[Erowid Warning: Our understanding of the literature is that there is no such thing as safe use of volatile solvents, aerosols and other street inhalants : their psychoactive effects are inseparable from nerve and organ damage. We have chosen to include these reports to help document the real world use of inhalants, but their inclusion is not intended to imply that they are anything but dangerous.]
I read a lot about people huffing petrol products, dust-off, varnish remover and other solvents. It seems that majority of these people report bad experiences. I can't speak about these, however, as a regular huffer of liquid butane (petrol-lighter refils) I can only report good experiences however, the resulting damage of a five year abuse is now painfully apparent to me.
I started huffing having never previously taken drugs of any kind (I didn't even smoke regulars back then) ... I happened to fall in with a crowd of huffers although, for a long time I resisted the temptation. I finally gave in after an argument with my parents in which I had walked out and was determined to do anything to avoid going back home that night. My first huff started that night. I was only 17.
The first few huffs taste strange but leave a warm glowing feeling inside, like the warm glow I get after a few whiskeys. This comes on always within the first minute and feels good. Fingers start to tingle and generally the experience is a lot like the pleasant onset of drunkenness.
The next few huffs feel vaguely sexual ... my whole body seems to humm and buzz and every breath brings a feeling to my chest like the nervousness of being with someone I love when I feel it is time to tell them how I feel.... a delightfully giddy excitement and my breathing feels shallow at times and I feel the need to concentrate on my breathing - a slight paranoia about the stupidity of what I am doing often accompanies this but soon disappears.
For a while I rest in this state, breathing normally and feeling quite comfortable. I wait until any developing paranoia leaves me and I am ready to continue ... I feel warm and glowing, relaxed and happy ... the room seems a little different but I couldn't explain how and sometimes little lights seem to flicker in my peripheral vision, like those I get when tired ... nothing spectacular.
The next few deep huffs after this state inevitably bring an audio effect which can only be described as a sort of ambient jews harp or some kind of spring ... a boingy whaaahy sound that comes from nowhere in particular and seems to permeate everything. Sudden noises or speaking make it stop only for it to creep back again. My voice seems a little strange as do the voices of others with me - we try not to talk. Strange lights play around the edges of objects and everything seems less real and take on an almost dreamlike quality that is hard to convey.
A few more huffs and there is a very rapid change in my perception... like some perceptual cog slipping into (Or more likely 'out of') place. It happens so cleanly and suddenly that I can almost point to it. Suddenly I notice the wooden floor is made of wooden jigsaw pieces and this seems normal, I smile. The room now seems so different that I cannot tell you whose room it is or where it happens to be - it seems to exist on its own, it is all that exists ... I cannot visualize anything beyond what I immediately see.
A few more huffs and the whole open-eye hallucination clicks into place and everything becomes different. The trips are often very similar in nature, at least, people and rooms always change consistently so I will explain the most common features that I see at this point.
One of my regular huffing companions changes into a ragdoll, he has yellow wool hair and I can see every twisted strand clearly ... The more I try to see past the illusion the more perfect the illusion becomes until normal vision is absolutely impossible. My other friend turns into the girl from a well known television testcard that the BBC used to use. This ties in with the ragdoll who is also from the same testcard image.
The back of their sofa is suddenly made of dark-coloured oversize jigsaw pieces stacked on their sides against the wall, some of these have fallen forwards and piled up to make the seat of the sofa ... detail is amazing and again I cannot, however hard I try, see past the illusion.
On this occasion I am wearing a fluffy white jumper with a grey band across the middle that I got for christmas... it makes me feel furry and friendly and I suddenly realise that I am in fact an old-english sheepdog. I can't see myself, I just know. I laugh a kind of breathy dog-laugh because I realise that I am not actually allowed on the sofa... they havenít noticed this and allow me to remain.
The table has become a stack of four oversize childrenís alphabet blocks and suddenly I do not recognise any feature of the room although I feel at home here. Looking at the television I am struck with a sudden realisation that everything has been reversed ... that we are inside the television and a normal world lies beyond through that opening of light. We ARE the testcard. I smile.
Huffing again nothing further happens except that I prolong the state... it is complete and no amount of huffing seems to change things ... looking at the fire I see a lightshow in the distance and fancy that its a vast arena where a band is playing ... I can hear the band and the crowd (Although, later I realise it was on the tape we were playing during the huff - a live version of a techno classic) I am enthralled and want to see more but I Am aware that I am too large to get in, and that, also, I am a dog.
I bark. They look at me. I look at them. I look at the television. I scratch my ear. I look back at them. They look at television. It all seems so natural and I know that many of you will believe that I am making this up... but the truth is that my head is so full of toxins that almost anything is possible at this point. The fact that it seems so real and natural is, I believe, what makes this a frequently re-occuring reality. But it feels so real that in that moment I could swear that my eyes have been opened to a greater and more true reality.
One time I went to retrieve some cigarettes from the fireside opposite me... my feet were moving awkwardly and I looked down to notice that they COULD NOT step on the joins in the jigsaw floor ... not only this but the tile under my foot seemed to rise up to meet me with each step ... barely perceptible, just an inch or so. By the middle of the room the tiles are rising about 2 foot and I try to put my foot down through the gap to touch the floor below but I physicaly cannot ... the tile below my foot comes to meet me and the other one falls away.
