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Guest Blogger Geoffry Young Haney: Self-Publishing: Your "Demo" Tape?
Please welcome guest blogger, Geoffry Young Haney. He has some interesting thoughts on self-publishing and how it might develop with the future of publishing. Enjoy! And feel free to start a discussion in the comments. I'd love to hear your thoughts.
Self-Publishing: Your "Demo" Tape?
As I've been diving harder than I ever have before into editing a manuscript, I've been learning a ton. But lately I've found myself wondering what to do next. I know I wish to have an agent and a publishing deal when it comes to The World Within My Walls [my current WIP]. It's a series (a big one - four main stories and possibly four related tales, including two prequels...) and I want to make sure my rights are intact for something I feel could make a long-term splash out there in the world - if given a chance. But I've been battling with what to do in the MEANTIME, that is to say, the time when TWWMW will sit idly on my computer and its queries sit unanswered in the slush piles of busy lit agents.
I have myriad other ideas that could be better suited for the New World: e-books. (Eeek!) Or more specifically... SELF-PUBLISHED e-books (and non e-books alike)!!! Now before I'm struck down by the Publishing Gods of Old, let me remind them that I did just mention that in many ways I prefer the Old Ways: A publishing house edits, designs, prints, and promotes your book and you sit back to take in the profits. This is what they still do. Only things have change. This day and age is not for the author who simply wants to sit back. More and more authors are relied on to almost tirelessly promote themselves. There is just far too much entertainment out there to not be active! Getting lost in the crowd is almost a given. A review in Entertainment Weekly or a positive blurb from some big wig won't alone sell your book (unless that big wig is a certain Mrs. Meyer, in which case you might as well buy your mansion right now...) Authors need to go out there and FIND their audiences, with blogging, Facebook pages, Twitters, Tweeties, Torpedoes, Tiptocksters, or any other oddly names social networking site that comes out this month. Therefor authors, especially new or aspiring ones, are more responsible than ever for the success of their product. This is a good thing, I think. Who is better at selling something than the person passionate enough to sink countless hours, days, weeks, and years of their life into creating it?
Yet publishers, store chains, and e-book outlets seem to forget all that. They want US to do more for less (go ahead and check out this post from lit agent/blogger extraordinaire Kirstin Nelson for just one glaring example.) With more people out there writing books than ever before and new technology looming around every corner, the Big Guys hope to cling even tighter to those keys to the pearly gates of publishing heaven while squeezing as much money out as they can. I think they're afraid that their time is running out, at least their time of being financial giants. Now I don't mean to come down hard as these "Gatekeepers"; that is not my intention in writing this. And it certainly is a pessimistic worldview, perhaps, to see publishing simply as a mega corporate demon and not as something that cares about the books they sell - really cares about the stories they print. But let's not kid ourselves. The bottom line will always matter, and when their pockets aren't as fully lined as they used to be, we as the artists feel it. We've seen this in the music industry, an industry who continues to cry about profits dropping from 13.5 BILLION to 8 BILLION dollars since the wave of file-share and the Internet. And what did they do? Instead of looking inward for solutions to better their product for a waning public and to learn to better serve their artists, they alienated their potential customers by dragging college kids to court. (By the way, if I ever complain about making 8 BILLION dollars, I want someone to cut my head off...)
Now it may have been all well and good back in the day to hand over so much responsibility and profit to a publishing house, seeing as they were chiefly involved in making you money and sharing your work. In many cases that is still the best route. But consider that authors now have even more responsibility in selling themselves, and it only seems fair that the money should shift some. Heck, most of the blogs I follow are authors just like me, seeking an audience while having little if ANY published works to their credit. Already we're pimping ourselves. Why? Because its what you gotta do now. It looks good on your resume to have a blog and a readership, even if you don't quite have anything published. So on top of pouring over and perfecting manuscripts, synopsises (synopsi?), and query letters (*shudder*) we should maintain and write blogs, guest blog on other blogs with more readership (thanks Casey!), read and comment on each others blogs, and have a veritable blog orgy in the limited amount of time we have between ACTUAL writing, family, and (in most cases) a 9-5 that pays the bills. Why, then, would we want to do all this promotion and networking just to turn around and hand over more of our money to companies who seem to be doing less, or at the very least doing the same (while we work harder.)
And yet we have this model of publishing that is drowning in its own overhead and intrinsically designed around Gatekeeper mentality. What do you want from your story? A million dollars? If we all wanted the big bucks alone we'd have picked something easier to do. No, what I simply want (and many others, I'm sure, though I can't speak for them) is for my stories to be read and enjoyed. We want to make an impact with our words, touch a chord or pull on a heart string; inspire someone to share their tale. But with standard publishing...
An agent must like your work enough to represent it.
That agent must convince a publisher to take it on.
That publisher must convince those higher up to promote and present it properly (you know, as if they liked it.)
How many hoops does a story-teller jump through just to REACH an audience? How much approval (opinion) must we seek before someone actually READS our story simply to ENJOY it free from the worry of whether they can make any MONEY off it or not?
Enter self-publishing. Now keep in mind, no one's even making a living off the e-book/POD thing (though J.A. Konrath is doing a decent job at it. If anyone is thinking of entering the self-pub game, I highly suggest following his blog, A Newbie's Guide To Publishing, and especially checking out this post from it.) And as Joe is quick to remind us, he has been writing for many years (his tenth novel finally sold in 2003 after 9 previous novels had been rejected a combined 500 or so times), has an agent, and has published books that sell. He just also works in the e-book medium and works in it well.
So don't go thinking e-books or self-pub is the Golden Ticket to a candy factory full of amazing wealth and deliciousness. I simply argue that, like all our other networking we do, this New Frontier of fast and friendly e-booking could be a great tool. And if you choose to go the self-pub print route, you don't even have to BUY the books first, with a little thing called Print-On-Demand (POD.) Now, it takes a lot of work and a lot of know-how to produce something worth putting out there. But I argue that we're already DOING a lot of the work. We tirelessly join critique groups. We're networking with not only authors, but artists and designers and musicians and all these creative types. We are surrounding ourselves with people who have the know-how. You mean to tell me that between all the people you know you couldn't find one starving artist who is exceptionally good as an editor (maybe even freelances or has held an editor position in the past) and would be willing to work with you for little to no money? Remember, they're a fan of you or your project already without seeing dollar signs in their eyes. Same with designers. Plenty of people in your circles I'm sure could teach you to properly create a PDF which would be the layout of your POD book. You could have illustrations! Tons of them, because a publisher isn't freaked out by how much ink it would be! This should be what our community is about, not a never-ending word vomit, empty praise, or comments on blogs. It should be about HELPING each other.
My point in saying all of this boils down to one main point and my biggest problem with self-pub critique: One of people's biggest complaints I've heard with the POD and self-publishing models is that "99.9% of its list is nearly unreadable dreck" because there aren't "quality checks" in place. How does that make you feel? That just because you haven't found an agent or a house whose opinion is that your story is good enough (and will sell,) and you choose instead to self-pub that you're peddling garbage? The quote above came from an anecdote by seasoned man of publishing Michael Stearns, founder and agent at Upstart Crow Literary. It was posted on the linked blog entry (read it, Upstart Crow is a pretty cool and innovative agency) and goes on to make many valid points about the importance of publishers and editors, including that they bring with them "those ineffable quality enhancers that make a book cost more than its printing, paper, and binding. Editing. Marketing. Publicity. Design. Attention to detail. Vision." All well and good.
But I argue that, in this new age, authors are already DOING so much of this, and that our web of contacts and networking buddies could help us with the rest. We already need to have a manuscript looking solid before submitting it. Agents want to see that we can do all those things above: self-edit, self-marketing and promotion; our attention to detail and our vision. Why? Because we are no longer simply creators of story, we are partners in selling a product. I will never sit here and say publishing houses are over and done with, or diminish the importance of a solid critique group, a skilled agent, and an experienced editor. I'm merely saying that we don't necessarily have to rely on one to get the others.
I'll equate it (as I always tend to do, because that's where most of my experience lies) to the music industry. Look at it like this. No one 10 years ago thought you could make a living off original music without a label. A label, after all, fronted hundreds of thousands of dollars for you and/or your band to go to a studio, paid for you to make a music video, and promoted you. But now that just isn't the case. What made it possible? Technology. MySpace began dictating what was popular and put artists directly in touch with an audience. Home studios became all the rage. We can shoot and edit our own music video and have it on YouTube in a week. My former band spent a little under 3 grand to buy an entire recording studio (Mac laptop and all) which we used to produce completely serviceable recordings. Could it have gone on the radio the next day? Maybe not. But our MUSIC, our MESSAGE was out there. There are more than a handful of examples of success musicians have had with just a few microphones and a solid set of MIDI synths and beats. Adam Young, the man behind the wildly popular Owl City, did just that...
Owl City was started by Adam Young in his parents' basement while he worked at a Coca-Cola warehouse, turning to music as a result of his insomnia. Young received much attention for songs he had uploaded to MySpace, the "viral popularity" of which would later result in his signing to Universal Republic. In 2007, Owl City released an EP titled Of June, followed by the 2008 release of the album Maybe I'm Dreaming. Of June reached #20 on the Billboard Electronic Albums chart, and Maybe I'm Dreaming peaked on the same chart at #16.
Owl City's first two records were released while Young was unsigned. In early 2009, music industry website "Crazed Hits" leaked that Owl City signed with the major label Universal Republic.
Owl City's third album Ocean Eyes was released on iTunes July 14, 2009, with the physical release following on July 28, 2009. The album debuted at #27 on the Billboard 200. Owl City has released four singles, "Hello Seattle", "Hot Air Balloon", "Strawberry Avalanche", and "Fireflies". "Fireflies" topped the US and Canadian charts and became the most-downloaded song on iTunes in the US. Ocean Eyes reached the top ten on the US album charts and topped the US electronic charts and also reached Amazon MP3's top 10 most downloaded album list. By December 2009, it was certified Gold in the United States. On 24 January 2010, Owl City reached the number 1 spot in the UK Top 40 Singles chart with "Fireflies".
See that? Adam hit Billboard's electronic charts WITHOUT a major label. He landed a deal on the STRENGTH of his own self-produced product. And then look what he did with major backing. And Adam didn't just cut a disk and sell a few hundred copies at a local record shop (wait, what's that?...), I'm talking national radio play (his newest single is actually on the radio in the other room as I write this), attention from the big labels, loads of MySpace fans. All produced from the kid's basement. All which he and a team he surrounded himself with worked for tirelessly. In short, no one told Adam he was good enough - he told THEM. I suspect we could see the same sort of thing happen with self-pub, especially with the wave of e-books making access to a book quick and easy (just the way we've been trained to like it. Thanks iTunes.)
So if you're thinking about self-publishing, as I am, remember that it's not always about the glitz and gloss of the finished product. Yes, Owl City does sound more polished than a rapper's Escalade, but there are plenty of indie bands out there who actually EMBRACE the low-fi, DIY sound of a home studio and write great material doing so. There are million dollar studios trying to EMULATE that sound for their million dollar artists because they fail to see that its not the presentation, its the message. The "best" isn't always better, and for me, it will ALWAYS boil down to the message and the passion; it'll always be about the story.
Do the work, find that editor and design friend (if you haven't inadvertently already,) do your very best to present the product well. Embrace your limitations and make the most of what you CAN accomplish. And then go out and promote the heck out of it! (You're already doing it now...) Don't imagine you will sell a Rowling amount of copies and don't try to hit a home run the first time out. Just put your best foot forward and surround yourself with the tools and the people to make that happen - people who were in your corner long before an agent told them they should be. Think of that self-pub release as a demo tape (or that indie release EP), something to give the masses and to get your voice out there. And don't let the fact that there's a lot of crap out there keep you from considering producing your own work. There was and still is a lot of crap on MySpace and judging by the fact that cast members from Jersey Shore can land book deals practically in their sleep, there was, still is, and always will be a lot of crap in Barnes & Noble. Self-publishing isn't for the Big Guys, its for us and our audience, no matter how small said audience may be. You probably get rich and famous, but who knows, maybe your little book could be the Owl City of the literary world.
Geoffrey Young Haney is an aspiring author and musician hailing from the west side of the Mitten State. He is currently editing and revising his novel, The Sons of The Moon (vol. 1 of The World Within My Walls series). At night, he spends his sleep locked in nightmares of query letters and critique groups as he plummets closer and closer to a third round of agent submissions. That, and he's expecting his first child in May (that's a lot to toss and turn over!) When not in bed, he regularly posts on his blog, Creating Life, where he and his wonderful wife, Michelle, share their journey into parenthood and, God willing, the publishing world.
Posted by Casey Something on Wednesday, March 31, 2010
I've read and ignored a lot of posts like this one around the blogosphere lately, that suggest using self-publication as a path to traditional publication. The one thing all these posts have in common: they're supported solely by anecdotes.
Let's look at the data. The best recent survey of how authors actually got published is here: http://www.jimchines.com/2010/03/survey-results/. Takeaway: You're over 100 times more likely to succeed with the traditional approach. Sales data? Check out this post http://pimpmynovel.blogspot.com/2009/09/self-publishing-great-idea-or-worst.html. Takeaway: The average traditionally published book sells 12,000 copies. The average self-published book sells less than 200.
Self-publishing recommendations fail a simple logic test, too. If you spend all your time publishing and promoting your book, you'll become a better publisher and promoter. Instead, consider spending your time becoming a better writer, by (gasp) writing. This is why 99% of all self-published work is utter dreck, because the authors didn't care enough about their craft to spend the thousands of hours needed to perfect it. Do you really want your novel in that low company?
Sherrie Petersen March 31, 2010 at 2:01 PM
I think self-publishing works primarily for authors who have already published books traditionally or for authors who do a lot of public speaking where they can sell books after a lecture. There are very few real world examples of people who have used a self-published book to get a foot in the door of traditional publishing. But hey, the times are changing. Maybe if enough people can make it work, it will change the industry.
Ann Marie Wraight March 31, 2010 at 2:40 PM
CONGRATULATIONS GEOFFRY and MICHELLE on the 'almost being parents' news. Hope everything goes well. Boy or girl?
Now, I've read your post twice and I'm still not sure where I stand on the whole thing. Being a traditionalist in most things, I quiver when I try to imagine trying to swim against the current. On the other hand, Buddhists believe that nothing is permanent and the world constantly changes.
I'll have to ruminate a bit more I think...
Thanks for the post and thanks for posting it Casey.
Mike - Thanks for those links! As my article states, I'm in no ways delusional about self-pub and it's returns. My post is simply about exploring other options if what you really wanna do is share a story, not sell a million copies and land a movie deal. I wish to do that, sure, who doesn't. But in the meantime, why not share some well-presented work with people who already are interested in you? Thanks for your thoughts!
Solvang - And that's exactly my point. It doesn't work now, and certainly authors with ready established platforms fair better with it. But it MAY work in the future. And we shouldn't count it out or dismiss it as useless simply because, right now, it seems to be littered with junk! Thanks for your comment!
Ann Marie - Thanks so much for the well-wishes! Michelle and I are having a boy, Carter Edison Young... at least that's the name for now. Mic is convinced it could change if he doesn't "look like a Carter." What does a Carter look like?? :D
Thomas Brookside March 31, 2010 at 4:32 PM
You really are butchering that statistic.
Here are the REAL statistics:
If you pursue traditional publishing, in 999 cases out of 1000, you will sell 0 books. Zip. The odds are probably worse than that, actually, but we'll leave it there for the moment.
What's my evidence for this? The size of the slush pile relative to the number of people who get published. Add to the size of the slush pile the number of people who gave up.
It's absolutely absurd to compare the 200 books figure to the 12000 books figure. The appropriate number to compare the 200 books figure to is 0.
200 is more than 0.
Jim Hines' data is worthless because he only solicited the views of authors who were eligible to join the SFWA. Well, since the SFWA bans self-published authors, regardless of their total number of sales, that would tend to skew the data a bit, don't you think?
"Hey, if I ask traditional published authors how they broke into the business, they overwhelming report that they did so via traditional methods!" Wow. Woopity-do.
If you have never sold anything, and are deciding this very moment whether to self-publish or pursue traditional publishing, the facts are that pursuing traditional publishing means that the odds are overwhelming that you will never sell a single book, that you will never have the opportunity to offer a single book for sale, and that you will simply be rejected until you give up. If you ultimately are published, the road between you this very moment and future publication is measured in years.
If you self-publish using Smashwords, the Kindle DTP platform, and CreateSpace, the odds are 1 in 1 that you will be able to offer your book for sale, and your book will be up for sale within the week.
The higher average sales figure for traditionally-published books does not statistically balance out the extremely low chance of attaining publication, especially when you consider the time value of the money you're foregoing by not making sales immediately, or the long tail of sales from material you'd end up throwing away or putting in a drawer somewhere for ten years.
The only point I was attempting to make is that most self-published work sells very few copies and does not lead to a traditional publishing career. Yes, there are a few anecdotes otherwise(Paolini, for example). But the data I linked does support both those statements.
If you're happy with low sales and a non-traditional career, by all means, self-publish. But you're far, far less likely to get a traditional publishing contract this way than by the standard agent/query model.
Paul C March 31, 2010 at 5:44 PM
I really appreciate the perspective and helpfulness of this blog in promoting one's writing and in the forum idea of multiple contributors to share the wisdom.
Jonathon Arntson March 31, 2010 at 8:54 PM
Holding up my left hand and sharing the pinky with you! Unless you're sown by Indiana...
Great post. I had no idea about the possible benefits of self-publishing, nor the American Dream story of Owl City. Still hate the music, but have let my ignorance turn to respect. same thing for self-publishing.
Good luck with the parenting, my niece just turned one today!
Also, you forgot del.icio.us re: weird site names.
Good point Thomas. I never really even thought about it like that. Mike's point is valid, that self-pub may never lead to traditional pub, but you make a good argument in favor of at least giving it a go. And that's all my article was saying as well.
Great comments guys!
MM April 3, 2010 at 11:40 AM
I think most of this discussion is missing the larger point that Geoffry is trying to make...there is a revolution acoming. Things ARE going to change. How they change remains to be seen. But this train is barreling down the tracks and gaining momentum by the day. It's pointless to argue about whether it's going to crash or not, at what speed, in whose backyard, etc. The real question is - will I, as a writer, be ready when it does? Will my agent? My publisher? And what does "being ready" even mean? I, for one, can't wait.
Guest Blogger Geoffry Young Haney: Self-Publishing...
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When we first launched our reading theme, I didn't realize how many new books and authors I would get to know.
ISBN: 8202231167 (ISBN13: 9788202231163). Bought a copy of the book. Book photos taken by me.
This is the second Julia Johnson book I've read. While I can not really say anything about the cultural authenticity of the stories, it seems apparent that Johnson has been living in the Middle East since 1975 and she uses the Arabian peninsula as her source of inspiration for her writing. In the jacketflap of the book, she is said to be a TV and radio personality in the UK and Dubai and has done theater productions in schools.
This story was of great interest to me since I am aware how the Arabs view dogs as unclean creatures. Hence, the relationship between the young Bedouin boy in this story, Hamad, and his saluki hound, a working breed of a dog – is one that sparked my curiosity.
The Bedouin have developed a bond with their Salukis based on their mutual dependence for survival, such that the hounds seem to know what is required of them with hardly a word of command or even a gesture.
Some find them aloof and undemonstrative, but in a Muslim society where ritual purification is necessary before praying if one has come into contact with an unclean animal (even such a privileged animal as the Saluki) it would never do for Salukis to be jumping up and licking their owners, or their visitors. Salukis know their place and keep to it while remaining alert to their masters' needs.
Similar to Johnson's The Pearl Diver, this is more like an illustrated novelette as opposed to a picturebook. It is quite text-heavy, but there is a rhythm to her storytelling that is soothing and leads you to unknown places. It is like her voice carries you over to somewhere unfamiliar, making it known to the reader.
This is a story of friendship, of learning the art of patience, and of maintaining a sense of humility despite the very easy tendency to become arrogant and self-absorbed, and too convinced of one's skill. It is a story to savour. Find it.


