Thank you for buying Dante! We have spent a very long time developing this theme and the framework which it is built upon. We've done our very best to make it as extensive and feature-rich as possible, while also keeping it incredibly easy and slick to use. We've also worked hard to improve the ease of customisation, and have provided a Developer Documentation reference for anyone who wishes to extend/modify the theme through a Child Theme.
We would happily welcome feedback from you on how, if anywhere, you would like this documentation improved. If you would find anything a little bit easier and more helpful if we went into more detail, or explained something a little better - we'd be happy to hear it. We want Dante to be the best theme on the market! If you have any comments, please mail us via the form on http://www.themeforest.net/user/SwiftIdeas.
To help you better understand the theme, and for walkthroughs of certain aspects of Dante, please check out our tutorial videos:
Video TutorialsThis theme requires a working version of WordPress to already be installed on your server. If you need to install WordPress then please visit: http://wordpress.org/download/. If you need any help with the installation, please refer to the guide below:
Installing WordPressHere is a brief step by step on how to install WordPress:
The theme files need to be uploaded before you can activate the theme for use. There are two ways you can do this, FTP upload or WordPress upload.
If you get an error saying that the stylesheet is missing, then you have uploaded the wrong folder. Please check that you are uploading the dante/dante.zip within the Theme Files folder. You may have to unzip the file that you download from ThemeForest to find this.
Once you have uploaded the theme, you need to activate it by going to Appearance > Themes, and activate “Dante”.
Now that you have activated Dante, you will see a yellow notice at the top of the screen. This notice is to let you know about the plugins that we recommend you install for use with the theme. Click 'Begin installing plugins' and install/activate the plugins one by one. You can also access this page by going to Appearance > Install Plugins.
You will need to set the WooCommerce image settings in order for the quality to be as high as expected. You can set these settings by going to WooCommerce > Settings. You'll then want to click the "Catalog" tab, and scroll down until you see "Image Options".
Above are the image settings which we use for our demo. We recommend you follow the same width, but you can choose your desired width/height ratio.
NOTE: If you're installing the theme on existing content, then you may need to use the Regenerate Thumbnails plugin to regenerate the images to use your newly set image sizes.
NOTE: Before importing the demo content, make sure you have installed & activated "Contact Form 7" from within Appearance > Install Plugins, and also WooCommerce if you want the demo shop content.
Both the theme content and theme options have been provided so that you can set up the theme to look exactly like the demo in a few minutes.
We've provided the FULL demo content import file, that will allow you to replicate the demo site that we show. This file is titled "dante_demo-content.xml" and can be found within the "Demo Content" folder.
If the Full demo import fails for you, it will likely be due to your server memory settings, which will be limiting the import. In this case, we have provided an XML file without the media included, which will should import fine 100%. You can find this file within the "/Demo Content" folder, named "dante_demo-content-alt.xml".
The theme options text file is to copy and paste the contents into the box provided within Theme Options, under the Import/Export sub-menu. You can find this file, named "dante_theme-options.txt" within the "Demo Content" folder.
If you have any issues with the import, i.e. any errors, then you'll likely need to increase the memory limit and try again. Here's a guide of how to proceed if you come across issues:
define('WP_MEMORY_LIMIT', '64M');
memory_limit = 64M
php_value memory_limit 64M
You can use the below image as reference for the setup we have on our server:
You can change the theme’s logo by accessing the Theme Options and uploading your logo with the uploader under the “Header Options” section.
You'll want to upload an image to use for the retina logo too, to make your logo high quality on retina displays. The retina logo should be double the size in pixels, of your standard logo. If you do provide a retina logo, then please provide the logo width in the field below. This allows the theme to set the size, and enable the retina functionality to work perfectly.
The max height for the logo area is 42px. If you upload an image with a bigger height than this, it will automatically be scaled to fit. The logo area has a maximum size, as to keep the menu items correctly placed. If you upload an image with a smaller height than this, you may need to add top spacing to get it vertically centered.
The Posts menu option on the left is where you add blog posts. To add a new blog post, select the Posts > Add New option from the left hand WordPress menu.
Once you're on the Add New Post screen, you will then be able to set a title for the blog post, add the body content, and also provide all the meta information such as extra details and media. In the blog meta you can set the image for the thumbnail, and also the media type for the detail page.
You can use the Swift Page Builder to create the content of the item, which effectively allows you to have limitless possibilities for what you can display, and also how you can display it. If you do use the Page Builder to create the content, you will want to provide a custom excerpt (can be found in the item meta).
The item meta also contains post slider options, allowing you to set the image for the slide that will show if the item appears in a posts slider, and also the display for the caption.
To display your blog posts, you will then need to create a page that includes the "Blog", "Recent Posts" or "Posts Carousel" page builder asset:
The blog asset includes options such as the following, allowing you to customise the output to your liking:
NOTE: DO NOT set the posts page in Settings > Reading, as this will force your page to show the archive layout, and not follow your created page.
The Portfolio menu option on the left is where you add Portfolio items. To add a new portfolio item, select the Portfolio > Add New option from the left hand WordPress menu.
Once you're on the Add New Portfolio Item screen, you will then be able to set a title for the portfolio item, add the body content, and also provide all the meta information such as extra details and media. In the portfolio meta you can set the image for the thumbnail, and also the media type for the detail page.
You can add categories for each portfolio item's which act as the filters in the filtering system, and also a way to create multiple portfolio pages. You can have subcategories for filtering on a category Portfolio page, so none of the functionality is lost. When setting up categories, it is important that you name the slugs correctly. The slug of each category should be the same as the name, but all lowercase. If the category name contains spaces, then these should be represented in the slug with a '-'.
You can use the Swift Page Builder to create the content of the item, which effectively allows you to have limitless possibilities for what you can display, and also how you can display it. If you do use the Page Builder to create the content, you will want to provide a custom excerpt (can be found in the item meta).
To display your portfolio items, you will then need to create a page that includes the "Portfolio" page builder asset. The portfolio asset has the following options included, allowing you to customise the output to your liking:
The Products menu option on the left is where you can add and manage products. To add a new product, select the Products > Add Product option from the left hand WordPress menu.
Once you're on the Add New Product screen, you will then be able to set a title for the product item, add the description, and also provide all the data information such as price, stock status, attributes, etc.
You can add a featured image in the right column box, and above that set any other gallery images. Any images you add here will be used for the product slider images.
If you would like to create a product where you can select the size/colour of a product for example, then please check out the following guide:
Product VariationsTo display your products, you will want to create a page, leave the content blank, and then set the "Shop Base Page" in WooCommerce > Settings > Pages.
If you would like to add products within a page that you create using the page builder, you can also use the Products & Products (Mini) assets.
The Super Search is a unique feature to Swift Ideas themes, allowing you to provide a helpful tool to your customers in guiding them to what they are looking for.
In order to setup the search options/text to match your setup, you need to go to Theme Options > Super Search Options.
You can set up to 6 filters, each one with text before the option select, the type of option to show, and the default text for the option.
There are also options to set the final text (after the last filter), and the button text.
The Team menu option on the left is where you add team members. To add a new team member, select the Team > Add New option from the left hand WordPress menu.
You will then be able to provide all the details for the team member through the team member meta box.
To show your team members, you will need to create a page that includes either the "Team" or "Team Carousel" page builder assets.
The Clients menu option on the left is where you add clients. To add a new client, select the Clients > Add New option from the left hand WordPress menu.
You will then be able to provide an image for the client, and a link if you'd like through the client meta box.
To display your clients, you will then need to create a page that includes either the "Clients" or "Clients (Featured)" page builder assets.
The Testimonials menu option on the left is where you add testimonials. To add a new testimonial, select the Testimonials > Add New option from the left hand WordPress menu.
You will then be able to provide the testimonial in the post content, and then the testimonial cite in the testimonial meta box.
To display your testimonials, you will then need to create a page that includes either the "Testimonails", "Testimonials Carousel", or "Testimonials Slider" page builder assets.
The Jobs menu option on the left is where you add job listings. To add a new job listing, select the Jobs > Add New option from the left hand WordPress menu.
You will then be able to enter the content for the job in the post content editor.
To display your job listings, you will then need to create a page that includes either the "Jobs" or "Jobs Overview" page builder asset.
The FAQS menu option on the left is where you add faqs. To add a new faq, select the FAQs > Add New option from the left hand WordPress menu.
You will then be able to enter the question (the title of the faq), and the answer in the the post content editor. You will also need to add a topic for each faq.
To display your faqs, you will then need to create a page that includes the "FAQs" page builder asset.
There are up to 13 widget areas that can be viewed under the Appearance > Widgets menu, eight sidebar areas, and four footer column widget areas. You can select which sidebars appear on the page through the page/post editor. The number of footer sidebars depends on the footer setup that you choose within Theme Options.
When you create or edit a post/page/product, you have the option to override the default sidebar configuration. You can find these options in the meta options, which are visible below the content editor.
To enable the use of Twitter widgets/assets within Dante, you will need to follow a few steps:
We have provided a child theme package ready for you to use if you wish to make changes to files, while keeping them through updates. The child theme is included within the main download folder, and is named "dante-child" all you need to do is upload this as well as the standard "dante" folder, and then activate the child theme in Appearance > Themes from the WordPress menu.
We've include the child theme css file ready for you to add your own styles, if you'd prefer to do it here rather than in the custom css box within the theme options. If you are adding styles here, but aren't seeing them on the front end, try adding !important to the end of the declaration. This is sometimes needed to override the dynamic css styles that are generated from the theme options customisations.
We've also included a child theme functions.php file, which you can use to add your own php functions, or override functions from the parent theme. If you'd like to do this, make sure you check out the developers documentation for the theme.
The Swift Page Builder (SPB) allows you to create unique and amazing pages, exactly the way you want them! The SPB is powered by shortcodes, which are embedded when you select the content elements you want, and edit them. You can see the source by going back to the classic editor, although you shouldn't ever need to do this and you should only make changes to this if you know what you're doing.
To add a content element to the page, all you need to do is drag the element from the dropdown into the content area, or simply click on it to have it added automatically. You can then edit the column width (on applicable elements) by pressing the left/right arrows in the top left of the content element, and also edit the asset (the pencil), duplicate the element, or delete the element.
When you click on the edit button, you will be given the option of specifying a number of parameters based on the content element. Below is a screenshot from the edit screen of the Portfolio content element. As you can see there are a wide number of options for you to choose from.
Please watch the video below to get an idea of how to use the Page Builder:
The SPB includes a Blank Spacer element, which allows you to add spacing in between your content elements, to suit your needs. We decided on making this user controlled, so that there is never a case where you don't have the spacing you need.
We have added a field in most page builder assets called "extra class". This can be used to style a particular asset differently, or you can use our handy custom classes to remove default styling such as margins or paddings. Below is a list of our custom classes.
NOTE: Make sure you only enter "pb0" for example, you do not need to include the period in front of the class.
The color customizer can be accessed by pressing the "Color Customizer" button within the WordPress admin bar, or through the Appearance > Themes menu. From the color customizer you can preview the themes color/skin changes as you make them.
