text:
Q: Calculating moon face rotation as a function of Earth coordinates I'm writing an Android app that shows moon phases for any date. Currently I am showing a generalized view from the northern hemisphere (sunlit part of the moon moves from right to left with 0º viewing rotation). However, this motion is reversed when viewing the moon from the southern hemisphere, and near the equator, something else happens entirely. Some of this information can be found on this webpage on moon phases.
Instead of using just three simplified cases (northern, southern, and equator), I would ideally like to be able to calculate the exact angle of moon viewing rotation as a function of a latitude and longitude on Earth:
double viewingRotationAngle = calculateAngle(earthLat, earthLng);

Does anyone know how to do this math, or where I could find more information to potentially figure it out myself? I have searched for several days and haven't yet found what I'm looking for. Thanks in advance.
Just to clarify, the angle of rotation I seek is the 2D rotation of the visible disk of the moon.
Update 3/17/14
I did more research and realized this questions may have more to do with the celestial sphere in general rather than the moon specifically. All celestial bodies visible from Earth, including our moon, are fixed on the celestial sphere, and this is what rotates relative to our position on Earth. So instead of focusing on a lunar-centric solution, I need to figure out how to calculate the rotation of the celestial sphere itself. Still haven't wrapped my head around this one.
Update 4/13/14
I found an article on Crescent Moon Tilt which may be the key to solving my problem. The math is obviously out there/can be derived, since most astronomical simulation software can show the exact location and perspective from earth for any celestial body. I think the hard part is that the single piece I want is wrapped into much more complicated equations that cover overall positioning.  I will work to derive a simpler version by reading and re-reading this helpful information.

A: You need 4 things to get Moon light direction as seen from Earth:
1- Sun altitude. 2- Sun azimuth. 3- Moon altitude. 4- Moon azimuth.
[All altitudes are airless (without refraction effect), and all angles in degrees.]
I use this PHP function to get the light's rotation from these things:
function getAngle($sunalt, $sunaz,$moonalt, $moonaz) {
$dLon = ($sunaz - $moonaz);
$y = sin(deg2rad($dLon)) * cos(deg2rad($sunalt));
$x = cos(deg2rad($moonalt)) * sin(deg2rad($sunalt)) - sin(deg2rad($moonalt)) * cos(deg2rad($sunalt)) * cos(deg2rad($dLon));
$brng = atan2($y, $x);
$brng = rad2deg($brng);
return $brng;
}

This is the direction of the crescent in degrees clockwise.

A: To make future research easier, I believe what you're looking for is known as an ephemeris, which gives "the positions of naturally occurring astronomical objects as well as artificial satellites in the sky at a given time or times".
In Python, there are at least two good choices pyephem and ephem, both of which use the XEphem c library, but alternative exist for most languages including perl.
There also appear to be some related questions about moon / lunar phases already on stackoverflow

A: I've been experimenting with the JPL DE430/431 ephemerides and NOVAS-C. My work is available on GitHub:
https://github.com/brhamon/astro
Included in the source code is a small application (planets/planets.c) that calculates the positions of the planets as viewed by an observer on Earth.
I've added a call to moon_phase, implemented in ephutil/moon.c. It finds the moon phase in equatorial spherical coordinates that provide the phase latitude and longitude. The phase latitude is the number of degrees north of the Earth transit point on the Moon. The phase longitude is the number of degrees east of the Earth transit point on the Moon. Dividing phase longitude by 45 degrees produces the common phase name, like "last quarter" or "waxing crescent".
The Solar termination on the Moon is a hemisphere centered on the Solar transit point on the Moon. You should be able to convert these phase coordinates into a line representing the Solar termination on a model of the Moon.
Finding the phase coordinates required first calling NOVAS to get the position vectors of the Sun and Moon with respect to an observer at the center of Earth's mass. The difference of these two vectors yields the position vector of the Sun with respect to an observer at the center of Moon's mass. Multiplying the Earth-Moon vector by -1 reverses it, so it becomes a position vector from Moon to Earth.
Next, I convert these two vectors into Right Ascension and Declination; which are spherical coordinates in the "equinox of date" (although the exact origin point becomes irrelevant when we subtract them). The result is the phase coordinates, which provide the angular distance north and east of the Earth's transit point. From Earth, this point will be approximately in the center of the Moon's disk.
/*
 * Calculate the equatorial spherical coordinates of the solar transit point with
 * respect to the center of the Earth-facing surface of the Moon.
 */
short int moon_phase(time_parameters_t* tp,
        object* sun, object* moon, short int accuracy,
        double* phlat, double* phlon, int* phindex)
{
    short int error = 0;
    observer geo_ctr;
    sky_pos t_place;
    double lon1, lat1;
    double lon2, lat2;
    double earth_sun[3];
    double moon_earth[3];
    double moon_sun[3];

    make_observer(0, NULL, NULL, &geo_ctr);
    if ((error = place(tp->jd_tt, sun, &geo_ctr, tp->delta_t,
                    coord_equ, accuracy, &t_place)) != 0) {
        printf("Error %d from place.", error);
        return error;
    }
    radec2vector(t_place.ra, t_place.dec, t_place.dis, earth_sun);
    if ((error = place(tp->jd_tt, moon, &geo_ctr, tp->delta_t,
                    coord_equ, accuracy, &t_place)) != 0) {
        printf("Error %d from place.", error);
        return error;
    }
    radec2vector(t_place.ra, t_place.dec, t_place.dis, moon_earth);
    /* The vector points from Earth to Moon. Reverse it. */
    moon_earth[0] *= -1.0;
    moon_earth[1] *= -1.0;
    moon_earth[2] *= -1.0;

    /* Calculate the position vector of the Sun w/r/t Moon */
    moon_sun[0] = earth_sun[0] + moon_earth[0];
    moon_sun[1] = earth_sun[1] + moon_earth[1];
    moon_sun[2] = earth_sun[2] + moon_earth[2];

    vector2radec(moon_earth, &lon1, &lat1);
    lon1 *= 15.0;
    if (lon1 > 180.0) {
        lon1 -= 360.0;
    }
    /* {lat1, lon1} is now the equatorial spherical coordinates of the
     * Earth transit point on the Moon. */

    vector2radec(moon_sun, &lon2, &lat2);
    lon2 *= 15.0;
    if (lon2 > 180.0) {
        lon2 -= 360.0;
    }
    /* {lat2, lon2} is now the equatorial spherical coordinates of the
     * Solar transit point on the Moon. */

    *phlon = normalize(lon2 - lon1, 360.0);
    *phindex = (int)floor(normalize(lon2 - lon1 + 22.5, 360.0)/45.0);
    if (*phlon > 180.0) {
        *phlon -= 360.0;
    }
    *phlat = lat2 - lat1;
    return error;
}

redpajama_set_name: RedPajamaStackExchange


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The purpose in giving gifts made by yourself is to show how special the recipient is because of the time, effort and love you spent on these gifts. And handmade gifts are wonderful for any occasion whether it's a birthday or an anniversary. Some people may think handmade gifts mean cheap and unusable stuff. We now know that was not true. In fact, handmade gifts like knitting, sewing or crocheting crafts may indeed cost you more to purchase materials than to purchase a completed item at the store. And from home decor to clothing, homemade crafts can be both unique and usable.
Today we have rounded up some easy to make DIY gifts ideas and tutorials for your inspiration. There's everything from DIY paint-splattered umbrella to DIY wool felt ball coasters that you won't be able to find in your local store… All of them are unique or different enough to strike a memory or spark a laugh. Have fun browsing through all the DIY gifts.
Easy to make, cute, and so useful. Get the tutorial here. Want to buy an earphone holder on Amazon? This ANGLE FREE Earphone Holder is the best thing you can find for winding up earbuds.


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'You & I are Earth' begins with the sound of a woman talking. She recalls memories of being a young girl during the London Blitz fire bombings of World War II. She speaks calmly at first, with memories of the event slowly creeping up on her. These impressions soon become illustrated through Vanessa Rossetto's own collage of mechanized cacophony. Eventually, they develop into her signature Feldman-esque flowing-out of strings. The woman's voice belongs to none other than Rossetto's mother, and was recorded by Rossetto herself. Through this assemblage of recorded and created sources, we span two forms of devastation: the human, conjured in the specter of the recorded voice, and the inhuman, the natural and inorganic matter whose alienation provides a Hitchcock-worthy horror soundtrack.


George Woolgar won the Sweetspot Classic with a 54-hole score of seven under par at Longhirst Hall, his second PGA EuroPro Tour victory and his first of the season.
The Chesterfield golfer shot a final-round 68, two under, to win by one from three golfers who tied for second. They were Colm Moriarty, who bogeyed the par-five 18th to sign for a 72, Zack Saltman, who set the course record with a 63 in the first round, and 2012 PGA EuroPro Tour Order of Merit winner Paul Maddy, who shot a superb final-round 64 to move from level par to six under for the week.
Woolgar was victorious at Frilford Heath last year but had been dogged by injury since, only returning to action in May.
"It was a long nine months after winning at Frilford last summer," he said. "It was a bit of a rollercoaster but that is in the past now and I have come back, been consistent and now I want to kick on from here and let's see what happens.
Woolgar was consistent all week, with rounds of 67, 68 and 68 taking him to seven under and first place, earning himself a £10,000 winner's cheque and a brand new Motocaddy trolley.
With only two cuts missed all season, and a tied second at Collingtree Park in June, Woolgar now leads the Order of Merit.
Back-to-back bogeys on 17 and 18 cost Irishman Moriarty, who led by one ahead of the final round. Zack Saltman shot a final-round 70 to join Moriarty and Maddy in a tie for second.
A two-hour highlights package of the Sweetspot Classic will air on Sky Sports HD on Tuesday, August 27, repeated three times on Wednesday, August 28.
The next PGA EuroPro Tour event is the HotelPlanner.com Championship at Dale Hill in East Sussex, beginning on Wednesday, August 21 and concluding Friday, August 23.