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A look through John Lennon's library: The Beatle's most influential books
Growing up in the working class streets of Liverpool was not always the kindest place for a sensitive soul like John Lennon. The iconic Beatles star wasn't always the floppy-haired loverboy that he was quickly publicised as. In fact, he spent mos tof his childhood escaping through the words and drawings of wonderful books. Here, we take a look through the pages of John Lennon's library.
The star revealed in an interview just weeks before his untimely death at the hands of Mark Chapman in 1980, that his family in Liverpool weren't necessarily equipped to attend to the poetic John. "It was scary as a child, because there was nobody to relate to. Neither my auntie nor my friends nor anybody could ever see what I did. It was very, very scary and the only contact I had was reading about an Oscar Wilde or a Dylan Thomas or a Vincent van Gogh – all those books that my auntie had that talked about their suffering because of their visions. Because of what they saw, they were tortured by society for trying to express what they were."
It is no surprise then that Lennon was an inspiring and engaging author in his own right. Having, fortunately, not been deterred by his family's reticence to read, John pursued another avenue of artistic prowess alongside his growing Beatles fame and become write some interesting literature. His first work, the Daily Howl, was brimming with absurdist comics and caricatures, poetry and prose, and was largely shared among high school chums. His first proper work was 1964's John Lennon: In His Own Write and was filled with nonsensical prose and wordplay, which sold so well he received another book deal just a year later.
Listen to the 1963 song The Beatles gave to The Rolling Stones
Despite the success, writing books wasn't something Lennon had orginially bargained on. He said "There was never any real thought of writing a book. It was something that snowballed. If I hadn't been a Beatle I wouldn't have thought of having the stuff published; I would have been crawling around broke and just writing it and throwing it away. I might have been a Beat poet!"
It was an avenue or artistry which involved Lennon's internal navigation and saw his work as an author affect his work in The Beatles. "I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all; to express myself I would write A Spaniard in the Works or In His Own Write, the personal stories which were expressive of my personal emotions. Then I started being me about the songs, not writing them objectively, but subjectively."
As much as his own work as a writer could influence his music, Lennon also found influence from other authors would shape the sounds of The Beatles. When speaking about penning Beatles' hit 'I am the Walrus', Lennon said: "I was writing obscurely, a la Dylan, in those days. It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem. It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter…'"
A less fantastical and more contemporary source of inspiration for Lennon as a teenager and onwards into adulthood was his love of the Beat poets of New York. From Jack Kerouac to Allen Ginsberg, Lennon massively admired the spirit and soul of the movement's work. Ginsberg gets a shoutout in 'Give Peace A Chance' while William S. Burroughs is featured on the famous cover of Sgt. Pepper – it's even rumoured Lennon was the man changing the band's original moniker from 'The Beetles' to 'The Beatles'.
Ginsberg recalls, on meeting with Lennon before his death: "I was passing by Dakota Apartments last month, phoned upstairs and visited John Lennon and Yoko Ono for an hour…[Lennon] said he was lying sleepless one night listening to WBAI earphones and heard someone reciting a long poem, he thought it was Dylan till he heard the announcer say it was Ginsberg reading 'Howl'…said he'd never read it or understood it before, his eye'd seen the page but, 'I can't read anything, I can't get anything from print', but once hearing it aloud he suddenly understood, he said, why Dylan had often mentioned me to him, and suddenly realized what I was doing and dug it."
Allen Ginsberg & John Lennon
The Kinks' Ray Davies once reviewed The Beatles album 'Revolver': "Really, it's a load of rubbish"
With all the sensitivity, poetry, prose and percussion in everything Lennon writes, it is easy to see the influence on his life the books below had on him. They cultivated creativity, promoted potential and matured his every musical madness.
Below is a list of these works and writers which across interviews and snippets of conversations Lennon has either been involved with or loved deeply. So, how many have you read?
Ronald Searle (illustrations)
Curiosities of Natural History by Francis T. Buckland
Alice in Wonderland & Through the Looking Glass by Lewis Carroll
Jabberwocky by Lewis Carroll
Just William by Richmal Crompton
Howl by Allen Ginsberg
Finnegan's Wake by James Joyce
On The Road by Jack Kerouac
The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary
Grapefruit by Yoko Ono
Animal Farm by George Orwell
Complete Tales and Poems by Edgar Allen Poe
Born Under a Bad Sign by Tony Palmer & Ralph Steadman
Forty-One Years In India by Field Marshal Lord Roberts
Major Works by Jonathan Swift
Major Works by Alfred Lord Tennyson
Under Milkwood by Dylan Thomas
I Am Also a You by Jay Thompson
Writings and Drawings by James Thurber
Complete Works by Oscar Wilde
Source: Radical Reads
Watch as Paul McCartney introduces Ringo Starr in surprise Beatles performance
Far Out Staff July 14, 2019
Relive The Beatles performing at the Royal Variety Performance, 1963
Revisit Amy Winehouse covering 'All My Loving' by The Beatles
Take a trip around the world with every location mentioned in The Beatles' lyrics
Brian Epstein's first contract with The Beatles sold for £275,000
Paul Weller's handwritten letter to Paul McCartney to form his Beatles supergroup
Lee Thomas-Mason July 10, 2019