By the time I reach the fireplace I seem to be about 40 feet in the air and rising all the time ... I can see the room far below and air whistles around my head (Turned out later that the kitchen window was open) I see light snow and it feels good.
Looking forwards I see the fireplace in front of me and finally locate my cigarettes which had changed pack colour (They were actually someone elseís) ... and finally got back to the sofa ... sitting on the sofa I can see the fireplace opposite me and at the same level as myself. I laugh, and then feel self-conscious.
I sit and watch the others for a while and get bored... a few more huffs and I pass out stunningly.  I inhale deeply ... again it comes to my face, and again, and again, and again very fast like a trail except that I feel each funnel hitting the last, I feel their impact through my hand and lips until suddenly I fly backwards and into a bigger funnel behind me and the chain of funnels takes me down into another alternate reality (A butane dream - I am unconscious)
This is where vivid closed-eye hallucinations begin ... tunes repeat endlessly and sometimes mockingly and I feel I am trapped inside some vast arcade game ... Everything is colourful and perfectly vivid. Things revolve around simple rules here although I am not always sure of what those rules are ... something keeps flying past me picking up parts of the scenery as it goes and I am jumping over blocks to avoid it ... a floating orange figure called 'wordy' who is a hemisphere with black arms and no body hovers in front of me
'Wordy watches word watchers, hello word watchers watching ....' he says ... somewhere a crowd of children say 'hello wordy' in unison ... A dark thing called the 'onus' is bouncing around with the sound of an unceasing jewish harp ... and a springy chorus of words sing a song about 'catching the onus' and repeating tunes and words ... it is altogether quite beautiful. I race around corridors and passages, sometimes being chased, sometimes chasing 'wordy', there seems to be something I am supposed to be doing but I don't know what it is - all I know is that I have a purpose in all of this, I belong here, I have some vital role.
Suddenly the black 'onus' thing comes up behind me and I become part of that blackness ... the song is all that exists but now I hear it muffled like I am floating inside of something much bigger than myself ... I hear a and feel a loud >pop< that seems to come from inside my own head and suddenly I am back in the room and things are returned almost to normal.>
Total duration was about an hour and a half ... for most of that time I was asleep, but it seems like much longer.
The rest of the day I feel disconnected and slow, like a hangover. I cannot think of anything except the most simple things. The rest of the second day I find it hard to concentrate.
An interesting point to note is that items in my dream change predictably... maybe it is so real and overpowering that it is hard to hallucinate anything else once having had one major trip in those surroundings ... moving to different surroundings often creates a different trip, although people often carry their characters with them. Whenever I wear white now I am an old-english sheepdog. And my dark haired friend is almost always a yellow-haired ragdoll in any environment - such is the power of these illusions on my psyche.
LONG-TERM SIDE EFFECTS
We used to take butane by bag or rolled handkerchief (And occasionaly the compressed gas refill) about once a month - and after a year I didn't feel any lessening of my abilities in real life or any loss of vividness in my high state.
Nevertheless I changed to just doing it about once every 2 months - and after five years of regular abuse I started to notice acute short and long-term memory deficits and large gaps appearing in my past where I couldn't remember anything. Items I had once and cant remember where they went, whether they broke or were sold, places where I used to live I can no-longer find or remember the area ... sometimes walking home on a familiar route I pause at a corner unsure of which way to go. For a few minutes both ways seem wrong and I couldn't choose.
Only once I became so confused about the direction home that I just stopped and cried... I thought I was losing my mind. A lady stopped and asked me what was wrong and I had to tell her I'd forgotten where I lived ... she seemed a little puzzled why a man of my age would cry about such a thing (I was 22) and she just assumed I was new to the area. I'd actualy lived there 6 years.
I told her the street name and she looked it up in the A-Z in her car and, you know what?, I was actualy standing at the junction at the end of my own street.
Many years have passed since then and I have not touched butane since... the smell now makes me feel sick. And my short/long-term memory is improving and my cognitive skills are back to normal I believe. But there are still large clouds over my memories of times before I did butane.
I am now 29 and have a child... I take occasional ecstasy now and find it has none of the problems of my previous inhalants and enhances my feeling of reality and belonging without distorting it.
I consider these trips to be better than the random trips I have had from LSD and also way superior to NOS ... but not if I stop at the warm-fuzzy feeling ... I have to drive through to the perceptual change and open-eye hallucination and possible even until I get sleepy and pass out and have the amazingly vivid butane-dreams. Otherwise itís no better an experience than drinking spirit alcohol.
I wouldn't change my experiences for anything, I have been places and experienced things that no other man has experienced... and in this respect it is worthwhile, rather like climbing a mountain or trecking to the north pole... I have been a dog, visited what were essentially alternate universes, lived inside a TV, floated over bizarre perfect landscapes and met some VERY interesting characters ... many of whom I still have vivid memory of, and still more that I have forgotten completely.
If I could change anything I would have just used it just a few times and then stopped before I became damaged as it is certainly taking a long time to recover all my mental faculties.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


