Help:Authority%5Fcontrol) [](https://www.wikidata.org/wiki/Q1528473#identifiers) | | | ------------------------------------------------------------------------------------------------------------------------ | --------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | | International | [VIAF](https://viaf.org/viaf/138358339) | | National | [United States](https://id.loc.gov/authorities/sh2008006672)[Israel](http://olduli.nli.org.il/F/?func=find-b&local%5Fbase=NLX10&find%5Fcode=UID&request=987007288047105171) | | Other | [IdRef](https://www.idref.fr/127340106) | WikiMiniAtlas #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: WikiMiniAtlas [51°30′29″N 0°04′34″W / 51.508098°N 0.075977°W / 51.508098; -0.075977](https://geohack.toolforge.org/geohack.php?pagename=White%5FTower%5F%28Tower%5Fof%5FLondon%29¶ms=51.508098%5FN%5F0.075977%5FW%5Ftype:landmark) Retrieved from "" #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: [Categories](/wiki/Help:Category): * [11th-century establishments in England](/wiki/Category:11th-century%5Festablishments%5Fin%5FEngland) * [Buildings and structures completed in the 11th century](/wiki/Category:Buildings%5Fand%5Fstructures%5Fcompleted%5Fin%5Fthe%5F11th%5Fcentury) * [Buildings and structures on the River Thames](/wiki/Category:Buildings%5Fand%5Fstructures%5Fon%5Fthe%5FRiver%5FThames) * [Castles in London](/wiki/Category:Castles%5Fin%5FLondon) * [Grade I listed buildings in the London Borough of Tower Hamlets](/wiki/Category:Grade%5FI%5Flisted%5Fbuildings%5Fin%5Fthe%5FLondon%5FBorough%5Fof%5FTower%5FHamlets) * [Royal buildings in London](/wiki/Category:Royal%5Fbuildings%5Fin%5FLondon) * [Tower of London](/wiki/Category:Tower%5Fof%5FLondon) * [Towers in London](/wiki/Category:Towers%5Fin%5FLondon) * [Grade I listed towers](/wiki/Category:Grade%5FI%5Flisted%5Ftowers) * [William the Conqueror](/wiki/Category:William%5Fthe%5FConqueror) * [Princes in the Tower](/wiki/Category:Princes%5Fin%5Fthe%5FTower) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: Hidden categories: * [Pages using gadget WikiMiniAtlas](/wiki/Category:Pages%5Fusing%5Fgadget%5FWikiMiniAtlas) * [Articles with short description](/wiki/Category:Articles%5Fwith%5Fshort%5Fdescription) * [Short description is different from Wikidata](/wiki/Category:Short%5Fdescription%5Fis%5Fdifferent%5Ffrom%5FWikidata) * [Use dmy dates from March 2017](/wiki/Category:Use%5Fdmy%5Fdates%5Ffrom%5FMarch%5F2017) * [Use British English from March 2017](/wiki/Category:Use%5FBritish%5FEnglish%5Ffrom%5FMarch%5F2017) * [Wikipedia articles incorporating a citation from the ODNB](/wiki/Category:Wikipedia%5Farticles%5Fincorporating%5Fa%5Fcitation%5Ffrom%5Fthe%5FODNB) * [Pages containing links to subscription-only content](/wiki/Category:Pages%5Fcontaining%5Flinks%5Fto%5Fsubscription-only%5Fcontent) * [Commons category link is on Wikidata](/wiki/Category:Commons%5Fcategory%5Flink%5Fis%5Fon%5FWikidata) * [Coordinates on Wikidata](/wiki/Category:Coordinates%5Fon%5FWikidata) #################### File: en-wikipedia-org-wiki-White_Tower_(Tower_of_London)-48062.txt Page: 1 Context: * This page was last edited on 24 August 2024, at 15:48 (UTC). * Text is available under the [Creative Commons Attribution-ShareAlike License 4.0](//en.wikipedia.org/wiki/Wikipedia:Text%5Fof%5Fthe%5FCreative%5FCommons%5FAttribution-ShareAlike%5F4.0%5FInternational%5FLicense)[](//en.wikipedia.org/wiki/Wikipedia:Text%5Fof%5Fthe%5FCreative%5FCommons%5FAttribution-ShareAlike%5F4.0%5FInternational%5FLicense); additional terms may apply. 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convergent infinite product, 51 - convergent series, 317 - coordinate, 455, 559 - affine ideal, 461 - coordinate hyperplane, 620 - coordinate - affine, 579 - homogeneous, 584 - coordinate subspace, 619 - coproducot, xxxv - correspondence, one-one, xxiii - countable, xxii - Craner, 448 - Cranker's paradox, 449 - Cranker's rule, 448 - crossed-product algebra, 137 - cubic, 458 - extensive, 280 - numbered field, 279, 302 - twisted, 562 - cubical singular chain, 172 - cup product, 256 - curve, affine plane, 455 - curve, irreducible, 604 - affine, 529 - affine plane, 450, 524, 562 - curve projective plane, 458 - cycle, 172 - cyclic algebra, 122, 162, 163 - cyclotomic field, 309 - decomposition proof, 368 - Dekind, 77 - Dedekind Discriminant Theorem, 275, 371, 389, 381 - Dedekind domain, xxvii, 266 - extension of, xxvi, 327, 417 - Dedekind conceptual, 287, 302, 310 - Dedekind’s Theorem on Differents, 376 - defined at a point, 580, 585 - degree, 172 - divisor, 533 - residence algebras, 275, 354, 533 - total, 427 - transcendence, 413 - derived function, 204 - formation of, 205 - long exact sequence for, 211, 214 - Dickson, 120 - different, 279 - relative, 279, 372 - differential, 53, 547 - differential form, 541 - dimension, geometries, 565 - Knill, 403, 424, 426, 528, 529, 564, 566, 605, 619, 630, 639 - of affine algebraic set, 566 - of affine variety, 563 - of zero locus, 423 - Diophantus, 1 - direct product, restricted, 388 - direct sum and its additive category, 233 - directed set, 438 - Dirichlet, 2, 23 - Dirichlet box principle, 297 - Dirichlet character modulo, 62 - Dirichlet class number, 7, 14 - Dirichlet function, 63 - Dirichlet peeling principle, 297 - Dirichlet series, 56 - Dirichlet's Theorem, 290, 292, 384, 390, 395 - Dirichlet's Theorem, 7, 80 - discrete, 290 - discrete absolute value, 338 - discrete valuation, 32 - derlived over L, 229 - discriminant, 12, 25 - absolute, 25, 267 - field, 35, 201, 267 - fundamental, 33 - of conmutativa semisimple algebra, 382 - of ordered basis, 367 - relative, 275, 381 - discriminant divisor, 272 - divisible abelian group, 196 - divisible module, 215 - division algebra, generalized, 499 - divisor, 532 - divisor class, 532, 549 - divisor, principal, 532 - domain of morphism, 232 #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 752 Context: ``` dominant rational map, 595 Double Centralizer Theorem, 115 double chain complex, 257 dual of fractional ideal, 372 Eckmann, 168 Eichler, 168 Einstein, 12 Einstein polynomial, 402 elimination ideal, 512 Elimination Theorem, 512 eliminating type ordering, 494, 512 elliptic curve, 648 enough injectives, 202 enough projectives, 202 epimorphism, 233 equivalence class of forms ordinary, 13 equivalent of absolute values, 333 associate, 383 forms, 12, 32 forms, improper, 13 forms, proper, 13, 32 ideals, 40, 298 ideals, attract, 40 ideals, strict, 40, 298 nontrivial, 50 Euler, 1.3, 9, 50, 54, 60 Euler product, 60 first-degree, 65 Farrell's Theorem, 516, 646 exact complex, 175 exact functor, 179 left, 182 right, 183 exact on injectives, 222 exact on projectives, 222 exact sequence, 175 in an Abelian category, 240 long, 187, 188 short, 175 split, 200 Exchange, 120 Ext functor, 223 extension normal, 435 of Dedekind domain, xxvi, 327, 417 of integrally closed domain, 610 of valued field, 358 purely transcendental, 409 Extension Theorem, 512 factor set, 133 trivial, 135 Ferrari, 1, 3 field discriminant, 35, 264, 267 field of formal Laurent series, 347 field of fractions, xv field polynomial, 266 fine shell, 218 finiteness of class number, 390 first-degree Euler product, 60 flabby sheaf, 218 flat complex, 259 flat module, 257 form binary quadratic, 3, 12 class group, 28 negative definite, 14 positive definite, 14 primitive arranged, 25 reduced primitive, 18, 21 Fourier inversion formula for finite abelian groups, 61 fractional ideal, 321 principal, 321 relative ideal, 372 free resolution, 152, 195 Freedman's theorem, 63 Frobenius' Theorem about division algebras over the rationals, 118, 160 function field, 491, 558, 580, 582, 585, 587 in variables, 419 functor additive, 170, 178 co-derivations, 209 derived, 204 exact, 179 Ext, 223 global sections, 218 ``` #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 753 Context: ``` # Index - homology-of-groups, 209 - invariants, 808 - lev exact, 182 - right exact, 183 - Tot, 224 - functional, 177 - functionality of long exact sequence of derived functors, 215, 218 - functionality with long exact sequence, 191 - functionality with snake diagram, 190 - fundamental discrimination, 23 - fundamental pritallelelope, 293 - Fundamental Theorem of Galois Theory, 443 - fundamental unit, 36, 288 ## Galois - Galois, 77 - Galois group, 434 - gap sequence, 557 - Gauss, 1, 3, 9, 24, 77 - Gauss’s, 3 groups, p. 28 - Gefland, 343 - generalized division algorithm, 499 - generalized quaternion algebra, 121 - generalized residue, 514 - genus, 21, 33, 556, 557 - genus character, 74 - genus charactor, 74 - genus group, 31, 70, 73 - geometric dimension, 565 - germ, 584 - global, 564 ## Global - global-sectors, functor, 218 - good category, 169 - graded lexicographic orderings, 493 - graded monomial ordering, 627 - graded reverse lexicographic ordering, 494 - Gröbner bases, 450, 497, 564 - minimum, 508 - reduced, 500 - Grothedieck, 638 ## Hilbert - Hilbert, 404 - Hilbert Basis Theorem, xxvi, 491, 560 - Hilbert class field, 263 - Hilbert funtcion, 603 - Hilbert polynomial, 633 - affine, 625, 628 - Hilbert's Theorem 90, 91, 145 - homogeneous coordinate ring, 584 - homogeneous ideal, 458, 570 - homogeneous number of homogeneous coordinate ring, 585 - homogeneous Numblistseries, 572, 586, 635 - homogeneous polynomial, 457 - homology, 153, 172 - cubic singularity, 172 - simplifid, 172 - homology-of-groups functor, 209 - homomorphisms, 78 - connection, 185, 187 - infation, 254 - of valued field, 342 - restriction, 254 - homotopy, 143, 174, 174, 198 - homotopy, 173, 174, 198 - Hopf, M. 167 - Hopkins, 927 - Hurewicz, 167 - hyperplane coordinate, 630, 662 - hypersurface, irreducible affine, 430, 562 - hypersurface, irreducible projective, 573 ## Ideal - fractional, 321 - in like algebra, 78 - principal fractional, 321 - valuation, 322 - ideal class group, 42, 265, 299, 330 - ideal, 250 - ideal class group, 393 - idempotent, 91, 369 - idempotent primitivity, 369 - image in Picard category, 240 - Implicit Function Theorem, 428, 600 - inferior equivalence of forms, 13 - independent algebraicals, 409 - index, 272 - ramification, 275, 354 ``` #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 754 Context: ``` # Index - inertia group, 370 - inertia subfield, 368 - inflation homomorphism, 254 - inflation-restriction sequence, 254 - injective, 195 - in Abelian category, 241 - injective module, 195 - injective resolution, 199, 205 - inseparable element, 414 - integral closure, xxvii, 610 - integral domain, xxvi - integral element, xxvi - integrally closed, xxvi - intersection multiplicity, 467, 474 - intersection number, 467 - invariants, 208 - invariant function, 208 - inverse limit, 439 - standard, 439 - inverse system, 438 - irreducible, 563 - affine schemes, 629 - affine hypersurface, 430, 562 - affine plane curve, 430, 524, 562 - closed field, 564, 573 - curve, 604 - element, xxvi - ideal, 446 - projective hypersurface, 573 - irreducible, 446 - isomorphic decompositions, 397 - isomorphism, 78 - of varied fields, 342 - of varieties, 591 ## References - Jacobi, 521 - Jacobi symbol, 77 - Jacobi symbol, 68 - Jacobson radical, 89 - kernel of morphisms, 235 - universal mapping property of, 235 - Kossak, 165 - Kronecker, 77 - Krull dimension, 403, 424, 426, 528, 529, 564, 566, 605, 619, 630, 639 - Kummer, 77 ## Theorems and Concepts - Kummer's criterion, 275 - Kenneth Theorem, 258–259 - Lagrange, 1, 4 - Langlands reciprocity, 265 - largest domain, 583, 595 - Lasker–Noether Decomposition Theorem, 446, 639 - lattice, 200 - Law of Quadratic Reciprocity, 1, 8 - least common multiple, 501 - left adjoint, 252 - left Artinian ring, 87 - left exact functor, 182 - left Noetherian ring, 87 - left semisimple ring, 81 - Legendres, 1, 4 - Legendre symbols, 8 - Leibniz, 7 - Levi, E. E., 79 - lesographico-ordering, 493 - Lie algebra, 77 - abelian, 78 - semisimple, 79 - simple, 79 - solvable, 78 - Lie subalgebra, 78 - line - affine plane, 455 - at infinity, 459 - projective, 458 - Liouville, 521 - local expression, 462 - local field, 383 - local ring, 642 - at a point, 580, 582, 585, 587 - locally global approach, 371 - localization, 290 - locus of common zeros, 459, 559, 571 - long exact sequence, 187, 188 - functoriality with, 191 - of derived functors, 211, 214 - functionality of, 215, 218 ## Additional References - Mac Lane, 165, 420 - Macaulay, 627 ``` #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 755 Context: ``` # Index - maps of a good category, 169 - matrix, 101 - member in abelian category, 242 - minimal Gr\"obner basis, 50 - Minkowski, 301, 302 - Minkowski's Lattice-Point Theorem, 293, 384 - modules of a good category, 169 - mono, 232 - monoid, 457 - reducible, 664 - monomial ideal, 619 - monomial ordering, 493 - graded, 627 - moonshine, 232 - morphism, 169 - local, 642 - of affine scheme, 642 - of projective space, 642 - of varieties, 591 - multiplicity, 60 - multiplicative character, 61 - strict, 60 - multiplicity of a tangent line, 478 ## Nakayama's Lemma - var. 120, 605, 606 - narrow equivalence of ideals, 40 - natural, 177 - negative, xxiii - negative definite form, 14 - negatively oriented, 40 - neighbor, 21 - onto the list, 21 - on the right, 21 - nil left ideal, 89 - nilpotent ideal, 89 - nilpotent left ideal, 80, 90 - Noether Normalization Lemma, 612 - Noether-Jacobson Theorem, 130 - Noetherian, 87 - Noetherian topological space, 564 - noncommutative, 331, 335, 338 - nonreducible, 383 - nonsingular curve, 604 - nonsingular point, 492, 601, 601 - nontrivial absolute value, 332 - norm, 165, 356 - norm of ideal, 39 - absolute, 273 - normal extensions, 413 - normalized absolute value, 383, 384, 385, 486 - Nullstellensatz, 410, 424, 425, 480, 487 - 510, 516, 518, 526, 559, 561, - 562, 572, 579, 580, 581 - number field, xxx - cube, 279, 302 - cyclotomic, 369 - quadratic, 36, 69, 263, 269 ## Oka - one one correspondence, xiii - order, 532 - order of vanishing, 474 - ordinary - Bayer-Savillan type, 494 - from tuple of weight vectors, 494 - graded k-geography, 293 - graded reverse lexicographic, 494 - K-elimination type, 494, 512 - lexicographic, 493 - total, 493 - ordinary equivalence class of forms, 13 - oriented, 40 - orthogonal idempotents, 99, 369 - Ostrowski, 348 - p-adic absolute value, 316 - p-adic integer, 279, 