redpajama_set_name: RedPajamaCommonCrawl


The committee responsible for taxi and private hire licensing in Leeds has raised serious concerns for public safety when new national rules come into force next month.
Leeds City Council's licensing committee met earlier this month to discuss how Leeds will try to mitigate potential safety risks when new government legislation is introduced on October 1 which will further de-regulate the taxi and private hire industry.
These deregulation changes will allow private hire operators to sub-contract bookings to other operators anywhere in the country.
This could mean customers making a booking with their favourite operator in Leeds only to receive a vehicle from another operator, licensed by a different council with possibly less rigorous licensing arrangements than we have in place in Leeds or West Yorkshire.
The licensing committee is especially concerned about this because it could lead to numerous private hire vehicles from other authorities working in Leeds, with very different markings on them which may cause confusion and could allow unlicensed drivers or other drivers to illegally ply for hire. This creates a big safety risk for the travelling public.
Compounding the issue is the fact that council enforcement officers, who carry out roadside spot checks, don't have the powers to inspect vehicles which are licensed by other councils. The Deregulation Act will allow private hire vehicles to work across England and Wales - leaving local enforcement officers powerless to inspect vehicles licensed from other districts.
Coun Mary Harland, chair of the licensing committee, said: "In Leeds we take the safety of our residents and visitors very seriously and we are very concerned about the implications of the new Act, and the risk it poses to the travelling public.
"We have worked hard to establish a strong licensing policy which includes rigorous checks on new drivers and high standards for vehicle safety and customer service. Our drivers must take part in training in safeguarding, English Comprehension, customer care and private hire law, whereas standards expected in other areas of the country may not meet our own.
To ensure all West Yorkshire licensed vehicles have a similar recognisable door livery.


