#EL DISPLAY MODULE

[zylcd]

The role of LCD screens in agricultural production

In modern agricultural production, LCD screens, as important display and interactive devices, play an increasingly important role. It not only improves the efficiency and accuracy of agricultural production, but also provides more convenient and intuitive tools for agricultural management.

1. Environmental monitoring and control

LCD screens are widely used in the monitoring and control of greenhouses and breeding environments. By connecting various sensors, the screen can display environmental parameters such as temperature, humidity, light intensity, and carbon dioxide concentration in the greenhouse in real time. Farmers can remotely control the ventilation system, irrigation system, shading system, etc. of the greenhouse through the operation interface on the screen based on these data to ensure that crops grow in the best environment. In the breeding industry, LCD screens can display parameters such as temperature, humidity, and ammonia concentration in the breeding farm, helping farmers to adjust environmental conditions in time and improve the growth efficiency and health level of animals.

2. Precision agriculture

Precision agriculture is an important development direction of modern agriculture, and LCD screens play a key role in it. Through the satellite positioning system (GPS) and the geographic information system (GIS), the LCD screen can display detailed maps and soil data of the farmland to help farmers carry out precise sowing, fertilization and irrigation.

3. Agricultural machinery operation

In agricultural machinery operation, LCD screens provide an intuitive operation interface and real-time equipment status display. LCD screens can also be used for the operation of agricultural drones, displaying flight paths, captured images and videos, and helping farmers monitor farmland and control pests and diseases.

4. Agricultural product quality inspection

LCD screens are also widely used in agricultural product quality inspection. By connecting high-resolution cameras and sensors, the screen can display the appearance, color, size and other characteristics of agricultural products to help farmers grade and screen them.

5. Agricultural information management

In terms of agricultural information management, LCD screens provide convenient data input and query functions. Farmers can record and query information such as the planting history, fertilization records, and pest and disease control records of farmland through the operation interface on the screen. These data can help farmers make scientific planting plans and decisions. In addition, LCD screens can also be connected to the Internet to help farmers obtain market information, weather forecasts, agricultural technical guidance, etc., and improve the overall level of agricultural production.

Shenzhen Zhiyan Optronics Co., Ltd. (zylcdshop.com) is a trusted China-based supplier specializing in high-quality LCD screens. With over 18 years of industry experience, we’re dedicated to providing reliable display solutions and personalized service tailored to your unique business needs.

[suzukiblu]

WIP excerpt for qwertynerd97 behind the cut; “Kara gets to Earth on time and the Kents get a two-for-one special on free kids”. tw: panic attack, past trauma. (( chrono || non-chrono ))

Kara hears the heavy hatch doors slam shut behind them and collapses at the pitch-black bottom of the stairs with a despairing keen, and they’re all alone again, they’re alone, everyone’s left them, everyone will always leave them, always send them away, never let them stay even if it means– 

And then there’s the quietest little click, and artificial light blooms from the single glass vial that’s hanging from the ceiling, and Kara realizes–Ma’s standing under the vial of light, holding a beaded metal string attached to it, and Pa’s crouching down behind her and Kal to lay a hand on her back, making those hissing noises again and again, and the crashing . . . 

She can still hear the crashing, but . . . but it’s not so . . . it’s muffled, now, and more distant, and . . . and . . . 

It’s–a room. There’s . . . a pair of chairs, and no windows or doors besides the hatch behind them, just smooth liquid-stone floors and walls, and shelves full of . . . provisions, it looks like, and some rolled-up blankets wrapped in the odd clear material that looks like glass but isn’t, and two more one-lensed metal cylinders like the one Ma had inside, along with more boxes of those fat white wax cylinders and other things that look like they might be . . . emergency supplies, maybe, and . . . 

And Ma and Pa are here. 

Ma and Pa didn’t leave them. 

Kara bursts into tears all over again and curls down in on herself; wraps herself around Kal completely, and he cries into her chest where the crest of El doesn’t sit anymore, and she cries all over him. The crashing keeps going, but not loud enough to be too painful or disorienting anymore, and she can only barely hear the wind and rain except for where it’s hitting the heavy metal doors of the hatch. 

“Et-suh aw-rite, dee-eer,” Ma says softly, coming over and leaning down to hold her hands out to her, and Kara cries even harder. Ma’s voice is just as flat as ever, even with the quiet echo of it against the liquid-stone walls, but she’s never been so grateful to hear it. 

She throws the arm that isn’t holding Kal around Ma’s back before she can stop herself, before she can hold herself back from such an embarrassment of a display, and Ma just sinks down to her knees right in front of her and wraps her own arms around her and Kal in return, and so does Pa. 

“Thuh-air thuh-air, Ka-Lair,” Pa says, low and soothing, or at least Kara thinks “soothing” is what that tone means, from the aliens. “Jes thunn-darr, bay-bee gurr. Dunn bee scuh air-duh. Wurr suh ay-fuh dhow eer, yuh?”

Kara doesn’t know what he’s saying–“thunn-darr” was a word she remembers he’d said before, when this was still starting, though she still doesn’t know what it means, and . . . and maybe this is how weather is normally scheduled on this planet? Or at least in this area? Because of . . . the farms, maybe, or . . . ?  

And Kara–Kara realizes . . . Ma and Pa . . . Ma and Pa weren’t acting like it hurt when they heard the crashing. And all these supplies–they had all these same supplies set out in the kitchen all ready to be used right there, and seemed in no rush to leave the house or anything like that at all. They were already 

. . . did they only bring them down here because of her and Kal, not . . . ? 

Is it–do they have some sort of a neural implant to filter out the volume, maybe? Or some genetic modification or adaptation? Or maybe the crashing just doesn't sound so loud to ears that are used to flat alien voices? Maybe the crashing is–maybe it is something normal, here. Maybe it just–maybe whatever it is just happens, sometimes. Maybe the aliens’ weather modulators are less sophisticated than Krypton’s were and just make sounds like that, same as all the aliens’ transport vehicles are so noisy and shuddery. 

Ma and Pa only look worried about them, is the thing. Just them. Nothing else. They're only hugging them; not at all concerned with checking on each other, and clearly not worried about anything in the room or even themselves personally. Whatever's happening outside, they're used to it and don't think it's dangerous at all. 

That is . . . so embarrassing, Kara thinks, trying not to cringe as she shifts back out of Ma's arms and sniffs wetly; scrubs a rough fist across her eyes as Kal fusses unhappily in her lap. It’s shameful and indecent and pathetic, to cry and shriek and panic like that in front of anyone. It’d be shameful to act like that in front of a member of their family register, even. Ma and Pa have been so kind, so much kinder than they ever needed to be, and she's repaying that by getting scared of some perfectly normal thing they're both used to and not even concerned about as a threat? 

That's so–she doesn't even know how she'll show her face in front of their pretty little yellow sun when it comes back, after doubting it like that. After thinking it could've abandoned them like that. She hopes it’ll understand, but she still feels like an idiot; still feels like an embarrassment. 

What would her parents think of her, panicking over nothing and shaming their house and only upsetting Kal worse when she was supposed to be protecting him? What would their family think of her? 

Ma and Pa must think she’s being ridiculous. Must think she’s useless. Must think–

[shehimin]

Edgaring time!

Tutorial on how to make your own responsive Edgar :D I will try to explain it in really basic terms, like you’ve never touched a puter (which if you’re making this… I’m sure you’ve touched plenty of computers amirite??? EL APLAUSO SEÑOOOREEES).

If you have some experience I tried to highlight the most important things so you won’t have to read everything, this is literally building a website but easier.

I will only show how to make him move like this:

Disclaimer: I’m a yapper.

Choosing an engine First of all you’ll need something that will allow you to display a responsive background, I used LivelyWallpaper since it’s free and open-source (we love open-source).

Choosing an IDE Next is having any IDE to make some silly code! (Unless you can rawdog code… Which would be honestly impressive and you need to slide in my DMs and we will make out) I use Visual Studio!!!

So now that we have those two things we just need to set up the structure we will use.

Project structure

We will now create our project, which I will call “Edgar”, we will include some things inside as follows:

Edgar

img (folder that will contain images) - thumbnail.png (I literally just have a png of his face :]) - [some svgs…]

face.js (script that will make him interactive)

index.html (script that structures his face!)

LivelyInfo,json (script that LivelyWallpaper uses to display your new wallpaper)

style.css (script we will use to paint him!)

All of those scripts are just literally like a “.txt” file but instead of “.txt” we use “.js”, “.html”, etc… You know? We just write stuff and tell the puter it’s in “.{language}”, nothing fancy.

index.html

Basically the way you build his silly little face! Here’s the code:

<!doctype html> <html>     <head>         <meta charset="utf-8">         <title>Face!</title>         <link rel = "stylesheet" type = "text/css" href = "style.css">     </head>     <body>         <div class="area">             <div class="face">                 <div class="eyes">                     <div class="eyeR"></div>                     <div class="eyeL"></div>                 </div>                 <div class="mouth"></div>             </div>         </div>         <script src="face.js"></script>     </body> </html>

Ok so now some of you will be thinking “Why would you use eyeR and eyeL? Just use eye!“ and you’d be right but I’m a dummy who couldn’t handle making two different instances of the same object and altering it… It’s scary but if you can do it, please please please teach me ;0;!!!

Area comes in handy to the caress function we will implement in the next module (script)! It encapsulates face.