The theme options can be used to customise the theme to suit your needs, including backgrounds, layouts and much more. You should take the time to go through all of these options to ensure that you are getting the most out of the theme.
Dante allows you to use either Web Standard, Font Deck, or Google Fonts - separately for both Body & Headings text. If you are using Web Standard, or Google Fonts, then all you need to do is select the type from the button set, and then select the font family from the provided dropdowns.
If you are using Font Deck, then please follow the instructions that are provided in the description underneath the option title. You can also find the instructions here:
Go to https://fontdeck.com/account, and add a website if you haven't already. If you have, then click on this website. You will then proceed to a page where you can see your font choices. In another browser tab, open up Theme Options > Font Options within your WordPress dashboard.
At the bottom of the Theme Options > Font Options panel, you will find an option with a text area, with the option being named "FontDeck JS Code". In this text area paste the code that you can find from Step 1 of the FontDeck install options.
In the Body/Heading sections of Theme Options > Font Options panel, you will find an option with a text area, with the option being named "Standard FontDeck Font" or "Heading FontDeck Font". In this text area paste the code that you can find from Step 2 of the FontDeck install options.
If you would like to add your own @font-face fonts, then here are a few tips to do so. We'd recommend that you use the Font Squirrel web font generator, found here - http://www.fontsquirrel.com/tools/webfont-generator.
You'll need to upload your font files to your server via FTP, or you could upload them one by one to the WordPress Media Manager. Once you've uploaded them, you will need to reference them using the following css. You can add this to the custom css box within theme options, or within the child theme css if you are using a child theme. When you download the kit from Font Squirrel, you will find a file named "stylesheet.css" within the zipped folder. This file contains the full @font-face declaration for your uploaded font. We've placed a reference for you below:
@font-face {
font-family: 'FONT_NAME';
src: url('FONT_URL.eot');
src: url('FONT_URL.eot?#iefix') format('embedded-opentype'),
url('FONT_URL.woff') format('woff'),
url('FONT_URL.ttf') format('truetype'),
url('FONT_URL.svg#FONT_NAME') format('svg');
font-weight: normal;
font-style: normal;
}
// BODY FONT
body, h6 {
font-family: "FONT_NAME", Arial, Helvetica, Tahoma, sans-serif;
}
// HEADINGS FONT
h1, h2, h3, h4, h5, .custom-caption p, span.dropcap1, span.dropcap2, span.dropcap3, span.dropcap4, .spb_call_text, .impact-text, .impact-text-large, .testimonial-text, .header-advert, .sf-count-asset .count-number, #base-promo, .sf-countdown, .sf-icon-character, .fancy-heading h1 {
font-family: "FONT_NAME", Arial, Helvetica, Tahoma, sans-serif;
}
If you would like to use Subset or Cyrillic Google Fonts, then you will need to include these manually. The code below is an example of what you would add to the custom css box within theme options, or the child theme css file:
// IMPORT THE FONT
@import url(http://fonts.googleapis.com/css?family=PT+Serif&subset=latin,cyrillic);
// BODY FONT
body, h6 {
font-family: "PT Serif", serif;
}
// HEADINGS FONT
h1, h2, h3, h4, h5, .custom-caption p, span.dropcap1, span.dropcap2, span.dropcap3, span.dropcap4, .spb_call_text, .impact-text, .impact-text-large, .testimonial-text, .header-advert, .sf-count-asset .count-number, #base-promo, .sf-countdown, .sf-icon-character, .fancy-heading h1 {
font-family: "PT Serif", serif;
}
Dante uses meta options to allow you to upload images, provide information, and set up the way the page/post displays. You can find these below the content editor on Pages/Posts/Portfolio Items. Please spend some time exploring these, as knowing what they control will be very helpful in ensuring you are efficient with your content input. Below you can see where to find the meta options within any post type:
On every page you create, you can optionally include the Swift Slider at the top of the page, with options for the number of posts to show, and what category to show posts from. You can select whether the slider pulls in posts, portfolio items, or both - the "Hybrid" option.
The Swift Slider does not require any special content to be created for it, as it is powered by posts and/or portfolio items. The Slider will use the featured image from the post/portfolio item, unless you have provided one in the meta options for that item. You can set the caption position per item, as seen below:
The theme includes the premium plugin - Revolution Slider. You can find documentation for this included within the Documentation > Revolution Slider Documentation folder.
Once you've installed and activated the Revolution Slider plugin (by going to Appearance > Install Plugins), you will then see the menu item appear at the bottom of the WordPress menu, as below:
If you want to import our revolution slider example, you will need to run through the following steps:
Dante includes 9 custom widgets, that you can use in the sidebars or footer area.
Swift Framework Advert Grid Widget - A custom widget to show an advert grid of up to 8 125 x 125 adverts in a single block.
Swift Framework Flickr Widget - This flickr widget shows off your flickr photos. You can get the required Flickr ID from here http://idgettr.com/.
Swift Framework InFocus Widget - A custom widget to show a focus of a single post.
Swift Framework Portfolio Grid - A custom widget to show recent portfolio items in a grid with an image and title tooltip.
Swift Framework Recent Comments - A custom widget to show recent comments.
Swift Framework Recent Portfolio - A custom widget to show recent portfolio items with an image.
Swift Framework Recent Posts - A custom widget to show recent posts with an image.
Swift Framework Tweets - A custom widget to show the latest tweets from a Twitter account.
Swift Framework Video Widget - The Video widget embeds a video from a url that you enter into the input field within the widget options. You can find out what type of video you can embed here.
Dante includes the Swift Framework Shortcode Generator, which is a custom built feature for our themes. The generator allows you to embed shortcodes within your content quickly without having to remember the syntax. The generator allows you to select the type from the list, and provide parameters (if needed).
You can find the shortcode generator within the WordPress WYSIWYG editor. The button looks like this:
Dante is 100% translation and multi-lingual ready, and we recommend that you use the very popular WPML plugin.
To translate the static strings, if you aren't using WPML then I recommend downloading PO Edit, from http://www.poedit.net/. Once you have installed please follow the steps below:
If you translate Dante into a language that isn't included, then we'd really appreciate it if you could send it to us. This will benefit you as you won't have to re-upload it when you update the theme, and will also help out others. If you want to contact us about this, please use the form provided on the page here:
Contact UsWe have provided compatibility pre-built into Dante for WooCommerce.
If you go to Theme Options > WooCommerce Options you will find a whole panel of options to enable/disable and customise the way your shop works.
NOTE: You will need to edit and save each of the individual WooCommerce pages to enable the page headings.
You can change the login logo that appears on the WordPress login screen through the included theme options. All you need to do is go to Theme Options > General Options and then upload an image to the "Custom Login Logo" option.
[chart percentage="90" size="70" barcolour="#ff9900" trackcolour="#444" content="icon-magic" align="left"]
The column shortcode is used to split content into columns, and you can choose the size of each column using any of the shortcode configurations below. The last column of the row must be an "_last" shortcode, as this clears the columns for the content below.
[one_half]....[/one_half][one_half_last]....[/one_half_last]
[one_third]....[/one_third][one_third]....[/one_third][one_third_last]....[/one_third_last]
[one_third]....[/one_third][two_third_last]....[/two_third_last]
[two_third]....[/two_third][one_third_last]....[/one_third_last]
[one_fourth]....[/one_fourth][one_fourth]....[/one_fourth][one_fourth]....[/one_fourth][one_fourth_last]....[/one_fourth_last]
[one_fourth]....[/one_fourth][three_fourth_last]....[/three_fourth_last]
[three_fourth]....[/three_fourth][one_fourth_last]....[/one_fourth_last]
[one_fourth]....[/one_fourth]one_fourth]....[/one_fourth][one_half_last]....[/one_half_last]
[one_fourth]....[/one_fourth][one_half]....[/one_half][one_fourth_last]....[/one_fourth_last]
[one_half]....[/one_half][one_fourth]....[/one_fourth][one_fourth_last]....[/one_fourth_last]
[sf_count from="0" to="100" speed="2000" refresh="25" textstyle="h3" subject="Subject"]
[sf_countdown year="2014" month="10" day="15" fontsize="small" displaytext="Display Text"]
[icon image="ss-man" size="small" cont="yes" float="left"]
[sf_iconbox image="fa-tachometer" type="standard" title="Box Title" animation="fade-in" animation_delay="200"]Enter your Icon Box content here[/sf_iconbox]
[labelled_pricing_table columns="3"]
[lpt_label_column]
[lpt_row_label alt="yes"] LABEL 0 [/lpt_row_label]
[lpt_row_label] LABEL 1 [/lpt_row_label]
[/lpt_label_column]
[lpt_column]
[lpt_price]$100/ mo.[/lpt_price]
[lpt_package]Basic Package[/lpt_package]
[lpt_row_label alt="yes"] LABEL 0 [/lpt_row_label]
[lpt_row alt="yes"] DETAIL 0 [/lpt_row]
[lpt_row_label] LABEL 1 [/lpt_row_label]
[lpt_row] DETAIL 1 [/lpt_row]
[lpt_button link="#" target="_self"]Buy Now[/lpt_button]
[/lpt_column]
[lpt_column highlight="yes"]
[lpt_price]$100/ mo.[/lpt_price]
[lpt_package]Basic Package[/lpt_package]
[lpt_row_label alt="yes"] LABEL 0 [/lpt_row_label]
[lpt_row alt="yes"] DETAIL 0 [/lpt_row]
[lpt_row_label] LABEL 1 [/lpt_row_label]
[lpt_row] DETAIL 1 [/lpt_row]
[lpt_button link="#" target="_self"]Buy Now[/lpt_button]
[/lpt_column]
[/labelled_pricing_table]
[list]
[list_item icon="ss-phonedisabled"]Item text 1[/list_item]
[list_item icon="ss-phonedisabled"]Item text 2[/list_item]
[list_item icon="ss-phonedisabled"]Item text 3[/list_item]
[/list]
[sf_modal header="Modal Header" btn_colour="accent" btn_type="standard" btn_size="small" btn_text="Button text"]ENTER THE MODAL BODY HERE[/sf_modal]
[pricing_table type="standard" columns="2"]
[pt_column]
[pt_price]$100/ mo.[/pt_price]
[pt_package]Basic Package[/pt_package]
[pt_details]Details here
[pt_button link="#" target="_self"]Buy Now[/pt_button]
[/pt_details]
[/pt_column]
[pt_column highlight="yes"]
[pt_price]$100/ mo.[/pt_price]
[pt_package]Basic Package[/pt_package]
[pt_details]Details here
[pt_button link="#" target="_self"]Buy Now[/pt_button]
[/pt_details]
[/pt_column]
[/pricing_table]
[progress_bar percentage="75" name="COMPLETED" value="75%" type="" colour="#ff9900"]
[sf_fullscreenvideo type="image-button" btntext="button text" imageurl="image.jpg" videourl="http://vimeo.com/78033138"]
[sf_visibility class="visible-sm"]
ENTER THE RESPONSIVE VISIBILITY CONTENT HERE
[/sf_visibility]
[table type="standard_minimal"]
[trow]
[thcol]HEAD COL 1[/thcol]
[thcol]HEAD COL 2[/thcol]
[/trow]
[trow]
[tcol]ROW 1 COL 1[/tcol]
[tcol]ROW 1 COL 2[/tcol]
[/trow]
[trow]
[tcol]ROW 2 COL 1[/tcol]
[tcol]ROW 2 COL 2[/tcol]
[/trow]
[/table]
[sf_tooltip link="#" direction="top" title="Tooltip text"]TEXT HERE[/sf_tooltip]
[highlight]TEXT HERE[/highlight]
[decorative_ampersand]TEXT HERE[/decorative_ampersand]
[blockquote1]TEXT HERE[/blockquote1]
[blockquote2]TEXT HERE[/blockquote2]
[blockquote3]TEXT HERE[/blockquote3]
[pullquote]TEXT HERE[/pullquote]
[dropcap1]TEXT HERE[/dropcap1]
[dropcap2]TEXT HERE[/dropcap2]
[dropcap3]TEXT HERE[/dropcap3]
[dropcap4]TEXT HERE[/dropcap4]
There are no parameters for these shortcodes.
styles.css - The main css for the theme, which includes the layout and styling for all aspects of the theme.
bootstrap.min.css - Sleek, intuitive, and powerful front-end framework for faster and easier web development.. More info: Twitter Bootstrap.
editor-styles.css - Contains styles that are used within the content editor.
font-awesome.min.css - Font Awesome icon font. More info: Font Awesome.
responsive.css - The theme's responsive styles.
ss-gizmo.css - Symbolset Gizmo icon font. More info: Gizmo.
bootstrap.min.js - Sleek, intuitive, and powerful front-end framework for faster and easier web development.. More info: Twitter Bootstrap.
excanvas.compiled.js - Modern browsers like Firefox, Safari, Chrome and Opera support the HTML5 canvas tag to allow 2D command-based drawing. ExplorerCanvas brings the same functionality to Internet Explorer. More info: Explorer Canvas.
functions.js - This is where all the custom magic happens. Feel free to edit any of this code, but make sure to keep a backup in case anything goes wrong!
jquery-ui-1.10.2.custom.min.js - jQuery UI is a curated set of user interface interactions, effects, widgets, and themes built on top of the jQuery JavaScript Library. More info: http://jqueryui.com/.
jquery.carouFredSel.js - jQuery.carouFredSel is a plugin that turns any kind of HTML element into a carousel. More info: carouFredSel.
jquery.easing.js - A jQuery plugin from GSGD to give advanced easing options.. You can find out more here: http://gsgd.co.uk/sandbox/jquery/easing/.
jquery.elevateZoom.min.js - A jQuery image zoom plugin. You can find out more here: http://gsgd.co.uk/sandbox/jquery/easing/.
jquery.fitvids.js - A lightweight, easy-to-use jQuery plugin for fluid width video embeds.. You can find out more here: http://fitvidsjs.com/.
jquery.flexslider-min.js - an awesome, fully responsive jQuery slider plugin.. You can find out more here: http://www.woothemes.com/flexslider/.
jquery.infinitescroll.min.js - Infinite scroll plugin for the blog page builder asset. You can find out more here: http://www.infinite-scroll.com/infinite-scroll-jquery-plugin/.
jquery.hoverIntent.min.js - hoverIntent is a plug-in that attempts to determine the user's intent. You can find out more here: http://cherne.net/brian/resources/jquery.hoverIntent.html.
jquery.isotope.min.js - Isotope: An exquisite jQuery plugin for magical layouts. You can find out more here: http://isotope.metafizzy.co/index.html.
respond.min.js - A fast & lightweight polyfill for min/max-width CSS3 Media Queries (for IE 6-8, and more). You can find out more here: https://github.com/scottjehl/Respond.
sf-admin.js - jQuery for some of the admin panel functions within the theme.
theme-scripts.js - A packed scripts file for plugins that frequently used within the theme.
view.min.js - PREMIUM PLUGIN. A simple, lightweight, jQuery photo viewer for the web. You can find out more here: http://finegoodsmarket.com/view/.
Social Shortcode
[social] [social size="large"] [social size="standard" type="twitter,vimeo,facebook"]
Parameters
Optional
Providing these, comma delimited, will limit the output of the shortcode, and also allow you to order them how you prefer.