text:
REGENHEALTHSOLUTIONS (RHS)
The best information on disruptive healthcare
ETHICS INFORMATION
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Restore Health – Therapies that cure
Risks of myocarditis, pericarditis, and cardiac arrhythmias are more likely associated with Covid-19 infection than with vaccination
PIER MARIA FORNASARI
Led by the University of Oxford, a team of UK-based researchers have today reported results of the largest ever study to compare the risks of cardiovascular events, such as myocarditis, pericarditis, and cardiac arrhythmia, between different vaccines and COVID-19 infection, and the first to investigate the association between cardiac events and the Oxford-AstraZeneca vaccine.
While a link between heart inflammation, such as pericarditis and myocarditis, and vaccination was not observed during clinical trials of the most common COVID-19 vaccines, shortly after vaccines began rolling out across the globe concerns began to be raised about a link—in particular, to myocarditis and especially in younger people.
Writing in Nature Medicine, the researchers linked the English National Immunisation (NIMS) Database of COVID-19 vaccination with a national patient level healthcare database of 38 million people aged 16 or older vaccinated for COVID-19 in England between 1 December 2020 and 24 August 2021. The study looked at rates of hospital admission or death from myocarditis, pericarditis, and cardiac arrhythmias in the 1–28 days following vaccination or a COVID-19 positive PCR test.
Risks-of-myocarditis-pericarditis-and-cardiacDownload
Julia Hippisley-Cox, professor of clinical epidemiology and general practice at the University of Oxford, and study lead said:
"We know the COVID-19 vaccines are highly effective at reducing risks of severe outcomes from COVID-19 infection. And what we've found here continues this finding—whilst there are some increased risks of rare heart related complications associated with vaccines these are much lower than the risk associated with getting COVID-19. For example, we estimated between 1 and 10 extra events of myocarditis in 1 million people vaccinated with a first or second dose, but 40 extra cases in 1 million people infected with COVID-19.
However, it is important that we know about and identify the risks of these rare conditions from vaccines as well, to ensure that clinicians know what to look for, aid earlier diagnosis, and inform clinical decision making and resource management."
Martina Patone, medical statistician at the Nuffield Department of Primary Care Health Sciences, University of Oxford, and co-lead author said:
"This is the largest study to date of acute cardiac outcomes after COVID-19 vaccination or infection and the first to compare risk of cardiac events between different vaccine products and COVID-19 infection. This is also the first study to investigate the association between cardiac events and the Oxford AstraZeneca vaccine. This will be important to the public, clinicians and policy makers as although myocarditis and pericarditis were not observed as risks in COVID-19 vaccine trials, there have been numerous reports of suspected cases following vaccination in the general population.
The findings show the risks of myocarditis associated with the two mRNA vaccines to be slightly higher in people aged under 40 and particularly after the second Moderna vaccine. For these people, the study estimated that there were an extra 10 myocarditis events per million people following a positive SARS-CoV-2 test and an extra 15 per million following a second dose of mRNA-1273 (Moderna) vaccine.
The researchers stress that more research is needed to understand why the risk of myocarditis appears to be higher following the Moderna vaccine in this group of people, but also stress that while the risks of myocarditis are slightly higher than COVID-19 infection, the vaccine is still safer overall and risks less harm than COVID-19 infection.
Professor Nicholas Mills, British Heart Foundation Chair of Cardiology at the University of Edinburgh, and co-lead author said:
"Our findings are consistent with those from a similar study of people receiving the Pfizer-BioNTech vaccine from Israel and two studies of people receiving the Moderna vaccine in the US. We've now extended these observations by including 38 million adults in England receiving both adenovirus and mRNA vaccine types.
This study had several strengths. First, the UK offered an ideal place to carry out this study given three vaccinations have been rolled out at speed and scale. Second, this was a population-based study of prospectively recorded data and avoided recall and selection biases linked to case reports. Third, the large sample size means that we can identify rare events that might not be picked up through clinical trials."
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text:
Q: Spring SAML Security with Azure ACS Integration Sample Can anyone guide me in Securing my Spring Restful webservices using Spring SAML and Azure ACS?
I have already secured the same using ADFS and its working fine.

redpajama_set_name: RedPajamaStackExchange


The Neighbor Girl delivered a few of our books for us for International Book Giving Day. Thank you, Neighbor Girl! She dropped them off at a local library, daycare center and a local medical center waiting room. We also handed one of our books to our UPS driver to take home to his kids.
We prepped for the day by using one of their fun bookplates to leave a note on why we donated our books.
Let us know if you participated as well.
Wow! Me too! So excited for next year! I love those chairs and tables!
New follower here! From International Book Giving Day !


text:
import { EventEmitter, QueryList, ElementRef, Renderer2 } from '@angular/core';
import { Observable } from 'rxjs/Observable';
import { MdTab } from './tab';
import 'rxjs/add/operator/map';
/** A simple change event emitted on focus or selection changes. */
export declare class MdTabChangeEvent {
    index: number;
    tab: MdTab;
}
/** Possible positions for the tab header. */
export declare type MdTabHeaderPosition = 'above' | 'below';
/**
 * Material design tab-group component.  Supports basic tab pairs (label + content) and includes
 * animated ink-bar, keyboard navigation, and screen reader.
 * See: https://www.google.com/design/spec/components/tabs.html
 */
export declare class MdTabGroup {
    private _renderer;
    _tabs: QueryList<MdTab>;
    _tabBodyWrapper: ElementRef;
    /** Whether this component has been initialized. */
    private _isInitialized;
    /** The tab index that should be selected after the content has been checked. */
    private _indexToSelect;
    /** Snapshot of the height of the tab body wrapper before another tab is activated. */
    private _tabBodyWrapperHeight;
    /** Whether the tab group should grow to the size of the active tab */
    private _dynamicHeight;
    dynamicHeight: boolean;
    /** @deprecated */
    _dynamicHeightDeprecated: boolean;
    /** Whether ripples for the tab-group should be disabled or not. */
    disableRipple: boolean;
    private _disableRipple;
    private _selectedIndex;
    /** The index of the active tab. */
    selectedIndex: number;
    /** Position of the tab header. */
    headerPosition: MdTabHeaderPosition;
    /** Output to enable support for two-way binding on `[(selectedIndex)]` */
    readonly selectedIndexChange: Observable<number>;
    /** Event emitted when focus has changed within a tab group. */
    focusChange: EventEmitter<MdTabChangeEvent>;
    /** Event emitted when the tab selection has changed. */
    selectChange: EventEmitter<MdTabChangeEvent>;
    private _groupId;
    constructor(_renderer: Renderer2);
    /**
     * After the content is checked, this component knows what tabs have been defined
     * and what the selected index should be. This is where we can know exactly what position
     * each tab should be in according to the new selected index, and additionally we know how
     * a new selected tab should transition in (from the left or right).
     */
    ngAfterContentChecked(): void;
    /**
     * Waits one frame for the view to update, then updates the ink bar
     * Note: This must be run outside of the zone or it will create an infinite change detection loop.
     */
    ngAfterViewChecked(): void;
    _focusChanged(index: number): void;
    private _createChangeEvent(index);
    /** Returns a unique id for each tab label element */
    _getTabLabelId(i: number): string;
    /** Returns a unique id for each tab content element */
    _getTabContentId(i: number): string;
    /**
     * Sets the height of the body wrapper to the height of the activating tab if dynamic
     * height property is true.
     */
    _setTabBodyWrapperHeight(tabHeight: number): void;
    /** Removes the height of the tab body wrapper. */
    _removeTabBodyWrapperHeight(): void;
}

redpajama_set_name: RedPajamaGithub


text:
March weather forecast and climate
Nakatsu, Japan
ClimateJFMarchAMJJASONDYear
Weather in March
Average sea temperature in March
Average daylight in March
In March, the average sea temperature in Nakatsu, Japan, is 11.9°C (53.4°F).
Note: Swimming in 11.9°C (53.4°F) is considered life-threatening. Even a few minutes in 13°C (55.4°F) water is uncomfortable, and swimming below 10°C (50°F) may cause total loss of breathing control and cold shock, depending on a person's physique.
In Nakatsu, the average length of the day in March is 12h.
How cold is the water in March in Nakatsu?
In March, the average sea temperature in Nakatsu, Japan, is 11.9°C (53.4°F). Swimming in 11.9°C (53.4°F) is considered life-threatening. Even a few minutes in 13°C (55.4°F) water is uncomfortable, and swimming below 10°C (50°F) may cause total loss of breathing control and cold shock, depending on a person's physique.
How many hours of daylight does Nakatsu have in March?
In Nakatsu, Japan, the average length of the day in March is 12h.
Average sea temperature in March: 11.9°C
The coldest month (with the lowest average sea temperature) is February (11.8°C).
Average daylight in March: 12h
The month with shortest days is December (Average daylight: 10h).
Weather Atlas: Nakatsu, Japan - March weather forecast and climate information. Nakatsu, Japan - March weather averages including high and low temperatures, humidity, rainfall, snowfall, daylight, sunshine, UV index, and sea temperature. [1240984]