Sen. Bernie Sanders, I-Vermont, expressed his support for undergraduate and graduate student teaching research assistants' efforts to unionize at Columbia University.
Sanders sent a letter to students saying he hoped they would vote to join the United Auto Workers and recalled meeting with a few students who were pushing to unionize.
"Having a union ends the arrangement where the employer makes all the decisions unilaterally, and institutes a legal process where your union organization collectively bargains with the employer," Sanders said in his letter, according to the Columbia Spectator.
Sanders is the latest progressive politician to endorse the move, with New York Mayor Bill de Blasio also supporting the effort.


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text:
Q: Clearing outputcache on client side As the title says, how can i clear Outputcache on client side? I have several ajax calls that needs to be cleared after user does some specific actions.
I tried:
Response.RemoveOutputCacheItem(Url.Action("Action", "Controller"));

But it didn't work.
I even tried to expire it mannually (even though this would be a bad approach):
                Response.Expires = 0;
                Response.ExpiresAbsolute = DateTime.Now.AddMinutes(-1);
                Response.AddHeader("pragma", "no-cache");
                Response.AddHeader("cache-control", "private");
                Response.CacheControl = "no-cache";

That didn't worked out too.
Just to be clear, i'm using OutputcacheLocation = Client. If i set it to Server the examples above work flawlessly.

A: If what you need is the axax call to return different data each time despite caching, when called with the same arguments, the only reliable way is to add another variable in the query string, which is always different, e.g. the time down to the millisecond.
Here's how I do it (parameter no_cache):
<script type="text/javascript">
Date.prototype.getTicksUTC = function()
{
    return Date.parse(this.toUTCString()) + this.getUTCMilliseconds();
} // End Function getTicksUTC

Date.prototype.getTicksGMT = function()
{
    return Date.parse(this.toGMTString()) + this.getMilliseconds();
} // End Function getTicksGMT

var strURL= "http://localhost/ajax/whateverhandler.ashx?param1=value1&para2=value2&paraN=valueN&no_cache=" + new Date().getTicksUTC();
alert(strURL);

</script>

A: You can't.  Once you set the cache location to client, you have given the client the responsibility to manage it.


Customize a specific power plan within the Power Options section of the operating system.
IMPORTANT: This procedure will allow you to configure the computer Power Options for maximum battery life (VAIO Optimized), maximum computer performance (High Performance), or a balanced mix of performance and battery life. Be aware that configuring the computer for maximum battery life will result in reduced performance, and configuring the computer for maximum performance will result in reduced battery life.
4. In the Power Options window, in the Preferred Plan section, below the desired power plan, click Change plan settings.
5. In the Edit Plan Settings window, click the down arrow next to Turn off the display or Put the computer to sleep to change either of those settings.
6. To change additional power settings for the selected power plan, click Change advanced power settings.
7. In the Advanced Settings window, click the Plus (+) button next to the setting category you wish to change.
NOTE: To change a setting in an area that is not available, click Change setting that are currently unavailable.


Hey when you next get on can you play me on netplay? This is Kazuto721, thanks!
not entirely sure who to take in Melee Singles for SKTAR. Been enjoying Sheik a lot more.
When it's almost summer time it's Smashing time. Wait...that's all the time isn't it?


text:
Source: New York Times
More and More, Favored Psychotherapy
Lets Bygones Be Bygones
By ALIX SPIEGEL
For most of the 20th century, therapists in America agreed on a single truth. To cure patients, it was necessary to explore and talk through the origins of their problems. In other words, they had to come to terms with the past to move forward in the present.
Thousands of hours and countless dollars were spent in this pursuit. Therapists listened diligently as their patients recounted elaborate narratives of family dysfunction — the alcoholic father, the mother too absorbed in her own unhappiness to attend to her children's needs — certain that this process would ultimately produce relief. But returning to the past has fallen out of fashion among mental health professionals over the last 15 years. Research has convinced many therapists that understanding the past is not required for healing.
Despite this profound change, the cliché of patients' exhaustively revisiting childhood horror stories remains. "Average consumers who walk into psychotherapy expect to be discussing their childhood and blaming their parents for contemporary problems, but that's just not true any more," said John C. Norcross, a psychology professor at the University of Scranton in Pennsylvania.
Professor Norcross has surveyed American psychologists in an effort to figure out what is going on behind their closed doors.
Over the last 20 years, he has documented a radical shift. Psychotherapeutic techniques like psychoanalysis and psychodynamic therapy, which deal with emotional conflict and are based on the idea that the exploration of past trauma is critical to healing, have been totally eclipsed by cognitive behavioral approaches. That relatively new school holds that reviewing the past is not only unnecessary to healing, but can be counterproductive.
Professor Norcross says he believes that cognitive behavioral therapy is the most widely practiced approach in America.
The method, known as C.B.T., was introduced in the late 1960's by Dr. Aaron T. Beck. The underlying theory says it is not important for patients to return to the origins of their problems, but instead to correct their current "cognitive distortions," errors in perception that lead them to the conclusion that life is hopeless or that everyday activity is unmanageable.
For example, when confronted with severely depressed patients, cognitive behavioral therapists will not ask about childhoods, but will work with them to identify the corrosive underlying assumptions that frame their psychic reality and lead them to feel bad about themselves. Then, systematically, patients learn to retrain their thinking. The therapy dwells exclusively in the present. Unlike traditional psychoanalytic or psychodynamic therapy, it does not typically require a long course of treatment, usually 10 to 15 sessions.
When cognitive therapy was introduced, it met significant resistance to the notion that people could be cured without understanding the sources of the problems. Many therapists said that without working through the underlying problems change would be superficial and that the basic problems would simply express themselves in other ways. Cognitive advocates convinced colleagues by using a tool that had not been systematically used in mental health, randomized controlled clinical trials. was not used to test the effectiveness of psychotherapeutic methods, in part because psychoanalysis, at the time the most popular form of talk therapy, was actively hostile to empirical validation. When research was conducted, it was generally as surveys rather than as randomized studies.
Cognitive behavioral researchers carried out hundreds of studies, and that research eventually convinced the two most important mental health gatekeepers — universities and insurance companies. Now the transformation is more or less complete.
"There's been a total changing of the guard in psychology and psychiatry departments," said Dr. Drew Westen, a psychodynamically oriented therapist who teaches at Emory University. "Virtually no psychodynamic faculty are ever hired anymore. I can name maybe two in the last 10 years."
Insurance companies likewise often prefer consumers to select cognitive behavioral therapists, rather than psychodynamically oriented practitioners. In the companies' view, scientific studies have shown that cognitive therapy can produce results in less than half the time of traditional therapies.
But is it really the case that understanding the past is not necessary to healing? Could thousands of people have saved time and money by skipping over conversations about parents and cutting straight to retraining their thoughts and behaviors?
Richard J. McNally, a professor of psychology at Harvard, said reviewing the past could be therapeutically important because it could help patients construct narratives of cause and effect.
He pointed to cases of panic disorder. Many people have panic attacks, but a small percentage develop full-blown panic disorder, he said. Those who do not can usually find a rational explanation for their disturbing experience. "They say, 'That's because I am about to take a midterm exam or I had too much coffee this morning,' explanations that de-catastrophize the bodily symptoms," Professor McNally said.
The rationalizations are effective, he said, even when the explanation is not correct. Merely asserting a logical sequence of cause and effect lets people feel that they have some control, that they are not victims of unexplained forces.
In the same way, people who experience depression can benefit from an explanation for their feelings, an interpretation that allows them to feel that they are able, based on their understanding of the cause, to predict and control their emotions. This is a function of therapies that focus on the past, Professor McNally said. "Detailed narratives about the past can be assumed under a larger rubric of trying to find meaning or trying to impose order, and thereby controlling one's world and experience," he said. "People say, 'At least I know why I'm unhappy in life.' "
New research suggests that psychodynamic therapy exploring the past can be as effective as cognitive work. In the last three years, psychodynamic therapists have started to subject their approach to same vigorous research as that used for cognitive therapy. The studies show similarly good results.
The basic assertion that it is not absolutely necessary to review the past is now generally accepted. Even Professor Norcross, who says he regularly guides patients to the past when it is warranted, acknowledges that the data are not entirely solid.
"At the moment," he said, "there is no evidence that understanding the origins of your problems is necessary for effective psychotherapy. And there is some evidence that a preoccupation with the past can actually interfere with making changes in the present.
"Obsessive rumination about past events can trap patients in a self-defeating cycle from which they cannot extricate themselves. It can actually retard healing."
mental health in the third millennium
biopsychiatry.com
Sleeping-pill Hype?
The Hemlock Society
The Secret of Happiness?
Alt.Support.Depression FAQ
Depression and Chronic Pain
Health, Wealth and Happiness
The Futile Pusuit of Happiness?
Depression and Antidepressants
Big Pharma and Madison Avenue
Happiness: a Buddhist Perspective

redpajama_set_name: RedPajamaCommonCrawl


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text:
Q: std::begin and std::end iterators in Visual Studio I am trying to compile nghttp2,opensource, in windows. I already compiled successfully the same in Linux.
I am facing compilation error from the following piece of code.
*
template <size_t N> struct Memchunk {
public:
  Memchunk(Memchunk *next_chunk)
      : pos(std::begin(buf)), last(pos), knext(next_chunk), next(nullptr) {}
  size_t len() const { return last - pos; }
  size_t left() const { return std::end(buf) - (const size_t) last; }
  void reset() { pos = last = std::begin(buf); }
  std::array<uint8_t, N> buf;
  uint8_t *pos, *last;
  Memchunk *knext;
  Memchunk *next;
  static const size_t size = N;
};

*
I am getting the following error.
error C2440: 'return': cannot convert from'std::_Array_const_iterator<_Ty,16384>' to 'std::size_t'

I didn't face the aforementioned error in Linux. Am I missing something in specific to Visual Studio?