Ghana Signs Deal For Six (6) Aircraft For National Airline
by Peace FM OnlineGhana’s Aviation Minister, Mr Kofi Adda, has, on behalf of the government of Ghana, signed a deal with Canadian firm De Havilland Aircraft to buy six Dash8-400 aircraft to start its national airline.
The deal was signed on Tuesday, 19 November 2019 at the on-going Dubai Air Show.
The deal is a booster to Ghana’s aviation industry as the country tries to resuscitate its national airline.
In 2004, Ghana International Airlines was established with the government owning a 70% stake while a US consortium, GIA-USA, had 30 per cent.
The deal fell through six years later resulting in the collapse of the national airliner in 2010. Featured Video


Eggs
Fish
Gluten
Peanuts
Shellfish
Soy
Tree Nuts
Wheat
Celiac Disease: Gluten Free
Diabetes: Sugar Free
Gout: High Vegetables & Low Meat
Hypertension: Low Salt
Lactose Intolerance: Dairy Free
Buddhist: No Meat, Garlic & Onions
Hindu: No Beef & Eggs
Jewish: Kosher
Muslim: Halal
Alcohol Free
Caffeine Free
Atkins
Keto
Low Carb
Low Fat
Paleo
Pescetarian
Vegan
Vegetarian


Previous: The Frame Tag
Smudge: The Box Tag
As with Frames, Boxes provide a rectangular switchable container. The main difference is that
the Box title is inset into the boundary, and can be made to stand out somewhat using the
< Bold> modifier. Box titles are drawn black.
Example:-
< Page>
< Title> Setup < /Title>
    < Frame,id=Firstframe>
      < Style> NoFrame < /Style>
      < Geometry> 10 10 100 200 < /Geometry>
      < Enabled> false < /Enabled>
      < Title> Mesh < /Title>
      < Box,id=Firstbox>
        < Geometry> 10 10 70 100 < /Geometry>
        < Title> Slope < /Title>
        < Bold> true < /Bold>
      < /Box>
    < /Frame>
< /Page>
a Page, labelled "Setup", containing a frame labelled "Mesh", which in turn contains a box labelled "Slope".
The title is set to print in boldface. The Box geometry is relative to the Frame which contains it, so its origin is 10 pixels into the frame. The
id "Firstbox" can be used for switching. By default the box is enabled, but since it is contained within a
disabled frame, it will not be acessible until the Frame is switched on.
Next: The Buttons Tag
Back to Smudge Contents
Last modified: Fri Jan 25 11:59:12 GMT 2002


Hi Doris, welcome back!
🎧 An Introduction to Electronic MusicA small taste of the basics of electronic music. Learn the concepts behind creating and modifying sounds in an electronic music system. Learn the ideas behind the tools and systems we use to create electronic music. (2 of 17 units learned.) |
|
🎸 Let's Play Classical GuitarAn introduction to classical guitar. Let's learn some chords. And how to read guitar tabulature. (0 of 10 units learned.) |
|
...or how about something else? 🔭 |
Eileen voted ✅ yes on your proposal on Music Theory.
We'll cover the basics of how to read sheet music. Chords, progressions, and sequences. Harmony.
A card is a single learning activity. 🃏
Examples: a 3-minute video or a multiple choice question.
A unit is a single learning goal. 📖
Example: “What is mean, median, and mode?”
A subject is a collection of units and other subjects. 📚
Like a course, but at any scale. Such as “Measures of Central Tendency”, “Intro to Statistics”, or even a full degree program.


