init from the flixbus
commit
65010b033c
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import os
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from glob import glob
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from flask import Flask, jsonify
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import frontmatter
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from markdown import markdown
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base_url = '/soupboat/atlas-api'
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# create flask application
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app = Flask(__name__)
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# prefix to add /SOUPBOAT/ATLAS-API to all the routes
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# and to leave the @app.route() decorator more clean
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class PrefixMiddleware(object):
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def __init__(self, app, prefix=""):
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self.app = app
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self.prefix = prefix
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def __call__(self, environ, start_response):
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if environ["PATH_INFO"].startswith(self.prefix):
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environ["PATH_INFO"] = environ["PATH_INFO"][len(self.prefix):]
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environ["SCRIPT_NAME"] = self.prefix
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return self.app(environ, start_response)
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else:
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start_response("404", [("Content-Type", "text/plain")])
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return ["This url does not belong to the app.".encode()]
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app.wsgi_app = PrefixMiddleware(
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app.wsgi_app, prefix=base_url
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)
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# definition of the routes
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@app.route('/<contribution>')
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def contribution(contribution: None):
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try:
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with open(f'contributions/{contribution}.md', 'r') as f:
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meta, content = frontmatter.parse(f.read())
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c = {**meta, 'content_html': markdown(content)}
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except FileNotFoundError:
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c = {"error": f"'{contribution}' is not a valid contribution!"}
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response = jsonify(c)
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response.headers.add('Access-Control-Allow-Origin', '*')
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return response
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@app.route('/contributions')
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def contributions():
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files = glob("contributions/*.md")
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contrib = []
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for file in files:
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with open(file, 'r') as f:
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meta, content = frontmatter.parse(f.read())
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c = {**meta, 'content_html': markdown(content)}
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contrib.append(c)
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response = jsonify(contrib)
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response.headers.add('Access-Control-Allow-Origin', '*')
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return response
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app.run(port=3142)
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import os
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from glob import glob
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from flask import Flask, jsonify
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import frontmatter
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from markdown import markdown
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base_url = '/soupboat/atlas-api'
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# create flask application
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app = Flask(__name__)
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# prefix to add /SOUPBOAT/ATLAS-API to all the routes
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# and to leave the @app.route() decorator more clean
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class PrefixMiddleware(object):
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def __init__(self, app, prefix=""):
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self.app = app
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self.prefix = prefix
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def __call__(self, environ, start_response):
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if environ["PATH_INFO"].startswith(self.prefix):
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environ["PATH_INFO"] = environ["PATH_INFO"][len(self.prefix):]
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environ["SCRIPT_NAME"] = self.prefix
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return self.app(environ, start_response)
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else:
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start_response("404", [("Content-Type", "text/plain")])
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return ["This url does not belong to the app.".encode()]
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app.wsgi_app = PrefixMiddleware(
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app.wsgi_app, prefix=base_url
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)
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# definition of the routes
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@app.route('/<contribution>')
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def contribution(contribution: None):
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try:
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with open(f'contributions/{contribution}.md', 'r') as f:
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meta, content = frontmatter.parse(f.read())
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c = {**meta, 'content_html': markdown(content)}
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except FileNotFoundError:
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c = {"error": f"'{contribution}' is not a valid contribution!"}
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response = jsonify(c)
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response.headers.add('Access-Control-Allow-Origin', '*')
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return response
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@app.route('/contributions')
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def contributions():
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files = glob("contributions/*.md")
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contrib = []
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for file in files:
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with open(file, 'r') as f:
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meta, content = frontmatter.parse(f.read())
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c = {**meta, 'content_html': markdown(content)}
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contrib.append(c)
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response = jsonify(contrib)
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response.headers.add('Access-Control-Allow-Origin', '*')
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return response
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app.run(port=3142)
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---
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title: Within an entangled state.
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moment: Act-I
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author: Emma, Jian
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description: "[Enter two voices in the middle of a conversation. Their words are floating through 10 contingent streams of thoughts, interweaving, inter-acting, intra-acting, reflecting, distorting, diffracting …]"
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folder: act-I
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audio:
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- ACT1.mp3
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---
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## stream 01
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So I think that, um, like was more a distraction. Um, and for example, don't you think that our recording might be a reflection?
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They always stay.
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Uh, reflection on the water. It's a diffraction because it's a distortion, as you said of reality. So maybe actually sound is a distraction.
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## stream 02
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When reflection comes from the optics, what would be a reflection when it comes to sound? Is it an echo or would you say an echo is more of a different.