A: the problem might stem from std::begin() returning an pointer
on linux, and a proper iterator in windows. This plus some bugs.
If you add begin and end as convenience functions to the class, like this:
template <size_t N> struct Memchunk {
    uint8_t* begin() { return buf.data(); }
    uint8_t* end() { return buf.data()+N; }
    const uint8_t* begin() const { return buf.data(); }
    const uint8_t* end() const { return buf.data()+N; }
    // rest not shown
};

Then left() can be implemented like:
    size_t left() const { return end() - last; }

Possibly with a cast to silence a warning
The pos member can now be initialized with begin() in the member initialization list

A: This is Visual Studio inserting extra type/debug information. This sometimes makes it less than compatible with std algorithms. That said, it's the price you pay for some pretty awesome array over/under run detection, and so forgivable.
Fortunately the work-around is easy...
Use : std::distance   http://en.cppreference.com/w/cpp/iterator/distance
Just remember to reverse the arguments a-b == std::distance(b,a)
Let me know if this doesn't work.
-----------  amendment -------------
I just tried the example you gave, and realized this isn't the real issue (although you will find distance more portable than iterator arithmetic). The problem is still the debug information, but you need to fix the "char* X = begin(buf)"
Instead use &array[0]
This compiles for me
template <size_t N> struct Memchunk
{
public:
    Memchunk(Memchunk *next_chunk)
        : pos(&buf[0])
        , last(pos)
        , knext(next_chunk)
        , next(nullptr)
        {
        }

    size_t len() const { return distance(pos,last); }
    size_t left() const { return std::distance(last,buf); }
    void reset() { pos = last = std::begin(buf); }
    std::array<uint8_t, N> buf;
    uint8_t *pos, *last;
    Memchunk *knext;
    Memchunk *next;
    static const size_t size = N;
};

(By the way, do you have good reason why your not using std::list? Try this approach below)
template <size_t N> struct MemchunkImp
{
public:
    MemchunkImp()
        : pos(&buf[0])
        , last(pos)
        {
        }

    size_t len() const { return distance(pos,last); }
    size_t left() const { return std::distance(last,buf); }
    void reset() { pos = last = std::begin(buf); }
    std::array<uint8_t, N> buf;
    uint8_t *pos, *last;
    static const size_t size = N;
};

template <size_t N> using Memchunk = std::list<MemchunkImp<N>>;


text:
Riesel é uma cidade localizada no estado norte-americano de Texas, no Condado de McLennan.

Demografia
Segundo o censo norte-americano de 2000, a sua população era de 973 habitantes.
Em 2006, foi estimada uma população de 1008, um aumento de 35 (3.6%).

Geografia
De acordo com o United States Census Bureau tem uma área de
10,3 km², dos quais 10,3 km² cobertos por terra e 0,0 km² cobertos por água. Riesel localiza-se a aproximadamente 154 m acima do nível do mar.

Localidades na vizinhança
O diagrama seguinte representa as localidades num raio de 20 km ao redor de Riesel.

Ligações externas

Cidades do Texas
Condado de McLennan

redpajama_set_name: RedPajamaWikipedia


Fish oil is the richest source of Omega 3 fatty acids and is known for curing joint pain, protecting your heart and maintaining vitality of your skin. It has no significant role in gaining or losing weight. For gaining weight you c an consider taking mass gainer.


The first Access and Waiting Time standard for Mental Health services was introduced in April 2016. 50% of those with a first episode of psychosis should be assessed and treated within an Early Intervention in Psychosis service within 14 days of referral.
Most EIP teams across the South of England were not funded, staffed, or skilled to be able to deliver this standard. As a result over 4000 young people with psychosis were not receiving evidence-based treatments, with worse long term outcomes. The delivery of NICE concordant care and timely access has not been measured before.
We recruited clinical leads from each of the 32 EIP teams (16 Trusts) across the South of England. We have met monthly over webex since April 2015 as a community of EIP clinicians.
We designed the EIP Matrix – a web based data collection tool to collect data on the activity, staffing, performance, outcomes and funding of our services. We undertook this baseline assessment August 2015. The tool was filled in by clinical leads for their own services.
The EIP Matrix is openly available to all our 16 Trusts and 50 CCGs and is used in many areas in an ongoing way, for planning and monitoring EIP service delivery. It is therefore sustainable. It is also being adapted to support other programmes, such as perinatal mental health.
We shared the data from our baseline assessment with each of our 50 CCGs and 16 mental health providers. We have also supported them to develop of Service Development and Improvement Plans (SDIPs) for each EIP service.
We presented our data to NHS England South, and Health Education England and were given a budget of £1 million to support workforce development and training for EIP teams. We allocated this funding, according to the gaps identified from our data.
Our team includes several Experts by Experience, carers, Carer Participation Leads and a Patient Participation and Involvement Lead. All our activities are designed and co-created with service user and carer involvement with reimbursement for people's time and contribution to the programme.
Our South West EIP Network has recently completed a Peer Review pilot project where people with lived experience of psychosis and carers helped to design a training workshop and participated in the peer review visits. We are soon to move on to collating the qualitative data and key themes from the visits, and this will again involve people access the EIP services.
The main challenge is funding. The funding for EIP is not ring-fenced and the funding that EIP services receive is not the same that NHS England has allocated nationally. We have been transparent with our findings and shared data widely, e.g. NHS England, Chief Executive Forum, National Clinical Director for Mental Health, Rt Hon Norman Lamb – who raised the issue in parliament.
The other key challenge in delivery of the programme is in recruiting and retaining staff with several factors making the South of England particularly vulnerable to staffing shortages. For example, our proximity to London makes it difficult to recruit staff as they might be more attracted to London jobs which offer London Weighting as part of the contract.
1) Golden hellos or short term extra funding to attract new staff, 2) Offer of CBT and other psychological training package as part of recruitment, 3) sharing of posts across multiple organisations – underpinned by Sustainability & Transformation Plan footprints.
This will ensure that the teams have resources to have meaningful dialogue with commissioners regards adequate resourcing to meet current and future demand.
The BMJ has reviewed our programme and shortlisted it as mental health team/network of the year. We are in discussions with Oxford University and partners about an economic analysis of the programme's work.
EIP teams in the South of England continue to demonstrate a real drive to improve outcomes and share expertise for adoption of good practice at pace. Even though none of the EIP Services in the South of England have reached the estimated required investment of £8,250 per patient, EIP teams continue to deliver superior outcomes when compared to standard mental healthcare. Most notably, almost half (42%) of people accessing EIP are in employment and/ or education, whilst 72% are in settled accommodation.
We share our experience and learning in various ways including quarterly face to face networking forums which take place in the South West, South Central, Thames Valley, Wessex and South East.
We also have a Twitter account (@time4recovery which currently has 19,000 followers who are engaged and regularly comment on our communications.
We send out a monthly e-newsletter to share progress and developments and we have a website (www.time4recovery.com) which is regularly up dated.
We also worked with people who have accessed EIP to develop an animation video titled 'What is Psychosis' that has been viewed on Youtube 19,000 times in the last 7 months.
We have recently published a follow up report for 2016, having produced our baseline report in 2015. We are happy to share our findings if this would be helpful.