fusePerfectScrollbar is an Angular directive for the Perfect Scrollbar library.
fusePerfectScrollbar
Inputs fusePerfectScrollbar Accepts an optional boolean which you can control the Perfect Scrollbar. If provided false, Perfect Scrollbar will be destroyed or won't be initialized. fusePerfectScrollbarOptions Accepts the Perfect Scrollbar options. In addition to those options, there is also a custom updateOnRouteChange option which updates the scrollbar on route changes. That's useful if your scrollbar wraps a router-outlet.
fusePerfectScrollbar Accepts an optional boolean which you can control the Perfect Scrollbar. If provided false, Perfect Scrollbar will be destroyed or won't be initialized.
fusePerfectScrollbarOptions Accepts the Perfect Scrollbar options. In addition to those options, there is also a custom updateOnRouteChange option which updates the scrollbar on route changes. That's useful if your scrollbar wraps a router-outlet.
fusePerfectScrollbarOptions


{% include /landingpage/head.html %}
{% include /landingpage/header.html %} {% include /landingpage/projects.html %} {% include /landingpage/portfolio_grid.html %} {% include /landingpage/about.html %} {% include /landingpage/contact.html %} {% include /landingpage/footer.html %} {% include /landingpage/modals.html %} {% include /landingpage/js.html %}


The NIBRS Pre-Certification Tool (PCT) provides law enforcement agencies, responsible for submitting Incident-Based Reports (IBR) data to State Uniform Crime Reporting (UCR) programs, the ability to test their submissions in advance of its formal delivery. State UCR programs may also use the NIBRS PCT to test their IBR submissions before beginning the NIBRS certification process with the FBI. The NIBRS PCT exercises the NIBRS data edit and validation rules and provides formatted output of errors, so that submitters may correct their data submissions and, ultimately, speed the FBI CJIS and/or state IBR certification process.
Important notes:
- The validation rules implemented by the NIBRS PCT only reflect the FBI’s NIBRS rules and do not include state-specific data elements and rules. Likewise, the NIBRS PCT cannot validate some NIBRS rules specific to the submitting agency. See Tool Limitations for specific details.
- The NIBRS PCT is intended to assist the user in understanding how well its data aligns with the FBI NIBRS standard version 3.1. It is not intended to substitute for FBI NIBRS or State certification.
The NIBRS PCT is licensed under the open source Apache License, version 2.0 . The source code is available here.


The schedule will be fully built out by attendees
the first 45 minutes of each day. We'll take a photo and post it here and twitter after the schedule has been created. Unconferences
can be nebulous so here's an idea of what to expect!
- Library usage discussion
- Who's using what, experiences, likes / dislikes. LitElement vs VanillaJS vs any others!
- Theming web components
- custom properties vs css variables
- Light DOM vs shadow DOM
- Pros & cons, lessons learned
- making hello-world
- Creating a hello-world element with open-wc tooling
- Tooling workflows
- Rollup? Webpack? Polymer build? experience share and comparisons of WCFactory
vs OpenWc
vs others
- HAXeditor / HAXcms UX
- discussion and roadmap prioritization
- Monorepos vs multiple repos
- How to manage WCs at scale with teams of developers and projects
- Bundle vs unbundle
- When to do one vs the other, CDN discussions
- Anything you bring to the table! These are just suggestions based on who's going to be there!
- 9:00 - 9:15 - coffee and registration
- 9:15 - 9:30 - Welcome to hax-camp from organizers
- 9:30 - 10:30 - Introductions and schedule formation
- 10:35 - 11:20 - Slot 1 discussions / presentations
- 11:30 - 12:15 - Slot 2 discussions / presentations
- 12:20 - 1:35 - Lunch, talk by sponsor X
- 1:40 - 2:25 - Slot 3 discussions / presentations
- 2:35 - 3:20 - Slot 4 discussions / presentations
- 3:30 - 4:15 - Slot 5 discussions / presentations
- 4:15 - 4:30 - Debrief
- 4:30 - 6:30 - After party by sponsor Y
- 9:00 - 9:30 - coffee and registration
- 9:30 - 10:15 - Schedule formation
- 10:35 - 11:20 - Slot 1 discussions / presentations
- 11:30 - 12:15 - Slot 2 discussions / presentations
- 12:20 - 1:35 - Lunch, talk by sponsor Z
- 1:40 - 2:25 - Slot 3 discussions / presentations
- 2:35 - 3:20 - Slot 4 discussions / presentations
- 3:30 - 4:15 - Slot 5 discussions / presentations
- 4:15 - 4:30 - Debrief / "build our roster" / make evening plans


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.
Sound Board
The finest SAW soundbytes
Please wait while the soundboard loads. This may take some time.
SAW Soundboard - © 2017 - The Agency
The finest SAW soundbytes
Please wait while the soundboard loads. This may take some time.
SAW Soundboard - © 2017 - The Agency


-
Death, drones and driverless cars: how Google wants to control our lives
www.theguardian.com
Google seems to be reaching out of the internet and into every corner of the world. So what exactly does it want – and can it really be good for us?
www.theguardian.com
Google seems to be reaching out of the internet and into every corner of the world. So what exactly does it want – and can it really be good for us?


LoginViewController
class LoginViewController : UIViewController
Undocumented
-
Undocumented
Declaration
Swift
@IBOutlet weak var emailInput: UITextField!
-
Undocumented
Declaration
Swift
@IBOutlet weak var passwordInput: UITextField!
-
Undocumented
Declaration
Swift
@IBOutlet weak var registerHeightContraint: NSLayoutConstraint!
-
Undocumented
Declaration
Swift
override func viewDidLoad()
-
Undocumented
Declaration
Swift
override func viewDidAppear(_ animated: Bool)
-
Call the signIn method in the UserManager to authenticate the user
Declaration
Swift
@IBAction func onLoginButtonClick(_ sender: UIButton)
Parameters
sender
Button that was pressed
-
Called when the text field is selected. Calls the function animateViewMoving
Declaration
Swift
@IBAction func mailEditingDidBegin(_ sender: UITextField)
Parameters
sender
Specifies TextField that was selected
-
Called if the text field is no longer selected. Calls the function animateViewMoving
Declaration
Swift
@IBAction func mailEditingDidEnd(_ sender: UITextField)
Parameters
sender
Specifies TextField that was selected
-
Undocumented
Declaration
Swift
@IBAction func passwordEditingDidBegin(_ sender: UITextField)
-
Undocumented
Declaration
Swift
@IBAction func passwordEditingDidEnd(_ sender: UITextField)
-
Moves the view up or down to show the content behind the keyboard
Declaration
Swift
func animateViewMoving(moveUp: Bool, moveValue: CGFloat)
Parameters
moveUp
Specifies whether the view should move up or down.
moveValue
Specifies how far the view shifts


Where food meets music!
Share some info about what you want to cook
Breakfast
Lunch
Dinner
Dessert
15 minutes or less
30 minutes or less
45 minutes or less
I'm flexible
Vegetarian
Now some music to accompany
Alternative
Blues
Country
Indie
Pop
Rap
Rock
Submit
Try Again


FROM DUSK Till DAWN (director/editor: Robert Rodriguez; screenwriters: Quentin Tarantino/Robert Kurtzman (story); cinematographer: Guillermo Navarro; cast: Quentin Tarantino (Richie Gecko), George Clooney (Seth Gecko), Juliette Lewis (Kate Fuller), Harvey Keitel (Jacob Fuller), Ernest Liu (Scott Fuller), Salma Hayek (Santanico Pandemonium), Tom Savini (Sex Machine), Fred Williamson (Frost), Cheech Marin (Border Guard/Chet Pussy/Carlos), Michael Parks (Texas Ranger), Brenda Hillhouse (Hostage Gloria); Runtime: 108; Dimension Films; 1996)
Reviewed by Dennis Schwartz
It's a love it or hate it film. I simply hated it.  It's a serial killer/horror film farce of nonstop over-the-top action and sleaze, involving decapitations, vampires, biker fights, extended gun play, and an array of gore that has to be seen to be believed. A film that regales in its vulgarity and campiness for blood-and-gore, as it goes out of its way to gloss over the clichés of the conventional B-films. It's geared only for the cult film crowd, and will make its mark there one way or the other.
The plot involves two psychopath brothers, the older professional bank robber and killer Seth Gecko (Clooney) and the perverted psychopath killer, Richie (Tarantino), who kills for pleasure and is also a rapist.  They have just robbed a bank and killed a number of cops, they have also taken a middle-aged bank teller as a hostage.  Stopping off in a flop-house motel, Richie rapes and slaughters the hostage. These scenes are all done with an eye for comedy and parody, if that's possible. On the TV news, it says they have killed 16 so far and most are Texas Rangers.
The brothers plan to get to Mexico and meet Carlos (Cheech), who will give them a place of sanctuary for thirty percent of their illegal take. With road blocks and car searches at the border, the brothers commandeer a motor home of a vacationing family who stopped at their motel so that the father could sleep in a real bed. There is the father, Jacob Fuller (Keitel), who just resigned as a minister because he lost faith ever since his wife died in a car accident; his sexy 20-year-old, innocent daughter, Kate (Lewis); and, her shy brother Scott (Liu). It's not explained how he happens to be Chinese.
The story really becomes bizarre when they get across the border and get ready to meet Carlos in a bar/whorehouse for truckers and bikers called the Titty Twister. The place is open from dawn to dusk, thus the film's title. Here's where Rodriguez has a chance to throw convention out the window and have some absurd fun, as the place turns out to be a vampire hangout. It sells sex to its patrons, and has exotic stripper Santanico Pandemonium (Hayek) do her alluring strip before turning into a vampire. The brothers and their hostages have to fight their way out of the place, as the vampires keep coming and the killings become the film's staple.
This supposedly clever script did nothing but turn me off, though there were a few funny moments in a film that was dripping with special effects and spent most of its script in finding novel ways to showcase its killings. I'll take a pass on this one, it's just not my style of a film. The characters were as empty as the story, and the film was an easy one to forget.
REVIEWED ON 7/24/2001 GRADE: C-
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
========== X-RAMR-ID: 28960 X-Language: en X-RT-ReviewID: 240078 X-RT-TitleID: 1069340 X-RT-SourceID: 873 X-RT-AuthorID: 1315 X-RT-RatingText: C-
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