I am fed up with reading more and more posts, mostly on twitter, telling me I’m wrong if I’m doing it this way or wrong if I’m not using this tool. Who gives you the right to tell me I am not correct? You do not know my problem space, domain or the criteria I need to work towards.
I have to say that this post is not in retaliation to anyone telling me I am doing something wrong. It is based towards all the posts titled ‘You’re doing it wrong….’
In my opinion, we are continually learning in this industry. Something you may be good at now, may not be the hot topic in 6 months time. I am not sure there is a single person who knows *everything*. You may have your niche of expertise and you may be able to help but be constructive. If you really think I am doing it wrong, then give me reasons why so and point out the flaws in my way. It isn’t black and white. This is not a math problem – there may be more than 1 way to do something.
I do a lot of speaking to groups about continuous integration & delivery. There is no way I would tell someone they are wrong. Instead, all I can do is to put the reasons out there for my way of doing something. If the person takes this on-board then that’s fantastic. If they don’t, I won’t get offended. Maybe we should focus on helping the devs who are supposedly doing it wrong rather than pointing that almighty finger at them. Who knows, you may even learn something yourself.
</rant>


JSON is an extremely simple data-interchange format. As json.org says, it is easy for humans to read and write and for machines to parse and generate.
A piece of JSON must represent either:
{ }
). In various languages, this is realized as an object, record, struct, dictionary, hash table, keyed list, or associative array.[ ]
). In various languages, this is realized as an array, vector, list, or sequence.JSON in its purest form has no actual comments, but most parsers will accept C-style (//
, /* */
) comments. Some parsers also tolerate a trailing comma (i.e. a comma after the last element of an array or the after the last property of an object), but they should be avoided for better compatibility.
For the purposes of this tutorial, everything is going to be 100% valid JSON. Luckily, it kind of speaks for itself.
Supported data types:
"hello"
, "\"A quote.\""
, "\u0abe"
, "Newline.\n"
23
, 0.11
, 12e10
, 3.141e-10
, 1.23e+4
{ "key": "value" }
["Values"]
true
, false
, null
{
"key": "value",
"keys": "must always be enclosed in double quotes",
"numbers": 0,
"strings": "Hellø, wørld. All unicode is allowed, along with \"escaping\".",
"has bools?": true,
"nothingness": null,
"big number": 1.2e100,
"objects": {
"comment": "Most of your structure will come from objects.",
"array": [0, 1, 2, 3, "Arrays can have anything in them.", 5],
"another object": {
"comment": "These things can be nested, very useful."
}
},
"silliness": [
{
"sources of potassium": ["bananas"]
},
[
[1, 0, 0, 0],
[0, 1, 0, 0],
[0, 0, 1, "neo"],
[0, 0, 0, 1]
]
],
"alternative style": {
"comment": "check this out!",
"comma position": "doesn't matter, if it's before the next key, it's valid",
"another comment": "how nice"
},
"whitespace": "Does not matter.",
"that was short": "And done. You now know everything JSON has to offer."
}