Face just contains the elements inside, trust me it made sense but i can’t remember why…

Eyes contains each different eye, probably here because I wanted to reuse code and it did not work out and when I kept going I was too scared to restructure it.

EyeR/EyeL are the eyes! We will paint them in the “.css”.

Mouth, like the eyeR/eyeL, will be used in the “.css”.

face.js

Here I will only show how to make it so he feels you mouse on top of him! Too ashamed of how I coded the kisses… Believe me, it’s not pretty at all and so sooo repetitive…

// ######################### // ##      CONSTANTS      ## // ######################### const area = document.querySelector('.area'); const face = document.querySelector('.face'); const mouth = document.querySelector('.mouth'); const eyeL = document.querySelector('.eyeL'); const eyeR = document.querySelector('.eyeR'); // ######################### // ##     CARESS HIM      ## // ######################### // When the mouse enters the area the face will follow the mouse area.addEventListener('mousemove', (event) => {     const rect = area.getBoundingClientRect();     const x = event.clientX - rect.left;     const y = event.clientY - rect.top;     face.style.left = `${x}px`;     face.style.top = `${y}px`; }); // When the mouse leaves the area the face will return to the original position area.addEventListener('mouseout', () => {     face.style.left = '50%';     face.style.top = '50%'; });

God bless my past self for explaining it so well, but tbf it’s really simple,,

style.css

body {     padding: 0;     margin: 0;     background: #c9c368;     overflow: hidden; } .area {     width: 55vh;     height: 55vh;     position: absolute;     top: 50%;     left: 50%;     transform: translate(-50%,-50%);     background: transparent;     display: flex; } .face {     width: 55vh;     height: 55vh;     position: absolute;     top: 50%;     left: 50%;     transform: translate(-50%,-50%);     background: transparent;     display: flex;     justify-content: center;     align-items: center;     transition: 0.5s ease-out; } .mouth {     width: 75vh;     height: 70vh;     position: absolute;     bottom: 5vh;     background: transparent;     border-radius: 100%;     border: 1vh solid #000;     border-color: transparent transparent black transparent;     pointer-events: none;     animation: mouth-sad 3s 420s  forwards step-end; } .face:hover .mouth {     animation: mouth-happy 0.5s forwards; } .eyes {     position: relative;     bottom: 27%;     display: flex;   } .eyes .eyeR {     position: relative;     width: 13vh;     height: 13vh;     display: block;     background: black;     margin-right: 11vh;     border-radius: 50%;     transition: 1s ease } .face:hover .eyeR {     transform: translateY(10vh);      border-radius: 20px 100% 20px 100%; } .eyes .eyeL {     position: relative;     width: 13vh;     height: 13vh;     display: block;     background: black;     margin-left: 11vh;     border-radius: 50%;     transition: 1s ease; } .face:hover .eyeL {     transform: translateY(10vh);     border-radius: 100% 20px 100% 20px; } @keyframes mouth-happy {     0% {         background-color: transparent;         height: 70vh;         width: 75vh;     }     100% {         border-radius: 0 0 25% 25%;         transform: translateY(-10vh);     } } @keyframes mouth-sad {     12.5%{         height: 35vh;         width: 67vh;     }     25% {         height: 10vh;         width: 60vh;     }     37.5% {         width: 53vh;         border-radius: 0%;         border-bottom-color: black;     }     50% {         width: 60vh;         height: 10vh;         transform: translateY(11vh);         border-radius: 100%;         border-color: black transparent transparent transparent;     }     62.5% {         width: 64vh;         height: 20vh;         transform: translateY(21vh);     }     75% {         width: 69vh;         height: 40vh;         transform: translateY(41vh);     }     87.5% {         width: 75vh;         height: 70vh;         transform: translateY(71vh);     }     100% {         width: 77vh;         height: 90vh;         border-color: black transparent transparent transparent;         transform: translateY(91vh);     } }

I didn’t show it but this also makes it so if you don’t pay attention to him he will get sad (mouth-sad, tried to make it as accurate to the movie as possible, that’s why it’s choppy!)

The .hover is what makes him go like a creature when you hover over him, if you want to change it just… Change it! If you’d rather him always have the same expression, delete it!

Anyway, lots of easy stuff, lots of code that I didn’t reuse and I probably should’ve (the eyes!!! Can someone please tell me a way I can just… Mirror the other or something…? There must be a way!!!) So now this is when we do a thinking exercise in which you think about me as like someone who is kind of dumb and take some pity on me.

LivelyInfo.json

{   "AppVersion": "1.0.0.0",   "Title": "Edgar",   "Thumbnail": "img/thumbnail.png",   "Preview": "thumbnail.png",   "Desc": "It's me!.",   "Author": "Champagne?",   "License": "",   "Type": 1,   "FileName": "index.html" }

Easy stuff!!! 

Conclusion

This could've been a project on git but i'm not ready and we're already finished. I'm curious about how this will be seen on mobile and PC,,, i'm not one to post here.

Sorry if I rambled too much or if i didn't explain something good enough! If you have any doubts please don't hesitate to ask.

And if you add any functionality to my code or see improvements please please please tell me, or make your own post!

[fuzzkaizer]

Montreal Assembly - Worng Side Of Uranus

"If you’re a regular Cabinet peruser, you’ve joined me as I waxed nostalgic for time periods I’ve never lived in, you’ve noticed me orating some company and component history, and you’ve almost certainly seen me talk about the best effects in their respective classes. And while there are plenty of classes and there is certainly enough love to go around, today I present you with my favorite pedal of all time: the Montreal Assembly Wrong Side of Uranus.

While many of you know Scott Monk and his amazing company for the Count to 5, he’s been in business for much longer than you think, and he’s made more things than most people know about. I first found out about him in 2009 while chasing wares by one of pedal history’s most sought-after builders, Etienne Blythe of Sonic Crayon.

If you were as into pedals as I was in the late-aughts… well, there’s a chance you still may never have heard of Sonic Crayon. However, at one time, Sonic Crayon’s wares were in extreme demand, with resellers ransacking the limited inventory and flipping the pedals for four times the price. His most famous may have been the Hollow Earth. His most unobtainable may have been the Anti-Nautilus. The one I wanted was the Moth.

The Moth was Sonic Crayon’s bitcrusher, and back in 2008 and 2009, that wasn’t an effect you could get just anywhere. However, Sonic Crayon had an old-school way of doing things: When he felt like making a batch, he did. Then he put 10 or so up for sale on his blog, and by word of mouth they’d sell out in minutes. One time, when checking his blog for a potential drop, I saw a new post where he said that if you’re tired of waiting for a Moth, there’s another Canadian guy making bitcrushers and that his were admittedly better. Who am I to argue? Let’s go.

That company was Montreal Assembly. At that time, Scott had only released two pedals, the Uranus and another insane device called Probability of a Fax Machine. When I heard the crude “basement demos,” I was sold. The problem: the sales tactics were exactly the same as Sonic Crayon—made and sold whenever. I never caught one. But my friend did.

My friend had gone off to college and left a present for me. I took a train and met their dad at a station in the suburbs, retrieved the box and opened it right there on the train. The Uranus was inside. When I got home I plugged everything I could into it. I messaged its creator, Scott, on Gmail Chat and geeked out when he answered.

I asked him if it was possible to add a mix circuit to the Uranus and Scott took time out of studying for signal processing exams to draw me up a somewhat complicated add-on schematic. Being somewhat intermediate with prototyping board, I hadn’t done a whole lot of my own stripboard layouts. Be that as it may, I cobbled it together. It worked. Now, I could blend the clean signal in with the bitcrushed one.

Despite being housed in a spray painted computer project box and featuring a barren aesthetic landscape, the Uranus is an impeccably engineered piece of sonic kit. Like most bitcrushers, there are knobs for bit rate and sample rate reduction. The third is volume. However, the bit rate knob is a pushbutton rotary encoder; as you turn it, it displays the bitrate in the seven-segment display. When the pedal is in bypass, the display flashes “bypass,” one letter at a time. Pressing down on the rotary encoder cycles through a slew of modes—ten to be exact—called things like “Dialup,” “Hostile” and more, including an incredible bitcrushed trem called “Blipo'' and a modulated sample rate mode called “Plunger.” It’s total labor-of-love stuff and I am here for it.

Mine is labeled 2010 and is one of a handful known to exist, and the only one with this mix knob. You may have seen one in a promotional photo that Strymon posted of its El Capistan being used in the studio by Godspeed! You Black Emperor, with the Uranus riding sidesaddle. Many, many people have never heard of it, and some of you may have never heard of Montreal Assembly before now. I urge you to change that.

At NAMM 2020, I actually saw Scott walking by our booth and I recognized him from some old demos. I ran down the aisle and tapped him on the shoulder. He looked right at me, then read my name badge, looked back up and said “Heyyy, Kula, how’s that bitcrusher treating you?” What a legend."

cred: catalinbread.com/blogs/kulas-cabinet/montreal-assembly-wrong-side-of-uranus

[psatalk]

Pelican Rotoflex's 'Make in India' innovations at drupa 2024

Rajkot-based Pelican Rotoflex highlighted the ‘Make in India’ theme at drupa 2024, showcasing its Solomark 6450 ELS rotogravure press technology and the Acrostar turret slitter at the printing expo held in Düsseldorf from 28 May to 7 June.