The atlp package
Routines for parsing, writing and accessing ATL formulas.
By Freddy Mang
This package implements a parser for ATL (Alternating-time
Temporal Logic) formulas. ATL is a language used to describe properties
of systems. For the syntax of ATL formulas, refer to
the ATL syntax manual.
Last updated on 1031104 18h39


Chicago's weekly event to build, share & learn about civic tech
Next Chi Hack Night
#215 Beyond the HealthCare.gov fix: making better government software
Paul Smith, one of the people who fixed HealthCare.gov and co-founder of government sofware agency Ad Hoc, will touch on what's happened in the nearly 3 years since the president's signature domestic policy was nearly upended by poorly-developed software. From the perspective of a new small company working in this space, there are reasons to be optimistic that change is happening and starting taking root across government.
RSVP Details Agenda
Welcome!
Join us every Tuesday from 6-10pm on the 8th floor of the Merchandise Mart to hear from amazing speakers, learn from each other and work on civic projects. Everyone is welcome!
We are a group of thousands of designers, academic researchers, data journalists, activists, policy wonks, web developers and curious citizens who want to make our city more just, equitable, transparent and delightful to live in through data, design and technology. More about us »
Join our community
Chi Hack Night is a central hub for Chicago's civic tech community. Here's the three best ways to get involved:
1. Go to Chi Hack Night. We meet every Tuesday at 6pm
2. Subscribe to updates on upcoming speakers and events
3. Browse our weekly breakouts to find your group
Blog All posts »
July 19 lightning talks: empathy, inclusion and progress
Jul 21, 2016 by
Derek Eder
On July 19th 2016, we heard from 9 members of Chi Hack Night on the projects they’ve worked on and the lessons they’ve learned from our community. Though there was no defined theme or coordination among the presenters, all 9 talks ended up focusing on the topics of empathy, inclusion and progress.
Read more »Sponsors
Chi Hack Night is organized by Derek Eder, Christopher Whitaker and members of our Leadership Council, hosted at Braintree and supported by our amazing sponsors. DataMade is the fiscal sponsor.


Bristol City Council closes waterlogged children’s play area on Horfield Common
"This is something we are very concerned about"
by Shashana BrownA Bristol play area will be closed for the entire winter because it is waterlogged.
Bristol City Council has made the decision to shut Dorian Road Play Area on Horfield Common due to a drainage problem.
The park will be closed from November 18 until work begins to resolve the pre-existing flooding issues.
Signs have gone up all around the park notifying users of its closure.
The notice says: "This play area will be closed from Monday 18th November 2019 for the whole of the winter period while we try and resolve the drainage issues on this site. We apologise for any inconvenience caused."
'We are very concerned'
With fencing due to go up next week, the council has removed equipment including swings and seats from the play area.
A spokesperson for Friends of Horfield Common (FOHC) said: “This issue has been ongoing since the play area was installed – and this is something that we are very concerned about.
“The flooring in the play area was never suitable and we raised this at the time the plans for the site were put forward a number of years ago.”
The group says, despite allocations of funding to fix the issue, it has been withdrawn many times as a result of changes to funding and schemes.
However, through the newly established area committees which allocate council infrastructure levy (CIL) funding, the money needed is now in place.
FOHC said: “We have now been advised that this play area will be fixed as soon as possible and that this is a priority.
“We hope that the issue can be fixed once and for all so that this play area can be used year-round as intended.”
Bristol Live has asked the council when the work is likely to start and what it will include.
For the latest news in and around Bristol, check back on Bristol Live's homepage


The Job-Keywords application extracts and counts keywords from job descriptions posted on Indeed.com.
The application integrates two RESTful APIs and stores the results in a MySQL database. The Indeed.com API provides
the job search engine and returns detailed job descriptions to the app. The Five Filters API extracts terms (aka
keywords or key-phrases) and returns the number of occurrences of each term to the app.
This application is built with Java 8, Spring 4.1.4, Spring Boot, Hibernate, MySQL and Liquibase. One goal was to
demonstrate the simplicity of building an application with Spring Boot. Another goal was to integrate the latest
versions of open-source libraries which are popular and very powerful.
The Spring Boot framework automatically configures a bunch of stuff that used to be cumbersome when building Java
Web Applications. While automatic configuration has many benefits, it can be tedious to figure out why the app
breaks when manually overriding the auto-config. For example, it can be difficult to manually configure the database
DataSources and TransactionManagers, Jackson's JSON and XML converters and the View Resolvers such as Thymeleaf, JSP
and JSON.


Home
Average Salary Title
Annual Salary Budget
Total Salary Distribution
Organization Breakdown %
Organization Breakdown
Average Salaries by Title in {{year[0]}}
100%
80%
60%
40%
20%
0%
{% for salary in salaries %}
${{salary[1].Average}}
{{salary[1].Title}}
{% endfor %}
Filter By Title
{% for title in titles %}
{{title.Title}}
{% endfor %}
Filter By Year: (Select 1 for specific year or leave blank for 2010-2016)
2012
2013
2014
2015
2016


For a series of binary responses, create stopping boundary with exact results after stopping, allowing updating for missing assessments.
| Version: | 1.0.3 |
| Depends: | methods, graphics, stats, clinfun |
| Published: | 2016-12-16 |
| Author: | Jenn Kirk, Michael P. Fay |
| Maintainer: | Michael P. Fay <mfay at niaid.nih.gov> |
| License: | GPL-3 |
| NeedsCompilation: | no |
| Citation: | binseqtest citation info |
| Materials: | ChangeLog |
| In views: | ExperimentalDesign |
| CRAN checks: | binseqtest results |
| Reference manual: | binseqtest.pdf |
| Vignettes: |
Exact Binary Sequential Designs |
| Package source: | binseqtest_1.0.3.tar.gz |
| Windows binaries: | r-devel: binseqtest_1.0.3.zip, r-release: binseqtest_1.0.3.zip, r-oldrel: binseqtest_1.0.3.zip |
| OS X binaries: | r-release: binseqtest_1.0.3.tgz, r-oldrel: binseqtest_1.0.3.tgz |
| Old sources: | binseqtest archive |
Please use the canonical form https://CRAN.R-project.org/package=binseqtest to link to this page.


Offline Wikipedias
Offline wikipedias represent an important source for information for places that have no/unreliable/expensive or censored Internet. I would like to highlight two projects that I have experience with.
SOS School Wikipedia
SOS Children’s Villages recently released an updated SOS 2008/2009 version of its kid safe, “hand checked” English Wikipedia version aimed at school children with selections based around the UK National Curriculum. This version is 3.5GB big and contains 5,500 articles which is about the size of a 20 volume encyclopedia consisting of about 20 million words and 34,000 images (big selling point for kids). The earlier version was distributed widely by the Shuttleworth foundation in South Africa and the through SOS’s large network of schools worldwide (192 schools & 91,000 students).
The SOS version comes in the form of static html so it can be easily run off a DVD or USB key on any computer. Content is organized by subject and with a handy title word index that does a good job replacing search functionality.
The SOS School Wikipedia 2008/2009 version can be downloaded for free here as a torrent.
Moulin Wiki
Moulin Wiki was a project that came out of the Geekcorps Mali program during my time there, the brain child of Renaud Gaudin and Frederic Renet. At that time, we weren’t able to find a suitable offline wikipedia version so we saught to create it.
Moulin Wiki is a desktop application based on Mozilla’s XULRunner and can run on windows, osx and linux. Unlike a selected version, our goal was make available the entire Wikipedia text, indexed and searchable. We were unable, however, to include images due to both licensing and size constraints.
Since our target market were people living in Mali, we released a French 550MB CDROM version containing 500K+ articles which we distributed across the country through our partners and Peace Corps Volunteers. Internews then sponsored the creation of a Farsi version which they distributed over 2,000 copies to journalists, universities and individuals in Iran.
](http:/wp-content/uploads/2009/02/farsi.jpg)
Moulin is currently available in French, Arabic, Farsi and Vietnamese with an English version still in the works.
Zipedia
Zipedia is a Firefox extension that is able to read a Wikipedia dump to provide offline access. I really like the concept of being able to update your content by downloading new dumps (in any language). One of problems with this approach, however, is since there is no indexing is the user experience is not very zippy.
comments powered by Disqus


The Isaiah is a unit of measurement which is used to measure the cost effectiveness of alcohol (i.e the price:pissed ratio). What 1i actually represents is 1g of pure alcohol per unit of currency. Although this value by itself isn't particularly useful, when the cost-effectiveness of multiple drinks is calculated using this app, whichever has a higher Isaiah value will result in a greater level of intoxication for the price.
Click the three dots in the top right > Add to Homescreen
Click the arrow square above the home button > Scroll right from "Copy" at the bottom > Add to Home Screen
Click this