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Du befindest Dich hier »Startseite > Artikel > Interviews > Musiker >
Interview with Matt Howden in June 2015
Ham hock and sauerkraut dinner conversations...
Genre: Ritual Ambient
Verlag: Redroom
Medium: CD / Digital
Kategorie: Vorschau
Wörter: 4118
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Daisy:
Sieben. The German word for the number Seven. A prime. So meaningful. So magical in its implication. The week has seven days. In a lot of fairy tales, proverbs and sayings the magic seven can be found conspicuously often. Like Snow white and the Seven Dwarfs behind the seven mountains. And Sinbad, the Sailor had to go through seven journeys in the story from the Arab culture. Pretty soon there is the day what we in German call "Siebenschläfer", a belief in the meteorological phenomenon, that it will be raining for seven weeks, as it is raining on that very day, the 27 June.
Then we have seven senses. The Seven Wonders of the World. The Seven Year Itch. The Seven as the number worshipped by the old Babylonians, they understood the Seven Holy Planets as an expression of divine demonstration and constituted the Seven Seas of the World, the Seven Rivers, the Seven Winds, the Seven Metals and the Seven Colors. And besides the Snake with Seven Heads and the Seven Heavens there are the Seven Gates to the Underworld in the Babylonian culture. Also the Persians, Indians and Chinese give the Seven a special meaning.
In the Christian symbolism of numbers the Seven stands for the human, the Three for the Mind and the Soul, the Four, as the number of the elements, for the body. In the behavior therapy experiments show, that the most favorite number is the Seven. Also in the Cognitive Psychology the "seven phenomena" was discovered 300 years ago by John Locke.
The number Seven really has an exceptional position; the magnetism of it seems to have an immense effect.
And you hit upon the Seven in many many more relationships. Just think of many movies and novels. Last but not least the (East) German Rock band Karat sings "Über sieben Brücken musst Du gehn" ("Over seven bridges you have to go") and the (West) German Punk band Die Toten Hosen dedicated the number Seven the song titled "Die 7 ist alles". Did you actually know that there is a German Hip Hop band called Sieben?
You can easily go mad, when you follow the magical endlessness of the Seven. What is your idea behind "Sieben"?
Matt:
He he, well my reasoning is far less complex and mysterious than your question ;) At the time of starting Sieben much of my work was based around writing to visual stimuli. Many of the early songs were written to photographs, or paintings, or simply (and most often) a landscape which the music conjured in my head. In the same way, the 'Sieben' name was a visual thing- I liked both the shape of the number when written, and of the combination of letters and how they stood on the page. I was also aware of certain 'magical' or mystic connotations of the number in various cultures, which seemed to fit thematically with the kind of music I write, and the subject matter I choose.
Sieben. The musical project. On the website http://matthowden.com/ is written: "Sieben is the one-man, violin-looping work of Matt Howden. He beats, plucks, tickles and layers voice and violin." You are able to play songs on just one instrument, the violin, pretending that the listener hears a full orchestra. On top you add sounds made by your voice - singing, whispering, groaning – and by your beard, scratching at the violin. How did you start? Was the idea born because you just like looping and playing around with effects or you just don´t like playing with a full band (anymore)?
Sieben was initially three members, though still pretty much my band as I conceived and set it up. By the third album (Our Solitary Confinement) and ever since, it has been a solo project. At this time I was also playing, guesting and appearing with a lot of the bands, both on the scene and other scenes. I became increasing happy with working alone, as I had many band projects on the side, which satiated my desire to play with others. Around this time I also discovered the joys of the loop pedal, through Chris Eckman (from the US band The Walkabouts) who was using one to loop background guitar effects on an album we were working on together in Lisbon, with The Raindogs. I'd also just fitted a new pickup to my violin, and this one could be struck to produce a percussive noise from the violin. All things came together beautifully and I was off on a path of solo looping, with the violin. The percussive element was the final decider – I'd tried some looping but missed having 'drums' and hadn't thought that I could use the violin for all the sounds, as I do now. Liberating!
Sieben. The Mighty Sieben. You like to distract people, huh? 
Why did you change the name? Does that go along with changing your sound? You wanted to create something more powerful? Please bring light into the darkness!
'The mighty" Sieben came about when I released Star Wood Brick Firmament. The cover image has me with a horseshoe moustache, looking a bit 'evil magician' and it seemed to fit with that. It wasn't really intended as a name change, though it did make it easier to net-search for that album, and for Sieben generally. When originally conceived as a band name I hadn't really figured that 'Sieben' would be so normal in German (though it seems damn obvious, if I'd put any thought into it whatsoever!) as it sounds exotic in English. Dimmer English people often ask me what it means; or write Seiben or Seben on the posters if I don't check, or they're not familiar with the musical scenes I'm playing on in Europe.
Sieben. It´s not just about music. It´s about lyrics at least as much as it´s about the music. Your albums are concept albums. Topics are soldiers suffering in the first World War on "The Line and the Hook", or traces of absent people in rooms on "Our Solitary Confinement". You also soundtracked your father´s lyrics on "The Matter Of Britain"
What is your latest album "Each Divine Spark" (2014) about? Looking at the booklet every song seems to have his own story, that pictures help to transport.
I like to weave patterns within both the music and the lyrics, and consider each of my albums as a work in themselves, rather than say 'a collection of songs I wrote in 2015'. Many of the early albums are what some might call 'concept albums', though I don't particularly like the term and associations people often have with that. As said I go at, and consider each album as a cohesive whole and like musical, lyrical and artwork themes to tie closely together. Some, inextricably so, as with High Broad Field where each song is an Act in a kind-of Medieval Mystery Play, such the York Mystery plays that we have a tradition of here in England: Those pagan-meets-Christian bawdy plays where the Devil, God and The lamb all get together for a good sing-song at the end of a lewd and moral play! Each Divine Spark is seemingly less 'concept' than earlier ones, but the sonic qualities of the album are very specific, as are the approaches to the song's arrangements, and the method of recording. Thematically, there are also links, with songs about people's lives, inspiring lives, and inspiring acts that people have done in their life.
You are incredibly creative! In only 14 years (Oh, multiples of seven!) you released 11 albums as Sieben and 6 albums as Matt Howden and the album "Anthems Flesh" with 7JK (Sieben plus Job Karma). You made string arrangements and remixed for many artists across the world. Music for film and TV, dance companies, and exhibitions. I am sure you even can/want to make more. But you want to give the world the time to catch up… What inspires you?
I've been thinking as much myself- that I should give the world chance to catch up with my recorded material! But I so enjoy writing music and being creative. Perhaps less so, the 'being your own label' and getting stuff manufactured, hence my latest release being digital only. There are only so many hours in the day, but I'm loath to give up the writing part- that's the reason I do it all for. I like the label side too, but more as a 'means to an end' – the end being starting writing the next one ;)
All manner of things inspire me- previously it has been the weight of history, the power and grace of nature and language, great books, great ideas. More recently still it has been interesting people, fascinating ideas, incredible acts, the good that people can do in the most extraordinary of circumstances. It could equally be a tv programme, book, poem, conversation, a word that trips off the tongue pleasingly, or a phrase that conjures a deeper feeling, or sets off a train of thought within me. Travel, time to think, time to sleep enough, and interesting conversations fuel these things.
You played over 1,500 live shows in 30 countries. You still seem to enjoy being on stage every single time and offer your audience an individual performance each concert. Sometimes your performance is powerful and galvanic. Sometimes shy and temperate. Sometimes you lay down in the middle of the stage. Sometimes you walk through the audience. Sometimes you laugh. Sometimes you cry. Sometimes you scream. Sometimes you whisper. Sometimes you seem to be lost in the loop world. But you are always holding the relationship with your audience. Are you a born performer? What do you like more? Being in the studio arranging or being on stage playing?
I like both! And they are very different animals. I start with the studio, writing the music. Always on my own, I won't work with other people around. And certainly can't write lyrics with anyone around, certainly if they talk - Then it is all lost. I love the solitude of the studio, and the blank page that can be filled however I choose. The first song I write for an album will take roughly four times as long as each of the rest will; it sets the tone, the theme and the new ground I wish to explore on the latest record.
Live, I love performing and the 'release' of the songs out into the world. This is the only time you see their true effect- you are not there when people unwrap and listen to the record, and I will have spent the best part of a year to write and record that music. Live, you see its effect. I often write music in the studio, then record it, then play it live- then re-record it, using what I have learned along the way people engage with it. I wouldn't say I was initially a natural performer at all, but now have a certain confidence (and some say 'flair') born of playing hundreds of concerts, in many types of locations, to all sort of different people and vibes. For me, at least, it has taken a number of years to settle into the material, how I deliver it, what head-space I have left whilst doing all of these; being free to sense what emotions you are giving out, the mood of the audience, the vibe of the place. There are many things to consider. And before all that I needed to be properly on top of my instrument, my equipment, my nerves, my initial shyness.
You just played a concert in a Church in Berlin. A woman, who was walking by and was attracted by the sounds, stopped by and asked me if you were the vicar and the people were the Christian community. Would you like the idea?
He he, I'm not sure I'd be the traditional message, but its an entertaining and perverse idea indeed. I've also been likened to a Shaman, Druidic Bard and a poetic orator. There's something innately spiritual in what I do- the ritual nature of repetition, the lyrics and ideas are often puzzling the non-physical, the moral, the 'otherly' so I guess it might come down to one of those 'figures'. I certainly don't preach, in my music. There are musings, for sure, though. And if the Church is keen for me to lead the congregation to sing "I'd just as soon warm my balls, by a burning church as by the gates of hell" I will happily lead them in joyous version of The Cat's song from my High broad Field album ;)
You told me you have your violin since 32 years (right?). What kind of a violin is it? Who gave it to you and why did you never change it against another one?
Indeed. The only violin I use. I briefly had a five string, with an extra string lower, basically a violin and viola in one, or quintern, as they are sometimes called. There's a real specific muscle-memory to playing a violin, and its hard to get used to a new one even if its pretty much identical. They sound better as you play them more, the wood adapts to you. You also bend and shape to it, as my sore neck and shoulders will testify to ;) A girl at school gave the violin. I only started with it because I liked the sound of the violin, and it was easier to go on a pushbike with than the electric bass which I'd been teaching myself before that. It never felt right to get another violin after the one I have; like cheating on it, somehow. And I am at home with it, know its every sound and angle. And some people make too much of the instrument, you have to have 'this' instrument, bow, amp, pick-up, speaker etc- I'm not so fussy, except when it comes to the sound that my fingers make. Here's the point to be exacting – the obsession with equipment and instrument are just 'boys with toys' generally. (Hence all my pedals, I suppose ;) Though a good mic really does make a difference…
There is this legend about you, teaching yourself the violin by locking yourself into a room and only leave it when you got to know the instrument from the inside and outside. How long did it take from the beginning until you knew to play the violin your way? You opposed learning from violin teachers, because you didn´t just want to copy the skills, but to raise your own style and now you show students the way to music yourself. Can you tell how this works for you?
I did indeed teach myself the violin. A girl at school gave it me, and I thought it'd be good to play and easy to go on my bicycle with! Then I fell in love with playing the violin soon after. I played at least four or five hours each day for the first year, keeping a diary and recording myself each week. I just didn't really want lessons, nor learn to play it 'properly'. In fact I made a point of never learning other people's songs; I wanted to find my own way of doing things, and not pick up too much influence whilst learning. So that I'd be myself. This helps with my students too, and is a practice I have carried into my teaching - I never tell them how they should or shouldn't work with their songs, or what notes might be 'better' or worse, 'wrong'. I simply try and show them various ways and techniques for getting the effect they want. I teach students who come from all sorts of backgrounds who like all different sorts of music. I just aim to improve their skills and confidence, their 'range'. I also use many of my own works to show how I achieved a certain effect or 'feel' within a track, and show them the 'inside', the 'workings' of a particular mix, or lyric, or melody, or production, or mastering.
Why the violin? Do you think, the violin fitting your character? What other instruments do you play besides the guitar? Did you ever try playing the cello?
I chanced upon the violin, then simply began to love the expression that was possible on it- due in part to the lack of frets, so you can almost be as expressive than the human voice, the most expressive of all instruments. And with pedals you can be a whole orchestra ;) I did try playing the cello a couple of times, and loved it! One thing I miss about the violin is the lack of bass frequencies, and the rumble that goes through your body whilst doing so! But if you've got an octave pedal you can get a pretty mean bass range out of a violin, too ;) Would love to play the cello, but wouldn't like to be carrying it around with me! I have enough to carry with loopers and merch ;)
You have this live project RASP together with beloved Jo Quail from London. Partly improvising, partly putting together composed parts, you wed the violin with the cello on stage. Great combination! The performance took place in The Lantern Theatre, Sheffield. The experiment can be heard on the CD "Radiate Power Words". Any chance you have another concert together?
I think we will be playing more Rasp sometime, but I set up Rasp more as a 'concept' thing- the idea was that whenever we played it would be the next album and we'd involve local artists from wherever we were playing; write the songs in a live workshop; no rehearsals; all themed around the surroundings. Not sure it can remain as such a concept, though, as that takes an extreme amount of organising and energy, as you can imagine. Actually, I'm just itching to do a Rasp concert with Jo Quail once more, is the main reason it won't happen like that! We don't want to do the normal things with Rasp, still, at least – we can both play on the bill at a festival anyway, as Sieben or Jo Quail – we wanted it to stand for something different, and a different way of doing things. We're both also incredibly busy, which is why Rasp was conceived as it was. And I can't abide rehearsing for things, generally. Though I do make a good number of rehearsals before I play a Sieben show...
Matt Howden is the more Classical solo project, Sieben the experimental one, Pigsix 4 is a Synth-Pop project with Jane Griffiths and Jason White, 7JK is a more Dark Ambient project together with Job Karma, RASP together with Jo Quail… One project for every passion or style of music? You have also played in bands like Sol Ivictus with Tony Wakeford, Duo Noir with Andrew King and Tony Wakeford, The Glass Hammers, HaWthorn with Tony Wakeford, Raindogs with Pedro Temporão and Roland Popp, Stiki with Dave Cowling, Jane Griffiths and Jason White… (feel free to add more)!
What band/musician would you like to play with, but haven´t played (yet)?
Arvo Part, Tom Waits, Kate Bush, and Sage Francis :) The different projects, I suppose, reflect the different expressions and feels I want to get - usually with an 'album' as the framework for this. I'm currently starting on the second 7JK album with Maciek and Aurel from Job Karma. Going to explore some new territory with this, for sure :) I may well start work on another music-and-poetry work with my father, too, using his work Handless Man as the basis the music. Generally I'm happiest working on my own on something – with 7Jk they are in Poland, and we exchange files by internet, and it develops from the ping-pong back and forth of files and ideas. With my father, he comes and reads his work and I record it. He goes away again and I start to compose the music, often first just listening to the lines and getting an idea for the tempo and rhythm (and meanings) of the words.
This month you released the EP "Lietuva", which is available as a digital-only release. You introduce the new sound, a mix of Classical and Dark Ambient elements with contorted voice. An interesting meeting and melting of opposites, that are ending up in a very rhythmic dance as well as in a soft embrace. You have developed your own style in the past years in an interesting way. What was pushing you? You created a new sound. Is this because of the new looper? What is, in understandable explanation for no technical educated people, different/special about the new looper?
I always aim to push myself, develop my sound, and the styles and timbres I use. Don't want it getting samey! The new looper has helped me achieve some new sounds, and arrangement-wise allows me to do slightly more developed things with arrangements. For instance I can now have one loop running with 'bass and drums' that I've just played in, and open a new loop, of a different length if I like, with the 'top lines' of looped vocals and strings that I play in. I can make one of the loops stop, and therefore make more complex arrangements whilst looping live. I chose the new equipment to match the things I wanted to do next, with my music. Am enjoying my new vocal processor too, though- I like the other-worldly sound of vocoded vocals, when blended in subtly they fit well with the new Sieben 'ritual' and beefier sounds :)
You take the listener to Lithuania, you sing about the MENUO JUODARAGIS-Festival in the North of the country, where play Baltic bands and international Neofolk bands, about Užupis, a village of artists in the capitol Vilnius. What do you like about Lithuania? Is this some kind of travel advertisement?
The first track I wrote to celebrate the MJR festival which I played in Lithuania last year. The festival name roughly translates as 'Black Moon With Horns'. Being that I'd had a lovely time the previous time I'd played, and with really nice people running the festival, I decided to write and dedicate them a song. Not only that, I wanted its first performance to be at the MJR festival, which it was. The second song from Lietuva EP draws inspiration from Uzupis, the self-declared art-state whose mottos is "Don't fight, don't win, don't surrender!" Love the ethos and the idea of what they have done.
You are a teacher in college, you have family, you compose, you record in your own studio, you go on tours, you pack and sell your merchandise online yourself, you are connected with a many musicians and promoters, you write lyrics, you like playing soccer, you like eating and drinking with friends, you like watching horror movies, you write blogs, you update and edit your homepage and social networks constantly, you give interviews… What is your secret? Is all that giving you your energy, so you don´t feel the need for sleep or is your day longer than mere mortal ones?
I really could do with some sleep, actually! Truth is, I like working and I love being creative, I am driven to be so. I'm beginning to question some of the many activities I do, as there is simply not enough time, to write music, or just enjoy life a little, at times. I've decided to do less, for the moment as a label - with physical copies for instance (CD, vinyl, books etc) as this was very time-consuming, and leaves little time for the music. I figure I'll give people chance to catch up with my back-catalogue ;) Same with concerts – I'm just taking the ones I really want to do, and when the conditions and location are right. Same also with playing violin for other people – I've kind of cut down the amount of that I do, too. There just aren't enough hours for everything! Give me some more lives, please, and I could really perfect this music thing ;)
Thank you, Matt!
My pleasure – thank you :)
Daisy für nonpop.de
» German Translation
» Interview mit Matt Howden vom 21.06.15
Vorschau: Interview with Matt Howden in June 2015
<a href="http://www.nonpop.de/nonpop/index.php?type=preview&area=1&p=articles&id=2903&high=horseshoe" target="_blank" title="Interview with Matt Howden in June 2015 ">Interview with Matt Howden in June 2015 </a>
[url=http://www.nonpop.de/nonpop/index.php?type=preview&area=1&p=articles&id=2903&high=horseshoe]Interview with Matt Howden in June 2015 [/url]
Matt Howden Sieben
arrangements audience conceived daisyyou different donrsquot festival generally howden interesting interview itacutes june learning matt performance released something sometimes starting students together violinand with yourself 2015