“We did not run the full press but displayed a demo unit that showcased all the features of the Solomark 6450. We highlighted various features of the machine, including the semi-floatation dryer and the highly efficient ventilation module. The efficiency of this press is fantastic. There is a servo control damper for recycling air, which reduces energy consumption,” said Yash Shrimanker of Pelican Rotoflex.

The Solomark 6450 rotogravure printing press has been designed for a wide range of print substrates, including new eco-friendly substrates. It features easy operation, quick changeover with multiple trolley options, and aims to reduce wastage. “As margins are shrinking and the industry is becoming competitive, customers are ready to invest in quality machinery that can help them reduce costs. At Pelican, we provide the best solutions to help reduce wastage, ink consumption, and save power. And the best part is, our presses are made in India,” Shrimanker added.

Talking about drupa, Shrimanker said the show was great and they received some genuine inquiries during the expo. “We had many overseas visitors who were impressed not only by our Solomark 6450 but also the our converting equipment. Our displays and presentation evoked extremely positive response and appreciation from our visitors,” he stated.

Shrimanker also commented on the potential of the Indian packaging market, stating, “To be honest, the Indian market is where the big growth is. We expect the Indian packaging market to be robust for many years to come. A lot of global companies and investors are looking to invest in India. The biggest thing is, the name of 'Made in India' products is now getting due recognition globally.”

Pelican’s new state-of-the-art manufacturing plant, set up on a sprawling estate of 24 acres in 2020, is located about 25 kilometers from the city of Rajkot in Gujarat.

[sbarnaudiana]

Cum îmi fac PCul compatibil cu Windows 11?

Cu toții dorim să ne mutăm pe Windows 11 din varii motive. Dar acest mesaj ne oprește:

În primul rând, haideți să vedem de ce avem nevoie pentru a putea rula Windows 11, după cum spun cei de la Microsoft:

A "compatible" 1 GHz or faster dual-core 64-bit processor from Intel, AMD, or Qualcomm

4GB of RAM

64GB of storage

UEFI Secure Boot supported and enabled

A Trusted Platform Module (TPM), version 2.0

A DirectX 12-compatible GPU with a WDDM 2.0 driver

A 720p display larger than 9 inches in size

Și ce facem cu această informație? În ziua de astăzi, mai toate PCurile au componente care pot rula Windows 11, deci nu componentele ar fi problema.

Ce putem observa este că avem nevoie de TPM 2.0 și UEFI Secure Boot. Aceste două setări se regăsesc în BIOS.

Haideți să le activăm PAS CU PAS!

PASUL 1: Pentru a intra în BIOS trebuie să dăm restart la PC și apoi sa apăsăm încontinuu pe tasta DELETE până când BIOS-ul se deschide. (Dacă sunteți pe laptop, s-ar putea ca tasta aceasta să difere. Daca DELETE nu funcționează, încercați una din tastele din poza de mai jos, în funcție de ce laptop aveți:

Următorii pași diferă în funcție de ce tip de placă de bază aveți. Ca un exemplu, vom folosi BIOSul de la GIGABYTE, cel mai des întâlnit.

PASUL 2: În meniul de la BIOS intrăm la "Peripherials" și apăsăm pe "Trusted Computing 2.0"

PASUL 3: trebuie să activăm "Security Device Support" (adică să îl punem pe enable)

PASUL 4: ne întoarcem la meniu și apăsăm pe BIOS, apoi pe "CSM Support" și ne asigurăm că este pe disabled.

PASUL 5: apoi dăm Save&Exit pentru a salva ce am făcut până acum și apoi ne întoarcem în BIOS urmărind pasul 1.

PASUL 6: în meniul "BIOS" unde se află și CSM Support, vom găsi și "Secure Boot". Apăsăm pe el și schimbam Secure Boot Modde în "STANDARD", exact ca în imaginea alăturată:

PASUL 7: repetăm pasul 5 pentru a salva ce am făcut până acum.

PASUL 8: intrăm din nou în meniul BIOS, la Secure Boot și îi dăm enable

PASUL 9: Acum puteți da Save&Exit.

Asta ar fi tot! Acum totul ar trebui să meargă! Acum puteți da upgrade la Windows 11!

[aviationstore101]

Avião Bimotor Diamond DA62 – Ano 2019 – 780 H.T.

Preço: US$1,850,000.00

Não espere mais para realizar seu sonho de voar – ele está mais próximo do que você imagina com o Diamond DA62. Entre no mundo da aviação de forma sublime e desfrute de uma jornada extraordinária

Equipamentos: 

Flight Deck Manufacturer/Model: GARMIN G1000 NXI

WAAS: Yes

SVT: Yes

YawDamper: Yes

Active Traffic: Yes

2x Garmin GDU 105X 10-inch Flight Display (PFD & MFD)

Garmin GEA 71B Airframe/Engine Interface Unit

2x Garmin GIA 63W COM/NAV/SBAS-GPS/GS/LOC

Garmin GMA 1347 Digital Audio System

Garmin GRS 77 Attitude Heading Reference System

Garmin GDC 72 Digital Air Data Computer

Garmin GMU 44 Magnetometer

Garmin GFC 700 Automatic Flight Control System including Yaw Damper and Garmin ESP (Electronic Stability Protection)

Garmin GTX 345 R Remote ADS-B IN OUT Transponder

ELT 406 MHz

2nd Digital Standby Attitude Module (MD-302 SAM)

Avidyne TAS 605 Traffic Advisory System

Garmin GWX 70 Weather Radar

Garmin GCU 476 Keypad

Garmin Synthetic Vision Technology

A aeronave acima é de terceiros, os dados estão sujeitos a verificação.

[apolocodes]

Hacer un skin SOLO con CSS Parte 3

Hola a todos, otro tutorial puro css. ¡YEEEEY! Hoy vamos con los módulos también llamados widgets.

Hay varias partes para editar en los mismos como yo dije que no haría nada con html y que este skin estaba realizado puramente con css, usaré algunos de los que tenemos por defecto, en este caso escogí el de conexión, últimos temas y calendario.

Para usarlos vayan a Panel de administración - Módulos - Gestión de los módulos del foro - Mostrar los módulos del foro: Sí

Además de ello le puse anchura de columna 1(izq) un total de 200píxeles, ustedes lo pueden modificar a gusto y placer.

Sin más preambulos, vamos a lo nuestro:

Parte 1: El contenedor

Volvemos a nuestro Css stylshett (el que esta justo al lado de los colores).

El contenedor de todos los modulos se llama #left

¿Qué podemos editar en el? Todo lo que quieran, color, bordes, fondos, tamaño, incluso lugar en el que desean tenerlo (para esto usen position: absolute, y margenes que le expliquen al contenedor dónde debe estar). Dejaré aquí una muestra de como me quedó a mí:

#content-container div#left {    width: 200px;    float: left;    margin-right: 3px;    overflow: hidden;    background: var(--fondo);    border: var(--borde); }

Parte 2: Títulos de los Widgets

Estos se llaman h3 pero como en muchos sitios foroactivo pone h3 vamos a ser más especiales a la hora de nombrarlos y ponerle también el nombre de su padre: .module .h3

.module .h3 {    background: linear-gradient(45deg, var(--acento1), var(--acento2));    text-align: center;    color: white;    border-radius: 5px;    padding: 10px; }

¿Apolo lo dejarás así de normal? No, porque ya me conocen si puedo complicarme la vida lo hago...

Así que vamos a meterle un hover lara lara.

.module .h3:hover { background: linear-gradient(45deg, var(--acento2), var(--acento3));    text-shadow: 2px 1px black;    transition: 1.5s; }

PARTE 3: WIDGETS ESPECIFICOS

A) Conectarse:

Bueno ya con la base realizada nos pondremos a editar específicamente los widgets que tengo puestos... esto lo pueden obviar y poner los suyos propios pero bueno.

Widget de conexión

dl.mod-login-avatar {    width: 170px;    background: linear-gradient(45deg, var(--acento1), var(--acento2));    padding: 5px;    border-radius: 5px; }

¿Qué es esto? Aquí estamos estableciendo la zona dónde irá el avatar del usuario. En este caso generaremos como un fondo, es totalmente precindible su edición pero en lo personal me gusta darle vueltas a las cosas.

dl.mod-login-avatar img {width: 170px; border-radius: 5px;}

¿Y esto Apolo? Es la imagen de avatar de usuario en sí, aquí podremos poner un ancho, un largo, un borde, si lo queremos redondeado si no, etc.

.module form p label {    color: var(--acento1);    text-transform: uppercase;    text-align: center;    display: block; margin-top: 13px; }

input#username.inputbox.autowidth, input#password.inputbox.autowidth {    width: 91%!important;    background: linear-gradient(45deg, var(--acento2), var(--acento3));    padding: 5px;    border: var(--borde);    color: black; }

Estos dos códigos modificaran la zona desde invitado, el de arriba los títulos Nombre de usuario y Contraseña, el segundo lo que hace es modificar los cuadraditos dónde rellenaremos los datos.

input.button1 { display: block;    background: linear-gradient(var(--acento1), var(--acento2));    color: white;    border: var(--borde);    padding: 10px;    border-radius: 15px;    text-transform: uppercase; }

input.buttom1:hover { background: linear-gradient(var(--acento2), var(--acento3)); }

Este es el botón de conectarse. Lo que hicimos aquí fue darle fondo, color de letra, borde, espacio, curvarlo un poco y poner que este en mayúsculas la letra, en el de abajo le pusimos un hover.