About Our App
What does Convo-pro do?
Do you struggle thinking of interesting and thought provoking questions? Do you ever blank on what to ask next on your first date? Convo-pro quickly generates questions to spice up any conversation. In quick conversating mode, Convo-pro will supply engaging questions seemlessly. If you want more control, use advanced conversating to set intimacy level or toggle on naughty questions. You can even save your favorite questions for later! Whatever your conversation needs, Convo-pro has you covered.


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I am a versatile developer and designer eager to take on any challenge and explore new technologies. I have a passion for learning that is perfectly suited to the ever-changing tech industry. Sharing ideas and collaboration are ideal for finding and implementing the best solution to any problem.
Some of my past experience includes four years working at Caterpillar as a technical illustrator, learning full stack web development in Ruby on Rails at Dev Bootcamp, and working as a developer at Mcomm Group, Inc. Being a full stack developer and spending over four years in graphics allows for a very broad range of experience that gives me knowledge of both programming and design. The best of both worlds!
Formalities and jargon aside, I just enjoy problem solving. Whether the weekly crossword or the latest workplace crisis, I'm your guy!
Thanks for visiting!
- Alex


fashion walkthroughs
“Fashion is what you’re offered four times a year by designers. And style is what you choose.”
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Devdas
Devdas is a movie starring Shah Rukh Khan, Aishwarya Rai Bachchan, and Madhuri Dixit. After his wealthy family prohibits him from marrying the woman he is in love with, Devdas Mukherjee's life spirals further and further out of...


Chris Lemon
What I love most about yoga: Yoga is medicine to me. I feel better when I practice yoga, both physically and emotionally.
Where I've studied: I found yoga in 2006 after having a run-in with cancer. Yoga helped heal my body, while easing the strain on my heart. The way yoga helped me through a difficult time made me want to help others in need get the same benefits. In 2011, I received my 200 and 500 hour yoga certificates from InBody Yoga Academy.
Why I teach yoga: I have been fortunate enough to be able to bring yoga to cancer survivors for the last several years. I love teaching this population. All of my classes are light-hearted, playful, and challenging. You can usually plan on some arm balances, inversions, and a restorative cool-down (and maybe a head-rub with some lavender oil). Oh, and we're going to laugh a lot too.


{{ runexp.value | number:3 }}
runs score on average from this situation
Runner on
1B
Runner on
2B
Runner on
3B
Balls
{{ game_state.count.balls }}
Strikes
{{ game_state.count.strikes }}
Outs
{{ game_state.game.outs }}
Inning
{{ game_state.game.inning }}