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I'm not sure because like a recording, it also sounds different to what you hear in reality. Like, I mean, it depends on the microphone you use and like the quality. The recording of usually for example, you're recording that I just heard was really quite quiet. I don't know if you can make it a bit louder next time, but I guess if I would have sat next to you, it would have sounded different.
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But then of course, also a reflection in the optics. I mean, we would talk about a mirror. Image. Right. And yeah, also the image in the mirror is not exactly what you have in reality, I guess, but yeah, maybe you're right with the echo. I don't know what is like, how is the echo different to the original sound?
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I'm not sure. I think that the difference might be that an echo, um, can change and can kind of, it's not fixed. Um, and you don't know where, where it goes and where it come from. And it's like ongoing instead of recording, it starts from a preexisting content and. You can look it from outside with objectivity to recording and give you the promise of giving you, uh, a real kind of co-PI of reality instead of echo, you already, it's not a lie.
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You don't rely on it too. As part of reality, instead of recording, you would rely on it thinking that is a mirror of. You know, thinking about the echo again, it's moving and yeah, it's really, it's even traveling, I think. And like an echo will be different depending on your surroundings. Right? So it has, um, the relation to everything that surrounds, um, the.
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And if the surroundings change or if the voice moves somewhere else, um, the echo will change. The echo will change. The echo will change. The echo will change the echo will change.
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Also because maybe you can rely on microphone that can give you different results depending on the microphone you use. But at the same, it's the same thing with. The reflection, if you use a different mirror that can give you a totally distorted image of you. So maybe it's because you can control the means you're using to produce a reflection or a recording instead of diffraction and echo really.
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They don't abandon you. They depends on, on the environment and the movement, and they always change and never stop also with a reflection, you could use different mirrors, but I also thought about when you walk past a window and use somehow. I see your reflection, but only from a certain perspective, but then when you walk on, it disappears again or also the reflection you have on the water surface.
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Of course, that also has kind of a distortion, um, that. Makes it different to the original. And that's also true for the recordings. I think the tricky thing in translating this idea of the fraction and reflection to sound is maybe that yeah, this idea of having preexisting. Because for sound, that's not necessarily true because it only exists in a certain moment in time, but then it disappears.
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Again, everybody has a voice. It is part of your body. So it is preexistent. So it is always there, but you don't always use it, maybe you, so the voice actually only emerged. When you use it and maybe for example, in a conversation which really needs the interaction or interaction with you, your mind, your soul, your body, but then also with your surroundings, the person you talk to or react to like the one you're having a conversation with
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It also needs interactions and it always changes and it's unfixed and it's fluid and performative. If it's part of something, it changes continuously when in contact with chatter, you know, the moment when someone is in the pool and part of their upper body is out of the water in the air, but the lower body is on the way.
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And when you look through the surface and you have this weird diffraction of the upper body being somehow displaced to the lower body, because it has a different optic when you look through the air compared to when you look through water, but when the water is still, and it has a really clear surface, like a flat not moving surface, maybe then that's a reflection.
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But once it starts moving by the wind or when. Maybe then it's a diffraction diffraction, diffraction, diffraction, deflect, deflect, deflect.
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## stream 03
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It's not a lie. You don't rely on it too. As part of reality, instead of recording, you would rely on it. Uh, thinking that is a mirror of something real
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the reflect. If you use
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different mirrors, different mirrors, different mirrors,
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the reflection, the reflection, reflection, the reflection.
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The reflection, the reflection
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came over the distortion.
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Uh,
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It.
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The fraction, diffraction, diffraction, deflect, deflect, and different.
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## stream 04
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Hmm. I'm not sure because like I'm not like because
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the front mirrors, different mirrors, different.
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Kind of a distortion.
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## stream 05
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Different mirrors, different mirrors, different mirrors.
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Um, nervous, nervous.
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Excellent.
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## stream 06
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Um, nervous, nervous, nervous.
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Everybody has.
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## stream 07
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uh,
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uh,
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uh,
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You can look it outside with objective.
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Uh,
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Uh,
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Um, Uh,
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Uh, um,
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Uh, I'm trying to action.
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Um, the.
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So maybe actually sound is a distraction sound.
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Um,
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Uh, uh, um,
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## stream 08
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Uh, um,
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Um,
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Um,
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uh, Uh,
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Uh,
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Uh, Uh,
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Uh,
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um,
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Uh,
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Uh, Uh,
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Uh, um,
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um,
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um, .