.module .box-content .mod-login {    display: block;    text-align: center;    color: #fff;    margin-top: 8px;    margin-left: -1px;    text-transform: uppercase; }

.module .box-content .mod-login dd {background: var(--oscuro); padding: 5px;}

El de arriba modifica el título: Mensajes y Mensajes privados. El segundo la parte de la información de los mismos.

.mod-login p.center a {color: var(--acento2);} .mod-login p.center a:hover {color: var(--acento3);}

Esto modificará la parte que dice "Mi perfil"

Terminamos el modulo de conexión ahora vamos con el de calendario.

B) Calendario:

#calendar .center, #mini-calendar .center {color: white;} #calendar table.table1 tbody th {background: var(--acento1);}

Hará que los títulos de los días tengan color.

#calendar td.row2.hover-td.center, #calendar td.row3.hover-td.center, #calendar td.hover-td.center {border: 1px solid var(--oscuro);}

Hará que cada fecha tenga un cuadrado.

#calendar a.gen { background: linear-gradient(var(--acento2), var(--acento3)); }

Marcará que cada vez que vean un evento sea con colores.

C) Últimos temas

#comments_scroll_div{    font-family: Roboto;    text-transform: uppercase;    color: #fff;    background: #0000008f;    border: 5px solid var(--oscuro);    border-radius: 5px;    padding: 5px; text-align: center; }

Esta parte es la base (lo del fondo) de la zona de últimos temas, nosotros aquí editamos: la letra, el color, el borde, etc. ¡Sean creativos y hagan algo hermoso!

#comments_scroll_div a{    display: block;    background: var(--acento1);    color: white;    padding: 5px;    border-radius: 5px;    border: var(--borde); }

Este es el link, una aclaración importante, los últimos temas tienen dos links uno al tema en sí y el otro al usuario que respondió, este código se aplica a ambas cosas a la vez.

Espero que este tutorial les sirviese! Nos vemos en el próximo.

[coolyoungsblog]

Carton Packing Machine KY-60TZH

KY-60TZH packing machine is designed and manufactured to pack big boxes of width up to 22cm.it adopts a series of transmission, imitates the human movement to automatically complete the process of blanking, opening the box, packing the products, sealing the box and removing waste , complete the delivery of finished products.

I.Main Use :

KY-60TZH packing machine is designed and manufactured to pack big boxes of width up to 22cm.it adopts a series of transmission, imitates the human movement to automatically complete the process of blanking, opening the box, packing the products, sealing the box and removing waste , complete the delivery of finished products.

II.Applications

KY-60TZH cartoning machines is widely used in especially pharmaceuticals,food, confectionery, tea and coffee, , toiletries, cosmetics, household products and etc.

III.Performance characteristics

1.It adopts the packaging form of automatic feeding, opening, inserting, Spray glue sealing box, which is compact and reasonable in structure and easy in operation and adjustment.

2.PLC programmable control system with motor and touch screen, HMI display operation is more clear and simple, high degree of automation, more humanized.

3.The automatic optical eye detection and tracking system can save the packaging materials to the greatest extent。

4.Wide packaging range, easy adjustment, various sizes can be quickly converted between.

5.Replacement specifications do not need to replace the mold, only adjustment can be achieved.

6.It adopts the automatic stop when the box is not in place and the overload protection device of the main drive motor, which is more safe and reliable.

7.According to customer requirements, the upturn type safety cover is adopted, which is easy to operate and beautiful in appearance.

8.It can realize linkage production with one - and two-plane mask machine N95 mask machine pillow packing machine and other equipment.

9.According to the packaging requirements can design a variety of automatic feeder and box system.

10.Hot melt glue machine can be selected according to customer requirements using hot melt glue spray sealing box and mechanical brush sealing box.

IV.Technical Parameter

Item

Unit

Value

total power

kw

2.5

working voltage

v

380/50Hz

Production capacity  (box/min)

Box/min

40-80

box size

L*W*H(cm)

11x22x7

starting current

A

8

Full load running current

A

2.5

Compressed air

Mpa

0.6～0.8

total weight

kg

1300

noise

≤dB

75

machine dimension

L*W*H

L4100 * W110 * H1800 mm

V.Configuration

Name

Brand

Model

QTY

Touch screen

Mitsubishi

GS2110-WTBD

1

PLC

Mitsubishi

FX3U-48M/DS

1

Communication cable

Mitsubishi

GT01-C50R4-8P

1

Frequency converter

Mitsubishi

FR-D720S-0.75K-CHT

1

communication module

Mitsubishi

FX3U-485-BD

1

servo motor

Mitsubishi

HG-KN73J-S100

1

servo drivers

Mitsubishi

MR-JE-70A

1

Servo encoder cable

Mitsubishi

MR-J3ENCBL5M-A1-L

1

Servo power cable

Mitsubishi

MR-PWS1CBL5M-A1-L

1

ServoCN1 Pin CN1

Mitsubishi

MR-J3-CN1

1

Leakage circuit breaker

Schneider

ICC65N C40+IC65 ELE 30mA/2P

1

Miniature circuit breaker

Schneider

OSMC32N2C10

3

Miniature circuit breaker

Schneider

OSMC32N1C6

2

Relay

Schneider

RXM 2LB2BD

8

Relay base

Schneider

RXZ E1M2C

8

Switching power supply

Mean Well

NDR-240-24

1

socket

Chint Group

AC30-10530

1

Change-over switch

China brand

LW30-25

1

main motor

CPG

CH-22-750-60-SZ-G3-TL

1

Clutch

China brand

DLK1-5AT

1

Encoder

NEMICON

OVW2-036-2MHT

1

Coupler

1

vacuum generator

AIRBEST

ABX30-B

1

Solenoid valve

AirTAC

4V210-08B

7

Manifold

AirTAC

6F

1

Photo electricity

ShiKe

GTB6-N1212

4

proximity switches

Riko

PSC1205-NP

2

Magnetic switch

AirTAC

CS1-J

1

Magnetic switch

SMC

D-M9N

2

scram button

Honeywell

PB22J-01-R

2

reset button

Honeywell

PB22-10-S

1

start button

Honeywell

PB22-10-G

1

stop button

Honeywell

PB22-10-R

1

inching button

Honeywell

PB22-10-W

2

electric cabinet

China brand

ME680*725*280

1

Operating box + cantilever

China brand

1

temperature controller

Leipold

JWT-6011F

1

VI.Terms and Condition:

1. Lead time: 30 working days after advance payment received .

2. Port of Loading: Shanghai , China.

3. Payment: 50% advance payment by T/T, and 50% balance payment before shipping.

4. Packing: standard export wooden case.

5. Warranty period: one year since the date of ETA

6.Service :We provide the installation&operation training by videos ,written instructions and remote assistance during the period of Covid-19;Door to door service will be provided after the whole situation get normal .

VII.Why Chose us :

1.-Increase production capacity

Cool Young automatic packaging line will increase production capacity to 400~800% for you .

2.-Save labor cost.

Cool Young automatic packaging line will save labor cost by 70~90%

3.-Reduce wastage

Cool Young automatic packaging line will save package material by 10~30%

4.-Establish Standardization production system.

As known to all ,hand made products are not stable on quality,speed,wastage &shapes ,cool young automatic packaging line can make all these factors are consistent.

[registryloading276]

Statistica For Mac Os

Statistica Mac Os

Latest Os For Mac

This page provides instructions on how to install IBM SPSS Statistics on a computer running Mac OS X 10.10 (Yosemite), Mac OS X 10.11 (El Capitan), or Mac OS X 10.12 (Sierra).

Due to changes in the way macOS Catalina handles new file/directory access, IBM SPSS Statistics is not able to open data files using the file chooser or the GET FILE command. Note: This issue is resolved starting with IBM SPSS Statistics 26.0 Fix Pack 1 (available end of October, 2019). Statistics are important information. From the statistics below (collected from W3Schools' log-files since 2003), you can read the long term trends of operating system usage. OS Platform Statistics.

Installation Instructions

Install the IBM SPSS Statistics file you downloaded from software.usc.edu/spss.

Double-click the SPSS Statistics Installer icon on your desktop.

You may need to authorize the installer. Enter your computer’s login name and password and then click Install Helper to authorize the installer.

On the IBM SPSS Statistics screen, click OK.

On the IBM SPSS Statistics – Introduction screen, click Next.

On the IBM SPSS Statistics – Software License Agreement screen, select I accept the terms in the license agreement and click Next.

On the IBM SPSS Statistics – Install Python Essentials screen, under Install IBM SPSS Statistics – Essentials for Python, select Yes. Click Next to continue to the next screen.

The following license agreement screen will appear. Select I accept these terms of the License Agreement and click Next to continue with the installation.

The IBM SPSS Statistics – License Agreement for Essentials for Python screen will appear , select I accept the terms in the license agreement and click Next to continue the installation.

On the IBM SPSS Statistics – Choose Install Folder screen, choose the location where you would like to install SPSS. Click Next.

On the IBM SPSS Statistics – Pre-Installation Summary screen, click Install.

SPSS will now install. This process takes approximately 2-5 minutes.