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Clara Baker's music is "medicine for the heart, mind and psyche," (No Depression)– full of honest and thoughtful lyrics, soulful singing, impressive instrumentation, and an energetic groove. Clara's clear, strong voice and heartfelt songwriting is often compared to that of young Joni Mitchell, though you can tell that she spent her formative years in the bluegrass world when you hear her driving rhythm guitar or her creative flatpicking leads.
Clara's debut album, Temporary Things, was released to critical acclaim, as well as widespread radio play in the US and internationally. The album charted as top-played for two months in a row on national folk DJ charts.
On stage Clara is charismatic, sincere and at ease while performing, and clearly finds great joy in sharing her music. Her poetic observations draw you close, and her powerful vocals and guitar playing show a striking level of mastery of her instruments and confidence in her approach to playing them. Clara is based in Portland, OR and tours nationally.
Fiddle-driven songwriter and composer Jess McIntosh released her debut album, Long Time Exhaling in early 2017. Ten years supporting other artists as a fiddler, singer, banjoist and guitarist inform her stage presence with easy wit and generous musical sensibility. Bandmates and multi-instrumentalists Aaron Smith and Bill Harris come steeped in avant-garde jazz, classical music, and traditional bluegrass. Together, the ensemble provokes an unrefined balance between familiarity and newness, held together by strong lyrics and melody under the umbrella of alt-country-folk.
As a classically-trained violinist turned fiddler and songwriter, McIntosh has performed from Northwest Wisconsin chamber and symphony orchestras (University of Wisconsin-Eau Claire) to the mountains of her temporary home in East Tennessee (Johnson City), to the wide world on tour with folk-punk banjoist Al Scorch (Bloodshot Records). Over the past four years, McIntosh has been a teaching artist at Chicago's Old Town School of Folk Music and composer and lyricist for the House Theatre Company of Chicago, confidently attributing her musical leanings to the churning, fertile beast that is the Midwest.