text:
\section{Introduction}
Quantum measurements are essential to quantum technology. Photon-Number-Resolution (PNR) has become a need in various fields including linear optical quantum computing \cite{Knill:2001aa}, quantum metrology and sensing\cite{Quantum_metrology},  quantum cryptography \cite{OBrien:2009aa},  quantum imaging\cite{BridaG.:2010aa}, and quantum communication \cite{Quantum_Communication} and conditional state preparation \cite{Conditional_state_preparation}. \\
A PNR detector produces a signal proportional to the number of incident photons. Currently,  PNR detectors  can be realized with silicon photomultipliers \cite{Ramilli:10}, superconducting nanowires \cite{Divochiy:2008aa, Superconduncting_3, Superconducting_multiplexing_nanowire}, linear mode avalanche photodiodes (APDs), quantum-dot field-effect transistors \cite{doi:10.1063/1.2735281,doi:10.1063/1.126745}, and transtion-edge sensors (TES) \cite{TES_2, Lita:08}. Several methods based on spatial- and time-multiplexing have been proposed for PNR measurements using APDs \cite{Achilles2003,Fitch03PRA, Piacentini:15, Superconducting_multiplexing_nanowire}. \\
In this paper we propose a way for PNR using segmented APDs with low dark currents.  In the figure shown below we have APDs on waveguide. The set up whittles down n photons, one at a time.
\begin{figure}[h!]
\begin{overpic}[width=0.49\textwidth]{waveguide.png}
 \put(73, 13){$\alpha$}
  \put(48, 13){$\alpha$}
 \put(23, 13){$\alpha$}
  \put(7,9){$|n\rangle$}
 \end{overpic}
 \caption{Segmented detector. Guided optics are used to detect photons alongside propagation by APDs. The design goal is to keep all undetected photons in the waveguide, for further detection.}{\label{waveguide}}
 \end{figure}
 Our segmented photodetector features multiple APDs fed by the same waveguide, as shown in Fig. 1. Photons that are not absorbed in the first APD couple back into the waveguide and will be absorbed in one of the following detectors. The crucial advantage of this configuration is that nonideal quantum efficiency of the APDs doesn't amount to photon loss, unlike butt-coupled PNR detectors in which temporally or spatially split photons impinge on APDs on the end of their path~\cite{Fitch03PRA,Achilles2003,Piacentini:15}. Hence,  this linear array is essentially a long detector divided into $m$ short detectors, each with an individual read-out.  We envision that such a segmented photodetector will become feasible in large-scale integrated photonic  platforms using either monolithic or heterogeneous integration of APDs on low-loss waveguides.

 We will model the segmented detector using beam splitters as shown in Fig.$\ref{fig:seg}$ where waveguide coupling with APDs can be modeled by the reflectivitys of the beam splitters, and the transmissivity per APD by $\eta$.
 \begin{figure}[h!]
 \begin{center}
\includegraphics[width=0.25\textwidth]{Segmented_sym.png}
\end{center}
\caption{Model of a PNR segmented photodetector. $R_{j}+T_{j}=r_{j}^{2}+t_{j}^{2}=1, \forall j\in[1,m]$. \label{fig:seg}}
\end{figure}
Before we address the model in earnest, we need to reiterate that $\eta$ won't include quantum efficiency of the APD. This can be seen by a detail model of each APD coupling, pictured in Fig.\ref{fig:detail}. The APD's field transmissivity is $\alpha$ (such that the APD's quantum efficiency is $1-\alpha^{2}$). In fact, $\alpha$ cannot be too large because APDs are not PNR detectors and we  want the quantum efficiency $1-\alpha^{2}\ll1/n$, for $n$ incident photons, which will ensure that photons are detected no more than one at a time.
\begin{figure}[h!]
\begin{overpic}[width=0.24\textwidth]{coupling.png}
 \put (99,21) {$tt' + rr'\sqrt{1-\alpha^2}  $}
 \put(60,-3){$tr' - rt'\sqrt{1-\alpha^2} $}
 \put(3,33){$|n\rangle$}
 \put(28,16){$(r,t)$}
 \put(54,16){$(r',t')$}
 \put(50, 50){$\alpha$}
\end{overpic}
\caption{Model for detection alongside propagation. If this is the $\rm j^{th}$ APD, then $t_{j}=tt' + rr'\sqrt{1-\alpha^2}$, where $t_{j}=T_{j}^{1/2}$ in Fig.\ref{fig:seg}.}{\label{fig:detail}}
 \end{figure}
In a design reminiscent of  interaction-free measurements proposed by Elitzur and Vaidman \cite{Elitzur1993}, we require that the bottom output of the exit beam splitter by nulled by destructive interference. The condition can be achieved by choosing parameters $(r,t,r',t')$ of the beam splitters, and absorption coefficient $\alpha$, such that
\begin{equation}
tr' - rt'\sqrt{1-\alpha^2} = 0.
\end{equation}
If this is the case, then the detection process truly takes place alongside propagation and finite quantum efficiency --- necessary here to attain PNR performance --- won't contribute to photon loss.

In the next section, we recall basic properties of the quantum formalism needed to evaluate PNR performance. We then return to the segmented detector model, present our theoretical characterization results, and conclude.

\section{DETECTOR CHARACTERIZATION USING
POSITIVE-OPERATOR-VALUED-MEASUREMENTS (POVMs)}
The most general measurements in quantum physics are known as POVMs~\cite{vanEnk2017ArXiv02, vanEnk2017ArXiv01}. Each measurement outcome k is given by an Hermitian operator, POVM element $\hat{\Pi}_k$,  with nonnegative eigenvalues such that the probability of an outcome for a quantum state $\hat{\rho}$ is given by
\begin{equation}
p_k = Tr(\rho \hat{\Pi}_k).
\end{equation}
These operators statisfy the completeness property, $\sum_{k} \hat{\Pi} _k = I$ which makes the sum of probabilities $\sum_{k} p_k = 1$ for different outcomes to be unity. Therefore, these measurements completely describe all possible outcomes for any quantum measurement. For a phase insensitive detector the POVM element for $k$ clicks is given as\
\begin{equation}
\Pi _k = \sum_{n = 0} P(k|n) |n\rangle \langle n|,
\end{equation}
where $P(k|n)$ represents the conditional probability of getting $k$ clicks given n-photon input state. The POVMs are more general from the projective measurements in couple of ways. First, unlike the projective measurements the POVMs are not orthogonal measurements. For outcomes $k$ and $k'$, the pairwise POVMs need not satisfy,
\begin{equation}
\hat{\Pi}_k  \hat{\Pi}_k' \neq \delta_{kk'}\Pi_k.
\end{equation}
Note that the orthogonal POVMs are essentially the projective measurements, therefore we can define the purity of the POVM for outcome $k$ as
\begin{equation}
Purity(\Pi _k) =  \frac{\big[Tr(\Pi _k^2)\big]}{{\big[ Tr(\Pi _k) \big]}^2}
\end{equation}
The purity satisfies
$0\leq Purity(\Pi_k) \leq 1$,
where a value of 1 denotes a pure, i.e., projective POVM.

\section{Model}
In order to study the PNR performance of the segmented detector we consider 2 cases: first, the beam splitters all have the same reflectivity and, second,  the reflectivity of the $\rm j^{th}$ beam splitter is given by $R_{j}=\frac{1}{m-j+1}$ such that the last beam splitter in  Fig.\ref{fig:seg} in balanced. It can be shown that the field splitting generated by this is identical to that of a symmetric beam splitter tree. We study each case in turn in the lossless case before investigating the symmetric case in the presence of losses.