A Room Too Far is a co-op dungeon crawler being worked on as my senior project. My main role has been the design and implementation of the level editor, which allows users to build and populate their own dungeons, then upload them to our game server.
Implementation of a data scraper/data visualization for the Erowid Experience Vaults. The scraping tool programmatically performs searches of the Erowid database, collects the required data, and outputs it to a CSV. Watch the scraper in action with the link above.
A project done in a class called Game AI. Completed with a team of three students. It is an implementation of a decision tree-based AI for StarCraft: Brood war. The project uses an injection program called BWAPI, which allows custom scripts to modify unit behavior in-game. Our code causes 3 Terran Vultures to disable a large Zerg base using kiting tactics.
Implementation of a limb movement system for a humanoid ragdoll, which causes it to "dance" around. Certain body parts move in response to balance changes in order to keep the dancer erect, while joints flex to create motion.
Project made with a partner in an Android programming class. It's a workout assistant for gym-goers. My major contribution was a script that uses the inbuilt accelerometer to detect reptitions of an exercise, so the user can strap the phone to one of their limbs, press start, and let the app count reps for them.
In-development Sonic the Hedgehog-themed, nostalgia-inducing multiplayer experience. Using a networking framework called Photon and a large amount of assets ripped from classic console games, I've begun implementing a pseudo-MMO (pseudo because there's no persistent data yet). Log in, chat with your friends on our spam-protected chat system, and explore maps from Mario Kart, Spyro the Dragon, Final Fantasy, Legend of Zelda, and other things will lead to copyright issues. But above all, go fast.
Created a voxel system that tesselates rhombic dodecahedrons instead of cubes. Each solid is manually generated through verts and tris. Faces inside the terrain are deleted so that the entire plot is one airtight mesh.
Created a system that can generate L-System fractals at runtime using a depth-first algorithm. The eventual goal is to make an infinite-runner where the player runs along an ever-generating fractal.
Experiment with a size-changing mechanic, where you play as an Alice in Wonderland type character that can adjust her scale to traverse obstacles. Experimented with cel-shading, shadows, and performance optimizations.
First attempt at procedural generation. The bees all follow a leader bee, which is invisible. If a follower collides with another, it does a speed check, changing its leader to who it collided with if it's moving slower than it. This eventually creates a serpent-like shape to the swarm.
A modeling of planetary orbit. Uses an addForce function, in conjunction with an initial velocity, in order to generate orbit. Many variables are modifiable via the user interface on the sides of the game screen.
Two-player deathmatch style game, using a voxel map as the playspace. Players have destruction and construction weapons, which are used to hurt the other player or modify the terrain. Coded with a team of two students in appr. 2.5 weeks.
First game ever created. Written in an introductory game design course. Hard-coded in JavaScript. Might want to turn down volume before playing.
Coded in appr. 2 weeks with a team of two students. Attempted to make a 3D lunar lander game. Probably over-scoped a bit on this one.
Playing with cameras, culling, and filters. Attempt at simulating the left/right brain hemisphere separation by having each side of the screen correspond to an eye, and using filtering to make them see the world in different ways.


{% include 'head.html' %}
{% include 'navbar.html' %}Evaluations
Here we explain the working and logic behind DBpedia Extract. Let's take the following text as an example :-
Beyoncé Giselle Knowles-Carter is an American singer, songwriter, record producer and actress. Born and raised in Houston, Texas, she performed in various singing and dancing competitions as a child, and rose to fame in the late 1990s as lead singer of R&B girl-group Destiny's Child. Managed by her father, Mathew Knowles, the group became one of the world's best-selling girl groups of all time. Their hiatus saw the release of Beyoncé's debut album, Dangerously in Love (2003), which established her as a solo artist worldwide, earned five Grammy Awards and featured the Billboard Hot 100 number-one singles "Crazy in Love" and "Baby Boy".
We will now use the above text to understand each of the methods used by the application, in other words we will look at various configurations of the application and see what results are being produced and how they are being produced.
Configuration - 1 : Hearst Patterns
The hearst patterns method allows users to add additional hearst patterns, but however the application list of hearst patterns which can be added. Another set of hearst patterns are created by using the DBpedia properties which are present. Running the following configuration we get the following triples
(<http://dbpedia.org/resource/Houston>, formOf, <http://dbpedia.org/resource/Child>)
(<http://dbpedia.org/resource/Late_Antiquity>, typeOf, <http://dbpedia.org/resource/Lead>)
Hearst patterns depend heavily on syntax of the sentence and thus their performance is dependent on the sentence and cannot be predicted. In the following case, the hearst patterns don't perform to the mark
Configuration - 2 : Using Parse Tree Method
The parse tree method can be switched on and off in the configuration. The parse tree method relies on an algorithm which is run the parse-tree generated by the parse on the sentence. The triples identified by setting this as the configuration are
(<http://dbpedia.org/resource/Houston>, <raised>, <http://dbpedia.org/resource/Houston>)
(<http://dbpedia.org/resource/Beyoncé>;, <typeOf>, <http://dbpedia.org/resource/Singing>)
(<hiatus>, <featured>, <http://dbpedia.org/resource/Synthesizer>)
(<father>, <Managed>, <father>)
The Parse Tree Method uses the generated parse tree to find triples (to be specific the treebank parse tree). Since this is independent of the syntax of the sentence (in a way), the results obtained by the followingm method will be better than the hearst pattern results, however the above results still can be further improved
Configuration - 3 : Using Dependencies
Dependencies can be switched on and off in the configuration. This method relies on the CoNLL-U dependencies which are obtained from the text. These dependencies are then checked for triples. The triples identified by setting this as the configuration are
(<http://dbpedia.org/resource/Singing>, <hypernym> (low confidence), <http://dbpedia.org/resource/Rhythm_and_blues>)
(<http://dbpedia.org/resource/Singing>, <http://purl.org/linguistics/gold/hypernym>, <http://dbpedia.org/resource/Giselle>)
(<http://dbpedia.org/resource/Synthesizer>, <hypernym> (low confidence), <http://xmlns.com/foaf/0.1/album<)
(<http://dbpedia.org/resource/Insanity>, <establish_as>, <http://dbpedia.org/resource/Artist>)
(<album>, <earn_in>, <http://dbpedia.org/resource/Insanity>)
The Dependencies Method uses the dependencies obtained from the text to determine triples. This is done by traversing the dependencies assuming it is a connected undirected graph. Using this method (better explained in the blog posts) the subject, onject along with the connecting verb can be extracted
Configuration - 4 : Using Dependencies with coreferences
Dependencies with coreferences can be switched on and off in the configuration. This method is an extension to the Dependenices, instead now the text coreferences are now utilised in extracting triples. The triples identified by setting this as the configuration are
(<http://dbpedia.org/resource/Singing>, <hypernym> (low confidence), <http://dbpedia.org/resource/Rhythm_and_blues>)
(<http://dbpedia.org/resource/Singing>, <http://purl.org/linguistics/gold/hypernym>, <http://dbpedia.org/resource/Giselle>)
(<http://dbpedia.org/resource/Synthesizer>, <hypernym> (low confidence), <http://xmlns.com/foaf/0.1/album<)
(<http://dbpedia.org/resource/Insanity>, <establish_as>, <http://dbpedia.org/resource/Artist>)
(<album>, <earn_in>, <http://dbpedia.org/resource/Insanity>)
(<http://dbpedia.org/resource/Beyoncé>, <perform_as>, <http://dbpedia.org/resource/Child>)
The Dependencies with coreferences Method will help better the results by adding coreferences. In our case, this method does help in adding one extra triple to the triples which have been extracted (namely the last one)