 If everything went according to plan, you’re now a proud owner of a diamond in the rough… at best. If not, you’ll find out soon enough.
During the last months, JFTI, a Portuguese rock band from Peniche, spent some days at Soul Harvest Studios (Alfeizerão), recording drums, bass, guitars and voice for their upcoming album. All this work was led by Diogo Simão, I’ve only picked it up by now, at the mixing stage. This gave me a good opportunity to document how I approach mixing a standard, bass-guitar-drums-voice rock song, while explaining and exposing with some detail the decisions I make along the way. I will be writing this article as I go, so I will try to have a decent mix at first try… fingers crossed.
The mixing process is somewhat a creative activity, but there are also a lot of best practices involved. Do take this guide with a grain of salt and feel free to give me feedback, especially if you find something inaccurate, wrong or plain stupid.
The song I'm attempting to mix is called Cegueira (Portuguese for blindness) and consists of a total of 29 (96kHz 24 bits mono) recorded tracks, handed to me by Diogo Simão in .wav format through the internet. Track list follows:
These tracks, in the form of uncompressed .wav files, are the starting point of the mixing process. As of now and for a big number of reasons, they sum up to a big mono mess.
This doesn’t mean that our raw material sounds bad. When recording, our focus should be getting the best and the most out of each instrument and not worrying too much about the sum. Mixing is about making the sum sound great, many times by making each instrument sound a bit “worse”. That’s why the “fix it in the mix” kind of thing summons so much hate. It makes no sense. If you got something wrong while recording an instrument, it will probably get even worse in the mix.
I start by importing all the files to a new project (in my case, using Cubase), playing them out to check if everything is OK, grouping and naming them in a way that suits my work method. I will also create some submix channels in order to easily control each instrument as a whole, and to create stereo image on some of them (all except the bass actually), by hard-panning the guitar takes, the back vocal takes and the overhead mics. This song has the following 7 instruments: Lead voice, background voice, bass guitar, clean electric guitar, distorted electric guitar, lead electric guitar and drums.
After paning the tracks, this is what Cubase says when I press play
I’ll start with the drums, since it’s the most complex instrument to mix in this song. I’m sure to find many bleed, phase and dynamic issues in a 11 mic drum recording. I solo the drum submix first to get an overall notion of what we’re looking at. The kick has little volume, the toms are too loud and the snare is to harsh… but that’s pretty much how a drum sounds with this mic setup.
The raw drums
Overheads@before
The overheads were recorded using the ORTF mic placement. It’s important to know how the mics are placed in the room, so you can know what to expect. Stuff like M/S mic positioning doesn’t make sense if who is going to mix is unaware of this. I routed both overhead mics to a stereo group, removed the low frequencies (< 200Hz) and used a fast attack compressor to lower the snare, toms and kick drums transient information while enhancing the sound between each hit (mainly cymbal sustain).
Overheads@after
Subkick@before
From this mic, I only want to use the low end, so a very aggressive low-pass is in order. Everything above 100Hz will be discarded. Let’s not forget that the other kick drum also captures low-end information and I don’t want the two competing with each other. A slow 3:1 compressor is also applied to keep the dynamic range in check. Using a fast attack compressor would cut off the low frequency transient information. Not only we don’t want that, we also don’t need the stuff happening between kick hits, so a gate (fast attack and fast release) is in order, as it will help to remove much of the bleed coming from the other drum pieces. After doing all this, this track should sound like a heart thumping.
Subkick@after
Kick@before
Since we already have a good low end from the subkick, I don’t need to struggle to get that from this mic, I can instead concentrate in getting a good kick drum sound. To sound like a cool rock kick drum, I’ll notch that 150Hz-ish sound, increasing the contrast between the low end and the mids. I might also come back to boost the batter sound (somewhere from 3 to 7 kHz) Except for the EQ, I’ll do an identical processing as I did for the subkick (compressor and gate-wise). Now I check the phase between the kick and the subkick and tweek it if necessary. This is a critical detail, specially in low-end instruments. An off-phase sub-kick/kick will pretty much destroy your mix!
Kick@after
Kick + Subkick@after
Bottom Snare@before
The sole purpose of this mic is to get more snap from the snare so I’ll gate it and only use above 250-300Hz. Since the snare drum has such an extreme dynamic range, I’ll use a hash compressor with fast attack in this sound source.
Bottom Snare@after
Top Snare@before
This is one of the most important tracks in a rock mix. I just keep coming back to this during the whole mix process. Eitherway I start with a low-cut on the 100Hz, gate and compressor. This particular recording has a lot of bleed from the cymbals so we may have some problems here, as all the processing I apply to this track is equally applied to whatever bleeds in. Again I check the phase between the top and bottom snare mics.
Top Snare@after
Top + Bottom Snare@after
A common mistake when mixing drums is to treat all toms as if they were the same thing. They are not. Their placement, tuning, mic placement, preamp gain, bleed, etc... is seldom the same as is the resulting sound. A second mic was used in the third tom, pointed at the bottom head, so I want to look at that with some attention. This drumset has 3 toms used in some breaks during the song. I got them already (manually) gated, so I don’t have to use any gate on them and that’s great.
10'' Tom@before
I start by low-cutting 100Hz to remove rumble. This tom is only played twice during the song, so I would manually gate it either way. It sounds pretty good to me so I won’t EQ it. I use a bit of slow compression and pan it according to what I hear in the now-stereo overheads. In this case, slightly to the left.
10'' Tom@after
12'' Tom@before
Unlike the first tom, this one seems to have an unbalanced sound. I applied a notch on the 200Hz, on top of an 100Hz low cut, compress it and pan it slightly to the right. Again trying to match what I hear in the overheads. I compare it to the first tom and adjust the volume fader to even them out.
12'' Tom@after
14'' Tom Top@before
14'' Tom Bottom@before
Many of the breaks finish on this tom and are followed by a crash hit that unfortunately bleeds in quite severely in the top mic. I want to fix this so I will reduce “gate” release, by fading out the tom sound sooner. Unfortunately this will greatly reduce it’s sustain. Again, the mix will hopefully sound better by chopping stuff out of an instrument. Since we have two mics for this drum piece, phase is an issue. Keeping that in mind, I use a 100Hz low cut on the top mic and a 200 Hz hi cut on the bottom. I pan the top to the right and keep the bottom in the center of the mix since I don’t want any bass off-center.
14'' Tom Top@after
14'' Tom Bottom@after
14'' Tom Top + Bottom@after
Ambience@before
A single mic was used to record room sound. This can be used in many creative ways and I chose to use it like the side mic of a M/S mic pair. To do this, I hard-left-paned this to a stereo track, hard-right-paned an inverted (phase) copy of it. The result is a stereo track that when summed to mono results is nothing. This means that the drum room will only be heard in stereo systems. I also delayed the sound by a few milliseconds, to emulate a larger room.
Ambience@after
Additionally I added a mono track to where I routed a copy of the processed kick, snare, tom1, tom2 and tom3. Used an extreme compression on this new track and hi-cutted everything above 10kHz. This track can be blend with the drum mix in order to get more or less aggressive drums.
Buss compression
Drums@after
This bass track was recorded directly into an audio interface so, no bleed or acoustic noises exist. Also since it’s a single sound source, no phase issues here too. I start by splitting the bass signal in two. One will have the bass full sound, while the other will have a distorted copy. Whether the bass sounds more or less distorted can then be automatized along the song later on. I apply a hard and fast compression to the main bass track, since I don’t want low-frequency transient from the bass, only low-frequency sustain. I also cut some volume around 400Hz in order to get some room for the distorted guitars and drums. Now comes the tricky part: setting the bass and kick drum apart. This can make or break a mix.  There are several ways to do this, but no safe recipe. In this mix I will try to boost the kick on a frequency where I notch the bass, while in other relatively close frequency I do the opposite. Let’s say on 60Hz I boost the kick and cut the bass, while on 80 Hz I boost the bass and cut the kick. The Q of these EQs have to be very high.
Bass@before
Bass@after
Using the same guitar take to feed several amps or using more than one mic on the same amp can and will cause phase problems. This is the first thing I try to find and fix. Realizing the tracks are out of phase after mixing, basically forces me to start all over again. In this song, the clean, the lead and the rhythm guitars all use more than one amp.
From the original two clean guitar takes, 4 tracks came out. I simply hard-paned each take, putting both de Carvin and the Marshall on both sides, did some low-cutting on the 100Hz and a soft ratio, fast attack compression to mellow out those strumming peaks.
Clean Guitars@after
Tri-amping was the way to go and I make no plans on discarding anything. I hard-paned each of the three amps both left and right, same way as I did with the clean guitars. As of now I won’t mess with the relative volumes, all the amps bring different things to the table and I want to see how far can I get without starting to cut off some of their tone. Besides the 100Hz low cut, there is no signal processing on these tracks.
In this song, the lead guitars appear during the chorus and while the voice is loud and proud, so I won’t try to give it lead guitar aesthetics. Instead I’ll try to use them as a stereo guitar layer. We already have 6 tracks of distorted guitars, so we’ll have to find some space left in the mix to cram 4 more tracks. I’ll do so by reducing the low-frequency information on these lead tracks and by slightly boosting some mids. I have to be careful so the overall guitars don’t sound suddenly louder when the lead comes up. To achieve this I will lower the other distorted guitars slightly when these come up, much like a manual compressor.
Distorted Guitars@after
It’s a single well sung mono track so I’ll try not to ruin it. Low cut on 100Hz a loads of compression will do just fine for now.
Hard paned, 100Hz cut, a somewhat aggressive de-hisser and heavy compression are in order here. Some part of the songs have mellow falsetto voicings while others have screams so I will use automation to control both the volume and the amount of effect (delay) used here.
Voice@before
Voice@after
Just by summing all of the above we get a decent starting point, but to do a great mix we must revisit all the instruments, several times, while listening to the final result. It's a cyclic process that ends whenever you say it's enough.
After mix
Thanks for listening


Pushing Tin (1999) A Capsule Review by Nathaniel R. Atcheson
Director: Mike Newell Cast: John Cusack, Billy Bob Thornton, Cate Blanchett, Angelina Jolie, Jake Weber, Kurt Fuller Screenplay: Glen Charles, Les Charles Producers: Art Linson Runtime: 124 min. US Distribution: 20th Century Fox Rated R: language, sex
Copyright 1998 Nathaniel R. Atcheson
John Cusack and Billy Bob Thornton are in top comedic form in Pushing Tin, a strange little movie about air traffic controllers. Directed by Mike Newell (Donnie Brasco, Enchanted April), the film is hilarious and entertaining for the first hour and a half, but slumps into senselessness for its conclusion. The characters are well-drawn and perfectly acted by the cast, and the movie works when it focuses on the rivalry between the two stars. But it could have been a great movie if it had found the right way to end (which would have included no baptism scenes in a Colorado mountain stream). It also doesn't have a lot to do with air traffic controlling -- we get the feeling this story could have been about stock brokers on Wall Street. Nonetheless, Pushing Tin has more charms than annoyances, and is therefore worth a look.
Psychosis Rating: 7/10
Visit FILM PSYCHOSIS at http://www.pyramid.net/natesmovies
Nathaniel R. Atcheson
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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People shouts
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{% for shout in shouts %}
{% ifchanged shout.created|date:"Ymd" %}
- {{shout.created|date:"l, d F Y"}} {% endifchanged %}
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Meet Kate and Shaked
Kate McNally, from Southern California, and Shaked Rotlevi, from Israel, are both seniors graduating in May 2018 with a B.S. in Computer Science. The two have been friends since Sophomore year and have worked on many projects together, so they were excited to finish their degree working on Senior Capstone together! After graduation, Shaked will be working as a Solution Architect at Amazon Web Services and Kate will continue her education obtaining a M.S. in Computer Science at GWU graduating May 2019.