\subsection{SEGMENTED DETECTOR WITH IDENTICAL BEAM SPLITTERS}
In  Fig.$\ref{fig:seg}$ the quantum input mode has annihilation operator $a_1$ and is in the input Fock state $|n\rangle$, and the other $m-1$ input modes, of $a_2$,  $a_3$, ..., $a_{m}$, are  vacuum ones. We consider $m-1$ identical beam splitters (T, R) and $\eta=1$ (no losses) for all modes.
 The input quantum state is
 \begin{equation}
 |n\rangle = \frac{{a^{\dagger}_1}^n}{\sqrt{n!}}|0\rangle^{\otimes^{m}}.
 \end{equation}
In the Heisenberg picture, after m-1 beam splitters $a^\dagger_1$ evolves to
\begin{equation}
\begin{aligned}
\underbrace{(U_{m-1}...U_2U_1}_{U} &a^{\dagger}_1\underbrace{U^\dagger_1U^\dagger_2...U^\dagger_{m-1})}_{U\dagger} \\
& = (t^{m-1}a^\dagger_1 + rt^{m-2}a^\dagger_2  +\dots + ra^\dagger_{m}).
\end{aligned}
\end{equation}
It is easy to see that the output quantum state is
\begin{align}
|\psi\rangle_{out} & = \frac{1}{\sqrt{n!}}(U a^{\dagger}_1 U^{\dagger})^n |0\rangle^{\otimes^{m}}\\
& =\frac{1}{\sqrt{n!}}{(t^{m-1}a^\dagger_1 + rt^{m-2}a^\dagger_2+ \dots +ra^\dagger_{m}})^n |0\rangle^{\otimes^{m}}.
\end{align}
Using multinomial expansion we get
\begin{equation}
\begin{aligned}
|\psi\rangle_{out}  = &\underbrace{\sum_{n_1=0}^n\cdots\sum_{n_m=0}^n}_{\sum_{j=1}^{m}n_j=n} \left\{\frac{\sqrt{n!}}{n_1!n_2!...n_m!} \right. \\
& \left. [t^{\sum_{j=1}^{m}2(m-j)n_{m-j+1}}r^{(n-n_m)}]\prod_{i = 1}^{m}(a^\dagger_i)^{n_i}\right\}|0\rangle^{\otimes^{m}},
\end{aligned}
\end{equation}
where each $n_i$ can take any value from 0 to n. In order to have PNR each $n_i$ must have at most one photon. The probability of splitting $n$ photons over $m$ modes is
\begin{equation}
P(\{0,1\}^m, n, K) =  n!t^{\sum_{j=1}^{m}2(m-j)n_{m-j+1}}r^{2(n-n_m)},
\end{equation}
where $K  = (n_1, n_2,\cdots, n_m)^T$ is an $m$-dimensional vector. The total probability of photon-number-resolution is
\begin{align}
P(\{0,1\}^m, n) &=n!\underbrace{\sum_{n_1=0}^1\cdots\sum_{n_m=0}^1}_{\sum_{j=1}^{m}n_j=n}t^{2(\sum_{j=1}^{m}(m-j)n_{m-j+1})}r^{2(n-n_m)}\\
& = n!\underbrace{\sum_{n_1=0}^1\cdots\sum_{n_m=0}^1}_{\sum_{j=1}^{m}n_j=n}T^{\sum_{j=1}^{m}(m-j)n_{m-j+1}}R^{(n-n_m)}.
\end{align}
Note that our goal is to split the $n$ input photons over $m$ modes such that each more have either zero or one photon, no matter what modes get the photons. When all beam splitters are identical, the most constrained is the first one as its reflectivity must be much less than $1/n$. However, this approach isn't optimal since the subsequent modes will gradually see fewer photons and can therefore afford larger reflectivities without running the risk of detecting more than one photon. Also, at the end of the device, the last beam splitter should clearly be balanced since the constraint is symmetric for both its output ports. Bearing all this in mind, a symmetrized device appears to be the optimal choice. We investigate it next

\subsection{SYMMETRIC SEGMENTED DETECTOR}
\subsubsection{Lossless case}

Now we consider the case where the beam splitters have reflectivity  $R_{j}=\frac{1}{m-j+1}$, still in the lossless case ($\eta=1$).
It is easy to see that the probability of getting $k$ APD clicks (where each click may result from one or several simultaneous photons) from $m$ modes, given $n$ input photons, $P_m(k|n)$ is
\begin{equation}
P_m(k|n)=  {m\choose k}\underbrace{\sum_{n_1=1}^n\cdots\sum_{n_m=1}^n}_{\sum_{j=1}^{k}n_j=n}  \frac{n!}{\prod_{i=1}^{k} n_i!}X,
\end{equation}
where X is given by
\begin{equation}
\begin{aligned}
X  = [(R_1)^{n_1}&(T_1)^{n-n_1}][(R_2)^{n_2}(T_2)^{n-n_1-n_2}]\cdots \\
& [(R_{m-1})^{n_{m-1}}(T_{m-1})^{n-{n_1}-{n_2}\cdots-{n_{m-1}}}].
\end{aligned}
\end{equation}
Using $R_j = \frac{1}{(m-j+1)}$, and ${R_j + T_j = 1}$ yields the simplification
\begin{equation}
X =  \frac{1}{m^n}.
\end{equation}
Considering the number of possible configurations, we get
\begin{equation}\label{eq_prob}
P_m(k|n)=  \frac{n!}{m^n}  {m\choose k} \underbrace{\sum_{n_1=1}^n\cdots\sum_{n_m=1}^n}_{\sum_{j=1}^{k}n_j=n} \frac{1}{\prod_{i=1}^{k} n_i!} .
\end{equation}
\begin{figure}[h!]
\begin{center}
 \includegraphics[width=.51\textwidth]{m_100_Eta_1_Prob.pdf}
  \caption{Conditional probabilities $P_m(k|n)$ versus $n$, for $m=100$ APDs and $\eta = 1$.}{\label{prob_eta_1}}
 \end{center}
 \end{figure}
These conditional probabilities are plotted in Fig.\ref{prob_eta_1} for $m=100$. Unsurprisingly, they increase for larger photon numbers as $m$ increases (see supplemental material, for $m$ up to 2000). This translates directly into the POVM purities, plotted in Fig.\ref{pur_eta_1}.
\begin{figure}[h!]
        \includegraphics[width=.5\textwidth]{Purity_diff_m_3.pdf}
        \caption{POVM purity, versus click number $k$,  for different numbers $m$ of APDs.}{\label{pur_eta_1}}
\end{figure}
As can be seen in that figure, reasonably good PNR performance can be reached for $n\sim10$ with $m\sim1000$.

\subsubsection{Lossy case}
We now consider the effect of photon losses in each detection mode, i.e., $\eta < 1$. Again, $\eta$ should not be misconstrued to be the APD quantum efficiency, which plays no role in photon losses.  (An instance of photon loss would be if a photon went undetected and exited the waveguide, losing its chance for further detection.) We assume that the parameter $\eta$ is independent of the photon number.
The probability to get zero clicks in one mode is
\begin{equation}\label{eq:0}
P_{1}(0|n, \eta) = (1-\eta)^n.
\end{equation}
Likewise, the probability to get one click in one mode is \cite{PhysRev.179.368}
\begin{equation}
P_{1}(1|n, \eta) =\sum_{k=1}^{n} {{n}\choose{k}}  {\eta}^k{(1-\eta)^{n-k}}
=1-(1-\eta)^n.
\end{equation}
It is important to note that in the sum over $k$ starts with 1 here because we neglected dark counts. Therefore, Eq. (\ref{eq_prob}) can be generalized to
\begin{equation}
\begin{aligned}
P_{m}(k|n, \eta) =n!\left(\frac{1-\eta}{m}\right)^n {{m}\choose{k}}& \underbrace{\sum_{n_1=0}^n \cdots\sum_{n_m=0}^n}_{\sum_{j=1}^{k}n_j=n}\left\{ \frac{1}{\prod_{j=1}^{k} n_j!} \right. \\
& \left. \prod_{l=n_1}^{n_k}\left[\left(\frac1{1-\eta}\right)^{l}-1\right] \right\}.
\end{aligned}
\end{equation}
It is worth noting that the probability of getting zero clicks is still the same as the case of one detector, i.e., Eq.~\ref{eq:0}. For  $\eta<1$ the computer simulations run extremely slowly for higher values of $m$ (reminiscent of the boson sampling problem).  We calculated the conditional probabilities at $m = 50$ for $\eta = 0.9, 0.99, 0.999$, and plot the highest losses for illustration in Fig.\ref{prob_eta_0.9}. Plots for other values of $\eta$'s are included in the supplementary material.
\begin{figure}[h!]{\label{prob_eta_0.9}}
  \includegraphics[width=0.5\textwidth]{m_50_Eta_09.pdf}
  \caption{Conditional probabilities $P_m(k|n)$ versus $n$, for $m=50$ APDs and $\eta = 0.9$.}
 \end{figure}
The degradation of the count probability with photon loss is evident, compared to Fig.\ref{prob_eta_1}. Also recall that $\eta=0.9$ means 10\% loss per mode which is a very poor performance. The purity calculation, displayed in Fig.\ref{pur_eta_0.9}, is particularly illuminating.
    \begin{figure}[h!]
        \includegraphics[width=0.5\textwidth]{Purity_vs_eta.pdf}
        \caption{POVM purity, versus click number $k$, for several values of $\eta$ at $m = 50$}{\label{pur_eta_0.9}}
        \end{figure}
Indeed, it is clear that, as $\eta$ increases beyond the low $eta=0.9$ level, the photon losses have decreasing to negligible ($\eta=0.999$) effect on purity, which is essentially limited by $m$, as per Fig.\ref{pur_eta_1}. This is an interesting result. It is likely that the same level of photon loss may have a more detrimental effect as $m$ increases, however, the exact scaling of this effect is not yet known, due to the long computation times for the nonideal case.