The IBM SPSS Statistics – Install Complete screen will appear, click Done to finish the installation process and launch IBM SPSS Statistics.

When you launch IBM SPSS Statistics for the first time, you will see the following screen. Click License Product to enter the license key you received from ITS and authorize your copy of IBM SPSS Statistics. NOTE: You must be connected to the Internet to successfully complete the authorization process.

The License Status screen will appear. Click Next.

On the Product Authorization screen, choose Authorized user license (I purchased a single copy of the product). and then click Next.

On the Enter Codes screen, enter your authorization code. When purchased your software from ITS, you should have received an email with this authorization code.

Once the authorization process is complete on the Internet Authorization Status screen, click Next.

On the Licensing Completed screen, click Finish to complete the installation.

Free - open source - for Mac OS X Current version: 1.2.1 Report updated: 7/2013. Matplotlib is a pure python plotting library with the goal of making publication quality plots using a syntax familiar to matlab users. The library uses Numeric for handling large data sets and supports a variety of output backend. STATISTICA is not available for Mac but there are plenty of alternatives that runs on macOS with similar functionality. The most popular Mac alternative is R (programming language), which is both free and Open Source.If that doesn't suit you, our users have ranked 31 alternatives to STATISTICA and 14 are available for Mac so hopefully you can find a suitable replacement. Download IBM SPSS Statistics v26 for Mac Free. It is full Latest Version setup of IBM SPSS Statistics v26 Premium Pro DMG for Apple Macbook OS X. Brief Overview of IBM SPSS Statistics v26 for Mac OS X. IBM SPSS Statistics v26 for Mac is an impressive statistical data modeller that us used within the government, academic as well as commercial.

NOTE: ITS suggests you open IBM SPSS Statistics once the installation and authorization has finished to ensure that the software has installed correctly.

Download IBM SPSS Statistics 25 + Crack Mac OS X Version at 4macsoft. The most accurate statistical software for Mac is now available free download. After the huge success of old version the new 24 version is now available with a wide range of impressive tools, presets and also features. IBM SPSS Statistics 25 Crack For Mac has everything you need to analyse statistics and also solve complex issues. It has powerful general linear models with various statistical models that are widely used by manufactories. You can also download Simlab Composer 8 Crack.

Furthermore, the software has all the analysing, statistical and also caluculation tools to server its users requirements. Besides, the software is widely used by thousands of popular manufactories, companies, offices, laboratories etc. It has a powerful engine for data analysing allowing you to get various statistical formules in various ways with accurate results. IBM SPSS Statistics 25 Free Download comes out with new intuitive workflow interface that includes a wide range of options, features and presets.

Moreover, the software has a new features that will help users to apply various hard tasks. It provides propel research and analysis with a fast and powerful solution. Instead of searching in torrent websites, you can simply download the full cracked version with a single click below. Install the software in your Mac OS X device. And also explore various impressive features.

– Afully integrated module of IBM SPSS Statistics. – Work across multiple data sources. – IBM® SPSS® Regression enables you to predict categorical outcomes and also apply various nonlinear regression procedures. – Offers Easy statistical analysis. – Use a simple drag and drop interface to access a wide range of capabilities. – Enhance the SPSS Syntax with R and also Python through specialized extensions. – Intuitive workflow user interface. – Bootstrapping is a useful technique for testing model stability.

Statistica Mac Os

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– Work inside a single, integrated interface to run descriptive statistics, regression, advanced statistics and many more. – High integration with Open Source. – Improve the accuracy of your analysis and the dependability of your conclusions with statistics designed for complex relationships. – Provides 130+ extensions available on our Extension Hub. – A comprehensive set of statistical tools. – Build your own extensions and share with your peers to create a customized solution. – Improve publication ready charts, tables, and also decision trees in one tool. – Custom Tables enables you to summarize SPSS Statistics data, and display your analyses as presentation-quality, production ready tables.

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Title :IBM SPSS Statistics 2017+ crackManufacturer:IBMProcessor :64 Bit ProcessorOS :OS X 10.8 or later onRelease Date:13 Nov2017size:757 Mo

[ifater-tech]

Bemutatkozott a Huawie Mate 40 széria

Három (ha a Porsche Design kiadást is számoljuk négy) Mate 40-esről rántotta le a leplet a Huawei ma délután: A „basic” modell mellé nem csak egy Pro, hanem egy Pro+ is érkezett. A kínai gyártó a kötelező „lépéstartó” frissítések mellett leginkább dizájnban hozott egyedit. No persze félreértés ne essen, a hardver fejlődött idén is és még mindig vezető gyártóhoz méltó specifikációkat tudtak felmutatni.

A közös alap mindhárom modell esetében a Kirin 9000 lapkakészlet, mely az első 5nm-es, integrált 5G antennával ellátott mobil chipset, annyi különbséggel, hogy a sima Mate 40 az úgynevezett „E” verziót kapta meg, ami valamivel kevesebb grafikus teljesítményt tud letenni az asztalra. Nyilván ezen felül is akadnak hardveres eltérések, de külsőség szempontjából olyannyira nagy az összhang, hogy elsőre szinte csak a kamerák számából lehet megmondani, mikor melyik modellt látjuk magunk előtt.

A leginkább szembetűnő újítás pont ezen a téren, a hátlapi kamerák elrendezésén érhető tetten, a hátoldali négy (Pro+ esetében öt) objektív a vakuval együtt szimmetrikusan egy körívre került elhelyezésre és első ránézésre mindenképp esztétikusabbnak tűnik, mint a manapság divatos kamera-púpok – kicsit egyébként a régi iPodok tárcsájára emlékeztet.

A kamerák száma és képességei az egyes modellekben eltérő: A Mate 40 Pro - mint a család „tengelye” - négy objektívvel rendelkezik. Ezek közt a legfőbb darab 50 megapixeles, optikai képstabilizátorral és méretes, 1/1,28-as szenzorral és f/1.9-es numerikus apertúrával rendelkezik, ezt egészíti ki a Cine névre hallgató nagylátószögű modul (20 megapixeles felbontással és f/1.9-es apertúrával), az önmagában is ötszörös zoomot kínáló periszkóp kamera (12 megapixeles felbontással, optikai képstabilizátorral), mely látószögek játékával együtt összesen hétszeres optikai zoomot tesz lehetővé. A sort egy mélységérzékelő modul zárja, ami ezúttal nem ToF szenzor, az ugyanis csak előre jutott, a kamera kivágásban. Ez szolgál szelfi háttérelmosára és profibb arcfelismerésre, mármint a nagylátószögű szelfi modul mellett.

A Mate 40 Pro+ ehhez képest öt objektívvel operál, egy második zoom modult is kapott, a telefotó lencse háromszoros optikai nagyítást ad a közösbe, a periszkóp kamera tízszerest, kombináltan pedig tizenhétszeres optikai zoom áll rendelkezésünkre, illetve a hátlapra került ToF modul is.

A Mate 40 csak minimálisan lett gyengébb a Pro-hoz képest, a legnagyobb áldozat a periszkóp modul, maradt egy szimpla 8 megapixeles telefotó lencse, maximum öt megapixeles optikai nagyítással, illetve az előlapon is csak egy magányos 13 megapixeles kamerát találunk.

A Pro és Pro+ előlapját a szinte teljesen keret nélküli, 6,76 colos HDR AMOLED panel uralja a FHD+ (2772 x 1344 pixeles) felbontással és 90 Hz-es frissítési rátával, az érintéseket pedig 240 Hz-en regisztrálja. Ehhez képest a Mate 40 mindössze csak egy leheletnyit kisebb, 6,5 colos és ennek megfelelően 2376 x 1080 pixeles felbontású panelt kapott, mely továbbra is 90 Hz-es frissítési és 240 Hz-es érintés érzékelési rátával rendelkezik.

Ezen a megjelenítőn keresztül kezelhetjük az Android 10-re épülő EMUI 11-et, mely továbbra is Google-mentes, de legalább olyan extrákat kínál mint a lebegőablakos alkalmazáskezelés, az érintés nélküli gesztusvezérlés, de a készülék azt is érzékeli, hogy mikor nézünk rá, így az Always-On-Display névre hallgató állandó megjelenítést is csak akkor kapcsolja be, ha éppen figyelünk is a lezárt képernyőre.

A nyers erőt és számítási teljesítményt adó Kirin 9000 mellé 8/256 GB alapkiszerelés jár RAM-ból és tárhelyből (Pro+ esetében 12/267 GB a felosztás, Mate 40-nél pedig  8/128-as), áramforrással mindezt a Mate 40 Pro és Pro+ modelleknél a 4400 mAh-ás kapacitású akkumulátor látja el, melyet 66 wattos vezetékes gyorstöltés mellett 50 wattos vezeték nélküli töltéssel is etethetünk, míg a Mate 40 valamivel kisebb, 4200-as akkumulátora csak maximum 40 wattos vezetékes gyorstöltéssel etethető, itt a vezeték nélküli töltés nem is opció.

A víz- és porállóság mértéke egyik készülék esetében sem teljesen tiszta, de valószínűleg a Pro modellek IP68-as, míg az „alap” Mate 40 IP53-as minősítést érdemelt ki, igaz utóbbin meglepő módon kapott 3.5-mm-es jack csatlakozót.