{% extends "base.html" %} {% block content %}
PI Account Name: {{ form.acct_name(size=20) }}
Account names are typically of the form "lastname_f", with the last name and first initial of the account owner


[gecode-users] splitting branching in full enumeration and first-fail check
Martin Mann
mmann at informatik.uni-freiburg.de
Mon Jan 28 10:36:00 CET 2013
Great! Thanks Christian!
Had a look into MPG yesterday but somehow skipped it.. Thanks for the
help and exactly the piece of code I was looking for! :)
If I am right the following statements at the end of my Space
constructor should do right?
branch( *this, A, ..);
assign( *this, B, ..);
So the overall reported solutions should show all valid assignments for
A but for each only one valid assignment for B, right?
Please let me know if I am wrong and thanks again for the quick help!
Cheers,
Martin
Am 28.01.2013 10:00, schrieb Christian Schulte:
> That should be easy enough: set up a search engine with branching on A.
> Suppose you get a solution there (a space): then post the simple assignment
> branching on B on use a different search engine to find a solution there.
>
> You might want to read about assignment branchings in MPG.
>
> Best
> Christian
>
> --
> Christian Schulte, www.ict.kth.se/~cschulte/
>
>
> -----Original Message-----
> From: users-bounces at gecode.org [mailto:users-bounces at gecode.org] On Behalf
> Of Martin Mann
> Sent: Sunday, January 27, 2013 12:09 PM
> To: gecode user list
> Subject: [gecode-users] splitting branching in full enumeration and
> first-fail check
>
>
> Dear Gecoders,
>
> I am working on a small problem where the CSP variables are split into two
> subsets A and B.
>
> For set A, a full enumeration of all valid assignments is wanted while for
> set B a single check for a valid assignment is sufficent.
>
> Some years ago with Gecode 1.3 I wrote my own branching that did the latter
> part.
> Thus, first normal branch on A followed by pseudo-branching on B. The latter
> stopped the subsearch for B after the first solution was found such that the
> search in A was continued and so on.
>
> So my question: is there a direct support for such a scheme in Gecode 3.7?
> Or do I have to find my old branching implementation and make it ready for
> the new version? I am crossing fingers you have something ready.. :/
>
> Thanks for your help,
> Martin
>
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Simple Create
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Custom Styles
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Dialog


Introduction
- The Collection in Java is a framework that provides an architecture to store and manipulate the group of objects.
- All the operations that you perform on data such as searching, sorting, insertion, manipulation, deletion, etc. can be achieved by Java Collections.
- Collection Framework defines several classes and interfaces to represent a group of objects as a single unit. Collections are used to store, retrieve, manipulate, and communicate aggregate data. Typically, they represent data items that form a natural group, such as a poker hand (a collection of cards), a mail folder (a collection of letters), or a telephone directory (a mapping of names to phone numbers).
- A collections framework is a unified architecture for representing and manipulating collections.
- All collections frameworks contain the following:
- Interfaces: These are abstract data types that represent collections. Interfaces allow collections to be manipulated independently of the details of their representation. In object-oriented languages, interfaces generally form a hierarchy.
- Implementations: These are the concrete implementations of the collection interfaces. In essence, they are reusable data structures.
- Algorithms: These are the methods that perform useful computations, such as searching and sorting, on objects that implement collection interfaces. The algorithms are said to be polymorphic: that is, the same method can be used on many different implementations of the appropriate collection interface. In essence, algorithms are reusable functionality.
Hierarchy of Collection Framework
- Let us see the hierarchy of Collection framework. The java.util package contains all the classes and interfaces for the Collection framework.
- The collection interfaces are divided into two groups:
- The most basic interface, java.util.Collection.
- The other collection interfaces are based on java.util.Map and are not true collections
Collection Implementations
- Classes that implement the collection interfaces typically have names in the form of . The general purpose implementations are summarized in the following table:
- The AbstractCollection, AbstractSet, AbstractList, AbstractSequentialList and AbstractMapclasses provide basic implementations of the core collection interfaces, to minimize the effort required to implement them. The API documentation for these classes describes precisely how each method is implemented so the implementer knows which methods must be overridden, given the performance of the basic operations of a specific implementation.
Collections Framework - The List Interface
- Elements of the lists are ordered using a Zero-based index.
- You can access the elements of lists using an integer index - get() API.
- It is an ordered collection (also known as a sequence). It guarantees insertion order.
- The user of this interface has precise control over where in the list each element is inserted.
- It guarantees insertion order so a user can access elements by their integer index (position in the list), and search for elements in the list.
- A list may contain multiple null elements.
- List interface can contain duplicate elements.
- The Java platform contains two general-purpose List implementations - ArrayList and LinkedList.
Here is simple List interface example using ArrayList implementation class.
List Interface Simple Example
- The bean can be considered an equivalent of a java class. Creating a bean is same as creating an object using 'new' keyword in java.
- If you want spring to create objects for you, you need to inform spring about all the objects that spring has to create for you.
- Say there is a class called 'Car' :
import java.util.ArrayList;
import java.util.List;
public class CreateArrayListExample {{openBrace}}
// Creating an ArrayList of String using
List{{openTag}}String{{closeTag}} animals = new ArrayList{{openTag}}{{closeTag}}();
// Adding new elements to the ArrayList
animals.add("Lion");
animals.add("Tiger");
animals.add("Cat");
animals.add("Dog");
System.out.println(animals);
{{closeBrace}}
{{closeBrace}}
import java.util.List;
public class CreateArrayListExample {{openBrace}}
// Creating an ArrayList of String using
List{{openTag}}String{{closeTag}} animals = new ArrayList{{openTag}}{{closeTag}}();
// Adding new elements to the ArrayList
animals.add("Lion");
animals.add("Tiger");
animals.add("Cat");
animals.add("Dog");
System.out.println(animals);
{{closeBrace}}
{{closeBrace}}
OUTPUT : [Lion, Tiger, Cat, Dog]
List Interface Hierarchy Diagram
List Interface Implementations
- The Java platform contains two general-purpose List implementations.
- ArrayList , which is usually the better-performing implementation.
- LinkedList , which offers better performance under certain circumstances.
- Vector , which is thread-safe.


var loop = mainLoop(initState, render, { create: require("virtual-dom/create-element"), diff: require("virtual-dom/diff"), patch: require("virtual-dom/patch") }) document.body.appendChild(loop.target) // update the loop with the new application state loop.update(state);


--- title: AquaCrop-OSPy keywords: fastai sidebar: home_sidebar summary: "Crop-water model based on AquaCrop-OS" description: "Crop-water model based on AquaCrop-OS" nb_path: "nbs/index.ipynb" ---
pip install aquacrop
AquaCrop-OS, an open source version of FAO’s multi-crop model, AquaCrop. AquaCrop-OS was released in August 2016 and is the result of collaboration between researchers at the University of Manchester, Water for Food Global Institute, U.N. Food and Agriculture Organization, and Imperial College London.
AquaCropOS is an environment built for the design and testing of irrigation stratgeies. We are still in early development and so ensure you have downloaded the latest version.
It is built upon the AquaCropOS crop-growth model (written in Matlab link
) which itself itself is based on the FAO AquaCrop model. Comparisons to both base models are shown in link