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--- layout: post title: "No Title" ---
Hard to believe these close/minimise/maximise buttons in the upcoming iTunes 10 aren’t a joke.


Female Participation in Summer Olympics
Many attempts have already been made to visualize female participation in the Olympics. The most basic one (Bmallion, 2015) is using tables to display the information about countries with the highest and lowest percentages of female athletes, and to show female percentages across the 120 years of the Olympics. See Table 1.
This method is simple and informative. This is useful for researchers looking for information on this topic, but it is not effective in terms of visualization. For example, looking at the plain number won’t help viewers have a clear idea of the trend in female participation in the past 120 years.
Another simple but effective method is using a line graph displaying the number of female and male athletes in each Olympic Games from 1896 to 2016 (Nunes, 2019). See Figure 1.
This graph is successful in showing the growth in the number of female athletes. However, it fails to show the percentage change. Although viewers can see directly the increase in the total number, they might find it difficult to notice the changes in the percentage.
Washington Street Journal did an interactive visualization comparing the inclusion of female and male events in the Olympics history (Serkez, 2018). It clearly shows that most men’s events were already established before the 1960s, whereas most women’s events were only introduced after the 1980s. See Figure 2.
Each individual dot represents a sport of a gender. When clicked, there will be a line connecting to the same sport of a different gender, and information on the inclusion of this sport for both genders will appear. Overall, this visualization clearly shows how late the introduction of female events was in the Olympics history, but it did not show how the number and percentage of female athletes changed over the years.
The official website of the International Olympic Committee (IOC) also made an attempt to show the growth in the percentage of sportswomen in the Olympics. See Figure 3.
As can be seen, it is effective in the way that it shows the dramatic changes in female participation by showing four Olympics in each of the charts. However, its drawback is obvious: the number of Olympic Games that are able to be displayed is extremely limited. It is impossible to show the information of all the Olympics in the past 120 years using this method.
Although there were many attempts visualizing the evolution of female participation in general, few visualizations exist showing the percentage change by continent. The only piece we found is several tables showing men and women participation in the Olympics from 1996 to 2016. No visualizations on this information were made. We decided that there is a gap here. Although both the total number and relative percentage of female athletes have been growing (Nunes, 2019), the increase might be different between continents. We decided to take a closer look at this in our study.


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