Méretek, ár elérhetőség:

Mate 40 Pro:  162.9 mm x 75.5 mm x 9.1 mm (a vegán bőr borítású változat esetében 9.5 mm), 212 gramm

Mate 40 Pro+: 162.9 mm x 75.5 mm x 8.8 mm, 230 gramm

Mate 40: 158.6 mm x 72.5 mm x 8.8 mm (a vegán bőr borítású változat esetében 9,2 mm), 188 gramm

Egyelőre magyar árakat nem ismerünk, illetve valószínűleg csak a Mate 40 Pro érkezik meg hazánkban, a Huawei reményei szerint még az idén. Euróban az árak:

Mate 40 – 899 euro

Mate 41 Pro – 1199 euro

Mate 40 Pro+ - 1399

[isadomna]

ENRIQUE IV OF CASTILE

Enrique initially basked in popularity in Castile and was known by the sobriquet Enrique El Generoso. He built many buildings and was a great benefactor to churches and monasteries. He was known to be contemplative and thoughtful and enjoyed long and uplifting conversations with clerics in beautiful and serene settings. Enrique was, in short, a man of placid good will, conciliatory, who sought to make friends rather than create enemies, and in another era he might have remained a well-loved figure. He and his father had been in fierce opposition to each other for much of Enrique’s young adulthood, but when his father died, the prince had been at his side. One of his first steps upon becoming king was to permit 159 of his father’s political appointees to keep their jobs, rather than putting his own appointees in the positions. He also pardoned political adversaries who had been exiled, shunned, or imprisoned, returning their properties and titles to them, which allowed them to begin circulating around the kingdom once again.

For while he was in some ways a sensitive soul, he could also be a clumsy oaf. Even his physical appearance was an odd dichotomy. He was tall and blond, with large fingers and hands and “a fierce aspect, almost like a lion,” that struck fear in those who saw him. But his mannerisms were much at odds with his appearance, because he liked to sing, in a voice that was “sweet and well-modulated,” preferring sad and melancholy songs. Gruff and unpolished in demeanor, he was softhearted and malleable to those who had learned how to manipulate him. Enrique was also a gentle animal-lover who kept his own menagerie, including lions, ocelots, deer, bear cubs, leopards, and his personal favorite, a large mountain goat. He spent long hours hunting in the forests surrounding Segovia and Madrid. But he employed such pursuits to avoid dealing with the unpleasant tasks of governing. Deferring troublesome decisions did not resolve them, however, and his indolence and aversion to hard work often caused small problems to worsen. Soon Enrique was surrounded by people who had no particular sense of allegiance to him and who came to view their posts as sinecures they held as a matter of right.

Another aspect of Enrique’s life made him particularly vulnerable to attack. He enjoyed frequent and lengthy getaways with handsome young men, often meeting with them at his hunting lodges on the outskirts of town. He was almost certainly a homosexual. This would not have been a political problem as long as he managed to produce enough heirs to the throne to assure a smooth succession. But this he failed to do, and it happened at a time when attitudes toward homosexuality were hardening in Europe. The overt homosexual behavior in Segovia was criticized by many Spaniards and noticed even by some foreigners. The Czech pilgrim Schaseck, traveling with a nobleman who was entertained by King Enrique at the Alcázar in Segovia, was shocked by the activities he witnessed at Enrique’s court. “Indeed they live such an impure and sodomitical life that one would be reluctant and ashamed to speak of their crimes,” Schaseck wrote in a memoir of his trip that was widely circulated upon his return home.

And sadly, as his father had done before him, Enrique developed attachments to certain men that allowed him to be easily manipulated, in ways that frequently damaged his own interests or hurt his family. The king was generous to a fault and frittered away his treasury on gifts and grants to boyfriends who simply became greedy for more, making them impossible to satisfy. It was in this manner, rather than through spite on Enrique’s part, that the rents and properties that should have been given to Isabella’s family migrated elsewhere.

He enjoyed holding forth in the Moorish style, sitting on cushions and rugs instead of upon a throne, often dressed in a turban or hooded cape, an affectation that would have seemed harmless or romantic except for the fact that Castile was at war with Granada. Given the tenor of the times, Enrique’s methods of war-making also made him a laughingstock. Much of the practice of war in those days entailed one side doing economic damage to the other—setting fire to their crops and killing their livestock—opening the prospect that the weaker side would pay bribes to make the marauding soldiers go away. Part of the pleasure of the enterprise was permitting people to undertake activities that would never be tolerated in peaceful times. Young men in particular relished the chance to display their machismo through daring acts of vandalism that took them into contact with the enemy. But Enrique commanded that they were not to burn down olive groves, because they took too long to grow and bear fruit. He lectured his troops on the preciousness of both human and natural life, leaving his soldiers “incredulous".

Kirstin Downey, Isabella: The Warrior Queen

[thesunlounge]

Reviews 325: Alberto Garralón

Back in 2018, Discómanos Records debuted with a stunning compilation entitled La llama de Prometeo: La puerta de entrada a las Nuevas Músicas Españolas, which did for Spain’s "new music” scene what Alixkun’s Kumo No Muko compilations did for Japanese synth-pop and ambient…that is to say, La llama de Prometeo, while touching on the works of familiar artists such as Suso Saiz, Iury Lech, Pedro Estevan, María Villa, Finis Africæ, Eliseo Parra, and Pablo Guerrero, did so in a more intimate manner, presenting unheard and obscure compositions reflecting curators Lord Guardado’s and Daniel Nielles’ personalized journeys through this beautiful sonic universe. But the compilation went even further by shining a much deserved light on lesser known figures from the Spanish ambient underground…artists like Juan Veron Gormaz, Pedro León, Antonio García, and Alberto Garralón…all of whom delivered immersive sonic paradises that sit perfectly aside the most cherished works from Grabaciones Accidentales and Hyades Arts. 

So it’s fitting that Discómanos’ second release continues on this track, focusing specifically on the music of Alberto Garralón. Though there’s scant information available concerning the life and career of Garralón, I can at least say that Baila, Claridad! was recorded during 1989 and 1990 by way of a Tascam Portastudio and was released not long after via a limited cassette pressing. The album sees the visionary guitar player using an array of synthesizers, woodwinds, idiophones, and hand drums to explore delicate audial dreamscapes that mesmerically blend elements of Spanish traditional music and classical composition together with psychedelic folk, starry-eyed new age, pastoral prog, meditative minimalism, and exploratory kosmische. And for their reissue, Discómanos have invited in Fernando Arias of Audiorec Sound Design, who has lovingly remastered the music from the original source, allowing it to shimmer and shine anew alongside a striking visual layout featuring the high contrast photography of Koldo Serra.

Alberto Garralón - Baila, Claridad! (Discómanos, 2019) Opening track “Cuidad Mercurio” is split into three parts, the first of which is “Cuidad abierta,” where fingerpicked acoustics are layered through clouds of reverberation, radiant keyboard melodies hover like coastal mist, and blinding leads smear into sunbeam psychedelia. Then in second part “La media luna,” the fingerpicked acoustics lock into patterns of ritualistic minimalism that generate silvery flashes of luminescence…perhaps meant to evoke the light of the titular half moon as it reflects off a gentle ocean surface. And as the track progresses, a reed instrument blows through the background, adding further touches of mysterious seaside magic. “Cuidad Mercurio” ends with a final part entitled “Es to reflejo,” which sees jangling chordscapes flowing all around the spectrum. Synthesizers transmute into feedback as they soar through sky, mixing with the dreampop guitar atmospherics in a way pulling my mind to the more blissed out moments from Ishinohana. Imagine post-punk guitar riffing blurred into a daydream hallucination, or a space pop guitar instrumental scoring some impossible sunset. Pianos, marimbas, kalimbas, and other solar idiophones dance beneath starlight bell tapestries in “Iria Feliz,” while hand drums hold down a rainforest groove. Wavering guitar solos alternate with ghostly leads that squiggle through a sunrise sky and there are gamelan evocations in the way the interlocking loops of exotic metal generate hallucinogenic polyrhythms, with everything being wrapped around by aquatic organ wavefronts. And when the rhythms pull away, we find ourselves in a swooning section of “Heart and Soul” romance, where FM fluids cycle around sprightly guitar patterns and organ drones flow beneath noir-pop atmospheres recalling the work of Badalamenti, especially on Twin Peaks.

Droning bass synthesizers open “Julia” while aqueous organs generate underwater currents that radiate outward in every direction. Twinkling FM bells flutter through echo machines, synthetic woodwinds mimic the songs of whales, glowing feathers lilt down on unseen air currents, and shadowy clouds of gas billow out from deep sea vents while melancholic pad melodies wrap around the heart…sounding almost theremin-esque and evoking classical music, only as approximated by oceanic spirits and instruments of choral, seashell, and crystal. “Bye, Bye Babilonia” follows and shrouds guitar arpeggiations in layers of slapback while glass-toned chords spread out across the stereo spectrum. Another guitar is manipulated via cosmic synthesis, with epic melodies flowing towards some blood red horizon even as they mutate and modulate into cosmic liquid. The vibe is majestic and melancholic…like a spaghetti western adventure across a land of darkness, wherein unseen temple bells toll far in the distance. And as new age chimes sparkle like starlight amidst the shadowy melodic environments, clouds of subsonic smoke work into the mix and wrap gently around the body. The poetically titled “Esto es amor… (Esto es el mar)” begins as a buzzing keyboard fantasia, with a harpsichord beaming in from some unknowable dimension joined by malfunctioning machine approximations of a piano. Each and every note trails thick clouds of black smoke, which then overlap to create pulsing wavefronts of resonance. There are tones of wistful nostalgia lurking behind the synthetic keyboard smolder…as if Garralón is yearning for some dreamworld that never was…and as the track progresses, my mind wanders to the alien keyboard interludes and manipulated piano lullabies of Mogwai’s Young Team.