Newsgroups: alt.drugs
From: J
Subject: DMT/harmaline reports
Date: Jul 1993
I am posting these reports about the effects of oral DMT following oral harmaline ingestion for a friend. The DMT source was Acacia phlebophylla, the harmaline source Peganum harmala. I had nothing to do with the experiments, and so can't answer detailed questions about them.
ENTER THE DMT ROOM
This article describes the visuals seen during 3 seperate DMT sessions using ayahuasca and harmaline. To date, with the exception of marijuana and nitrous oxide, DMT is the only true psychedelic I have tried.Details of the first session can be found in an article called "Dr DMT (or how I learned to stop reality and love psychadelics)". The second session was nowhere near as intense as the first, but did produce some astounding (and more memorable) visuals. The third session was done on a small amount of ayahuasca, combined with marijuana and nitrous oxide.
The visuals are grouped together in stages of trip intensity. These are:
OEVs refers to Open Eye Visuals
CEVs are Closed Eye Visuals.
1. First noticable effects.
(OEVs)The first noticable effect of the DMT was an indescribable oddness in the air. The room looked different, but I couldn't quite put my finger on it. After staring at near and far objects, glancing back and forth, I noticed that there were subtle changes in perspective. Whilst looking at a distant object, objects close to me seemed to move closer, and when I looked at the objects moving closer, the distant objects moved further away.
While looking around the room I also noticed that the lights seemed brighter. I kept staring into the lights and noticed them moving slightly, although others in the room insisted that they were still. The total intensity of the room seemed to be constantly changing, although there was no natural light (all DMT to date has been taken after 10pm).
Most of the movement in the room seemed to be out of the corner of my eye, for instance, I'd look at something on the left side of the mantlepiece and I was sure the things on the right side were moving, but when I looked across they'd stopped.
(CEVs)
The CEVs I saw were comparable to my marijuana visuals. Geometry came and went, in the form of moving lines and polygons. There were no intense colours or definitions, and I couldn't make out any particular objects in amongst the haze.
2. Entering the DMT room.
(OEVs)When the DMT effects moved up a level, a colour change took place. Fine textures (shirt fabric, for instance) were replaced by a single, flat colour, as though my eyesight was rendered through a computer capable of only 16 colours. All scratches, dents and marks were removed from all objects, giving them a new look. The new colours are bright, intense and exciting to look at. All "boring" colour seem to disappear.
Objects began shimmering, waving about as if they were made of thin plastic and moving to invisible air currents. Objects with long, straight lines would bend. Walls breathed. If I stared at an object, it would either start breathing or melt into something else entirely. Once I realised what was happening it would quickly snap back to its original form, only to start moving again when I resumed staring at it.
Shadows on the walls seemed to rise up and form three dimensional plataeus, then disappear again into the wall. I also noticed an effect where panning my head around the room would result in a flickering of my vision, as though I was looking through a fractured prism.
(CEVs)
The geometry floating around in my head turned into definite shapes. A corridor was formed, and I had the feeling that I was at one end and wanted to make it through to the other. Objects formed out of the walls of the corridor, the corridor spun around with me in it, doors opened and closed. Roads and corridors have always seemed common in my DMT trips. There was a definate sense of travel within me, I knew I was going to go somewhere.
3. The DMT room.
(OEVs)The subtle changes from reality to the DMT room finally stopped. Nothing was subtle anymore. Everything was changing. The room was still recognisable, but everything in it was moving, all the walls were breathing, and all of this was happening constantly. I'd look at an object, and it would either move, change or disappear. Objects that were close together would blend into a new object; first by forming pseudopodia and then by moving closer together and enveloping eachother with them.
Objects basically still stayed where they were, and only objects that were close together tried to form new objects by mating with their neighbours. I had no control over what was happening, I could only sit back and watch. I did try to control what I hallucinated, but was usually unsuccessful with one exception.
 I tried to make my nose grow longer, and after a few seconds, I was amazed to see it happen. It didn't grow by more than a centimetre, but it did happen.
I asked for several handfuls of pistaccio nuts, which I placed in my lap. They felt odd to touch. They were soft and smooth, instead of hard and sharp. I stared at them for a while, and the edges of the shells turned into mouths, and suddenly I was staring into a collection of eyeless grinning creatures. I smiled back. They seemed happy.
My hands fascinated me for minutes. I'd look at them and then realise that there were objects moving underneath the surface. Large white bone type objects were rising from the depths of my arm until they were just under the surface, stretching the skin. The hair on my forearms looked like sea kelp, moving to invisible currents. A change of perspective followed that made the hairs on my arm seem two metres long, and I was staring at real sea kelp, life size, coming out of my gigantic arm.
My fingers changed in length constantly, and my knuckles moved so that the part of my fingers that could bend seemed to be changing.
I looked at the back of my hand, and spread my fingers apart. Webbing magically appeared and joined the gaps between my fingers, and then the colour of my hands changed to a deep orange, similar to the colour of cooked duck's feet.
As I moved my eyes down my arm, I saw printed circuit board tracks materialize on my skin, then run down my arm. Underneath the skin I could see mechanical contraptions that moved everything.
I found regular geometric patterns almost intolerable by this stage. I prefered to close my eyes and see geometry there, rather than open my eyes and experience total confusion. Even though I still realised where I was, I was too confused by the moving of once familiar objects to stay in the DMT room open eyed for too long.
(CEVs)
The shapes increased in complexity, the rooms got larger and more crowded with wierd machines and contraptions, and the activity that was going on seemed to intensify. Things were coming out of "walls" in these virtual "rooms" with an odd regularity in their timing.
Amongst a million other visuals, I remember
All the visuals seemed real. I felt as though I could reach out and touch them. Some of the more insane and fun visuals I experienced while closing my eyes, and watching what the DMT did with the afterimage.
- A huge dinosaur made of Lego bricks lift out of the right hand side wall of a room and melt into the ceiling.
- An incredibly wierd machine, perhaps as large as a coal excavator, moving slowly from one side of an enormous building to another, prompting the quote "Who the f*ck would design something that looks like that!" Others in the room asked "What?", and I replied with "A spaceship that looks like Mick Jagger".
- A being made of chocolate milk drops playing the keys of an invisible piano. No music or sound occured in any of these visuals, but I did recognise it as a piano.
 The room changed to some trapezoidal shape, and out of the far wall came two large cubic objects, still covered in tiles, with beckoning arms. The two large objects on the far wall split apart to join with the left and right walls, revealing a door on the far side. The door opened, but I couldn't go through and this frustrated me at the time.
I looked at Christian (one of the people present while I was tripping), and then closed my eyes. The afterimage was so real that I thought I still had my eyes opened. All of a sudden, a small 2 inch square trapdoor opened up in his forehead, and I could see into his brain. His brain looked like the red leather of a football (Australian Rules). I knew that the trapdoor had mechanisms which opened it, and I thought about what mechanisms (hydraulics, servo motors, whatever) they were. They were not visible, but I knew where they were and how they worked.
Another similar visual also involved Christian. In his afterimage, I saw his lips and face peel away, exposing his teeth and jaw. A circular metal ring came out of the back of his neck, crossed the front of his face, and joined with the other side of his neck. The metal ring was similar to headgear worn by people with braces on their teeth. His teeth then started snapping out at the ring, withdrawing back into his mouth like Alien.
The next time I did this, each of Christian's eyes split into 8, and then violently bulged out of his head, hanging by their optic nerves, and finally rested somewhere near his chin.
Watching "Dark Star" on video was also quite entertaining. I glanced at the TV, then closed my eyes. All of the objects on the screen at the time materialised out of the TV image and fell into a black void that lived somewhere near the foot of the TV trolley.
4. The DMT universe.
(OEVs)Open Eye Visuals at this stage of the trip were too complicated and too distracting for me. I am unsure of whether I have ever kept my eyes open during this period. I don't think I could remember anyway.
(CEVs)
As with OEVs, the CEVs at this stage became very difficult to describe exactly, but I did spend more time in the CEVs when I was at this stage of a DMT trip. I saw alien beings with elipsoid bodies running around the insane roads, rooms and corridors that seemed to dominate my visuals. They were looking at me constantly. I didn't feel threatened by their presence, I just accepted it and watched them with a curious look.
At this stage of the CEVs I had completely forgotten that I had a body. My mind had detached itself from it and become a point in virtual brainspace. My field of vision increased significantly, and I believe the reason for not being able to remember a majority of these visuals is that there was just too much information to remember; it was too detailed, too intense and was arriving at a frightening rate.
I have only been at this stage once, and that was during my first ever psychedelic experience. I intended to place myself here again on subsequent trips, but never managed to. All I remember from this stage is the alien beings, staring at me, examining me, and allowing me to examine them.
5. DMT reality.
NOTE: I have never reached DMT reality, but I believe I have an idea of what it may be like for me.
(OEVs)
Forget it. I'm not even going to try.
(CEVs)
In the DMT universe, I believe the alien beings exist. I also believe, and from listening to other people's experiences, that it may be possible to communicate with them. I can only imagine the next step past the DMT universe as DMT reality, where you are freed from your body totally and allowed to roam freely through your visuals, communicating with the beings you meet.
  Needless to say this has given her second thoughts about taking DMT again.
I find that when I am in the DMT room or universe that I assume that everyone else in the room knows where I am, and that if I talk about something that I am seeing then they will instantly understand. This doesn't happen both ways, of course, so most of the time I seem like a raving lunatic. I believe it is significant that I have had "glimpses" of communication with the beings, and with others in the room, yet on a different level to normal communication. I want to re-enter the DMT universe and see where I can go from there.


Our Team
Stephanie Anderson
Stephanie Anderson is an analyst who works mostly in a customer facing role. Most recently, Stephanie has been the Project Manager for the Mission-Support Benchmarking Initiative and the Motor Vehicle Fleet movement to Asset Level Data. She also has been leading the external communication and internal development and visualizations of the President’s Management Agenda Key Performance Indicators (KPIs) that are currently published on the performance.gov website. Stephanie has been with GSA for almost 5 years, since October of 2014. When Stephanie is not at work, she enjoys traveling with her husband. Their latest trip was to Piura, Peru, to do missionary work. When she is not traveling, you can find her checking out breweries in Loudoun County with her Siberian Husky, Princess.
Scott McAllister
Scott is a data scientist, working mostly in Python on natural language processing problems. He's the lead developer for the Solicitation Review Tool and advises on anything related to machine learning. Prior to joining GSA, Scott was a Peace Corps Volunteer teaching English in Ethiopia. In his free time, he's a runner, reader, and amateur ludologist.
Aaron Eisenbarth
Aaron Eisenbarth is a Senior Data Management Advisor in the Office of Evidence and Analysis. He received his Master of Public Administration and Master of International Relations from the Maxwell School of Citizenship and Public Affairs at Syracuse University. Prior to GSA, he worked for the Governor of the state of Washington and served in The Republic of Moldova as a Peace Corps volunteer. He specializes in big data analysis and management with a focus on Real Property issues. In particular, he has worked to empower agency decision making through the merging, analysis, and visualization of datasets like the Federal Real Property Profile and tools the Real Property Management Tool, Asset Consolidation Tool, and Tenant Satisfaction Survey Tool.
Donnita Mennealy
Donnita is a SQL developer and analyst for the Office of Evidence and Analysis's database team. Donnita was the lead analyst for Mission Support Benchmarking Contracting initiative and has developed multiple visualization tools for GSA's acquisition community. In this role, Donnita's primary focus is on FPDS, FedScope, FEVS, and EHRI data specifically related to acquisition and human capital policy areas. Prior to this role, Donnita has served in PBS for over 13 years. During her time there, she served as a Realty Specialist, Program analyst for NCR's PBS Leasing Policy and Performance Division, Branch Chief for NCR's Business Analytics Branch, and contracting officer for commercial leasing.
Donnita studied at Kalamazoo College where she double-majored in Economics and Political Science. After graduation, she went on to receive her Master's Degree in Economics at American University's College of Arts and Sciences. In high school, Donnita developed a love for Japanese culture. She had the opportunity to study abroad in high school in northern Japan and in college where she attended Waseda University in Tokyo. When Donnita is not working, she is active in her local community, spending quality time with her husband and two children, travels to major league baseball stadiums, and collects Japanese stationery.
Scott Christ
Scott is a data scientist and Python developer, working on whatever problem comes his way. Scott graduated from Virginia Tech with a degree in Economics and was recruited into the Emerging Leaders Program at GSA. In his free time he likes to woodwork and read.