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If Toys R Us liquidates, 10 to 15 percent of all toy sales could be lost forever
Published Fri, Mar 9 201810:40 AM EST Updated Fri, Mar 9 20183:59 PM EST
Sarah Whitten@sarahwhit10
An analyst from Jefferies estimates that 10 to 15 percent of Toys R Us' total business will be lost if it liquidates.
Toy companies such as Hasbro and Mattel have already begun preparing contingency plans in the event that Toys R Us initiated a full liquidation.
Smaller toy brands that rely heavily on Toys R Us will likely have to explore sales.
10%-15% of all toy sales could be lost forever if Toys R Us liquidates
Toys R Us could soon liquidate its U.S. operations and the result will leave a lasting impact on the toy industry, Jefferies analyst Stephanie Wissink wrote in a note to investors Friday.
While Toys R Us accounted for 15 to 20 percent of U.S. toy sales last year, not all of that will shift to other retailers when the retailer is gone. Instead, about 10 to 15 percent of this volume will fall through the cracks and be lost for good.
Wissink estimates between 85 and 90 percent of Toys R Us' volume in the second half of the year would be redistributed. Products will shift and be sold by e-commerce sites such as Amazon, big-box stores such as Target or Walmart and drug and grocery stores. Other retailers such as Kohl's, J.C. Penney and Best Buy may clear more shelf space for toys.
"It's difficult to estimate, but based on third party consultancy surveys of consumer visits to TRU, roughly 10 to 15 percent of purchases are estimated to be incidental and may not transfer to other channels," Wissink wrote.
Trouble in toy land as Toys 'R' Us may liquidate US operations
Sources told CNBC on Thursday that Toys R Us could soon liquidate its U.S. operations, but that situation remains fluid. A terrible holiday season hurt the toy retailer's chances of recovery, and it has already begun liquidation sales ahead of planned store closures.
Toy companies such as Hasbro and Mattel have already begun preparing contingency plans for such an event. Representatives from Hasbro told CNBC during the New York Toy Fair in February that they are not dependent on one retailer and have explored multiple new channels to sell the company's toys.
While Amazon, Walmart and Target will pick up the slack for bigger toy companies, small toy brands could be in trouble.
Toys R Us' massive size allowed it to sell both name-brand toys and products from upstart toymakers. However, with its closure, the big-box retailers likely won't take in these brands because they are already pinched for shelf space in the toy section. This will make it even harder for small toy manufacturers to gain ground.
Wissink said she expects the fallout of Toys R Us' liquidation to cause a rise in the number of mergers and acquisitions of smaller toy makers. Hasbro and SpinMaster are likely the best-positioned toy companies to make these acquisitions and build out their portfolios, she said.
Walmart Inc
Target Corp
Mattel Inc
Hasbro Inc


Travel with CPAP doesn't have to be stressful. Here's the ten best ways to prepare your sleep apnea machine, hoses, masks power supplies for your trip. Plus a packing checklist so you don't forget anything. And just in case you're wondering if you should bring your portable breathing device along at all, I've included 6 great reasons to take your device with you.
Positive airway pressure machines now come in smaller sizes than older ones did. You can pack yours up and bring it with you if you have a good carry bag for it and its accessories.
If your machine is bigger, or if you travel more than once in a blue moon, you should have a spare for travel all packed up and ready to go.
There are travel CPAPs that come in the size and shape of soda cans or smart phones. But like many electronics the smaller it is, the more it costs. Fortunately there are portable CPAP machines that cost much less.
Modern CPAP and BPAP/BiPAP machines automatically adjust their settings for altitude. If you are bringing an older machine, talk to your manufacturer about how to make manual adjustments. Consider a prescription for acetazolamide, especially if you will be going to progressively higher altitudes. Mountain climbers without pre-existing sleep apnea use it.
As with phone chargers, people can forget this at home. And don't leave it behind when you move from destination to destination.
Your bedside table may be too far away from the electrical outlet on the wall.
Most modern CPAP, BPAP, and APAP machines work on 110V AC current (North America) and 220V or 240V AC current (overseas). Check your manual. You will need an international adaptor to plug your power cord into the wall. Here's a list of countries and the plug and socket types that are used there.
Lithium ion batteries are light and portable. Some CPAP machines have solar chargers built in. Older CPAP machines may need an inverter/converter. Many portable CPAP machines can run on the cigarette lighter in a vehicle but you need the correct DC power cord. Check your manual to find out what your options are.
If some of your important parts are damaged or wear out, you may not have an easy time replacing them. Bring spares. You also need to keep up your CPAP cleaning regime.
Bring spares in case a filter is damaged or the gets clogged up with dust or smoke.
Your mask cushions may not last as long in a different climate, so bring spares. Bring mask liners to avoid "mask face" in another climate even if you don't need them at home.
Bring a spare mask and a spare hose tube. You might step on your mask in a dark room or a tent! You might get rips in your hose. Bring parts you have replaced if you can't buy new spares just for the trip. A roll of duct tape is also a good idea.
Always have a copy of your doctor's prescription for your PAP on your phone, on paper, and in a cloud account. Do the same for all your other prescriptions!
It's better to just leave it at home. If you must have it, keep your destination's climate in mind and take measures to prevent "rainout" (condensation in the tube).
If you can't get distilled water, use bottled water or boil some tap water. Don't use flavored water.
CPAP is really the way to go. You could have a stroke or a car accident if you leave your treatment at home. There aren't many useful alternatives.
These are only useful for some OSA patients, and then only in combination with CPAP. The strap keeps your mouth closed, and, many sleep apnea patients can't breathe very well through their noses without their CPAP. You could try it in combination with nose strips though. Don't make this your vacation alternative without trying it at home first!
This is your best option for a short term vacation from CPAP. This is easy to use on a plane, doesn't involve equipment or complicated maintenance, doesn't need electricity, fits in your purse, is convenient for camping. Try it at home before you rely on it as your travel solution!
You may not think to bring all the spare parts you may end up needing. You may even forget your CPAP entirely! It's happened to people.
Have a list of your machine part numbers and the contact details for your supplier or manufacturer. Some manufacturers will even ship what you need to where you are.
You can also bring along a mask kit for rebuilding your mask on the fly. Here is a video on how to fix your mask. And don't forget duct tape for rips in the hose.
If you are bringing a laptop on your trip, you can also bring along software to analyze changes in your sleep patterns. This is especially useful if you are going to a different altitude than what you are used to. One popular program is called Sleepyhead. Your CPAP stores data on a SD card. A few CPAP machines use a micro SD card, which means you could use the software on a tablet.
Figure out how to use this before you leave home, though.
You can now find good travel masks in the full face, nasal, and nasal pillow types.
Bring a plastic bag to put your CPAP in when they scan it (protect it from germs).
Allow yourself extra time because they may also do an explosives scan or Xray.
Stay with your machine as airport security examines it, ensure they wear gloves and put all the accessories back in the carry bag.
Have a "Letter of Medical Necessity" from your doctor on hand and your prescription.
Take your CPAP with you on the plane in case of lost luggage. It doesn't count against your carryon luggage, because it is a medical supply.
If you plan to use it on the plane, make sure your seat will be near an electrical outlet.
Put a luggage tag on your CPAP with all your contact info. This is useful if it gets separated from you and also if you end up in a hospital.
TOP TIP: DOWNLOAD THIS FREE TRAVEL CPAP CHECKLIST NOW!
It's all about pre-planning! Practice with your travel gear. Get your paperwork together. Print out a copy to carry with you, keep a photo of it on your phone, and add it to your cloud storage so you can find it anywhere.
Because Sleep Apnea Doesn't Take Holidays.
Traveling with CPAP devices is something you need to learn to do, like it or not. CPAP is not a cure for sleep apnea. It's a treatment, like insulin is for diabetics. When you don't use it, your apnea events and poor quality sleep will return. So will the drop in blood oxygen level that affects every cell and organ in your body including your brain.
Also make sure you take along medication for any other sleep difficulties that you might have.
Studies show that taking time off from CPAP can increase your risk of having a car accident. If you are going to be driving on unfamiliar roads, maybe in an unfamiliar car, your trip is not a good time to take a vacation from CPAP.
Using your CPAP will keep your energy up so you can enjoy your holiday. This energy comes from having a good sleep and from having healthy oxygen levels in your body.
Avoiding the drop in blood oxygen levels is especially important if you have related health conditions such as hypertension, diabetes, heart disease, arthritis, or a compromised immune system.
Using your CPAP is especially important it you will be visiting a high altitude. Oxygen levels are lower. Your body makes adjustments to your heart rate and respiration rate in a process known as acclimatization. Even with acclimatization, people who don't even have sleep apnea at a lower altitude can experience it here.
If you keep your partner, roommate, or a plane full of people awake with your snorts and gasps, you will ruin their sleep and energy too.