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## stream 09
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um, Um,
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The .
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## stream 10
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Um,
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Ah,
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Uh, .
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@ -0,0 +1,48 @@
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---
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title: Entr'actes
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moment: Entr'acte
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author: Gersande
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description: 1 sentence description (like the one in the documentology)
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folder: entr'actes
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audio:
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- Entracte_1_Aria.mp3
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- sample1_Entracte_1.mp3
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- sample2_Entracte_1.mp3
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- sample3_Entracte_1.mp3
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- sample4_Entracte_1.mp3
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- sample5_Entracte_1.mp3
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- Entracte_2.2_Recitative-Stromento.mp3
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- Entracte_2.mp3
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- sample1_Entracte_2.2.mp3
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- sample2_Entracte_2.2.mp3
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- sample3_Entracte_2.2.mp3
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- sample4_Entracte_2.2.mp3
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- sample5_Entracte_2.2.mp3
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- sample6_Entracte_2.2.mp3
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- Entracte_3.mp3
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- sample1_Entracte3.mp3
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- sample2_Entracte3.mp3
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- sample3_Entracte3.mp3
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- sample4_Entracte3.mp3
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- sample5_Entracte3.mp3
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- sample6_Entracte3.mp3
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- sample7_Entracte3.mp3
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- sample8_Entracte3.mp3
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---
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## Other contents and longer descriptions
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Lorem ipsum dolor bla bla bla. Here is written in markdown and then transformed in HTML for the website!
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the audio field is a list of file audio with the position on the map! dunno if this is the best way to annotate it (mayube not) but maybe we can try
|
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another thing maybe we can try is just to put the filename and then using an svg woa woa woa woa woa this could make sense
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something like:
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- like we prepare the atlas in svg
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- in the atlas there is a mark for every audio file
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- being an svg we can put an id on every mark
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- we can upload the svg on the website and extract the position using the id and the filename here
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nice, less painful that adding the coordinates manually (maybe)
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@ -0,0 +1,27 @@
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---
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title: Title of the contribution
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moment: part of the opera (Overture, Act-1, Finale, ecc)
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author: Author1, Author2
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description: 1 sentence description (like the one in the documentology)
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folder: example # name of the folder where to find the audio files
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audio:
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- a.mp3
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- b.mp3
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- c.mp3
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---
|
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|
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|
## Other contents and longer descriptions
|
||||||
|
|
||||||
|
Lorem ipsum dolor bla bla bla. Here is written in markdown and then transformed in HTML for the website!
|
||||||
|
|
||||||
|
the audio field is a list of file audio with the position on the map! dunno if this is the best way to annotate it (mayube not) but maybe we can try
|
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|
another thing maybe we can try is just to put the filename and then using an svg woa woa woa woa woa this could make sense
|
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|
|
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|
something like:
|
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|
|
||||||
|
- like we prepare the atlas in svg
|
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|
- in the atlas there is a mark for every audio file
|
||||||
|
- being an svg we can put an id on every mark
|
||||||
|
- we can upload the svg on the website and extract the position using the id and the filename here
|
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|
|
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|
nice, less painful that adding the coordinates manually (maybe)
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@ -0,0 +1,15 @@
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---
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title: Laughing Opera
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moment: Act 2
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author: Carmen and Miriam
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description: 1 sentence description (like the one in the documentology)
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folder: example # name of the folder where to find the audio files
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audio:
|
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|
- a.mp3
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- b.mp3
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|
- c.mp3
|
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|
---
|
||||||
|
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## Other contents and longer descriptions
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||||||
|
|
||||||
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@ -0,0 +1,32 @@
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---
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title: Overture Atlas
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moment: Overture
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author: Supi, Kamo
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description: Overture as an instrument
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|
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|
---
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|
|
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## Overture as
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overture as:
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a.) a way to listen to the publication
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|
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|
temporalities in the context of the publication:
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|
a.) before: statement/direction/plan/intention
|
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|
b.) during (parallel): sample ideas of
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|
WIP contributions
|
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|
c.) after: overview/preview
|
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|
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|
b.) a statement about the publication
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|
- an instrument waiting to be played/for samples
|
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|
|
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|
c.) a place/moment that hosts the publication
|
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|
|
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|
- overture as an instrument / prompt for the publication
|
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|
|
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|
questions:
|
||||||
|
- how are the samples categorized?
|
||||||
|
adding new categories (in parallel mode,
|
||||||
|
bc of new contributions?)