\section{Conclusion}
 We carried out the theoretical evaluation of the photon-count POVM for the segmented detector. Results show that PNR detection is indeed achievable in the ideal case. This opens a new path to PNR devices that operate at room temperature and can be manufactured with available integrated photonic technology. The number of integrated APDs appears to be, to a large extent, the dominant factor toward high-quality PNR detection. While photon losses must also be taken in to account, of course, it is important to note that they do not include the quantum efficiency of the APDs, by design of the segmented detector. The reduction of photon losses will therefore only involve passive optical design considerations, a notable difference with butt-coupled tree-splitting detectors.

 \section{acknowledgements}
We are grateful to Joe Campbell, Seth Bank, Aye L. Win, Rafael Alexander, Ben Godek, Sharon S. Philip, Bargav Jayaraman, and Oshin Jakhete for stimulating discussions. This work was supported by the U.S. Defense Advanced Research Projects Agency (DARPA).

redpajama_set_name: RedPajamaArXiv


The traditional brands in the world swear by their special brewing recipes and keep their production facilities securely under lock and key. From a bird's eye view a helicopter approaches the production building of Pilsner Urquell in Plzeň to put Hoval RoofVent units in place. A total of 12 RoofVent LKW 9s in a 4-strip pattern have been providing for a pleasant climate in the brewery's portal building since 2006. The units are controlled by means of DigiBac via the building management system.
RoofVent units are roof ventilation devices for the supply of fresh air and the removal of exhaust air. They heat and cool the supply air by way of integrated heat exchangers, saving energy through heat recovery or mixed air operation. They can even be equipped with a decentralized heat generating or chilling unit.


text:
GRFC Women Re-Sign Five National Champions
By Matt Roberts | March 2, 2018
GRAND RAPIDS, Mich. – Grand Rapids Football Club has re-signed five players – defender Mouse Kovacs; midfielders Marti Corby and Grace Labadie; and forwards Lizzie Paul and Riko Sagara – for the 2018 United Women's Soccer season.
Kovacs recorded two goals in 13 competitive appearances for GRFC during the 2017 campaign. The first player to ever sign for the Ladies in Blue, Kovacs potted the game-winning goal in a 1-0 win over the Detroit Sun in the Midwest Conference Final on July 16, while her 119th-minute equalizer in the National Semifinals against the Long Island Rough Riders on July 21 was named the UWS Goal of the Season. In recognition of her efforts, Kovacs was honored as the UWS Championship MVP and earned a place on the All-UWS First Team.
A native of Hudsonville, Mich., Kovacs brings international experience to GRFC, having played with the United States U19 Women's National Team. She recently completed her junior season at Michigan State University, starting three matches and garnering Academic All-Big Ten honors. In all, Kovacs has tallied three goals and an assist in 41 appearances with the Spartans.
Corby notched six goals in 10 competitive appearances for the Ladies in Blue in 2017. The 5-foot-10 midfielder scored GRFC's opening marker in its UWS National Championship victory against the Santa Clarita Blue Heat on July 22. She was named Woman of the Match after posting a goal in a 2-1 win versus FC Indiana on June 16.
In addition to her duties with GRFC, Corby also serves as the assistant women's soccer coach at Adrian College. The Ada, Mich., native enjoyed a standout playing career with Grand Valley State University (2013-16), where she led the Lakers to three consecutive NCAA Division II National Championships from 2013-2015. Corby registered 61 goals and 63 assists in 103 appearances with GVSU, earning numerous individual accolades and, most notably, receiving an invitation to the United States U23 Women's National Team training camp in 2016.
Labadie appeared in eight competitive matches for the Ladies in Blue in 2017. The 5-foot-5 midfielder featured as a substitute in three playoff matches last season, including the UWS National Championship versus Santa Clarita.
A native of Kalamazoo, Mich., Labadie recently finished her sophomore year at Western Michigan University, recording a team-high five goals to go with two assists in 19 starts with the Broncos. Prior to transferring to WMU, Labadie began her collegiate career at Indiana University, where she made six appearances as a freshman in 2016.
Paul notched two goals in 10 competitive appearances for the Ladies in Blue during the 2017 season. On July 15, the 5-foot-7 forward netted a brace in an 11-0 rout of FC Indiana to clinch a berth in the Midwest Conference Final.
A native of Manchester, England, Paul is the head coach of Davenport University's junior varsity women's soccer team. Prior to starting her coaching career, Paul played four seasons with the Panthers from 2010-13, logging a school-record 53 goals along with 21 assists in 69 appearances. Paul was named WHAC Offensive Player of the Year as a senior in 2013 and was a two-time First-Team All-WHAC selection.
Sagara was the only member of the Ladies in Blue to appear in all 14 competitive matches in 2017, tallying three goals with the club. The 5-foot-4 forward scored what proved to be the game-winning goal in the 97th minute of the UWS National Championship against Santa Clarita. She was also named Woman of the Match after picking up a goal and two assists in GRFC's 11-0 win over FC Indiana.
Originally from Tokyo, Japan, Sagara recently concluded her sophomore campaign at Martin Methodist College, recording 12 goals and shattering the NAIA's single-season assists record with 36 helpers in 24 appearances. This past season, Sagara was named a NAIA Second-Team All-American after helping the RedHawks reach the quarterfinals of the NAIA Women's Soccer National Championship. In total, Sagara has recorded 23 goals and 45 assists over two seasons with the RedHawks.
GRFC opens the home portion of its schedule on Saturday, May 5 against the Midwest United U19 squad at 7 p.m. at Grandville High School. Additional home dates confirmed by the UWS include May 13, May 20, June 2, June 30 and July 8.
Fans can secure their full-season ticket packages by clicking here or visit grandrapidsfc.com for more information.


2 Oct In North America renewtherapeuticmassagevisalia.com 2. EMC Data Domain Operating System MIB Quick Reference. Data Domain, Inc:DATA-DOMAIN-MIB: Download, View or Compile. Courtesy of ByteSphere's searchable online SNMP MIB database. dataDomainMib, This MIB is used for managing the suite of Data Domain Products. Macro Module-Identity.
6 Jun These MIBs (Management Information Base) have been submitted by users of WhatsUp Gold. They are available for you to download and. "Data Domain Mib Integer " SYNTAX Integer DDMibCompressionFactorTC ::= TEXTUAL-CONVENTION. DISPLAY-HINT "20a". STATUS current. NetDiscover SNMP MIB/OID/TRAP/NOTIFICATION Database Index (no description, no download) URL: /MIBs/Ent/D/Data Domain.
Management Information Base for Data Domain Products -- -- Data Domain enterprise number is -- -- The ASN.1 prefix to, and including the Data Domain. This check monitors the usage of filesystems of the EMS Deduplication Storage Systems. It uses SNMP with the Datadomain-MIB to get its data. 19 Dec Tags: data, Domain, emc, network, plugin, snmp. 1 Star 2 Stars 3 Loading : Plugin for SNMP discovery of EMC Data Domain modules ( out of 5); Mib collection for Brocade 1 vote, average: out of 5 ( out of 5). This MIB is used for managing the suite of Data Domain Products. Parsed from file , dataDomainMibConformance, 2, 14, None. For example, there are MIB definitions specified in the form of Requests for Comments (RFCs) for AppleTalk, domain name system (DNS), Fiber Distributed- Data.
3 Sep EMC Data Domain Operating System MIB Quick Reference. ○. EMC Data Domain Operating System Offline Diagnostics Suite User's Guide. ○. Generate SNMP traps from Domain Time II Client. upon the SNMP trap data for critical logging of time synchronization events, The Domain Time MIB File. 9 Sep OpsMgr, Community Content, Data Domain Monitoring & Voltron? A management information base (MIB) is a virtual database used for. MIB that allows that specific data collection might be missing. Typically . domain . equipmentIOCardStats—Provides all chassis level power and temperature.