The B-side opens with “Baila, Claridad!” and its mallet instruments dancing while bass pulses climb joyously towards the clouds. A soft pitter-patter rhythm flows underneath, almost martial in nature, and the whole thing evokes a pastoral lullaby, especially as acoustic guitar arpeggios fall like a rain of photons. Steel strings vibrate across the mix, synthesized gas clouds glow like the morning sun, virtual marimbas splash through tide pools, epic guitar themes seek out the horizon, and at some point, a joyous voice sings deep within the background ether. Later, as palm-muted guitar melodics begin supporting the energetic layers of pastoral folk riffing, a sitar-esque buzz dances through mix, adding subdued hues of Indian classical music. “Adios a los sintetizadores” sequences vibraphones and marimbas into drunken patterns that are soon overlaid by heart-melting bass descents and ghostly pad hazes. Then as we bid farewell to the synthesizers, the mix gives over to virtual idiophonics and zany electro drum processionals, with pounding tom rhythms flowing in and out of phase while guitars jangle in the distance. Then in “Rew,” organ drones flow out from a spiritual oasis and electronic feedback manipulations quiver as if orgasming before zipping backwards in time…the whole thing evoking an LSD-laced church hymn accented by wobbling brass. The mallet instruments return for “A mis amigos” and execute starscape rituals while synthesized woodwinds move between lullaby hypnosis and kosmische psychosis. There’s a touch of mystical desert folk music to the proceedings, with FM synths and electric organs attempting to recreate the magic atmospheres of Spanish traditional music. And as flutes and panpipes sing towards a cinematic sunset, the track evolves into a spaceage psych folk serenade.

Woozy sequences generate intergalactic bubble formations in “Madrid…Formentera” and acoustic chime tapestries surround Berlin school synth patterns while elven bell tones fall like starlight. Blurry reed melodies diffuse into the mix…perhaps a harmonica blown in desperation…with long breathy decays trailing into the mysterious night. All distinction between chiming guitars and sparkling synthesis disappears as the sounds merge towards ceremonial folk spirituality…all while simplistic chord changes push the heart towards worlds of fantasy and romance. “El sueño de Clara” see organ generated basslines smoldering beneath sprinkled guitar starlight, with everything washed out…like a lo-fi dreamscape heard through layers of analog obscuration. Further guitar accents move in, generating melodic ripples across the surface of some picturesque pond while buzzing themes of pastoral majesty bring visages of butterflies and flower fields of ever possible color. A spectacular conversations between reeds and synths pans across the stereo field, generating kaleidoscopic displays of minimal new age maximalism that evoke for me impressionistic renderings of paradise beachfronts…blurry and out of focus, yet breathtaking all the same. The album closes with “Doce cuidades blancas” and its mysterious church bells tolling through gaseous cloudforms and glowing bodies of light. Basslines move like smoke, synthesized French horns play dawn salutations, and amorphous chord formations transmute into digitized space foam…their tones almost metallic and incandescing in strange colorations. And later, as orchestral brass descents move over the mix, they lead to intriguing moments of contrast, wherein extra-terrestrial electro-vapors clash against more earthly emanations of synthesized classical music.

(images from my personal copy)

[s7efano]

A really exceptional work of obscenity, like a really exceptional work of beauty, exceeds the ability of its viewers to fathom what they just saw. Did that just happen? But … how? What sorcery created it? Words don’t arrive, and the stammering gives way to silence. 

The latest publicity photograph of the president in El Paso, Texas, knocked me into silence for a good half hour this morning while I tried to figure out the many layers of obscenity on display. The photo features a baby whose parents were killed in El Paso a few days ago. The baby survived because his parents shielded him with their bodies. In the photo, he is cradled by Melania Trump. The president is next to her; both are smiling broadly, and the president is offering a thumbs-up. The child is expressionless and wearing a cute plaid bow tie.

(...)

Out of context, the photo looks like a portrait of a family, with proud parents or grandparents awkwardly posing next to a new baby. In all such photos, the baby participates unwittingly. But in this one, his conscription is grotesque, and his lack of expression nauseating to behold. The vacancy of his stare is somehow more crushing than if he were bawling, and thereby showing some awareness of his loss. Does he know that his parents will never come back? Does he know that these plastic people, grinning in his parents’ place, will hand him to relatives and never come back either? Does he know that one of them called people who looked like his parents “invaders,” the same word used by the killer who shot them dead at a Walmart?

(...)

According to the El Paso Times, the boy’s father supported Trump, and the family wanted Trump to visit them. They dressed their little orphan up for the occasion, and I judge them for neither their support nor the resulting photograph. (Tito, the boy’s uncle, stands next to Trump in the photo.) What the bow tie shows, I think, is respect: This is how you dress up your little ones when heading to a wedding or a meeting with someone important. Contributing to the peculiarity of the image is the Trumps’ failure to match that respect, to modulate their smiles to suit the gravity of the occasion.

The president of the United States is photographed wherever he goes, and of course some of those photos will show him picking his nose or smirking when he should be serious. The optical demands of the job are impossible to appreciate, and we should forgive him for the occasional failure to twist his face into an appropriate expression. But sometimes—and this is one of those times—the optical demands of the office are the only demands. In the immediate bereavement of an infant’s parents, nothing is needed but respectful silence. This is never truer than for a man like Trump, who cannot speak without giving offense and enjoying it. The photograph was released by Melania and could have been taken in the spirit of mourning that the occasion deserved, or it could have been taken not at all. It is one of the most twisted things I have seen in a long time.

[solivar]

WIP Ghost Stories On Route 66

In which there is an unexpected and troubling revelation.

“Team Tokki, report.”

“On station, sorry for the delay.” Hana replied a nerve-wracking ten minutes later. “Took us a minute to get all our cables in order but Kozy Kot Motor Inn Basecamp is now online.”

The topographic holomap hanging over the dining room table rippled gently as she proved it, pulsing their location in the scrubby desert flatlands between Mesa Prieta and the ruins of Albuquerque, turning their basecamp icon electric pink-and-green.

“In an amusing sidenote,” Hana continued on breezily, “You know those MiBs -- the TALON guys? Their base may be in Albuquerque Sunport but they’ve got mobile units all over the place in the immediate vicinity and some kind of stationary observation post up on the mesa itself. So yes this is me formally blaming my tardiness on avoiding the notice of scary goons who may or may not be employees of the federal government.”

“Mesa Prieta is an archaeological preserve -- it has been for decades, the petroglyphs there are thousands of years old.” Ana, seated at the opposite end of the table with stacks of airtight herb containers, a mortar and pestle, and a digital scale, observed carefully, pausing in her work. “Ownership yielded back to the Federated Southwest Tribal Government after the Crisis.”

“Meaning?” Hanzo asked, inclining a questioning brow.

“Meaning,” Ana gave the contents of her pestle another thoughtful turn, “that either the FST is acting in direct cooperation with TALON or else their actual employers kissed considerable quantities of ass to access that site for reasons other than advancing the cause of cultural preservation.”

Hanzo blinked at her. “That feels extraordinarily bad.”

“It is what it is, my young friend. Until we have better intel, we can only take matters as they come.” She spooned the contents of her pestle into a little tin container.

“I’m not so sure I like Team Tokki’s proximity to a potentially hostile unknown quantity,” Hot Vampire Jack’s tone was significantly less philosophical. “Maybe you should relocate?”

“Their base doesn’t directly overlook ours -- it’s on the far northern point of the mesa, closer to the Chamisa Wilderness Area than to us.” Jesse replied, calm and even. “We can set a drone on stealth observation if you want, but hauling off and moving again might get us seen by one of their mobile units. They’re putting up those pylon things they’ve got on the UNM campus all over out here.”

“I tried getting a look at one of those the other day but campus security waved me off.” Hana added, aggrieved.

“Whatever else they are, they’ve got a pretty hefty sensor and communications package on them -- I can see their output on our own passive monitors.” Lucio added, and the map rippled as he pushed data, added clusters of red-white-black pinpricks representing the pylons’ locations, easily a few dozen spread across the desert basin between Albuquerque and the mesa, many of them concentrated just above the Red Line along old Route 40. “I can try hacking one of their transceiver modules and skimming the data to see what they’re monitoring but that might attract some attention if they’ve got any kind of intrusion detection capabilities onboard.”

“No unnecessary risks. The pylons likely aren’t going anywhere and they’re extraneous to our own mission.” Terrifying Smoke Gabe rasped, his voice on the comms a weirdly metallic echo. “We can always try that if we can’t get intelligence from other sources.”

“Speaking of which,” Zenyatta interjected smoothly, “Team Tattoo reporting perimeter secure at Four Daughters Basecamp -- we are about to begin deploying our sensor and visual observation drones and begin transmitting.”

“El Malpais Basecamp likewise secure and ready to begin deployment.” Jamie added. “Team Helicopter Parents on perimeter patrol.”

“God, I hate that name,” Jack muttered.