|
||||||
|
|
||||||
|
the overture is the platform?
|
||||||
@ -0,0 +1,101 @@
|
|||||||
|
---
|
||||||
|
title: Within an entangled state.
|
||||||
|
moment: Act-I
|
||||||
|
author: Emma, Jian
|
||||||
|
description: "[Enter two voices in the middle of a conversation. Their words are floating through 10 contingent streams of thoughts, interweaving, inter-acting, intra-acting, reflecting, distorting, diffracting …]"
|
||||||
|
folder: act-I
|
||||||
|
audio:
|
||||||
|
- ACT1.mp3
|
||||||
|
---
|
||||||
|
|
||||||
|
## stream 01
|
||||||
|
So I think that, um, like was more a distraction. Um, and for example, don't you think that our recording might be a reflection?
|
||||||
|
They always stay.
|
||||||
|
Uh, reflection on the water. It's a diffraction because it's a distortion, as you said of reality. So maybe actually sound is a distraction.
|
||||||
|
|
||||||
|
## stream 02
|
||||||
|
When reflection comes from the optics, what would be a reflection when it comes to sound? Is it an echo or would you say an echo is more of a different.
|
||||||
|
I'm not sure because like a recording, it also sounds different to what you hear in reality. Like, I mean, it depends on the microphone you use and like the quality. The recording of usually for example, you're recording that I just heard was really quite quiet. I don't know if you can make it a bit louder next time, but I guess if I would have sat next to you, it would have sounded different.
|
||||||
|
|
||||||
|
But then of course, also a reflection in the optics. I mean, we would talk about a mirror. Image. Right. And yeah, also the image in the mirror is not exactly what you have in reality, I guess, but yeah, maybe you're right with the echo. I don't know what is like, how is the echo different to the original sound?
|
||||||
|
I'm not sure. I think that the difference might be that an echo, um, can change and can kind of, it's not fixed. Um, and you don't know where, where it goes and where it come from. And it's like ongoing instead of recording, it starts from a preexisting content and. You can look it from outside with objectivity to recording and give you the promise of giving you, uh, a real kind of co-PI of reality instead of echo, you already, it's not a lie.
|
||||||
|
You don't rely on it too. As part of reality, instead of recording, you would rely on it thinking that is a mirror of. You know, thinking about the echo again, it's moving and yeah, it's really, it's even traveling, I think. And like an echo will be different depending on your surroundings. Right? So it has, um, the relation to everything that surrounds, um, the.
|
||||||
|
|
||||||
|
And if the surroundings change or if the voice moves somewhere else, um, the echo will change. The echo will change. The echo will change. The echo will change the echo will change.
|
||||||
|
|
||||||
|
Also because maybe you can rely on microphone that can give you different results depending on the microphone you use. But at the same, it's the same thing with. The reflection, if you use a different mirror that can give you a totally distorted image of you. So maybe it's because you can control the means you're using to produce a reflection or a recording instead of diffraction and echo really.
|
||||||
|
|
||||||
|
They don't abandon you. They depends on, on the environment and the movement, and they always change and never stop also with a reflection, you could use different mirrors, but I also thought about when you walk past a window and use somehow. I see your reflection, but only from a certain perspective, but then when you walk on, it disappears again or also the reflection you have on the water surface.
|
||||||
|
|
||||||
|
Of course, that also has kind of a distortion, um, that. Makes it different to the original. And that's also true for the recordings. I think the tricky thing in translating this idea of the fraction and reflection to sound is maybe that yeah, this idea of having preexisting. Because for sound, that's not necessarily true because it only exists in a certain moment in time, but then it disappears.
|
||||||
|
|
||||||
|
Again, everybody has a voice. It is part of your body. So it is preexistent. So it is always there, but you don't always use it, maybe you, so the voice actually only emerged. When you use it and maybe for example, in a conversation which really needs the interaction or interaction with you, your mind, your soul, your body, but then also with your surroundings, the person you talk to or react to like the one you're having a conversation with
|
||||||
|
|
||||||
|
It also needs interactions and it always changes and it's unfixed and it's fluid and performative. If it's part of something, it changes continuously when in contact with chatter, you know, the moment when someone is in the pool and part of their upper body is out of the water in the air, but the lower body is on the way.
|
||||||
|
And when you look through the surface and you have this weird diffraction of the upper body being somehow displaced to the lower body, because it has a different optic when you look through the air compared to when you look through water, but when the water is still, and it has a really clear surface, like a flat not moving surface, maybe then that's a reflection.