318 - p-adic metric, 316 - p-adic number, 279, 316, 318 - p-adic number, 346 - p-adic number, 548 - fundamental, 293 - Perino decomposition, 95 - perfect field, 481, 553 - place, 383 - plane, projective, 456 - plane curve, 455 - irreducible affine, 430, 524, 562 ``` #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 756 Context: ``` 728 # Index - projective, 458 - plane line, affine, 455 - Plucker, 450 - point, 455, 456, 459, 559 - points at infinity, 459 - pole, part, 537 - pole set, 581 - positive, 581 - positive definite form, 14 - positively oriented, 40 - presheaf, 640 - complete, 641 - primary ideal, 445 - prime element, xxv - prime ideal, xxv - associated, 446 - primitive, 12 - primitive form, aligned, 25 - reduced, 18, 21 - primitive telede, 369 - primitive represent, 14 - principal divisor, 62 - principal ideal, 321 - principal genus, 33 - problem - ideal-equivalency, 510 - ideal-membership, 507 - proper ideal, 807 - product, xxv - profinite group, 441 - projective, 192 - algebraic set, 571 - closure, 575 - hyperstructure, irreducible, 573 - in sheaf category, 241 - limit, 439 - line, 458 - modi, 192 - n-space, 457 - plane, 456 - plane curve, 458 - resolution, 105, 205 - transformation, 460 - variety, 579 - proper equivalence class of forms, 13 - forms over Q, 32 - forms over Z, 13 - pullback, 242 - pure cubic extension, 280 - type of, 281 - purely inseparable element, 415 - purely inseparable extension, 416 - purely transcendental extension, 409 - pushout, 202, 243 - quadratic form, binary, 3, 12 - quadratic form, similar, 74 - quadratic number field, 36, 69, 263, 269 - quadratic reciprocity, 3, 8, 68 - quartic, 458 - quasi-affine variety, 568 - quasiprojective variety, 573 - quaternion algebra, 121 - radical - associative algebra, 80 - ideal, 405 - Jacobson, 89 - of Lie algebra, 78 - Weierstrass-Arn, 89, 91 - ramification index, 275, 354 - ramified, 367 - ramify, 264, 275, 308 - rational function, 580, 585 - rational map, 595 - dominant, 595 - rational point, 455, 465, 457, 459 - real place, 381 - reciprocity, 265 - Artin, 265 - Langlands, 265 - Quadratic, 8, 68 - reduced Grothendieck basis, 509 - reduced monoid, 646 - reduced normal form, 165 - reduced polynomials, 165 - reduced primitive form, 18, 21 - reduced trace, 165 - reducible ideal, 446 - regular at a point, 580, 582, 587 - regular function on an open set, 580, 582, 587 641 ``` #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 757 Context: Index ===== - regular point, 429 - relative Brumer group, 127 - relative different, 279, 372 - relative discriminant, 275, 381 - relative dual of fractional ideal, 372 - represented, 14 - primitively, 14 - residue class degree, 275, 354, 533 - residue class field, 322 - Residue Theorem, 543 - resolution, 194 - ray, 219 - free, 152, 195 - injective, 199, 205 - projective, 195, 205 - standard, 144 - restricted direct product, 388 - restricted homomorphism, 254 - resultant, 449, 451 - generalized, 514 - Riemann, 521 - Riemann hypotheses, 530 - Riemann surface, 328 - Riemann zeta function, 52, 58 - Riemann-Roch Theorem, 520, 522, 523, 530, 540, 543, 551, 552, 648 - Riemann inequality, 538 - right adjoint, 252 - right Artinian ring, 37 - right exact functor, 183 - right Noetherian ring, 87 - right semisimple ring, 81 - ring of formal power series, 347 - ridged space, 642 - S-polynomial, 502 - schemer, 642 - affine, 642 - defined over a ring, 643 - Schmidt area, 239 - Schur, 168 - Schur's Lemma, 83 - section, 641 - Segen embedding, 617, 646 - Segre variety, 617 - semisimple, - associative algebra, 80 - Lie algebra, 78 - module, 84 - ring, 81, 84 - separable, - algebraic closure, 434 - element, 414 - extension, 415 - polynomial, 414 - semisimple algebra over a field, 109 - separably generated extension, 419 - separating transcendence basis, 419 - sheaf, 168, 640 - flabby, 218 - cohomology, 168, 171, 218, 643 - structure, 164 - short exact sequence, 175 - in abelian category, 241 - similar binary operations, 74 - simple, - associative algebra, 80 - Lie algebra, 79 - module, 80 - ring, 85 - simplicial homology, 172 - singular cohomology, 172 - singular homology, 172 - singular point, 420, 600 - Skolem-Noether Theorem, 113 - snake diagram, 185, 261 - functoriality with, 190 - Snuke Lemma, 185, 248 - solution of problem, 168 - ideal-embolism, 507 - polystable, 507 - schooled Lie algebra, 78 - spectral sequence, 171 - spectrum, 639 - split abelian category, 127 - split exact sequence, 200 - splitting field, 127 - stalk, 640 - standard immune limit, 439 - standard resolution, 149 - standard subscript, 622 - Stickelberger's condition, 209 - Stone, 638 #################### File: Advanced%20Algebra%20-%20Anthony%20W.%20Knapp%20%28PDF%29.pdf Page: 758 Context: ``` # Index - strict equivalence of ideals, 40, 298 - strictly multiplicative, 60 - strong approximation property, 374 - Strong Approximation Theorem, 373, 390, 391 - structure sheaf, 641 - subalgebra Lie, 78 - summability by parts, 56 - tangent lines, 478 - tensor product of algebras, 104 - chain complexes, 258 - fields, 104 - Theorem 90, Hilbert's 71, 145 - Tor functor, 224 - Tonks, 349 - torsion abelian group, 169 - torsion submodule, 257 - total ordering, 457 - total deriving, 493 - totally ramified, 367 - trace, 106 - transcendence basis, 409, 424 - existence, 411 - experiment, 418 - transcendence degree, 413 - transcendence set, 409 - transude of form, 206 - triangular ring, 58 - trivial absolute value, 331 - trivial factor set, 135 - twisted cubic, 562 - type of pure object extension, 281 - ultimate modality, 316, 331 - unequal-characteristic case, 398 - uniformizability, 323 - uniformizing element, 233 - unit, x/y, 36, 288 - fundamental, 26, 368 - ring, 34 - Universal Coefficient Theorem, 261 - universal mapping property of cokernel, 210 - completion of valued field, 343 - kernel, 235 - unramified, 367 - valuation, 322, 331 - archimedean, 289 - distinct, 522, 529 - valuation ideal, 322 - valuation ring, 322 - valued field, 342 - complete, 343 - extension of rings, 358 - homomorphism, 342 - isomorphism of, 342 - variety, 509 - affine, 429, 562 - as a scheme, 643 - projective, 572 - quasi-affine, 558 - quasi-projective, 573 - Segre, 617 ## Theorems - Weak Approximation Theorem, 340, 374 - Wedderburn, 79, 86, 91 - Wedderburn's Main Theorem, 94 - Wedderburn's Theorem about finite division rings, 117, 160 - Wedderburn's Theorem about semisimple rings, 83 - Weierstrass, 521 - Weierstrass points, 557 - Weierstrass valuation, 557 - weight vector, 494 - Weil, 530, 541, 543 - Weyl algebra, 85 ## Zariski Closure - Zariski closure, 561, 578 - Zariski topology, 560, 571 - Zariski's Theorems, 403, 431, 525, 558, 600, 601, 605, 606 - zero locus, 455, 559, 571 - zero member, 245 - zero hypothesis, 233 - zero object, 233 - zeta function, 530 - Riemann, 52, 58 ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 1 Context: If you enjoy this free book, please leave a review on [Amazon](https://www.amazon.com), or buy a [paper copy](https://www.amazon.com) for yourself or a friend. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 2 Context: # A MACHINE MADE THIS BOOK ## Ten Sketches of Computer Science How do we decide where to put ink on a page to draw letters and pictures? How can computers represent all the world’s languages and writing systems? What exactly is a computer program, what and how does it calculate, and how can we build one? Can we compress information to make it easier to store and quicker to transmit? How do newspapers print photographs with grey tones using just black ink and white paper? How are paragraphs laid out automatically on a page and split across multiple pages? In *A Machine Made This Book*, using examples from the publishing industry, John Whittington introduces the fascinating discipline of Computer Science to the uninitiated. **John Whittington** founded a company which builds software for electronic document processing. He studied and taught Computer Science at Queens' College, Cambridge. He has written textbooks before, but this is his first attempt at something for the popular audience. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 3 Context: # A Machine Made this Book ## ten sketches of computer science John Whitington --- **COHERENT PRESS** #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 4 Context: # COHERENT PRESS Cambridge Published in the United Kingdom by Coherent Press, Cambridge © Coherent Press 2016 This publication is in copyright. Subject to statutory exception no reproduction of any part may take place without the written permission of Coherent Press. First published March 2016 A catalogue record for this book is available from the British Library **ISBN** 978-0-9576711-2-6 Paperback ## by the same author - PDF Explained (O'Reilly, 2012) - OCaml from the Very Beginning (Coherent, 2013) - More OCaml: Algorithms, Methods & Diversions (Coherent, 2014) #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 5 Context: # Contents - Preface ................................................ v - 1 Putting Marks on Paper ............ 1 - 2 Letter Forms ............................... 15 - 3 Storing Words ............................ 27 - 4 Looking and Finding ................... 41 - 5 Typing it In ..................................... 53 - 6 Saving Space .............................. 65 - 7 Doing Sums .................................. 81 - 8 Grey Areas .................................... 97 - 9 Our Typeface ............................... 123 - 10 Words to Paragraphs ............ 135 - Solutions .......................................... 147 - Further Reading ............................ 169 - Templates ....................................... 173 - Colophon .......................................... 181 - Index ................................................... 183 #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 6 Context: I'm unable to assist with that. Image Analysis: It appears that the provided content is a blank image or an image consisting solely of white space. Hence, there is no visual content to analyze. Since I cannot extract data or provide any visual analysis from a blank image, the aspects mentioned do not apply in this case. If you have a different image or specific content you'd like analyzed, please upload that, and I would be happy to assist. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 7 Context: # Preface It can be tremendously difficult for an outsider to understand why computer scientists are interested in Computer Science. It is easy to see the sense of wonder of the astrophysicist, or of the evolutionary biologist or zookeeper. We don’t know too much about the mathematician, but we are in awe anyway. But Computer Science? Well, we suppose it must have to do with computers, at least. “Computer science is no more about computers than astronomy is about telescopes,” the great Dutch computer scientist Edsger Dijkstra (1930–2002) wrote. That is to say, the computer is our tool for exploring this subject and for building things in its world, but it is not the world itself. This book makes no attempt at completeness whatever. It is, as the subtitle suggests, a set of little sketches of the use of computer science to address the problems of book production. By looking from different angles at interesting challenges and pretty solutions, we hope to gain some insight into the essence of the thing. I hope that, by the end, you will have some understanding of why these things interest computer scientists and, perhaps, you will find that some of them interest you. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 8 Context: # Chapter 1 Chapter 1 starts from nothing. We have a plain white page on which to place marks in ink to make letters and pictures. How do we decide where to put the ink? How can we draw a convincing straight line? Using a microphone, we will look at the effect of putting these marks on real paper using different printing techniques. We see how the problem and its solutions change if we are drawing on the computer screen instead of printing on paper. Having drawn lines, we build filled shapes. # Chapter 2 Chapter 2 shows how to draw letters from a realistic typeface—letters which are made from curves and not just straight lines. We will see how typeface designers create such beautiful shapes, and how we might draw them on the page. A little geometry is involved, but nothing which can’t be done with a pen and paper and a ruler. We fill these shapes to draw letters on the page, and deal with some surprising complications. # Chapter 3 Chapter 3 describes how computers and communication equipment deal with human language, rather than just the numbers which are their native tongue. We see how the words and phrases may be encoded in a standard form, and how we can tell the computer to display our text in different ways. # Chapter 4 Chapter 4 introduces some actual computer programming, in the context of a method for conducting a search through an existing text to find pertinent words, as we might when constructing an index. We write a real program to search for a word in a given text, and look at ways to measure and improve its performance. We see how these techniques are used by the searching engines we use every day. # Chapter 5 Chapter 5 explores how to get a bookful of information into the computer to begin with. After a historical interlude concerning typewriters and similar devices from the nineteenth and early twentieth centuries, we consider modern methods. Then we look at how the Asian languages can be represented, even those which have hundreds of thousands or millions of symbols. # Chapter 6 Chapter 6 deals with compression—that is, making words and images take up less space, without losing essential detail. However fast and capacious computers have become, it is still necessary to keep things as small as possible. As a practical example, we consider the method of compression used when sending faxes. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 9 Context: # Chapter 7 Chapter 7 introduces more programming, of a slightly different kind. We begin by seeing how computer programs calculate simple sums, following the familiar schoolhouse rules. We then build more complicated things involving the processing of lists of items. By the end of the chapter, we have written a substantive, real program. # Chapter 8 Chapter 8 addresses the problem of reproducing colour or grey tone images using just black ink on white paper. How can we do this convincingly and automatically? We look at historical solutions to this problem from medieval times onwards, and try out some different modern methods for ourselves, comparing the results. # Chapter 9 Chapter 9 looks again at typefaces. We investigate the principal typeface used in this book, Palatino, and some of its intricacies. We begin to see how letters are laid out next to each other to form a line of words on the page. # Chapter 10 Chapter 10 shows how to lay out a page by describing how lines of letters are combined into paragraphs to build up a block of text. We learn how to split words with hyphens at the end of lines without outlines, and we look at how this sort of layout was done before computers. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 10 Context: I'm unable to view images directly. However, if you provide the text in Markdown format, I can help you fix any issues within the text. Please share the text. Image Analysis: Unfortunately, the document you uploaded appears to be blank. There is no visual content available to analyze. Please upload the correct document or ensure the file is not empty. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 11 Context: # Acknowledgments The word list on p. 67 is from *The Reading Teacher's Book of Lists*, Fourth Edition (Fry, Kress & Fountoukidis, Prentice Hall, 2000). The literary quotations used as example texts in Chapters 3 and the problems in Chapter 6 are from Joan Le Carré's *Tinker, Tailor, Soldier, Spy*. The text in Chapter 6 is from Franz Kafka's *The Trial*. Likewise, in Chapter 10 from his *Metamorphosis*. The hyphenation examples in Chapter 10 are from *From-hyphen-to-hyphen* assignments to the Tyx typesetting system, the PhD Thesis of Hian Tih Than, Faculty of Informatics, Masaryk University, Brno, October 2000. The cover image shows a Page Composer, courtesy of the United States Patent Office. The drawing of French Curves on page 17 was modified from one created by Joshua Certain. The tables on pages 35-39 appear by kind permission of the Unicode Consortium. Unicode is a registered trademark of Unicode, Inc. in the United States and other countries. The Fasciantile patents on pages 54, 55, 56, 57 and 59 were provided by the United States Patent and Trademark Office. The picture of a Unix-like keyboard on page 60 appears courtesy of the Recomputing Society of Rhode Island. The picture of an IBM Model M keyboard on page 63 was taken by Sal Cangello. The woodblock print on page 101 is from *Die Formschneider* (The Blocksetter) from the *Pandora pubblichian Millennium Mechanism* (Book of Tracers); it was printed in 1568 and is in the British Museum. The picture on page 102 is a detail of the engraving *Der Kranichmann zu Marienfeld* published by Franz Sarton in 1819. The engraving *Medici I by Alberto Durer* on page 103 is held at the Minneapolis Institute of Art. The image of a mezzotint plate on page 104 was taken by David Ladmore. The cover image print by Franz Kruger on page 106 is courtesy of the Image Permanence Institute. The Rembrandt etching *The Hundred Guilder Print* on page 108 is from the Rijksmuseum in Amsterdam. The photograph on page 144 was taken by Tom Garrett at the Print Shop of the Cambridge Museum of Technology, Cambridge, UK. All other photographs and images were created by the author. Scrabble is a trademark of Hasbro, Inc. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 12 Context: I'm unable to view images or analyze their content. However, if you provide the text you want corrected, I can help you format it properly in Markdown. Please paste the text here. Image Analysis: I'm sorry, but there is no visual content available for me to analyze. Please make sure to attach the correct image file for me to analyze the specific aspects you've mentioned. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 13 Context: # A Machine Made this Book ## ten sketches of computer science #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 14 Context: I'm unable to view images. Please provide the text directly, and I will help to format it correctly. Image Analysis: There are no images attached to perform the requested analysis. Please try uploading the images again, and I will be happy to assist with the analysis based on the provided aspects. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 15 Context: # Chapter 1 ## Putting Marks on Paper In this book, we shall need very little formal mathematics, but if we are considering the arrangement of letters and words and lines and pictures on the page, we shall need a way of discussing the idea of position – that is to say, where something is, rather than just what it is. Thankfully, our paper is flat and rectangular, so we can use the simple coordinates we learned in school. In other words, we just measure how far we are above the bottom left corner of the page, and how far to the right. We can write this as a pair of numbers; for example, the coordinate (6, 2) is six lengths right, and two lengths up from the bottom-left of the page. It is convention to use \(x\) to denote the across part of the coordinate, and \(y\) to denote the up part. These are known as Cartesian coordinates, named for René Descartes (1596–1650) – the Latin form of his name is Renatus Cartesius, which is a little closer to "Cartesian". The idea was discovered independently, at about the same time, by Pierre de Fermat (1601–1665). Here is the coordinate (6, 2) drawn on a little graph, with axes for \(x\) and \(y\), and little marks on the axes to make it easier to judge position by eye: ``` y 3 | | 2 | (6, 2) | 1 | | 0 +----------------- x 0 1 2 3 4 5 6 7 ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 16 Context: # Chapter 1. Putting Marks on Paper We can assign units if we like, such as centimetres or inches, to define what these "lengths" are. In publishing, we like to use a little unit called a point or pt, which is 1/72 of an inch. This is convenient because it allows us to talk mostly using whole numbers (it is easier to talk about 450pt than about 6.319 inches). We need such small units because the items on our page are quite small and must be carefully positioned (look at the writing on this page, and see how each tiny little shape representing a character is so carefully placed). Here is how an A4 page (which is about 595 pts wide and about 842 pts tall) might look: ``` y 800 +-----------------------------------+ | | 600 | | | | 400 | | | | 200 | | | | 0 +-----------------------------------+ 0 200 400 600 x ``` You can see that the chapter heading "Chapter 1" begins at (80, 630). Notice that the coordinates of the bottom left of the page (called the origin) are, of course, (0, 0). The choice of the bottom left as our origin is somewhat arbitrary—one could make an argument that the top left point, with vertical positions measured downwards, is a more appropriate choice, at least in the West where we read top to bottom. Of course, one could also have the origin at the top right or bottom right, with horizontal positions measuring leftward. We shall be using such coordinates to describe the position and shape of each part of each letter, each word, and each paragraph, as well as any drawings or photographs to be placed on the page. We will see how lines can be drawn between coordinates, and how to make the elegant curves which form the letters in a typeface. Once we have determined what shapes we wish to put on each page, we must consider the final form of our document. You may #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 17 Context: # Chapter 1. Putting Marks on Paper You may be reading this as a physical paperback book, printed and bound by very expensive equipment. You may be reading it as an electronic document (such as a PDF file) on your computer, tablet, or smartphone. Or, you may be reading it on some sort of special-purpose eBook reader. Each of these scenarios has different characteristics. Every page of the printed book is made up of hundreds of millions of little dots, each of which may be white (no ink) or black (ink). We cannot typically see the dots with the naked eye. The number of dots is known as the *resolution* (from the word "resolve"). A low resolution image is one where it is easy for the eye to resolve (that is, distinguish) the individual dots. A high resolution image has dots so small and tightly packed that the naked eye cannot distinguish them. A high resolution printer, such as the one printing the physical copy of this book, may have as many as 600 or 1200 dots per inch (dpi), that is to say, between 600 × 600 = 360,000 and 1200 × 1200 = 1,440,000 dots per square inch. The screen of a computer or tablet may only have 100 to 300 dpi, but it can display many shades of grey and colours. If the resolution is too low, we see blocky images. Here is a part of a capital letter A in black and white at 60 dpi, 30 dpi, and 15 dpi: ``` A ``` We have used square dots here, as may be used on a modern computer screen (we call them *pixels*, which is short for "picture elements"). For viewing a page on a typical computer viewer, we might have only 2400 × 1536 = 5,193,728 dots on the whole screen, but they may be colours or greys, as well as black or white. When printing a book like this, we have many more dots, but only black ink. Let us say, for example, that we have a US Letter page (8.5 inches by 11 inches) and we are printing at a resolution of 1200 dpi. We have 1200 × 1200 = 1,440,000 dots per square inch, so we have 1200 × 8.5 × 11 or 134,440,000 dots on the page, each of which may be black or white. Here are some photographs, taken under a microscope, of lettering as it appears in high quality printing, and on the next lower quality, cheaper newsprint used for the daily newspaper: Image Analysis: ### Analysis of the Visual Content --- #### 1. **Localization and Attribution:** - **Image 1 (Top – Illustrations):** Located in the middle of the page, right after a paragraph about high resolution printing. - **Image 2 (Bottom – Typography Examples):** Located at the bottom of the page, after a paragraph detailing dots per square inch (dpi). --- #### 2. **Object Detection and Classification:** - **Image 1:** - **Objects:** Three versions of the capital letter 'A'. - **Classification:** Typographical illustrations. - **Key Features:** Presented in black ink at three different resolutions (60 dpi, 30 dpi, 15 dpi). - **Image 2:** - **Objects:** Illustration of printed dots at different resolutions. - **Classification:** Microscopic images of print quality. - **Key Features:** Two images showing the quality of letterpress using high-quality printing and newspaper print. --- #### 3. **Scene and Activity Analysis:** - **Image 1:** - **Scene:** Static illustration of the letter 'A' at different resolutions. - **Activities:** Not applicable. - **Image 2:** - **Scene:** Microscopic view of printed dots. - **Activities:** Not applicable. --- #### 4. **Text Analysis:** - **Detected Text:** - **Header:** "Chapter 1. Putting Marks on Paper" - **Body Text:** Describes methods of viewing books (printed and digital) and discusses the resolution of printed images. - **Text next to Image 1:** "Here is part of a capital letter A in black and white at 60 dpi, 30 dpi, and 15 dpi:" - **Text next to Image 2:** "Here are some photographs, taken under a microscope, of lettering as it appears in high quality printing, and on the much lower quality, cheaper newsprint used for the daily newspaper:" - **Content Significance:** - The text provides a detailed explanation of image resolution and its implications for the clarity of printed materials. - Emphasizes the differences in print quality between high-resolution printing and cheaper newspaper prints. --- #### 5. **Diagram and Chart Analysis:** - No diagrams or charts are present in this visual content. --- #### 6. **Product Analysis:** - **Image 1:** - **Product:** Typographical illustrations of the letter 'A'. - **Features:** Differentiation in resolution (60 dpi, 30 dpi, 15 dpi). - **Image 2:** - **Product:** Microscopic views of printed text. - **Features:** Two comparative prints showing the finer details in high-quality printing versus newspaper print. --- #### 7. **Anomaly Detection:** - No anomalies or unusual elements are detected in any of the images. --- #### 8. **Color Analysis:** - **Image 1:** - **Dominant Colors:** Black and white. - **Impact on Perception:** High contrast aids in illustrating differences in resolution effectively. - **Image 2:** - **Dominant Colors:** Monochromatic (black and white). - **Impact on Perception:** Clearly demonstrates the differences in print quality. --- #### 9. **Perspective and Composition:** - **Image 1:** - **Perspective:** Direct frontal view. - **Composition:** Three versions of the capital letter 'A', equally spaced for comparative analysis. - **Image 2:** - **Perspective:** Microscopic close-up views. - **Composition:** Two comparative images focused on the detail of printed dots. --- #### 10. **Contextual Significance:** - The images serve to support the textual explanation about printing resolution, providing a visual representation of the concepts discussed. They illustrate the impact of dpi on print quality and help readers understand the importance of resolution in printed materials. --- --- ### Conclusion The analysis of the visual content on this page provides a comprehensive understanding of the different print resolutions and illustrates the impact of resolution on print quality. Each image effectively supports the textual content, aiding in the reader's comprehension of high resolution versus lower resolution printing and its practical implications. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 151 Context: # Chapter 10. Words to Paragraphs One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. Notice how the result improves as the column becomes wider; fewer compromises have to be made. In fact, no hyphens at all were required in the widest case. In the narrowest column, we have refused to add extra space between the letters of the compound word “armour-like,” but chose rather to produce an underfill line in this case. This decision is a matter of taste, of course. Another option is to give up on the idea of a straight left and right edge, and set the text ragged-right. The idea is to make no changes in the spacing of words at all, just ending a line when the next word will not fit. This also eliminates hyphenation. Here is a paragraph set first ragged right, and then fully justified: One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. If we decide we must hyphenate a word because we cannot stretch or shrink a line without making it too ugly, how do we choose where to break it? We could just hyphenate as soon as the line is full, irrespective of where we are in the word. In the following example, the paragraph on the left prefers hyphenation. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 152 Context: # Chapter 10. Words to Paragraphs One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armoured-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. These are very ugly hyphenations, however: we have "troubled," "hims-elf," and "brow-n." Every word has places which are better or worse for hyphenation. We would prefer "trou-ble-d" and "him-self." Ideally, "brown" should not be hyphenated at all. Some words must be hyphenated differently depending on context: "record" for the noun, "re-cord" for the verb, for example. In addition, authorities on hyphenation (such as dictionaries which include hyphenation information) do not always agree. Webster's has "in-de-pend-ent" and "trib-une." There are words which should never be hyphenated. For example, there is no really good place to break "squirm." There are two methods for solving this problem automatically as the computer typesets the lines: a dictionary-based system simply stores an entire word list with the hyphenation points for each word. This ensures perfect hyphenation for known words, but does not help us at all when a new word is encountered (as it often is in scientific or technical publications), or if we need to hyphenate a proper noun, such as the name of a person or city. The alternate is a rule-hyphen system, which follows a set of rules about what typically applies and breaks. For example, a break is always allowable after “q” if followed by a vowel or “a” hyphen is fine before “ness” or “er” as a hyphen is good between “x” and “p” in all circumstances. We may also have inhibiting rules such as "never break by." Some patterns may only apply at the beginning or end of a word, others apply anywhere. In fact, these rules can be derived automatically from a list of the correct hyphenations, and be expected to work well for other unknown words (assuming). #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 153 Context: # Chapter 10. Words to Paragraphs Those words are in the same language – we require a hyphenation dictionary for each language appearing in the document. For example, in the typesetting system used for this book, there are 8527 rules, and only exceptional cases which must be listed explicitly: | uni-ver-sit-es | ma-nu-scripts | |----------------|-----------------| | uni-ver-sit-es | re-ci-pro-city | | how-ever | through-out | | na-u-script | some-thing | Thus, we have assumed that decisions on hyphenation are made once we reach the end of a line and find we are about to overrun it. If we are, we alter the spacing between words, or hyphenate, or some combination of the two. And so, at most we need to re-typeset the current line. Advanced line breaking algorithms use a more complicated approach, seeking to optimize the result for a whole paragraph. (We have gone line-by-line, making the best line we can for the first line, then the second etc.) It may turn out that an awkward situation later in the paragraph is prevented by making a slightly less-than-optimal decision in an earlier line, such as squeezing in an extra word or hyphenating in a good position when not strictly required. We can assign “demerits” to certain situations (n hyphenation, too much or too little spacing between words, and so on) and optimize the outcome for the least sum of such demerits. These sorts of optimization algorithms can be quite slow for large paragraphs, taking an amount of time equal to the square of the number of lines in the paragraph. For normal texts, this is not a problem, since we are unlikely to have more than a few tens of lines in a single paragraph. We have now dealt with splitting a text into lines and paragraphs, but similar problems occur when it comes to fitting those paragraphs onto a page. There are two worrying situations: when the last line of a paragraph is “widowed” at the top of the next page, and when the first line of a paragraph is “orphaned” on the next page. It is difficult to deal with these problems without upsetting the balance of the whole two-page spread, but it can be done by slightly increasing or decreasing line spacing on one side. Another option, of course, is to edit the text, and you may be surprised to learn how often that happens. Further small adjustments and improvements to reduce the amount of hyphenation can be introduced using so-called microtypography. This involves stretching or shrinking the individual characters. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 154 Context: # Chapter 10. Words to Paragraphs Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam at molestie odio. Quisque vel consequat ex, quis auctor nunc. Sed sollicitudin, odio nec placerat consequat, nisi dui facilisis metus, et bibendum lorem ligula at orci. Praesent ultricies purus vel facilisis pharetra. Duis luctus leo auctor egestas tincidunt. Sed scelerisque efficitur nibh, sit amet accumsan nulla gravida a. Proin ac tempor mauris. Fusce feugiat arcu tincidunt purus tincidunt, ac fermentum augue consequat. Phasellus in ligula eleifend, efficitur nibh eu, pulvinar risus. Sed scelerisque nulla justo, sed consequat risus pretium eget. Ut euismod, magna et gravida bibendum, ex justo placerat dui, a gravida eros est eget lorem. Fusce vel augue quis ligula tempus condimentum. Vestibulum non quam non elit posuere tincidunt. ## Examples ### Widow and Orphan A widow (top) and orphan (bottom). | Term | Definition | |--------|-------------------------------------------------------------------------| | Widow | The last line of a paragraph that appears alone at the top of a page. | | Orphan | The first line of a paragraph that appears alone at the bottom of a page.| ### Key Points 1. Widows are undesirable in typesetting. 2. Orphans can disrupt the flow of reading. ### Tips for Avoiding Widows and Orphans - Adjust line spacing. - Modify paragraph formatting. - Utilize proper text alignment. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 155 Context: # Chapter 10. Words to Paragraphs One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided... One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided... One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided... The vertical line (far right) highlights the overhanging hyphens and commas used to keep the right hand margin visually straight. A further distracting visual problem in paragraphs is that of rivers. These are the vertical lines of white space which occur when spaces on successive lines are just the wrong place: interdum sem, dapibus semper et augue. Quisque cursus nulla malesuada mollis. Nulla arcu, egestas ac, fermentum quis, sem in pretium fermen... Quis nisi, lacinia in elit. Fusce facil... #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 156 Context: # Chapter 10. Words to Paragraphs We have shown the river with a line. Notice that the word **"fermentum"** appearing in almost the same place on two successive lines is also distracting. The problem is difficult to deal with automatically, and the text may have to be edited to fix it. The microtypographical techniques discussed above can help a little—since there are fewer widened spaces between words, the rivers will be narrower and less noticeable. You may wonder how type was set before computers. In much the same way, it turns out, but with many more manual steps and a lot of little pieces of metal. Here is one such piece, for the character **"n"** at a particular size, in a particular typeface: | | | | | |------|-----|-----|------| | **Body** | **Shank** | **Groove** | **Foot** | | | | | | These are picked from a tray of boxes, by hand, and placed into rows into a composing stick, each row separated by little metal spaces, each row spaced by a metal strip (the leading). You can imagine that many copies of these little metal pieces were required for each typeface and size, so it was an expensive business. Because it will eventually be used for printing by being inked and stamped or rolled on paper, the type is mirrored, and hard to read, and one must be careful not to mix up **"p"** and **"q"**, or **"b"** and **"d"**. (This is one possible origin of the phrase "mind your p's and q's.") This painstaking process is shown on the opposite page. Image Analysis: ### Image Analysis #### 1. **Localization and Attribution:** - **Image 1:** Located within the top and center-aligned section of the page, adjacent to the Lorem Ipsum text. - **Image 2:** Positioned towards the bottom left of the page near the descriptive text about the metal pieces. #### 2. **Object Detection and Classification:** - **Image 1:** - **Object:** A diagram showing a piece of a typography tool. - **Classification:** Technical Illustration. - **Image 2:** - **Object:** A diagram showing a cross-section of a metal strip. - **Classification:** Technical Illustration. #### 3. **Scene and Activity Analysis:** - **Image 1:** Depicts a technical illustration explaining the components of a typeface piece used in older printing methods. It shows various parts and their annotations. - **Image 2:** Offers a technical drawing of a composing stick used in traditional printing processes. It highlights the arrangement of metal typefaces in rows. #### 4. **Text Analysis:** - **Image 1:** - **Text Extracted:** - Caption: "Body Size", "Groove", "Teeth", "Shank", "Nick" - **Significance:** These labels describe different parts of the typography piece, facilitating understanding of its structure. - **Image 2:** - **Text Extracted:** - Caption: Describing steps and parts involved in traditional printing. - **Significance:** Explains the detail-oriented process of setting type by hand, emphasizing the meticulousness required in historical printing practices. #### 7. **Anomaly Detection:** - No noticeable anomalies in the images. They are consistent with traditional technical illustrations related to typography and printing. #### 8. **Color Analysis:** - The images are monochromatic, primarily in black and white. The lack of color focuses attention on the line work and annotations, making the technical details clearer. #### 9. **Perspective and Composition:** - **Image 1:** Presents an isometric view of a typography piece, allowing multiple aspects to be seen clearly. - **Image 2:** Displays a sectional view of the composing stick with metal rows, offering a clear depiction of the arrangement details. #### 10. **Contextual Significance:** - This page is part of a chapter on typography, specifically discussing typesetting and paragraph formatting. The images contribute to explaining historical typesetting methods and the challenges in word spacing and formatting before modern technology. #### 13. **Graph Numbers:** - **Image 1:** No numerical data points. - **Image 2:** No numerical data points. ### Additional Aspects #### **Prozessbeschreibungen (Process Descriptions):** - Describes the manual typesetting process, involving picking metal pieces from boxes, arranging them in composing sticks, and careful mirror arrangement to avoid mistakes. #### **Typen Bezeichnung (Type Designations):** - The diagram classifies parts of a typeface (e.g., “Body Size”, “Teeth”) and components used in typesetting (e.g., metal strips, composing stick). Overall, the images and accompanying text provide a detailed historical overview of manual typesetting, highlighting its complexity and the detailed craftsmanship involved. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 157 Context: # Chapter 10: Words to Paragraphs The finished paragraphs of type are arranged in a **galley**. This will be used to make prints of the page (or pages – two or four may be printed from one galley, then folded and cut). You can imagine how long it takes to make up the galleys for a book, and how much time is required to justify each line by inserting exactly the right spaces and hyphenating by hand. Mistakes found after test prints can be very costly to fix, since they necessitate taking apart the galleys. Image Analysis: ### Comprehensive Examination #### 1. Localization and Attribution - **Image 1**: Located at the top of the page. - **Image 2**: Positioned below Image 1, just above the block of text. #### 2. Object Detection and Classification - **Image 1**: - **Objects**: A hand holding a compositing stick (likely used for typesetting). - **Key Features**: - Hand: Detailed, showing the action of holding. - Compositing Stick: Rectangular shape, appears to hold several characters or typeset pieces. - **Image 2**: - **Objects**: A person using a typesetting machine, a typesetting chart, a piece of copy. - **Key Features**: - Person: Standing posture, focused on the machine. - Typesetting Machine: Mechanical device with a keyboard and chart. - Chart: Labeled "copy chart," depicting typeset layout. #### 4. Text Analysis - **Text in Image**: - **Image 2**: "copy chart" is written on the chart near the typesetting machine. - **Block of Text**: - **Content**: Discusses the arrangement of finished paragraphs in a 'galley.' It elaborates on the process of printing pages from a galley and highlights the difficulties in justifying text lines and fixing mistakes after test prints. #### 6. Product Analysis - **Products**: - **Compositing Stick**: Likely made of metal or hard plastic, used in manual typesetting. - **Typesetting Machine**: Mechanical with visible keys, likely made of metal and other durable materials suitable for printing operations. - **Visual Differences**: - **Compositing Stick vs. Typesetting Machine**: - Compositing Stick: Hand-held, simpler tool. - Typesetting Machine: Larger mechanical device requiring manual input. #### 8. Color Analysis - **Color Composition**: - Predominantly black and white illustrations. - This monochrome scheme emphasizes the technical and historical aspect of typesetting. #### 9. Perspective and Composition - **Image 1**: - **Perspective**: Close-up view, focusing on the hand and the compositing stick. - **Composition**: Central placement of the hand and tool, guiding attention to the action being performed. - **Image 2**: - **Perspective**: Side view of the person at work. - **Composition**: Person centered in the frame, with focus directed towards the typesetting machine and chart. #### 10. Contextual Significance - **Context of the Document**: - The images and text collectively explain a historical typesetting process. - They visually and textually complement the description of the complex and meticulous work involved in manual typesetting and printing. ### Summary The images and accompanying text provide a detailed historical overview of the typesetting process, highlighting the manual labor involved in the pre-digital era. The illustrations focus on the tools and devices used, and the block of text elaborates on the meticulous nature of arranging and printing text, emphasizing the potential for errors and the difficulty in correcting them. These elements together underscore the precision and skill required in traditional book printing. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 158 Context: # Chapter 10. Words to Paragraphs A galley, ready for printing: ![Galley Image](URL) Eventually, machines were developed to automatically place the pieces of type based on what was typed on a keyboard and to automatically justify each line. Such mechanical systems were in common use until the advent of so-called phototypesetting. This involved building an image by shining light through a series of stencils onto photosensitive paper, then photographing it. Computer typesetting supplanted both in the late twentieth century. Image Analysis: ### Image Analysis #### 1. Localization and Attribution: - **Image Position:** There is one image on the page. - **Image Number:** Image 1 #### 2. Object Detection and Classification: - **Detected Objects:** - Objects likely to be a typesetting galley with text lines and mechanical parts. - **Key Features:** - Rows of text set in a grid, some mechanical parts associated with print typesetting visible. #### 3. Scene and Activity Analysis: - **Scene Description:** - The scene depicts a close-up of a typesetting galley, which includes composed lines of text likely prepared for printing. - **Activites:** - The image showcases a part of the printing process where typesetting galleys are readied for print. #### 4. Text Analysis: - **Detected Text:** - Text in the image is part of the typesetting galley and may not be legible due to the scale and resolution. - **Contextual Text:** - The page includes text describing the historical development and usage of typesetting galleys and machines that place type automatically. - Relevant Text: "Eventually, machines were developed to automatically place the pieces of type based on what was typed on a keyboard and to automatically justify each line. Such mechanical systems were in common use until the advent of so-called phototypesetting. This involved building an image by shining light through a series of stencils onto photosensitive paper, then photographing it. Computer typesetting supplanted both in the late twentieth century." #### 8. Color Analysis: - **Color Composition:** - The image is in grayscale. Predominantly black (text) and white (background and spacing), typical for print-related images. #### 9. Perspective and Composition: - **Perspective:** - The perspective is a close-up view, likely shot from a slightly elevated angle to capture the detail of the typesetting galley. - **Composition:** - The composition centers on the structured layout of the text within the galley, focusing on the precision and mechanical aspects of typesetting. #### 10. Contextual Significance: - **Contribution to Overall Message:** - This image supports the textual content on the page, illustrating a typesetting galley which is discussed in the text. It provides a visual reference to the historical information about typesetting and its evolution. ### Final Summary: The page presents an image of a typesetting galley accompanied by a narrative that describes the evolution of typesetting technologies from manual to mechanical, phototypesetting, and eventually to computer typesetting. The grayscale image, showing lines of text aligned in a grid format on the galley, provides a visual grounding for the discussion in the text, enhancing the reader’s understanding of the subject matter. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 159 Context: # Chapter 10. Words to Paragraphs ## Problems *Solutions on page 166.* Identify good hyphenation points in the following words: 1. hyphenation 2. fundraising 3. arithmetic (noun) 4. arithmetic (adjective) 5. demonstration 6. demonstrative 7. genuine 8. mountainous #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 160 Context: I'm unable to view or process images. However, if you provide the text you need formatted in Markdown, I'd be happy to help you correct and structure it properly! Image Analysis: No visual content is attached to analyze. Please upload the image or the document for a detailed examination based on the provided aspects. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 161 Context: # Solutions ## Chapter 1 1. For the diamond, if we start on the left hand side, we have the points (2,10)—(10,18)—(18,10)—(10,2)—(2,10). For the star, if we start at the bottom left point, we have (3,3)—(10,19)—(17,3)—(11,3)—(19,13)—(3,3). 2. We see a crude representation of the letter **E**, and the Maltese cross. ``` y 20| 18| 16| 14| 12| 10| E 8| 6| 4| 2| 0|____________________ 0 2 4 6 8 10 12 14 16 18 20 x y 20| 18| 16| 14| 12| 10| * 8| * * 6| * * 4| * * 2|* * 0|___________*_________ 0 2 4 6 8 10 12 14 16 18 20 x ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 162 Context: # Solutions ## 3 For example: | x | y | |-------|-------| | 0 | 0 | | 2 | 2 | | 4 | 4 | | 6 | 6 | | 8 | 8 | | 10 | 10 | | 12 | 12 | | 14 | 14 | | 16 | 16 | | 18 | 18 | | 20 | 20 | | x | y | |-------|-------| | 0 | 20 | | 2 | 18 | | 4 | 16 | | 6 | 14 | | 8 | 12 | | 10 | 10 | | 12 | 8 | | 14 | 6 | | 16 | 4 | | 18 | 2 | | 20 | 0 | ## 4 For example: - x - t - ? - © Image Analysis: ### Analysis of the Attached Visual Content: --- #### Image 1 1. **Localization and Attribution:** - **Position:** Top half of the page - **Number:** Image 1 2. **Object Detection and Classification:** - **Categories:** Two line graphs - **Key Features:** - **Graph 1:** An upward sloping line - **Graph 2:** A downward sloping line 3. **Scene and Activity Analysis:** - **Scene Description:** The image contains two graphical illustrations that depict mathematical functions or data trends. - **Activities:** Presentation of data through graphs. 4. **Diagram and Chart Analysis:** - **Graph 1:** - **Axes:** `x` (horizontal) and `y` (vertical) - **Scale:** `x` from 0 to 20, `y` from 0 to 20 - **Trend:** Shows a line increasing as `x` increases. - **Graph 2:** - **Axes:** `x` (horizontal) and `y` (vertical) - **Scale:** `x` from 0 to 20, `y` from 0 to 20 - **Trend:** Shows a line decreasing as `x` increases. - **Key Insights:** - Graph 1 illustrates a positive correlation between `x` and `y`. - Graph 2 illustrates a negative correlation between `x` and `y`. 5. **Perspective and Composition:** - **Perspective:** Direct, front-faced view. - **Composition:** Two separate graphs laid side by side for comparison. #### Image 2 1. **Localization and Attribution:** - **Position:** Bottom half of the page - **Number:** Image 2 2. **Object Detection and Classification:** - **Categories:** Characters and symbols. - **Key Features:** - Characters: `x`, `t` - Symbols: `?`, `+`, copyright symbol (`©`) 3. **Scene and Activity Analysis:** - **Scene Description:** The image contains large-sized representations of various characters and symbols. - **Activities:** Display and comparison of different typographic elements or symbols. 4. **Typen Bezeichnung (Type Designations):** - The characters and symbols presented may be used for illustration purposes, possibly in a computer graphics or typesetting context. 5. **Perspective and Composition:** - **Perspective:** Direct, front-facing view. - **Composition:** Characters and symbols are arranged in a grid-like fashion without overlap. --- ### Summary: - The visual content consists of two distinct sections: 1. **Image 1:** Contains two line graphs showing different data trends – one upward and one downward. 2. **Image 2:** Displays various typographic characters and symbols, possibly for illustrative or educational purposes. - **Graph and Trend Analysis:** In the first set of images, two graphs represent different types of correlations, helping to demonstrate how variables can interact. This analysis is based on a detailed examination of the provided visual content as described. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 163 Context: # Chapter 2 ## 1 We assign the letters **A, B, C, D** as in the chapter text: ``` B | | | | D | / | / | / | / A | / |/ C ``` Now, we continue the construction as before, making sure we are not confused by the fact that the line **BC** now crosses the curve: #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 164 Context: # Solutions The diagram below illustrates the geometric construction: ``` B | E A -- G | \ F \ C -- D ``` Finally, we finish the construction all the way to J, so our diagram looks like this: ``` B | E A -- G | \ F \ C -- D | H | J | I ``` This completes the outlined geometric process. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 165 Context: # Solutions So we have the new Bézier curves AEHJ and JIFD as before: ![Bézier curves](image-link) ## With the even-odd rule: | | | |---|---| | ![Even-odd rule](image-link) | ![Even-odd rule](image-link) | ## With the non-zero rule: | | | |---|---| | ![Non-zero rule](image-link) | ![Non-zero rule](image-link) | # Chapter 3 1. 32-11-42-54-23-11-14-11-31-24-44-44-31-15-31-11-32-12. There are 18 characters in the message, and so 36 numbers to transmit (though in Polybius's system of torches, these would be done two at a time, so just 18 distinct actions). We might use Z for the space character, since it doesn't appear often in normal text. We could use ZZZ for end of message. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 166 Context: ```markdown # Solutions 2 We have 32 rows: | Bits | Number | Letter | Bits | Number | Letter | |--------|--------|--------|--------|--------|--------| | 00000 | 0 | A | 10000 | 16 | Q | | 00001 | 1 | B | 10001 | 17 | R | | 00010 | 2 | C | 10010 | 18 | S | | 00011 | 3 | D | 10011 | 19 | T | | 00100 | 4 | E | 10100 | 20 | U | | 00101 | 5 | F | 10101 | 21 | V | | 00110 | 6 | G | 10110 | 22 | W | | 00111 | 7 | H | 10111 | 23 | X | | 01000 | 8 | I | 11000 | 24 | Y | | 01001 | 9 | J | 11001 | 25 | Z | | 01010 | 10 | K | 11010 | 26 | space | | 01011 | 11 | L | 11011 | 27 | . | | 01100 | 12 | M | 11100 | 28 | . | | 01101 | 13 | N | 11101 | 29 | ; | | 01110 | 14 | O | 11110 | 30 | ? | | 01111 | 15 | P | 11111 | 31 | ? | Here, we choose the capital letters and the punctuation `space`, `.`, `;`, `?` and hope this covers most useful messages. 3 Treason is much a matter of habit, Smiley decided. 4 | Number | |--------| | 84 | | 101 | | 109 | | 111 | | 114 | | 105 | | 100 | | 110 | | 116 | | 105 | | 106 | | 115 | | 106 | | 115 | | 115 | | 115 | | 97 | | 109 | | 97 | | 110 | | 121 | | 97 | | 90 | | 97 | | 115 | | 41 | | 44 | | 46 | | 116 | | 101 | | 111 | | 119 | | 111 | | 111 | | 106 | | 111 | | 117 | | 112 | | 112 | | 111 | | 112 | | 108 | | 115 | | 115 | | 115 | | 111 | | 116 | | 110 | | 116 | | 116 | | 110 | | 100 | | 110 | | 101 | | 114 | | 100 | | 115 | | 108 | | 101 | | 103 | | 107 | | 108 | | 46 | 5 a) The love of money is the root of *all* evil. ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 167 Context: # Solutions ## Chapter 4 ### 1 a) The pattern does not match. b) The pattern matches at position 17. c) The pattern matches at positions 28 and 35. d) The pattern matches at position 24. ### 2 a) The texts aa, aaa, and aaa etc. match. b) The texts ac and abc only match. c) The texts ac, abc, and abbc etc. match. d) The texts ad, abd, acd, abbd, abcd, acbd, and abbbd etc. match. ### 3 a) The pattern matches at positions 16 and 17. b) The pattern matches at positions 0 and 24. c) The pattern matches at positions 0, 1, 24, and 25. d) The pattern matches at positions 0, 1, 24, and 25. ### Additional Notes - The love of `\$\\\$` is the root of all evil. - The love of `\$\\\$\\\$` is the root of all evil. - The love of `*\$\\\$\\$*` is the root of all evil. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 168 Context: # Chapter 6 ## 1 | Letter | Frequency | Code | Letter | Frequency | Code | |--------|-----------|--------|--------|-----------|--------| | | 41 | 111 | u | 5 | 11000 | | e | 18 | 100 | w | 4 | 11001 | | t | 14 | 1011 | f | 4 | 11000 | | a | 13 | 0110 | y | 3 | 01001 | | h | 10 | 0101 | , | 3 | 010000 | | r | 11 | 0011 | p | 2 | 010100 | | n | 11 | 0000 | I | 2 | 010010 | | s | 9 | 11011 | q | 1 | 010101 | | c | 8 | 10100 | e | 1 | 010100 | | m | 6 | 10010 | S | 1 | 010100 | | l | 6 | 01101 | T | 1 | 0101101 | So we have: ``` . I h a v e a 010111 01010111 010010 100 111 010 t h e o r y w h i 01101 01001 1011 1011 11010 1101 c h I s u s e s 101010 1101011 101000 110100 010100 e c i s s o r a t h 100 1011 0111 1011 0000 0111 0110 100 0011 1011 100 1110 11010 10001 e r i m m o r a l 100 0011 1011 011 1001 1011 0011 010100 011 01011100 100 10101 w e n t o m 111 11000 100 0010 1111 0110 010100 111 m o r e l i g h t 100 0011 101 1001 100 1110 11010 0111 l y 00011 0101000 ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 169 Context: # Solutions ## 2 There are moments which are made up of too much stuff for them to be lived at the time they occur. ## 3 The lengths and colours are: | Colour | Length | Code | Colour | Length | Code | |--------|--------|----------|--------|--------|----------| | White | 37 | 00010110 | White | 10 | 0011 | | White | 5 | 1100 | White | 2 | 0111 | | Black | 2 | 11 | Black | 8 | 000101 | | White | 7 | 1111 | White | 3 | 1000 | | Black | 7 | 00011 | Black | 2 | 11 | | White | 7 | 1111 | White | 5 | 1100 | | Black | 6 | 0010 | Black | 3 | 10 | | White | 3 | 1000 | White | 2 | 0111 | | White | 4 | 1011 | Black | 2 | 11 | | Black | 4 | 0111 | White | 10 | 0011 | | White | 5 | 1100 | White | 2 | 0111 | | Black | 9 | 0001000 | Black | 8 | 000101 | | White | 4 | 1011 | White | 3 | 1000 | | Black | 9 | 0000000 | White | 2 | 0111 | | White | 2 | 0111 | White | 6 | 1110 | | Black | 4 | 0111 | Black | 4 | 0111 | | White | 5 | 1100 | Black | 2 | 11 | | Black | 3 | 1000 | White | 1 | 00001111 | | White | 4 | 1011 | Black | 2 | 11 | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 170 Context: # Solutions | Color | Number | Color | Number | |-------|--------|-------|--------| | Black | 5 | White | 6 | | White | 4 | Black | 2 | | Black | 2 | White | 2 | | White | 6 | Black | 3 | | Black | 2 | White | 6 | | White | 2 | Black | 2 | | Black | 2 | White | 1 | | White | 7 | Black | 1 | | White | 2 | Black | 2 | | Black | 1 | White | 1 | | White | 1 | Black | 2 | | White | 1 | Black | 2 | | Black | 2 | White | 2 | | White | 4 | Black | 2 | | Black | 2 | White | 3 | | White | 5 | Black | 2 | | Black | 3 | White | 5 | | White | 2 | Black | 3 | | Black | 2 | White | 1 | | White | 10 | Black | 1 | | White | 3 | Black | 2 | | Black | 3 | White | 2 | | Black | 2 | White | 6 | | White | 2 | Black | 3 | | Black | 3 | White | 2 | | Black | 2 | White | 1 | | White | 2 | Black | 1 | | Black | 8 | White | 3 | | White | 2 | Black | 8 | | White | 2 | Black | 2 | | Black | 2 | White | 2 | | White | 4 | Black | 2 | | Black | 7 | White | 1 | | White | 2 | Black | 3 | | Black | 3 | White | 6 | | Black | 2 | White | 1 | | White | 2 | Black | 2 | | Black | 3 | White | 10 | | White | 2 | Black | 1 | | Black | 2 | White | 2 | | White | 10 | Black | 1 | | White | 3 | Black | 1 | | White | 2 | Black | 3 | | White | 7 | Black | 2 | | Black | 3 | White | 2 | | Black | 3 | White | 2 | | White | 1 | Black | 3 | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 171 Context: ```markdown # Solutions | Colour | Length | Code | |--------|--------|---------| | Black | 9 | 000100 | | Black | 7 | 000011 | | White | 3 | 1000 | | White | 3 | 1000 | | Black | 2 | 11 | | White | 37 | 0001010 | So we have: ``` 00010110101111110010101111000010101110001010101111000001010011001111101110111000010110001001111101111011001110000111111101100011001010111111111101101001001110011011010110001111000101111111000101011101110100100011011001110111001001111000101100010111001011111001011001111110001101011111100101000110001111100011011000010001000 ``` The codes are: | Code | Length | Colour | |----------|--------|--------| | 0001010 | 37 | White | | 000011 | 1 | White | | 00011 | 7 | Black | | 1111 | 7 | White | | 00011 | 7 | Black | | 1100 | 5 | White | | 1000 | 3 | Black | | 00010 | 9 | Black | | 000001 | 4 | White | | 000000 | 10 | Black | | 1000 | 3 | Black | | 00010 | 9 | Black | | 0111 | 2 | White | | 11 | 2 | Black | | 1100 | 5 | White | | 10 | 3 | Black | | 11 | 2 | Black | | 1110 | 6 | White | | 11 | 2 | Black | | 0000111 | 1 | White | ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 172 Context: # Solutions | Number | Color | Code | Quantity | Color | |-----------|--------|--------|----------|-------| | 1000 | 3 | White | 0111 | 2 | White | | 10 | 3 | Black | 11 | 2 | Black | | 1100 | 5 | White | 1011 | 8 | White | | 10 | 3 | Black | 11 | 2 | Black | | 0111 | 2 | White | 0111 | 2 | White | | 11 | 2 | Black | 11 | 2 | Black | | 1100 | 5 | White | 1110 | 6 | White | | 10 | 3 | Black | 11 | 2 | Black | | 00001111 | 1 | White | 00001111 | 1 | White | | 11 | 2 | Black | 11 | 2 | Black | | 1110 | 6 | White | 1110 | 6 | White | | 11 | 2 | Black | 11 | 2 | Black | | 0111 | 2 | White | 0111 | 2 | White | | 10 | 3 | Black | 10 | 3 | Black | | 1111 | 7 | White | 1110 | 6 | White | | 11 | 2 | Black | 10 | 3 | Black | | 0111 | 2 | White | 0111 | 2 | White | | 11 | 2 | Black | 0114 | 4 | Black | | 1018 | 5 | White | 1100 | 5 | White | | 11 | 2 | Black | 11 | 2 | Black | | 1000 | 3 | White | 1000 | 3 | White | | 11 | 2 | Black | 11 | 2 | Black | | 00001111 | 1 | White | 00001111 | 1 | White | | 1000 | 3 | White | 1000 | 3 | White | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 173 Context: # Solutions | | | Color | Binary | | |----|---|-------|------------|---| | 11 | 2 | Black | 00010010 | 10 | | 1011 | 8 | White | 1000 | 3 | | 11 | 2 | Black | 000100 | 9 | | 0111 | 2 | White | 0111 | 2 | | 000100 | 9 | Black | 0000111 | 1 | | 0111 | 2 | White | 00011 | 7 | | 000100 | 9 | Black | 1111 | 7 | | 1000 | 3 | White | 0010 | 6 | | 11 | 2 | Black | 1110 | 6 | | 1011 | 8 | White | 0010 | 6 | | 11 | 2 | Black | 1011 | 4 | | 0111 | 2 | White | 0001010 | 37 | So we have the image: ``` B O B ``` # Chapter 7 1 a) ``` + | + | 1 1 ``` \[ (1 + 1) + 1 \] \[ \Rightarrow 2 + 1 \] \[ \Rightarrow 3 \] Image Analysis: ### Localization and Attribution: - **Image 1**: Located at the top of the page. - **Image 2**: Located below the table, depicting a pixelated image of the word “BOB.” - **Image 3**: Located below the heading “Chapter 7”, showing a diagram related to a mathematical expression. ### Object Detection and Classification: #### Image 1: - **Objects**: - A table containing a series of binary numbers and their associated colors. - **Key Features**: - Each row contains columns with numbers, words ("Black" and "White"), and binary strings. #### Image 2: - **Objects**: - A pixelated illustration forming the word "BOB". - **Key Features**: - The image is composed of black and white pixels arranged to spell out “BOB.” #### Image 3: - **Objects**: - A mathematical expression tree. - **Key Features**: - The tree depicts a simple arithmetic addition. ### Scene and Activity Analysis: #### Image 1: - **Scene**: The table is likely a solution or coded message related to a puzzle or problem, involving black and white color codes, numbers, and binary representations. - **Activity**: Decoding or translation of binary to a visual format. #### Image 2: - **Scene**: The result of the translation exercise from the table, showing a pixel art image. - **Activity**: Visualization of the character string "BOB" from binary and color codes. #### Image 3: - **Scene**: A mathematical exercise. - **Activity**: Illustration of addition using a tree structure, breaking down the expression for clarity. ### Text Analysis: - **Image 1**: - Text includes numbers (e.g., "11", "1011"), binary sequences (e.g., "0000100", "1110"), and color words ("Black", "White"). - Significance: Appears to be part of a solution for a coding or mathematical problem. - **Image 2**: - No textual content except for the pixels forming "BOB." - Significance: Visual representation of the analysis from the table above. - **Image 3**: - Numerical and arithmetic symbols in the expression tree. - Significance: Represents a mathematical solution process. ### Diagram and Chart Analysis: #### Image 3: - **Diagrams**: Mathematical expression tree. - **Description**: - The tree shows the breakdown of the expression `(1 + 1) + 1`. - 1 and 1 are summed first, resulting in 2, which is then added to another 1 to get 3. ### Contextual Significance: - **Image 1**: This table likely provides the binary-to-pixel mapping, essential for constructing the visual output. - **Image 2**: Illustrates the result of decoding the table, showing how data can be visualized. - **Image 3**: Educational purpose to illustrate arithmetic operations in a structured format. ### Color Analysis: - **Dominant Colors**: Black and white are dominant in both the table and the pixel image, focusing on binary contrast. - **Impact**: Simplifies the visual interpretation of binary data into a readable format. ### Perspective and Composition: - **Image 1**: Standard table layout, well-organized data rows and columns. - **Image 2**: Centered pixel art word “BOB,” achieving symmetrical balance. - **Image 3**: Clear hierarchical composition of a mathematical tree, aiding understanding. ### Contextual Significance: - The images are from educational material focused on deciphering binary information and using visual aids to simplify complex data and mathematical concepts. ### Process Flow: - **Description**: Binary data is interpreted to create a visual image, shown step-by-step from binary coding to final pixelated text ("BOB"). ### Prozessbeschreibungen: - **Description**: Process of translating binary numbers to visual representation is elucidative of how data can be encoded and decoded using simple color codes. ### Typen Bezeichnung: - Binary sequences classified by color (Black or White). ### Trend and Interpretation: - Smooth transition from abstract binary codes to an easy-to-understand visual image demonstrates the educational emphasis on data comprehension and visualization techniques. ### Tables: - **Analysis**: Each row encodes a piece of information (numbers, binary strings), providing a step-by-step solution or conversion pathway. In summary, the page focuses on translating binary code to visual formats and explaining mathematical processes. The structured presentation aids in understanding the conversion of abstract data into tangible visuals. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 174 Context: ``` # Solutions ## 1 ### b) ``` ``` (2 × 2) × 2 ⇒ 4 × 2 **8** ### c) ``` ``` (2 × 3) + 4 ⇒ 6 + 4 **10** ## 2 ### a) ``` ``` x × x × y ⇒ 4 × 4 × 5 ⇒ 16 × 5 **80** z × y + z ⇒ 100 × 5 + 100 ⇒ 500 + 100 **600** ### b) ``` ``` z × z ⇒ 100 × 100 **10000** ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 175 Context: # Solutions ## 3 ### a) \( f(4) = 5 \) \(\Rightarrow 4 \times 5 \times 4\) \(\Rightarrow 20 \times 4\) \(\Rightarrow 80\) ### b) \( f(f(4)) = 5 \) \(\Rightarrow 80 \times 5 \times 80\) \(\Rightarrow 400 \times 80\) \(\Rightarrow 32000\) ### c) \( f(f(4) \, (f(4))) \) \(\Rightarrow f(80) = 80\) \(\Rightarrow 80 \times 80 \times 80\) \(\Rightarrow 32000 \times 80\) \(\Rightarrow 512000\) ## 4 ### a) \( f(5) = f(4) \) \(\Rightarrow 80 = 80\) ### b) if \( 1 = 2 \) then \( 3 \) else \( 4 \) if false then \( 3 \) else \( 4 \) \(\Rightarrow 4\) #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 176 Context: ``` # Solutions ## 5 ### c) ``` if (if 1 = 2 then false else true) then 3 else 4 ⇒ if true then 3 else 4 ⇒ 3 ``` ### a) ``` head [2, 3, 4] ⇒ 2 ``` ### b) ``` tail [2] ⇒ [] ``` ### c) ``` head [2, 3, 4] | [2, 3, 4] ⇒ 2 | [2, 3, 4] ⇒ [2, 3, 4] ``` ## 6 ### a) `[]` (first if) ### b) `[1]` (second if) ### c) `[1, 3]` (via 1 ● odds `[]`) ``` #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 177 Context: # Chapter 8 1 | | | | |---|---|---| | | | | | | | | |---|---|---| | | | | | | | | |---|---|---| | | | | | | | | |---|---|---| ![Camel](URL_TO_IMAGE) | | | | | | | |-----|-----|-----|-----|-----|-----| | Light Gray | Gray | Dark Gray | Black | |---|---|---|---|---|---| Image Analysis: **Detailed Analysis of the Visual Content:** ### 1. Localization and Attribution: - **Image 1:** The first image is located at the top and consists of a 4x4 grid of varying black and white patterns. - **Image 2:** The second image is located in the middle and depicts a camel composed of a grid of small squares. - **Image 3:** The third image is located at the bottom and is a grayscale color bar. ### 2. Object Detection and Classification: - **Image 1:** - **Objects Detected:** 4x4 grid patterns. - **Classification:** Each cell in the grid contains a unique pattern of black and white squares. - **Image 2:** - **Objects Detected:** Camel. - **Classification:** The image is a pixelated representation of a camel, created using various shades of black and white. - **Image 3:** - **Objects Detected:** Grayscale color bar. - **Classification:** A gradient bar ranging from white to black. ### 3. Scene and Activity Analysis: - **Image 1:** The scene shows different patterns or matrices, potentially for demonstrating or testing digital image processing techniques. - **Image 2:** The scene depicts a camel in a diagrammatic form, possibly representing an example of raster graphics. - **Image 3:** The scene depicts a grayscale bar, likely used to show the range of tones from white to black. ### 4. Text Analysis: - **Detected Text:** - "Solutions" - "163" - "Chapter 8" - "1" - **Significance:** This indicates the page is part of a solutions section, specifically Chapter 8, and shows the solution to the first problem. ### 7. Anomaly Detection: - **Possible Anomalies:** None detected in the images; all elements are consistent with standard visual representations. ### 8. Color Analysis: - **Dominant Colors:** - **Image 1:** Black and White. - **Image 2:** Black, White, and shades of gray. - **Image 3:** Grayscale gradient from white to black. - **Impact on Perception:** The use of black and white, along with various shades of gray, emphasizes the different levels of intensity and detail in the images, focusing on the concepts of pixel and raster graphics. ### 9. Perspective and Composition: - **Image 1:** A direct top-down view of the grid patterns. - **Image 2:** A front-facing perspective of the camel, emphasizing the raster pattern. - **Image 3:** A straightforward linear representation of the grayscale gradient. ### 10. Contextual Significance: - The images contribute to the overall theme by illustrating concepts likely related to digital image processing, pattern recognition, or pixel-based image creation. They provide visual examples of grids, pixelation, and grayscale tones. ### 13. Graph Numbers: - This aspect is not applicable as no graphs contain numerical data points in the provided image. ### Additional Aspects: - **Prozessbeschreibungen (Process Descriptions):** The images and accompanying content likely explain processes related to how images are stored, processed, or displayed in digital formats. By analyzing these diverse aspects, the visual content clearly aims to educate the reader on components of image processing and digital graphics, crucial for understanding solutions in this technical field. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 178 Context: # Solutions ## 2 | | | | | | | |---|---|---|---|---|---| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | ![Camel](path/to/camel_image.jpg) | Color Scale | |-------------| | ![Color Gradient](path/to/color_gradient_image.jpg) | Image Analysis: ### Comprehensive Examination #### 1. **Localization and Attribution:** - **Image 1:** Located at the top of the page, representing a grid of black and white squares arranged in patterns. - **Image 2:** Positioned in the middle of the page, depicting a pixelated image of a camel. - **Image 3:** Located at the bottom of the page, displaying a grayscale gradient bar without any text. #### 2. **Object Detection and Classification:** - **Image 1:** - **Objects Identified:** Grid of squares. - **Classification:** Patterns of black and white squares. - **Key Features:** The grid consists of various blocks arranged in distinct patterns. Some squares are filled while others are empty, creating a binary pattern movement across rows. - **Image 2:** - **Objects Identified:** Camel. - **Classification:** Animal image, specifically a camel. - **Key Features:** The camel illustration is pixelated, providing a low-resolution representation. - **Image 3:** - **Objects Identified:** Grayscale gradient bar. - **Classification:** Color gradient scale. - **Key Features:** The scale progresses smoothly from white to black with varying shades of gray. #### 5. **Diagram and Chart Analysis:** - **Image 1:** The grid can be considered a type of chart or diagram displaying various binary patterns. The patterns seem to be random or algorithm generated, possibly for a puzzle or a solution in the document. - **Image 3:** The grayscale bar serves as a reference for different shades of gray, providing context for understanding the grayscale variations depicted in the camel image. #### 8. **Color Analysis:** - **Image 1:** Dominant colors are black and white. The binary contrast creates distinct patterns that may be used for recognition or matching tasks. - **Image 2:** Primarily grayscale, with various shades contributing to the pixelated depiction of the camel. - **Image 3:** A gradient scale ranging from white to black with intermediate gray shades. This provides a visual tool to understand the representation scale used in the pixelated camel image. #### 9. **Perspective and Composition:** - **Image 1:** Top-down view of a grid, arranged in a structured manner. - **Image 2:** Side view of a camel, pixelated for effect or analysis. - **Image 3:** Horizontal gradient bar, spread from left to right to display varying grayscale shades. #### 10. **Contextual Significance:** - **Image 1:** Likely part of a solution or pattern recognition task which may relate to the pixelation or mapping exercises in the document. - **Image 2:** Provides a visual example of how an image can be represented in a pixelated format, possibly illustrating a point about image resolution or digital representation. - **Image 3:** Serves as a reference guide for grayscale shades, aiding the understanding of the pixelated image and its representation. #### 12. **Graph and Trend Analysis:** - **Image 1:** The trend in the grid displays shifting black and white patterns. Though no specific trend is implied, it showcases a variety of binary pixel arrangements. - **Image 3:** The gradual transition from white to black showcases a linear progression of grayscale values, indicating even gradation between color tones. This comprehensive examination covers the identified elements within the images and related contexts, providing a detailed breakdown of each aspect specified by you. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 179 Context: # Solutions ## 3 | | | | | | | | | | | | |---|---|---|---|---|---|---|---|---|---|---| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | ``` ,--. { } `--' \__ _ | ` .' `-._ | \ ( `-. \ `. \ | \ \ `. / | | | \ | | | | \ _/ | | | | | _| | | | / | | | ; | | | / `. | \ | | | | \ | | | `-._________| |__________| ``` | Shade | Color | |-------|-------| | 1 | Light | | 2 | Medium Light | | 3 | Medium | | 4 | Medium Dark | | 5 | Dark | Image Analysis: ## Image Analysis ### 1. Localization and Attribution: - **Images Identified on the Page:** - **Image 1:** Top left grid. - **Image 2:** Center camel image. - **Image 3:** Bottom grayscale bar. ### 2. Object Detection and Classification: - **Image 1:** Grid of black and white squares - **Category:** Abstract pattern or matrix. - **Key Features:** Each column and row contains black and white squares arranged in a somewhat random pattern. - **Image 2:** Camel - **Category:** Animal image or illustration. - **Key Features:** Detailed drawing of a camel with visible legs, hump, and head, rendered in a dot-matrix style. - **Image 3:** Grayscale bar - **Category:** Color swatch. - **Key Features:** Ranges from white to black with various shades of gray in between. ### 3. Scene and Activity Analysis: - **Image 1:** Abstract scene without a specific real-world activity. - **Image 2:** Illustration of a camel standing in a predominantly still position. - **Image 3:** Static depiction of a grayscale color spectrum. ### 4. Text Analysis: - **Text Detected:** - "Solutions" at the top of the page, suggesting this page is part of an answer or solution section, most likely from a textbook or problem set. ### 5. Diagram and Chart Analysis: - **Image 1:** This could represent a pixel-based image breakdown, possibly for an image reconstruction task. - **Image 3:** Grayscale bar can be used to reference or calibrate shades of gray in printing or imaging. ### 9. Perspective and Composition: - **Perspective:** Each image uses a frontal composition for clarity. - **Composition:** - **Image 1:** Grid pattern helps with visual segmenting. - **Image 2:** Centralized image makes it the focal point. - **Image 3:** Positioned horizontally at the bottom, akin to a legend in a diagram. ### 12. Graph and Trend Analysis: - **Image 3:** While it’s not a graph, the grayscale bar shows a trend from light to dark, useful for understanding grayscale variation. ### Additional Aspects: #### Ablaufprozesse (Process Flows): - None explicitly depicted. #### Prozessbeschreibungen (Process Descriptions): - None explicitly depicted. #### Typen Bezeichnung (Type Designations): - No explicit types or categories specified other than what has been inferred from visuals. ### Contextual Significance: - **Context:** Likely from an educational resource, possibly explaining digital images or graphic design concepts, fragmentation of images into grids, pixel density, or grayscale understanding. By organizing the information in this structured manner, we can better understand how the visual elements on the page are intended to instruct or provide solutions, particularly in a learning context. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 180 Context: # Chapter 9 1. **Palatino** 2. **AVERSION** 3. **Conjecture** # Chapter 10 1. hy-phen-a-tion 2. fund-raising 3. a-rith-me-tic (the noun) 4. ar-ith-me-tic (the adjective) 5. dem-on-stra-tion #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 181 Context: # Solutions | Number | Word | |--------|---------------| | 6 | de-mon-stra-tive | | 7 | gen-u-ine | | 8 | moun-tain-ous | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 182 Context: I'm unable to view images or process them. If you provide the text in Markdown format, I'd be happy to help correct any mistakes or formatting issues you have! Image Analysis: The attached visual content comprises a simple and minimal image devoid of any complex elements or details. Based on the aspects provided, the analysis is as follows: 1. **Localization and Attribution:** - Single image on the page. - Image Number: Image 1. 2. **Object Detection and Classification:** - No objects are identifiable in the image. 3. **Scene and Activity Analysis:** - There is no discernible scene or activity taking place in the image. 4. **Text Analysis:** - There is no text present in the image. 5. **Diagram and Chart Analysis:** - No diagrams or charts are present in the image. 6. **Product Analysis:** - No products are depicted in the image. 7. **Anomaly Detection:** - There are no noticeable anomalies or unusual elements in the image. 8. **Color Analysis:** - The image is entirely white. 9. **Perspective and Composition:** - The perspective is a straightforward front view. - The composition is minimalistic and features no elements other than the white background. 10. **Contextual Significance:** - There is no context provided through the image itself. It does not contribute any information regarding an overarching message or theme. 11. **Metadata Analysis:** - There is no available metadata associated with the image. 12. **Graph and Trend Analysis:** - No graphs are included in the image. 13. **Graph Numbers:** - No data points or graphs to describe. **Additional Aspects:** - **Ablaufprozesse (Process Flows):** - There are no process flows depicted. - **Prozessbeschreibungen (Process Descriptions):** - There are no processes described. - **Typen Bezeichnung (Type Designations):** - No types or categories are specified. - **Trend and Interpretation:** - No trends are identifiable in the visual content. - **Tables:** - No tables are present in the image. In summary, the image analyzed is a plain white image devoid of any objects, text, charts, products, processes, or context. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 183 Context: # Further Reading There follows a list of interesting books for each chapter. Some are closely related to the chapter contents, some tangentially. The level of expertise required to understand each of them varies quite a bit, but do not be afraid to read books you do not understand all of, especially if you can obtain or borrow them at little cost. ## Chapter 1 1. **Computer Graphics: Principles and Practice** James D. Foley, Andries van Dam, Steven K. Feiner, and John F. Hughes. Published by Addison Wesley (second edition, 1995). ISBN 0201848406. 2. **Contemporary Newspaper Design: Shaping the News in the Digital Age – Typography & Image on Modern Newsprint** John D. Berry and Roger Black. Published by Mark Batty (2007). ISBN 0972420432. ## Chapter 2 1. **A Book of Curves** E. H. Lockwood. Published by Cambridge University Press (1961). ISBN 0521044448. 2. **Fifty Typefaces That Changed the World: Design Museum Fifty** John L. Waters. Published by Conran (2013). ISBN 184901629X. 3. **Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students** Ellen Lupton. Published by Princeton Architectural Press (second edition, 2010). ISBN 1568989695. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 184 Context: # Chapter 3 **The Histories** Polybius (translated by Robin Waterfield). Published by Oxford University Press under the Oxford World Classics imprint (2010). ISBN 0199534705. **Code: The Hidden Language of Computer Hardware and Software** Charles Petzold. Published by Microsoft Press (2000). ISBN 0735613119. **Unicode Explained** Jukka K. Korpela. Published by O'Reilly Media (2006). ISBN 059601121X. **The Decipherment of Linear B** John Chadwick. Published by Cambridge University Press (second edition, 1967). ISBN 1107691761. # Chapter 4 **Introduction to Algorithms** T. Cormen, C. Leiserson, R. Rivest, and C. Stein. Published by MIT Press (third edition, 2009). ISBN 0262533057. **Flexible Pattern Matching in Strings: Practical On-Line Search Algorithms for Texts and Biological Sequences** Gonzalo Navarro and Mathieu Raffinot. Published by Cambridge University Press (2007). ISBN 0521093992. **Google's PageRank and Beyond: The Science of Search Engine Rankings** Amy N. Langville and Carl D. Meyer. Published by Princeton University Press (2012). ISBN 0691125647. # Chapter 5 **The Wonderful Writing Machine** Bruce Bliven, Jr. Published by Random House (1954). ISBN 600150329X. **Quirky Querty: The Story of the Keyboard at Your Fingertips** Torbjörn Lundmark. Published by University of New South Wales Press (2001). ISBN 0868403465. **The Iron Whim: A Fragmented History of Typewriting** Darren Wershler-Henry. Published by McClelland & Stewart (2005). ISBN 0771082952. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 185 Context: # Further Reading ## Chapter 6 1. **Fundamental Data Compression** Ida Mengyi Pu. Published by Butterworth-Heinemann (2006). ISBN 0750636103. 2. **The Fax Modern Sourcebook** Andrew Margolis. Published by Wiley (1995). ISBN 0471995726. 3. **Introduction to Data Compression** Khalid Sayood. Published by Morgan Kaufmann in The Morgan Kaufmann Series in Multimedia Information and Systems (fourth edition, 2012). ISBN 0124157963. ## Chapter 7 1. **Python Programming for the Absolute Beginner** Mike Dawson. Published by Course Technology PTR (third edition, 2010). ISBN 1435455002. 2. **OCaml from the Very Beginning** John Whitington. Published by Coherent Press (2013). ISBN 0957671105. 3. **Seven Languages in Seven Weeks: A Pragmatic Guide to Learning Programming Languages** Bruce A. Tate. Published by Pragmatic Bookshelf (2010). ISBN 193436359X. ## Chapter 8 1. **How to Identify Prints** Bamber Gascoigne. Published by Thames & Hudson (second edition, 2004). ISBN 0500284806. 2. **A History of Engraving and Etching** Arthur M. Hind. Published by Dover Publications (1963). ISBN 0486265947. 3. **Prints and Printmaking: An Introduction to the History and Techniques** Anthony Griffiths. Published by University of California Press (1996). ISBN 0520072149. 4. **Digital Halftoning** Robert Ulichney. Published by The MIT Press (1987). ISBN 0262210096. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 186 Context: # Further Reading ## Chapter 9 - **Just My Type: A Book About Fonts** Simon Garfield. Published by Profile Books (2011). ISBN 1846683205. - **The Geometry of Type: The Anatomy of 100 Essential Typefaces** Stephen Coles. Published by Thames and Hudson Ltd (2013). ISBN 05002414422. - **The Elements of Typographic Style** Robert Bringhurst. Published by Hartley & Marks (2004). ISBN 0881792065. ## Chapter 10 - **Micro-typographic extensions to the TEX typesetting system** PhD Thesis, Hàn Thế Thành, Faculty of Informatics, Masaryk University, Brno, October 2000. - **Digital Typography** Donald E. Knuth. Published by the Center for the Study of Language and Information (Stanford, California) CSLI Lecture Notes, No. 78 (1999). ISBN 1575868104. - **Printer's Type in the Twentieth Century: Manufacturing And Design Methods** Richard Southall. Published by Oak Knoll Press (2005). ISBN 1584561552. - **History of the Monotype Corporation** Judith Slinn et al. Published by Vanbrugh Press (2014). ISBN 0993051005. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 187 Context: # Templates The following pages contain blank templates for answering problems 1.2, 1.3, 1.4, 2.1, 8.1, 8.2, and 8.3. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 188 Context: # Templates ## Problem 1.2 | y | | x | |-------|---|-------| | 20 | | 0 | 2 | 4 | 6 | 8 | 10 | 12 | 14 | 16 | 18 | 20 | | 18 | | | | | | | | | | | | | | 16 | | | | | | | | | | | | | | 14 | | | | | | | | | | | | | | 12 | | | | | | | | | | | | | | 10 | | | | | | | | | | | | | | 8 | | | | | | | | | | | | | | 6 | | | | | | | | | | | | | | 4 | | | | | | | | | | | | | | 2 | | | | | | | | | | | | | | 0 | | | | | | | | | | | | | ## Problem 1.3 | y | | x | |-------|---|-------| | 20 | | 0 | 2 | 4 | 6 | 8 | 10 | 12 | 14 | 16 | 18 | 20 | | 18 | | | | | | | | | | | | | | 16 | | | | | | | | | | | | | | 14 | | | | | | | | | | | | | | 12 | | | | | | | | | | | | | | 10 | | | | | | | | | | | | | | 8 | | | | | | | | | | | | | | 6 | | | | | | | | | | | | | | 4 | | | | | | | | | | | | | | 2 | | | | | | | | | | | | | | 0 | | | | | | | | | | | | | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 189 Context: # Problem 1.4 | | | | | |-----|-----|-----|-----| | ![Graph 1](graph_placeholder) | ![Graph 2](graph_placeholder) | ![Graph 3](graph_placeholder) | ![Graph 4](graph_placeholder) | | | | | | | | | | | | | | | | ### Graphs 1. **Graph 1** - X-axis: 0 to 20 - Y-axis: 0 to 20 2. **Graph 2** - X-axis: 0 to 20 - Y-axis: 0 to 20 3. **Graph 3** - X-axis: 0 to 20 - Y-axis: 0 to 20 4. **Graph 4** - X-axis: 0 to 20 - Y-axis: 0 to 20 > Note: Replace `graph_placeholder` with actual image links or references as needed. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 190 Context: # Templates ## Problem 2.1 ![Graph](path/to/image.png) **Description:** This problem involves analyzing the curve depicted in the graph. The curve is a smooth, continuous line that signifies a particular mathematical relationship. **Key Points:** - The curve shows an increasing trend until a certain point, where it starts to bend. - It's important to determine the nature of this curve, whether it represents a function or a more complex relationship. ### Tasks: 1. **Identify Characteristics:** - Describe the general shape of the curve. - Note any critical points where the behavior of the curve changes. 2. **Analysis:** - Calculate the slope at various intervals along the curve. - Determine any asymptotic behavior. 3. **Conclusion:** - Summarize the findings from the analysis. ### References: - Use any relevant mathematical models or theories that apply to this type of curve. - Provide citations for any methodologies used during the analysis. **Note:** Ensure to include diagrams or figures as necessary to support your analysis. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 191 Context: # Problem 8.1 | | | | | | | | | | | |-----|-----|-----|-----|-----|-----|-----|-----|-----|-----| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |-----|-----| | | | | | | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 192 Context: # Problem 8.2 | | | | | | | | | | | |---|---|---|---|---|---|---|---|---|---| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |---|---| | | | | | | | | | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 193 Context: # Problem 8.3 ## Templates | | | | | | | | | | | |-------|-------|-------|-------|-------|-------|-------|-------|-------|-------| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |-------|-------|-------| | | | | | | | | #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 194 Context: I'm unable to assist with that. Image Analysis: The provided image appears to be a blank white page. As a result, it does not contain any elements that can be analyzed based on the given aspects. Therefore, there's no content to describe under the mentioned categories such as localization and attribution, object detection and classification, scene and activity analysis, text analysis, etc. If you have other images or documents for analysis, please provide them, and I will be happy to assist with those. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 195 Context: # Colophon This book was designed and typeset by the author using Donald Knuth's TeX system with Leslie Lamport's LaTeX macros in 10pt Palatino Linotype, Computer Modern Sans, and Bera Sans Mono. Diagrams were constructed using the tikz package, and the output was prepared by the author as a PDF file for print and eBook formats. In addition, the following packages were used: - ragged2e - blindtext - amsmath - etex - gensymb - lemire - booktabs - placeness - titling - maketitle - lineno - nameref - cleveref - xspace - comment - setspace - etoolbox - forest - multicol - tocloft - float - caption - longtable - tabu - enumerate - calc - textcomp - microtype - mathtools - hyperref - fancyhdr - empytable - underscore - xquote - fancyhdr - idlayout - xcolor - textgreek. The cover uses typefaces from the Adobe Garamond family. The book was prepared from LaTeX sources with latex2html and Calibre. The physical book was printed by On-Demand Publishing LLC, a subsidiary of Amazon Inc. of Seattle, Washington. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 196 Context: I'm unable to view images or interpret visual content. Please provide the text you would like me to correct in Markdown format, and I'll be happy to assist! Image Analysis: The attached visual content consists of a single blank white image. Therefore, the aspects provided cannot be analyzed comprehensively due to the absence of any visual elements. Here is a detailed response aligned with the aspects requested: 1. **Localization and Attribution:** - There is only one image present. 2. **Object Detection and Classification:** - There are no objects present to detect or classify. 3. **Scene and Activity Analysis:** - No scene or activities can be described as the image is blank. 4. **Text Analysis:** - There is no text in the image to analyze. 5. **Diagram and Chart Analysis:** - No diagrams or charts are present for analysis. 6. **Product Analysis:** - No products are depicted in the image. 7. **Anomaly Detection:** - There are no elements in the image that can be considered anomalies. 8. **Color Analysis:** - The image consists entirely of white color. 9. **Perspective and Composition:** - As the image is blank, there is no perspective or composition to analyze. 10. **Contextual Significance:** - Without any visual content, the image does not contribute any contextual significance. 11. **Metadata Analysis:** - No metadata is available from the provided image for analysis. 12. **Graph and Trend Analysis:** - No graphs are present in the image for trend analysis. 13. **Graph Numbers:** - No data points or items can be listed from the image. **Additional Aspects:** - **Ablaufprozesse (Process Flows):** - No process flows are depicted. - **Prozessbeschreibungen (Process Descriptions):** - No processes are described. - **Typen Bezeichnung (Type Designations):** - No types or categories are specified. - **Trend and Interpretation:** - No trends or interpretations can be derived. - **Tables:** - No tables are included in the image. In summary, the image is a plain white image with no visual elements or content to analyze. #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 197 Context: # Index - accented letter, 125 - acid wash, 104 - acid-resistant, 104 - advancement, 126 - Albrecht Durer, 102 - algorithm, 41 - of deCasteljau, 20 - aliasing, 8 - ampersand, 16 - ANSI, 58 - antialiasing, 8 - ASCII, 31 - August Dvorak, 58 - backslash, 33 - backward compatibility, 35 - baseline, 126 - Bézier - Pierre, 17 - curve, 17 - billboard, 8 - bit, 28, 69 - bit pattern, 69 - bold, 729 - Braille, 38 - burn, 102 - burnishing, 104 - carriage return, 31 - Cartesian coordinate, 1 - Casteljau --- - Paul de, 17 - chain of curves, 18 - character - accented, 33 - printable, 31 - checkerboard pattern, 100 - Chinese tone, 63 - circle - from Bezier curves, 23 - circular arc, 16 - Citroën, 17 - coated paper, 4 - composing stick, 142 - compression, 65 - lossy, 74 - computer program, 43 - condition, 44 - control point, 17 - coordinate, 1 - copper, 102 - counter, 44 - curve - continuous, 18 - discontinuous, 18 - flatness, 22 - join, 18 - smooth continuous, 18 - subdivision, 20 - Cyrillic, 33, 124 #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 198 Context: # Index - Daily Graphic, 108 - David A. Huffman, 72 - de Casteljau - Paul, 72 - dementia, 139 - Densmore - James, 55 - Descartes - René, 1 - dictionary, 67 - digital halftoning, 111 - Dijkstra - Edsger, vii - dither, 111 - ordered, 114 - dots per inch, 3 - Dürer - Albrecht, 102 - Dvorak - August, 58 - Dvorak keyboard, 58 - eBook, 3, 34 - Eckert-Mauchly Computer Corporation, 60 - EDSAC, 30 - Edsger Dijkstra, vii - end-point, 17 - engraving, 102 - error diffusion, 118 - escape character, 33 - etching, 104 - even-rold value, 81 - expression, 81 - factorial, 86 - false, 45 - fax, 72 - Fermi - Pierre de, 1 - filled shape, 9 - fire signals, 27 - Floyd - Robert W., 118 - Franz Kafka, 135 - french curves, 16 - frequencies - of characters, 70 - full justification, 136, 137 - galley, 143 - glyph metrics, 126 - gradient, 97 - Greek alphabet, 27 - grey tones, 97 - halftone, 106 - for colour, 114 - halftone screen, 108 - Han characters, 52 - Hermann Zapf, 123 - Huffman - David A., 72 - Huffman encoding, 72 - human optical system, 8 - hyphenation, 137 - dictionary based, 138 - if...then...else, 84, 85 - image - black and white, 98 - index, 41 - inhibiting rule, 138 - ink-flow, 114 - input, 27 - system, 61 - insert, 91 - intaglio, 101 - interoperability, 29 - italic, 34, 123 - James Densmore, 55 #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 199 Context: # INDEX - Joint Photographic Experts Group, 75 - JPEG, 75 - justification - full, 136, 137 - Kafka - Franz, 135 - kerning, 127, 136 - keyboard, 27, 53 - keyword, 43 - laser printer, 4 - Latin alphabet, 61 - leading, 136 - ligature, 50, 124 - line - antialiased, 8 - drawing, 5 - line feed, 31 - Linear A, 39 - lines per inch, 108 - lining numbers, 124 - Linotype, 123 - List, 88 - reversing, 90 - sorting, 91 - lossy compression, 74 - Louis Steinberg, 118 - lpi, 108 - mark-up, 33 - mezzotint, 102 - microtypography, 139 - Modern Greek, 61, 124 - monitor, 8 - negative, 106 - newspaper, 3 - newsprint, 3 - niello, 102 - non-zero rule, 24 - old style numbers, 124 - operand, 85 - operator, 84 - optical font size, 128 - OR, 51 - ordered either, 114 - origin, 2 - orphan, 139 - output, 27 - Palatino, 15, 123 - paragraph, 135 - parameter, 43 - parentheses - in an expression, 82 - path, 18 - containing a hole, 23 - filling, 24 - pattern, 51 - Paul de Casteljau, 17 - PDF file, 3 - photograph, 97, 106 - phototypesetting, 144 - Pierre Bézier, 17 - Pierre de Fermat, 1 - Pinyin, 61 - pixel, 3, 15 - plate, 101 - point, 2 - Polybius, 27 - position, 1 - prefix, 70 - program, 43, 81 - pseudocode, 43 - pt, 2 - QWERTY keyboard, 58 - ragged-right, 137 - Rembrandt van Rijn, 104 - Remington & Sons, 53 - René Descartes, 1 #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 200 Context: # Index - resolution, 3 - river, 141 - Robert W. Floyd, 118 - rocket, 104 - rule-based hyphenation, 138 - Russian characters, 33 - Scholes, Christopher Latham, 53 - Scrabble, 69 - screen, 3 - search, 41 - engine, 51 - shape, 15 - built from lines, 9 - curved, 15 - filling, 9 - scaling, 16 - shift key, 30 - ship curves, 17 - skipping rule, 49 - small caps, 125 - sort, 91 - Stanford University, 118 - Steinberg, Louis, 118 - Steinway Hall, 108 - stopping out, 104 - sub-pixel, 8 - subdivision, 22 - tablet, 3 - tag, 34 - tall, 68 - Talbot, William Henry Fox, 108 - telegraph, 30 - text block, 136 - textual data, 27 - Thai alphabet, 37 - The Histories, 27 - threshold, 98, 99 - toner, 4 - torch - for signalling, 28 - tree, 82 - root of, 82 - true, 45, 84 - typeface, 5, 15, 33 - typesetting, 34 - typewriter, 53 - unambiguous decoding, 70 - underfill line, 137 - Unicode, 34 - units, 2 - UNIVAC, 60 - universal compression, 66 - University of Cambridge, 30 - University of Washington, 58 - value, 81 - variable, 83 - video - storage of, 5 - Western language, 36 - widow, 139 - William Henry Fox Talbot, 108 - woodblock, 100 - Zapf, Hermann, 123 - Zapfino, 127 - Zhuyin, 62 #################### File: A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf Page: 201 Context: If you have enjoyed this free book, please leave a review on [Amazon](https://www.amazon.com), or buy a [paper copy](https://www.amazon.com) for yourself or a friend. ########## """QUERY: Please summarize the whole context. It is important that you include a summary for each file. All files should be included, so please make sure to go through the entire context""" Consider the chat history for relevant information. Use all information included. Use as much tokens as needed. Important: If you find information separated by a | in the context, it is a table formatted in Markdown. 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Page 200, A%20MACHINE%20MADE%20THIS%20BOOK%20ten%20sketches%20of%20computer%20science%20-%20JOHN%20WHITINGTON%20%28PDF%29.pdf - Page 201 ================================================== **Elapsed Time: 8.14 seconds** ================================================== FINAL ANSWER Answer: ================================================== **Elapsed Time: 0.00 seconds** ==================================================