"Multiple autoimmune syndromes associated with psoriasis: a rare clinic" by Sadia Masood, Sara Sajid et al.
Autoimmune diseases are known to have association with each other but it is very rare to see multiple autoimmune diseases in one patient. The combination of at least three autoimmune diseases in the same patient is referred to as multiple autoimmune syndrome. The case we are reporting features multiple autoimmune syndrome with five different conditions. The patient had type 1 diabetes mellitus, autoimmune hemolytic anemia, systemic lupus erythematosus, vitiligo, and psoriasis. Psoriasis has rarely been reported previously under the spectrum of autoimmune syndrome. Although the relationship of autoimmune conditions with each other has been explored in the past, this case adds yet another dimension to the unique evolution of autoimmune pathologies. The patient presented with a combination of five autoimmune diseases, which makes it consistent type three multiple autoimmune syndromes with the addition of psoriasis. The current case is unique in this aspect that the combination of these five autoimmune disorders has never been reported in the past.
Masood, S., Sajid, S., Jafferani, A., Tabassum, S., Ansar, S. (2014). Multiple autoimmune syndromes associated with psoriasis: a rare clinical presentation. Oman Medical Journal, 29(2), 130-131.


From high-fashion spreads and runway shows to shoe, hand, hair, and character shots to magazine and catalog ads, this comprehensive guide reveals how to be a successful model without being a superstar or drop-dead gorgeous. Tips are given on breaking into the modeling business, finding the right agent, and maneuvering in this often complex business. Aspiring models-men, women, girls, and boys-find out what the modeling scenes are like in New York, other major US cities, Europe, and Australia. Detailed information is provided on modeling agencies, schools, conventions, and contests, along with advice on building a portfolio and using the Internet to expand opportunities. Interviews with industry legends and a complete resource section are also included.


Cementing is an integral part of well construction. Cement provides the seal, protection, and support for the casing to maintain the strong barriers that isolate the well. The benefits of cement are well known and a compendium of knowledge on well cement design and durability has been building since the development of engineered cement application over a century ago.
To achieve effective isolation, cement needs to fill the area around the pipe and produce a channel-free section of cement over a length of the cement column suitable to isolate zones and prevent leakage into or out of a hydrocarbon productive zone. In many published case histories of cement bond studies and several multi-well studies, logs of cement quality show channels over short zones, even where isolation has been proven by decades of production. Channels probably exist for short intervals in many cemented intervals that are still effectively isolated. Unless the channels extend through the entire length of the cemented column, the isolation potential of a cement column is still acceptable. Wells can experience integrity failure due to structural instability in cemented regions due to subsidence and compaction caused by reservoir depletion over the lifetime of the well. Unique environmental conditions present significant operational and safety risks to the operator. Increased knowledge of cement placement, integrity, and condition will help to better guide well construction and operation. In this paper, a novel solution to well integrity monitoring is presented to address these issues to improve HSSE, enhance the economics of production, mitigate costs of catastrophic failure, and support commitments to improving environmental sustainability.
We have developed a smart well cement with specific enhanced acoustic signatures that can be detected by traditional sonic logging tools. This smart acoustically responsive cement utilizes a specially engineered particulate filler that acts as an acoustic band gap filter and contrast agent at specific frequencies. The cement can be used to harness the potential of the unified digital oil field in increasing productivity and consistency. The acoustic signature of the cement can be analyzed to determine the integrity of the cement, contamination in the cement, and, importantly, mechanical loading on the cement.
Finite element modeling and simulation were used to determine the acoustic response of the novel material and guide the design of the particle additive. The material was produced on the lab scale and the acoustic band gap features were confirmed using vibrational measurements. Ultrasonic measurements were used to determine the acoustic response of subscale composite structures, including under mechanical load and in simulated environmental tests. Shallow buried pipes with cemented annuli and engineered voids were constructed at a field site. A monopole sonic logging tool was then used to map the cement location and determine the location and relative degree of mechanical loading. Stress was applied using a variety of methods and mapped along the length of the wellbore.
The results indicated improved acoustic detection using sonic bond log tools including uniquely identifiable cement placement, enhanced void discrimination, and localization of loaded regions. This provides significant value for a smart acoustically responsive cement in detecting and thereby reducing well integrity risks due to cementing and formation issues. The acoustically responsive cement allows discrimination between fluids and lightweight cement, monitoring of formation depletion and reservoir compaction, and increased knowledge of wellbore stresses in the oil field. Furthermore, the material has the potential to be continuously monitored with an acoustic interrogation system for remote real-time indication of cement stress and integrity on a zone-by-zone basis. These results provide confidence in the next steps to further mature and de-risk the acoustically responsive cement technology for well integrity evaluation.
Albert, L.E., .: "A Comparison of CBL, RBT and PET Logs in a Test Well with Induced Channels," JPT (Sept 1988) 1211-16.
Fertl, W. H., Pilkington, P. E., Scott, J.B.: "A Look at Cement Bond Logs," Journal of Petroleum Technology, Vol. 26, No. 6, June 1974, pp 607-617.
Flournoy, R.M., Feaster, J.H.: "Field Observations on the Use of the Cement Bond Log and Its Application to the Evaluation of Cementing Problems," SPE 632, Society of Petroleum Engineers, New Orleans, LA, October 3-6, 1963.
Frisch, G., O'Mahoney, L., Mandal, B.: "Examination of Cement and Casing Evaluation Logs," IADC/SPE 77212, Jakarta, Indonesia, 9-11 Sept 2002.
Goodwin, K.J., Crook, R.J.: "Cement Sheath Stress Failures," SPE Drilling Engineering, December 1992, pp 291-296.
Grosmangin, M., Kokesh, P.P., Majani, P.: "A Sonic Method for Analyzing the Quality of Cementation of Borehole Casings," SPE Journal of Petroleum Technology. Vol. 13, No. 2, pp 165-171. Feb 1961.
Gui, H., Summers, T. D., Cocking, D.A., Greaves, C.: "Zonal Isolation and Evaluation for Cemented Horizontal Liners," SPE Drilling and Completion, December 1996.
Hirsekorn, M., Delsanto, P. P., Batra, N. K., & Matic, P. (2004). Modelling and simulation of acoustic wave propagation in locally resonant sonic materials. Ultrasonics, 42(1-9), 231-235.
Hirsekorn, M., Delsanto, P. P., Leung, A. C., & Matic, P. (2006). Elastic wave propagation in locally resonant sonic material: Comparison between local interaction simulation approach and modal analysis. Journal of applied physics, 99(12), 124912.
Leung, A. C., Matic, P., Delsanto, P. P., & Hirsekorn, M. (2004, January). A Parametric Sonic Crystal Modal Analysis using Finite Element Modeling. In ASME 2004 International Mechanical Engineering Congress and Exposition (pp. 229-236). American Society of Mechanical Engineers.
Liu, Z., Zhang, X., Mao, Y., Zhu, Y. Y., Yang, Z., Chan, C. T., & Sheng, P. (2000). Locally resonant sonic materials. Science, 289(5485), 1734-1736.
Pilkington, P.E. "Cement Evaluation – Past, Present and Future," Journal of Petroleum Technology, Vol 44, No. 2, Feb 1992. Pp 132-140.
Smith, R.C.: "Successful Primary Cementing Can Be a Reality," Distinguished Author Series, SPE JPT, Nov 1984, pp 1851-1858.
Steiles, D.: "Challenges with Cement Evaluation: What We Know and What We Don't," SPE Webinar, July 11, 2012.
Vasseur, J. O., Deymier, P. A., Khelif, A., Lambin, P., Djafari-Rouhani, B., Akjouj, A., & Zemmouri, J. (2002). Phononic crystal with low filling fraction and absolute acoustic band gap in the audible frequency range: A theoretical and experimental study. Physical Review E, 65(5), 056608.
Thornhill, J.T., Benefield, B.G.: "Injection Well Mechanical," Report 625/9-87/007, USEPA, Washington DC, 1987.
Zhou, X., & Hu, G. (2007). Acoustic wave transparency for a multilayered sphere with acoustic metamaterials. Physical Review E, 75(4), 046606.
Vipulanandan, C. and Mohammed, A. (2015). Smart cement modified with iron oxide nanoparticles to enhance the piezoresistive behavior and compressive strength for oil well applications. Smart Materials and Structures, 24 (12), 125020.
Vipulanandan, C., Ali, K., Basirat, B., A. Reddy, Amani, N., Mohammed, A., Dighe, S., Farzam, H. and W. J. Head (2016), "Field Test for Real Time Monitoring of Piezoresistive Smart Cement to Verify the Cementing Operations," OTC-27060-MS.