|
||||||
|
|
||||||
|
But once it starts moving by the wind or when. Maybe then it's a diffraction diffraction, diffraction, diffraction, deflect, deflect, deflect.
|
||||||
|
|
||||||
|
## stream 03
|
||||||
|
It's not a lie. You don't rely on it too. As part of reality, instead of recording, you would rely on it. Uh, thinking that is a mirror of something real
|
||||||
|
the reflect. If you use
|
||||||
|
different mirrors, different mirrors, different mirrors,
|
||||||
|
the reflection, the reflection, reflection, the reflection.
|
||||||
|
The reflection, the reflection
|
||||||
|
came over the distortion.
|
||||||
|
Uh,
|
||||||
|
It.
|
||||||
|
The fraction, diffraction, diffraction, deflect, deflect, and different.
|
||||||
|
|
||||||
|
## stream 04
|
||||||
|
Hmm. I'm not sure because like I'm not like because
|
||||||
|
the front mirrors, different mirrors, different.
|
||||||
|
Kind of a distortion.
|
||||||
|
|
||||||
|
## stream 05
|
||||||
|
Different mirrors, different mirrors, different mirrors.
|
||||||
|
Um, nervous, nervous.
|
||||||
|
Excellent.
|
||||||
|
|
||||||
|
## stream 06
|
||||||
|
Um, nervous, nervous, nervous.
|
||||||
|
Everybody has.
|
||||||
|
|
||||||
|
## stream 07
|
||||||
|
uh,
|
||||||
|
uh,
|
||||||
|
uh,
|
||||||
|
You can look it outside with objective.
|
||||||
|
Uh,
|
||||||
|
Uh,
|
||||||
|
Um, Uh,
|
||||||
|
Uh, um,
|
||||||
|
Uh, I'm trying to action.
|
||||||
|
Um, the.
|
||||||
|
So maybe actually sound is a distraction sound.
|
||||||
|
Um,
|
||||||
|
Uh, uh, um,
|
||||||
|
|
||||||
|
## stream 08
|
||||||
|
Uh, um,
|
||||||
|
Um,
|
||||||
|
Um,
|
||||||
|
uh, Uh,
|
||||||
|
Uh,
|
||||||
|
Uh, Uh,
|
||||||
|
Uh,
|
||||||
|
um,
|
||||||
|
Uh,
|
||||||
|
Uh, Uh,
|
||||||
|
Uh, um,
|
||||||
|
um,
|
||||||
|
um, .
|
||||||
|
|
||||||
|
## stream 09
|
||||||
|
um, Um,
|
||||||
|
The .
|
||||||
|
|
||||||
|
## stream 10
|
||||||
|
Um,
|
||||||
|
Ah,
|
||||||
|
Uh, .
|
||||||
@ -0,0 +1,48 @@
|
|||||||
|
---
|
||||||
|
title: Entr'actes
|
||||||
|
moment: Entr'acte
|
||||||
|
author: Gersande
|
||||||
|
description: 1 sentence description (like the one in the documentology)
|
||||||
|
folder: entr'actes
|
||||||
|
audio:
|
||||||
|
- Entracte_1_Aria.mp3
|
||||||
|
- sample1_Entracte_1.mp3
|
||||||
|
- sample2_Entracte_1.mp3
|
||||||
|
- sample3_Entracte_1.mp3
|
||||||
|
- sample4_Entracte_1.mp3
|
||||||
|
- sample5_Entracte_1.mp3
|
||||||
|
- Entracte_2.2_Recitative-Stromento.mp3
|
||||||
|
- Entracte_2.mp3
|
||||||
|
- sample1_Entracte_2.2.mp3
|
||||||
|
- sample2_Entracte_2.2.mp3
|
||||||
|
- sample3_Entracte_2.2.mp3
|
||||||
|
- sample4_Entracte_2.2.mp3
|
||||||
|
- sample5_Entracte_2.2.mp3
|
||||||
|
- sample6_Entracte_2.2.mp3
|
||||||
|
- Entracte_3.mp3
|
||||||
|
- sample1_Entracte3.mp3
|
||||||
|
- sample2_Entracte3.mp3
|
||||||
|
- sample3_Entracte3.mp3
|
||||||
|
- sample4_Entracte3.mp3
|
||||||
|
- sample5_Entracte3.mp3
|
||||||
|
- sample6_Entracte3.mp3
|
||||||
|
- sample7_Entracte3.mp3
|
||||||
|
- sample8_Entracte3.mp3
|
||||||
|
|
||||||
|
---
|
||||||
|
|
||||||
|
## Other contents and longer descriptions
|
||||||
|
|
||||||
|
Lorem ipsum dolor bla bla bla. Here is written in markdown and then transformed in HTML for the website!