“Who gave the lecture about appropriate comm discipline last night?” Gabe asked sweetly.

“Oh, shut up.”

Actual comm discipline immediately dissolved in jokes and back-and-forth smacktalk, a release of tension that even Jack recognized as necessary before any real work could get done, especially since they were waiting for Team Tokki to get up to speed. Hanzo, recognizing at as well, went and fetched tea and cakes and fussy little finger sandwiches for himself and Ana and, eventually, Reinhardt when he came in off his own perimeter patrol with the members of the pack left on guard duty. She accepted the cup he poured and the plate he delivered with a gracious smile, setting aside her work for the moment, while in the background nearly everyone they loved pretended not to be afraid.

Four days they’d been in the field -- four days of hunting the monster haunting him, four nights of sleeping rough, fanning out from Cerrillos in a gradually expanding search pattern enabled by Jesse’s practical maintenance of multiple gasoline-powered vehicles and Jamie’s purpose-built technology. Hana had dropped her presentation and then bagged the rest of her classes to assist in the physical construction of the drones, displaying a level of mechanical skill that Hanzo at least had never suspected. (“When I was a kid, my cousins and my friend Dae-hyun and I built hovertech for competition before I got into gaming -- seriously, aniki, it’s like falling off a bike, you never really forget once you know how to do it.”) Genji and Lucio had done likewise with the programming, following Jamie and Roadie’s careful instructions, working late into the night on stress-testing up until the day before their departure. Hanzo, relegated to a support role, had helped prepare the supplies and the vehicles for departure, packing MATILDA and the largest of Jesse’s off-road capable Jeeps with military surplus rations and bottled water, three fully stocked first aid kits, the heavily warded four-season tents and camping gear going with Team Helicopter Parents and Team Tokki, and extra warm clothing for everyone. He forced cardigans and sweatshirts on all of them at breakfast the morning they departed, a meal he crawled out of Jesse’s warm embrace to make for them and to which he returned before he allowed them to leave.

Jesse had taken his face between his hands, his kiss sweet and soft, and Hanzo had exercised enormous restraint by making only a few rude gestures at his brother and friends as they whistled and shouted suggestions and encouragements ranging from the mildly obscene to the outright pornographic. Jesse’s husky laughter had warmed him almost more than the kiss as he drew them together and murmured against his ear, “I’ll bring Hana and Lu back safe and sound, I promise, and Roadie won’t let anything happen to Genji and Zen.”

“I know.” Hanzo replied, soft and low against his shoulder. “I just wish...I wish I could do more.”

“You’ll have plenty to do when we find this thing. For now, you’re our lifeline. Don’t forget that.” Jesse pressed a last kiss to his forehead. “We’ll be back before you know it, darlin’. Never fear.”

But fear he did, despite Jesse’s assurances, despite his knowledge of all their skill and ability and competence, because he also knew the cruelty and viciousness and above all else cunning of the thing that they hunted, a cunning that had concealed what he had become from their entire clan, from the sister raised at his side, from the Dragon of the South Wind himself. That concealed him now, still, even as they found the telltale traces of his passage through the world, marked on the holomap in a particularly vile shade of bilious yellow, twisting tracks that appeared and disappeared without apparent pattern, growing gradually denser as the search teams moved west. Fear moved him to carry an inflatable camping mattress down to the dining room, where the communications nerve center was set up by virtue of adequate work-and-table space, and built a nest where he slept, light and restless, alert to the slightest twitch of sound on the comms, the tiniest hint of distress, which mostly came in the form of bodies shifting in their sleep and a terrifyingly vast assortment of snores.

“Drones airborne and headed to optimal scan radius,” Hana reported. “You want me to send one of our spares up to keep an eye on the MiBs?”

“Couldn’t hurt to gather a little intel at this stage of the proceedings.” Jesse opined.

“It could if your drone is detected.” Terrifying Smoke Gabe pointed out. “If you send one up, I recommend passive visual observation only.”

“Doable. Lu, you wanna handle that while I get these puppies where they need to go?” A clattering of equipment on the line as Hana and Lucio moved about in their working shelter.

“Gotcha. Temporarily disabling the drone’s sensor package just to be on the safe side.” Lucio came on the line for the first time that day. “You want me to stream footage back to HQ?”

Hanzo glanced at Ana who nodded slightly and murmured, “If they can detect our drone sensor data streams, a video stream will hardly make matters worse, and if they cannot, we will have fresh information of our own.”

“True.” Hanzo replied as his stomach tried gamely to twist itself into a Lemarchand cube of pure dread. “Go ahead, Lucio.” He clicked his own comm off and looked back to Ana, meditatively sipping her tea. “If they -- if TALON -- detects our data streams, could they trace them here, to Cerrillos?”

“Theoretically? Yes. In practice, Jack and Gabriel and Jesse have all exerted considerable effort to make this place as difficult to find as possible for outsiders.” Ana smiled dryly. “And, in any case, they may be the least of our concerns at this juncture.”

“Point.” Hanzo muttered and clicked the comm back on, applying himself to his own tea in an effort to wring some calm out of his digestive tract.

“Team Tokki’s drones on station, optimal positioning.” Hana sang.

“Team Helicopter Parents, ready to begin scanning.” Jamie replied.

“Team Tattoo, likewise prepared.” Zen added tranquilly.

All three Basecamp icons flashed and Hanzo set the countdown timer. “Ten second timer.”

At ten, the holomap blossomed as the drones’ sensor packages and associated data streams came online, populating it with a picture of local reality that overlaid and intertwined with the topography in ways that would make a cartographer’s eyes bleed. In the corner, a secondary pane opened with Lucio’s camera drone feed as it climbed out of basecamp, view panning out across the remains of the Kozy Kot Motor Inn and its eight identical “log cabin” cottages plus the motel office, set around an inner courtyard that had once contained picnic tables and grills and now held two four-season tents linked by a vestibule, a camp sanitary structure, and a warmed, weatherproof work tent, where they also ate their meals. As Hanzo watched, Jesse made is way between two of the cottages and looked up, waved for the camera as Lucio panned and zoomed away, over the cracked and crumbling remnants of a paved road, through the remains of the little tourist town that had sprung up around the motel, as fully abandoned as it was, and into the desert beyond.

There the ground was rucked up and rugged, split by arroyos and tumbled spits of dark, jagged stone, blanketed in tough, autumn-browned grasses and scrubby, wind-tortured trees and shrubs, elevation rising steadily until the drone was climbing vertically along the wall of the mesa. The top of the mesa itself was so flat the TALON installation was clearly visible miles off, a crescent of four dun-colored prefab structures clustered together, their communications uplink arrays pointed skyward, the rest of their camp’s perimeter delineated in those pylons, spaced neatly exact distances apart. Lucio dropped the drone to a few inches above the mesa hardpack and brought it in behind the largest of the structures, up the back avoiding the windows, and settled it into place on the edge of structure’s roof, cameras trained down into the camp itself.

Ana moved to join Hanzo, teacup in hand, and settled to watch. Within the relatively compact confines of the camp, technicians in khaki jumpsuits were working with obvious care among the basalt-black rocks, scanning the petroglyphs with handheld devices, taking photographs and video, neither moving nor touching anything if they could avoid it.

“I’ll be damned,” Lucio muttered. “Maybe they are doing archaeological preservation work?”

“You have to admit, we’ve seen stranger things.” Genji remarked dryly.

“But if that’s the case, why are they crawling all over the school? And why’d they interrogate Hanzo about Professor Flakes-a-Lot? And what’s the deal with those pylons? And --” Hana’s stream of questions was cut off by the sound of smashing crockery and Hanzo’s involuntary yelp of pain as Ana gripped his arm with unexpectedly fierce strength.

“Pan back,” Ana snapped over his comm.

Lucio did so and Ana’s grip tightened another degree. “Jack, Gabriel...are you seeing this?”

The pair standing together before one of the largest single petroglyph displays in the camp were not dressed like technicians. One, scrawny and unshaven and bespectacled, dark hair going gray at the temples, wore an honest-to-gods white lab coat over his cable knit sweater and gray cargo pants, hands doing as much talking as his mouth as he conversed with his companion. That companion was a solid two, maybe as much as three, heads shorter, clad in rust red coveralls and heavy hiking boots and more toolbelts and their associated attachments than seemed possible, his hugely muscled  and heavily tattooed shoulders uncovered and most of his face obscured by a genuinely impressive mass of thick blonde beard and mustaches.

“Are you fucking kidding me?” Jack breathed over the comm, his quiet carrying the relative force of an explosion.

“Torbjörn?” Terrifying Smoke Gabe sounded frankly stunned. “But...he and Ingrid retired years ago.”

“Apparently not,” Jack replied, grimly.

“This...changes the complexion of many things.” Reinhardt said, heavily, from the door and came to lay an enormous hand on his wife’s shoulder.

“It does?” Hanzo asked. “How? Why? What does this mean?”

“Too soon to tell on some of those, kid.” Jack said into the silence that followed. “But as to what it means? That little Viking wrench-slinger there is Torbjörn Lindholm and, once upon a time, he was a member of the same UN-sponsored special ops unit as Gabe and I -- Rein and Ana, Yanaba and Nate, too. Helped us save the world a time or six. And, if he’s involved with this bunch, TALON? That likely means nothing good and we should probably figure out what it is sooner rather than later.”