Charming small English sampler with the verse "Mary Kept all thefe thingf And Pondred (sic) them in her Heart" stitched in pretty blue silk thread. Although I believe it dates to the 1830-1840 period, it features the old long-form letter "s" that looks like an "f" which is more typical of earlier work. I suspect the pink area at center right (after the blue numbers) may have been the name and date but it's unreadable due to stitch loss. The bottom rows features crowns and other motifs.
This is a classic "schoolgirl" sampler worked in cross stitch on evenweave linen with both silk and fine wool threads. Their is a fair amount of loss to the wool stitches but the ground fabric (the linen) is in very good condition and structurally sound. The linen color is warmer, more a golden tan than it appears in the photos and the wool and silk thread colors are still vivid.


text:
extern "C++" {
#endif

#include <qglobal.h>

#include <QList>

#include <Qsci/qsciglobal.h>
#include <Qsci/qscicommand.h>

QT_BEGIN_NAMESPACE
class QSettings;
QT_END_NAMESPACE

class QsciScintilla;

//! \brief The QsciCommandSet class represents the set of all internal editor
//! commands that may have keys bound.
//!
//! Methods are provided to access the individual commands and to read and
//! write the current bindings from and to settings files.
class QSCINTILLA_EXPORT QsciCommandSet
{
public:
    //! The key bindings for each command in the set are read from the
    //! settings \a qs.  \a prefix is prepended to the key of each entry.
    //! true is returned if there was no error.
    //!
    //! \sa writeSettings()
    bool readSettings(QSettings &qs, const char *prefix = "/Scintilla");

    //! The key bindings for each command in the set are written to the
    //! settings \a qs.  \a prefix is prepended to the key of each entry.
    //! true is returned if there was no error.
    //!
    //! \sa readSettings()
    bool writeSettings(QSettings &qs, const char *prefix = "/Scintilla");

    //! The commands in the set are returned as a list.
    QList<QsciCommand *> &commands() {return cmds;}

    //! The primary keys bindings for all commands are removed.
    void clearKeys();

    //! The alternate keys bindings for all commands are removed.
    void clearAlternateKeys();

    // Find the command that is bound to \a key.
    QsciCommand *boundTo(int key) const;

    // Find a specific command \a command.
    QsciCommand *find(QsciCommand::Command command) const;

private:
    friend class QsciScintilla;

    QsciCommandSet(QsciScintilla *qs);
    ~QsciCommandSet();

    QsciScintilla *qsci;
    QList<QsciCommand *> cmds;

    QsciCommandSet(const QsciCommandSet &);
    QsciCommandSet &operator=(const QsciCommandSet &);
};

#ifdef __APPLE__
}
#endif

#endif

redpajama_set_name: RedPajamaGithub


text:
<?php

declare(strict_types=1);

namespace StructType;

use InvalidArgumentException;
use WsdlToPhp\PackageBase\AbstractStructBase;

/**
 * This class stands for ProposeNewTimeType StructType
 * @package Ews
 * @subpackage Structs
 * @author WsdlToPhp <contact@wsdltophp.com>
 */
class EwsProposeNewTimeType extends EwsResponseObjectType
{
}


Crash at "Reading Comets Data"
I'm having a bit of a problem when adding another planet to my newly made system. I am trying to remake LTT 8750 system from Elite Dangerous. I have the triple star system going, and I have a Gas Giant orbiting the three stars, with a planet around the main star (LTT 8750 A), but when I add another planet the game crashes when loading planets "Reading Comets Data". When checking the log it seems to crash on the system I'm editing.
I've commented out Atmosphere, Water and Clouds to see if they were the problem, but still crashes. If I comment out the entire planet, the game launches fine. I have tried adding another planet in the same spot, and the same thing happens.
Surely there's not a limit some where. I've seen more than triple star systems have cool looking little systems around them. So what's stopping me from making one?
Make sure you didn't link planet to itself (check ParentBody). If you show us the full system script, we can give an answer.
Also, there is no reason to create a new thread for such a regular question.
Sorry for starting a new thread.
I've checked the ParentBody line and it's not linked to itself. Planet name is LTT 8750 A 4, the parentbody is LTT 8750 A.
I've placed the .sc file in this comment.
In line 20 of your script, the 'Star' for 'Corona' does not belong there.
In addition, should the parameter 'ParenBody' contain only one value, in this case, "Hip 108216"
And you wrote 'hip' with two 'p'.
Does this look like you want it?
With the Corona line, I was just seeing if adding a corona line would actually change the stars corona. I wanted it to move a little quicker.
With the ParentBody, I didn't know we could just put the one value in. I'll change that.
And with the HIP part, yeah, a little mistake I must have not noticed. :/ I was taking the name from Elite itself, which has two P's for some reason, even though I did look the system up to see if it had any other name (which it obviously does) and that only included one P, like you said.
But that is definitely how I want my system to look, and it works fine, until I add another planet around the main star. Overall, the system is meant to have a total of 8 planets and about 7-9 moons.
Still have no idea what was causing the game to crash though.
I think the 'Star' in front of 'Corona' is fault, because if I try to start your original script, the 'Star' not removed, SE crashes almost immediately.
I added few checks so SE not crashed anymore if such mistakes are made in catalog.
Will such errors then displayed in the console?


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You can expect a lot from the 2015 Toyota Tacoma. This 4 door, 5 passenger truck still has fewer than 70,000 miles! Under the hood you'll find a 6 cylinder engine with more than 230 horsepower, providing a smooth and predictable driving experience. Four wheel drive allows you to go places you've only imagined. Top features include front bucket seats, 1-touch window functionality, a rear step bumper, telescoping steering wheel, skid plates, power windows, an overhead console, and air conditioning. Toyota also prioritized safety and security by including: dual front impact airbags with occupant sensing airbag, head curtain airbags, traction control, brake assist, anti-whiplash front head restraints, ignition disabling, and ABS brakes. Electronic stability control ensures solid grip atop the road surface, no matter how challenging the driving conditions. We pride ourselves on providing excellent customer service. Stop by our dealership or give us a call for more information.


HIV-positive Israelis will be conscripted into the military for the first time, the army said today, a move welcomed by gay rights groups as an important step against discrimination.
"Medical advancement in the past few years has made it possible for them to serve in the army without risking themselves or their surroundings," Colonel Moshe Pinkert, head of the IDF's Medical Services Department, is quoted as saying in the blog post.
All Israeli Jews are required to serve in the military when they turn 18, with men's mandatory service recently reduced from three years to 32 months and women's service lasting two years. In the past, those who are HIV-positive were deemed unfit on a medical basis and automatically exempted from mandatory service, although they could sometimes still join as volunteers, on a case-by-case basis.


Famed country music star Carrie Underwood is in some hot water with some football fans.
Underwood has been with Sunday Night Football since 2013, she writes and sings the opening song which many have grown to love. However, when she debuted a new version of the song last night for the first Sunday night game of the year fans were left shaking their heads.
Sometimes when change comes to sporting events people can be a little overly critical, because after all, football is all about tradition. And When Carrie Underwood didn't sing the line, "OHHHH Sunday Night!" Fans had a lot to say.
Check the video of the song out at the bottom of this article and decide for yourself if she deserved this much backlash.
Carrie Underwood debuted a new "Sunday Night Football" theme song and fans aren't thrilled about it.
In the new version, which was played before the Week 1 matchup between the Chicago Bears and Green Bay Packers, Underwood belts out "Game On" instead of "Ohhhhhhh Sunday night" — a line that fans have grown to know and love. Some people called for the network and Underwood to bring back the old version.
Game on! #SNF is back!
"Pros: Sang "Sunday night" on multiple occasions. Cons: Did not sing 'ohhhhhhhhhhhhhhhh' in advance of saying that it was Sunday night. Grade: D+," the viewer wrote on Twitter.
"I love Carrie Underwood with every fiber of my being but what is this new SNF song?" a user wrote.
"I want the old SNF song please @carrieunderwood," another person wrote.
"My ears are taking a knee in protest of Carrie Underwood SNF theme songs! This years is the worse!!! #NFLSunday," another person said.
Underwood took over singing the NFL theme song in 2013 from Faith Hill, who sang the opener "Waiting All Day for Sunday Night," Rolling Stone reported.
Who knows, maybe this song will grow on us like the last one did. Eitherway, I don't think they will be bring the old song back.
In the last few years Carrie has been caught up in a few controversies from a song she sang about President Trump to hiding a scar on her face after falling. But I think the Sunday Night song is far from any of that, actually I didn't think the song was that bad.


text:
Q: Efficiently retrieving people and the task most recently assigned to them I have the following simple setup:
create_table "people", :force => true do |t|
  t.string   "name"
end

create_table "tasks", :force => true do |t|
  t.string   "description"
  t.integer  "person_id"
  t.date     "started_on"
  t.date     "ended_on"
end

class Person < ActiveRecord::Base
  has_many :tasks
end

class Task < ActiveRecord::Base
  belongs_to :person
end

Assuming that tasks assigned to a person never overlap in time,

*

*How would you efficiently retrieve each person's most recent job?

*Also, how would you select all the people who, as of Date.today, are without a job?

So far I have been able to figure out solutions with inefficient queries and lots of ruby code. I wonder instead if ActiveRecord offers idiomatic ways to construct such searches.
I thought, for example, to search the most recent jobs this way:
Task.group(:person_id).maximum(:ended_on)

but what I get is an ActiveSupport::OrderedHash, whereas I do need the Task models and associated people.
Thanks!
Giuseppe

A: In Person model
def last_job
     self.jobs.order("started_on DESC").limit(1)
end

You can write a scope to filter jobs for "open" jobs that havent been finished like this:
scope :finished_jobs, where("ended_on IS NOT NULL")
scope :unfinished_jobs, where("ended_on IS NULL")

So you can also do
def is_unemployeed?
     self.jobs.unfinished_jobs.empty?
end