|
||||||
|
|
||||||
|
the audio field is a list of file audio with the position on the map! dunno if this is the best way to annotate it (mayube not) but maybe we can try
|
||||||
|
another thing maybe we can try is just to put the filename and then using an svg woa woa woa woa woa this could make sense
|
||||||
|
|
||||||
|
something like:
|
||||||
|
|
||||||
|
- like we prepare the atlas in svg
|
||||||
|
- in the atlas there is a mark for every audio file
|
||||||
|
- being an svg we can put an id on every mark
|
||||||
|
- we can upload the svg on the website and extract the position using the id and the filename here
|
||||||
|
|
||||||
|
nice, less painful that adding the coordinates manually (maybe)
|
||||||
@ -0,0 +1,27 @@
|
|||||||
|
---
|
||||||
|
title: Title of the contribution
|
||||||
|
moment: part of the opera (Overture, Act-1, Finale, ecc)
|
||||||
|
author: Author1, Author2
|
||||||
|
description: 1 sentence description (like the one in the documentology)
|
||||||
|
folder: example # name of the folder where to find the audio files
|
||||||
|
audio:
|
||||||
|
- a.mp3
|
||||||
|
- b.mp3
|
||||||
|
- c.mp3
|
||||||
|
---
|
||||||
|
|
||||||
|
## Other contents and longer descriptions
|
||||||
|
|
||||||
|
Lorem ipsum dolor bla bla bla. Here is written in markdown and then transformed in HTML for the website!
|
||||||
|
|
||||||
|
the audio field is a list of file audio with the position on the map! dunno if this is the best way to annotate it (mayube not) but maybe we can try
|
||||||
|
another thing maybe we can try is just to put the filename and then using an svg woa woa woa woa woa this could make sense
|
||||||
|
|
||||||
|
something like:
|
||||||
|
|
||||||
|
- like we prepare the atlas in svg
|
||||||
|
- in the atlas there is a mark for every audio file
|
||||||
|
- being an svg we can put an id on every mark
|
||||||
|
- we can upload the svg on the website and extract the position using the id and the filename here
|
||||||
|
|
||||||
|
nice, less painful that adding the coordinates manually (maybe)
|
||||||
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@ -0,0 +1,15 @@
|
|||||||
|
---
|
||||||
|
title: Laughing Opera
|
||||||
|
moment: Act 2
|
||||||
|
author: Carmen and Miriam
|
||||||
|
description: 1 sentence description (like the one in the documentology)
|
||||||
|
folder: example # name of the folder where to find the audio files
|
||||||
|
audio:
|
||||||
|
- a.mp3
|
||||||
|
- b.mp3
|
||||||
|
- c.mp3
|
||||||
|
---
|
||||||
|
|
||||||
|
## Other contents and longer descriptions
|
||||||
|
|
||||||
|
|
||||||
@ -0,0 +1,32 @@
|
|||||||
|
---
|
||||||
|
title: Overture Atlas
|
||||||
|
moment: Overture
|
||||||
|
author: Supi, Kamo
|
||||||
|
description: Overture as an instrument
|
||||||
|
|
||||||
|
---
|
||||||
|
|
||||||
|
## Overture as
|
||||||
|
|
||||||
|
overture as:
|
||||||
|
a.) a way to listen to the publication
|
||||||
|
|
||||||
|
temporalities in the context of the publication:
|
||||||
|
a.) before: statement/direction/plan/intention
|
||||||
|
b.) during (parallel): sample ideas of
|
||||||
|
WIP contributions
|
||||||
|
c.) after: overview/preview
|
||||||
|
|
||||||
|
b.) a statement about the publication
|
||||||
|
- an instrument waiting to be played/for samples
|
||||||
|
|
||||||
|
c.) a place/moment that hosts the publication
|
||||||
|
|
||||||
|
- overture as an instrument / prompt for the publication
|
||||||
|
|
||||||
|
questions:
|
||||||
|
- how are the samples categorized?
|
||||||
|
adding new categories (in parallel mode,
|
||||||
|
bc of new contributions?)
|
||||||
|
|
||||||
|
the overture is the platform?
|
||||||
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|
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Loading…
Reference in New Issue