text:
All The Oceans
Designing by the seat of my pants
2018 INDIE Finalist!
CONTACT: Ron Holland Design
"All The Oceans, Designing by the seat of my pants", Named 2018 Foreword INDIES Book of the Year Awards Finalist
Vancouver, BC—Today, Ron Holland Design is pleased to announce that "All The Oceans, Designing by the seat of my pants", has been recognized as a finalist in the 21st annual Foreword INDIES Book of the Year Awards.
As part of its mission to discover, review, and share the best books from university and independent publishers, Foreword Magazine, Inc. hosts an annual awards program each year. Finalists represent the best books published in 2018. After more than 2,000 individual titles spread across 56 genres were submitted for consideration, the list of finalists was determined by Foreword's editorial team. Winners will be decided by an expert team of booksellers and librarians—representing Foreword's readership—from across the country.
The complete list of finalists can be found at: https://www.forewordreviews.com/awards/finalists/2018/
"Determining the INDIES Finalists is such a rewarding process," said Victoria Sutherland, founder/publisher of Foreword Reviews. "Each year we are reminded what a vital part of publishing indie presses occupy, and knowing what the recognition could mean to an individual book inspires us to provide our finalist judges with the best choices to help them determine the winners. We take this privilege very seriously."
"We are honoured that our title has been selected as Finalist" said Ron Holland of Ron Holland Design. "Our Book Creation Team is honoured to have "All The Oceans" selected as INDIES Book of the year Finalist representing the best books published in 2018."
Winners in each genre—along with Editor's Choice Prize winners and Foreword's INDIE Publisher of the Year—will be announced June 14, 2019.
BookTeam – All The Oceans
From High School Dropout to Master Yacht Designer
'Say yes to every opportunity that comes your way,' says Ron Holland
"…..his story reads like a cascade of adventures, as he sails the world over—Cuba, the Isle of Wight, Tahiti— along the way winning the Quarter Ton Cup in 1973 with Eygthene in St. Petersburg, Florida. He'd noticed he was perhaps "one of three people who designed, owned, and skippered their own design."
His victory at the Quarter Ton Cup got him a phone call from Ireland—and an invitation to come design for a businessman and yachtsman there, presumably for a few days. He ended up staying for 40 years, opening a design studio in Kinsale…….."
Read the full story at EPOCH TIMES – BY CHANNALY PHILIPP
Latitude 38: Bill and Ron's Excellent Adventure
Need Christmas gift ideas? Consider giving the gift of print. (That's Latitude's Mitch Perkins modeling for the shot.) © 2018 Latitude 38 Media LLC / Tim
"Long before Merlin and Imp, Blondie and Condor — and Charley,The Wizard, Morning Cloud, Santa Cruz 27s/50s/70s, Regardless, Fast Is Fun, Mirabella V, the Chicken Coop, half the Swan lineup in the '80s and '90s and, well, everything else — Ron Holland and Bill Lee were just two young guys having fun and hoping to make a career in the marine industry. "
Ideal Christmas Present
1/4 ton zeilers had this to say about All The Oceans:
Looking for a nice Christmas present? How about Ron Holland's book "All The Oceans". Ron Holland drew his first yacht at 19 years of age. He rapidly made a name for himself as one of the most successful and sought-after designers in the highly competitive world of international ocean racing. Ron designed the 1973 Quarter Ton Cup (Weymouth) winning 1/4 tonner 'Eygthene' and the 1977 Quarter Ton Cup (Helsinki) winning 1/4 tonner 'Manzanita'. A great book!
Making waves: Legendary yacht designer Ron Holland to speak in St. Pete
From The St. Pete Catalyst:
Holland grew up in Auckland, New Zealand, where, he recalls, every family had a boat – the majority of them built right at home – to sail Harukai Gulf and the Firth of Themes.
By 15, he was crewing on yachts, and competing in races and regattas, and made the 1,000-mile journey from Auckland to Sydney, Australia aboard at 236-foot ketch. He became an apprentice boat builder.
In 1966 – at the age of 18 – he received his first design commission, which led to more, and he traveled to San Francisco as a Trainee Naval Architect, under celebrated yacht designer Gary Mull.
Holland arrived in St. Petersburg in 1972, accepting a job with Charley Morgan, whose Morgan Yachts was one of the most successful design and construction companies in the States. He became a well-known figure out the St. Petersburg Yacht Club, and in his memoir he recalls the organization "was primarily a social club but they also had a good racing organization … I spent most weekends racing around the magnificent Tampa Bay and Gulf of Mexico aboard a variety of yachts."
It was here that Holland designed the first of his legendary vessels – a 24-foot racing boat called a "quarter tonner." Called Eygthene, the scrappy little yacht was built for approximately $6,000.
From All the Oceans: "I drew a deep breath and approached senior members of the yacht club committee with a proposal that they organize an event that would showcase the Quarter-Ton class on Tampa Bay: a level-rating event, a true test of the relative merits of the yachts. Considering I was not even a member of the club – and a New Zealander to boot – was probably asking a bit much.


b) Got to the project nugget and searched for below project and installed.
c) You can see the list of file in script folders.
7. Defining the same method by using and passing the types into the script.
If you return string it will error.
- Inheritance in Type script : Derived class is inheriting base class using the Extends keyword. And if you doing the inheritance you need to call the constructor of base class using the super keyword.
You can call the base class method also using the super keyword, please see the example below.
- Accessors Method in typescript : Writing the get and set method similar to the properties in C#. See the below example for setter method.
It can be done by the keyword interface it defining the variable inside of it.
As in below interface having the location as parameter, We can pass the more parameter instead of one but should have the location as in parameter. If we don't have Location than it will give error.
Function in Interface : defining the function in interface, typescript allow to define the function into interfaces.
Classes can implement the multiple interfaces. It will implements using the implements keyword. If implements the interface need to implement all the variable into derived class.
1. Please see the chapter 1 there are list of the item that we need to install before installing the angularjs with type script.
Download the typescript complier from.
2. Now you need to refer all the important flies into index.html to work with it, you HTML page will be look like below.
You can see that we have app.ts but we are referring to app.js into our html page.
3. Now in app.ts you need to take the reference as like below.
After doing that your angular application will be behave like the type script compatible and now you can create the Angularjs application with the type script code.
5. Now creating the angularjs module using the type script module.
Creating angularjs Controller using type script.
1. Let's create one more type script file as main.ts, where we will keep our controller code.
2. In app.ts we will defined the angular modules.
App.ts : take the reference of angular.d.ts; Creating the module for app.project and export it so we can use it out side.


With Breastfeeding Awareness Month (BAM) upon us, Meigs County WIC is supporting this year's World Alliance for Breastfeeding Action (WABA) theme: "Breastfeeding, Foundation of Life".
This theme focuses on breastfeeding as a key to preventing hunger and malnutrition by ensuring food security for babies. By decreasing the burden on household income, breastfeeding provides a low-cost way to feed babies, which contributes to poverty reduction. There are health benefits to consider, too. Research suggests that breastfed babies have strengthened immune systems and decreased risk of ear infections and of developing childhood obesity.
While breastfeeding is natural, it's not always easy. You may struggle with getting your baby to latch, you may feel like you are making too little (or too much) milk, and you may feel tired or completely exhausted, and all too often, you may feel like you don't have the support needed to breastfeed your new bundle of joy.
How you choose to feed your baby is a personal choice, and what works for you may not work for another mom. And that's OK. But if you're thinking about breastfeeding your baby, the Meigs County WIC staff would like to extend an open invitation to all Meigs County moms and dads to contact us at 740-992-0392, with any breastfeeding questions or concerns.
Hours of operation are: Monday-Friday 8 a.m. to noon and 1-4 p.m.
Sherry Eagle, CLC, BFOC, is the Meigs County WIC Director.


text:
Q: Chart.js: hiding series by clicking on legend I'm developing a site that uses chart.js (www.chartjs.org).
I have to make a line chart that shows multiple series of data, that users can hide or show by clicking on the respective legend symbol (similar to this http://js.syncfusion.com/demos/web/#!/azure/chart/linechart).
Is there any way to do it with chartjs?

A: This is now available in Charts.js
From the documentation http://www.chartjs.org/docs/#chart-configuration-legend-configuration

Legend Configuration
The legend configuration is passed into the options.legend namespace.
The global options for the chart legend is defined in
Chart.defaults.global.legend.
onClick   function(event, legendItem) {}  A callback that is called when a 'click' event is registered on top of a label item
onHover function(event, legendItem) {}    A callback that is
called when a 'mousemove' event is registered on top of a label item

A: You can try this
Create store for hidden datasets
window.chartName = new Chart(...

window.chartName.store = new Array();

Then use this function to update chart, must be handled by click on legend item
function updateDataset(legendLi, chart, label) {
      var store = chart.store;
      var exists = false;
      for (var i = 0; i < store.length; i++) {
        if (store[i][0] === label) {
          exists = true;
          chart.datasets.push(store.splice(i, 1)[0][1]);
          legendLi.fadeTo("slow", 1);
        }
      }
      if (!exists) {
        for (var i = 0; i < chart.datasets.length; i++) {
          if (chart.datasets[i].label === label) {
            chart.store.push([label, chart.datasets.splice(i, 1)[0]]);
            legendLi.fadeTo("slow", 0.33);
          }
        }
      }
      chart.update();
    }

Don't forget updated legend template in chart options
legendTemplate : "<ul class=\"<%=name.toLowerCase()%>-legend\"><% for (var i=0; i<datasets.length; i++){%><li class=\"legend-item\" onclick=\"updateDataset($(this), window.chartName, '<%=datasets[i].label%>')\"><span style=\"background-color:<%=datasets[i].strokeColor%>\"><%if(datasets[i].label){%><%=datasets[i].label%><%}%>
<%}%>
"

Shortly, i added this onclick handler for li component
<li class=\"legend-item\" onclick=\"updateDataset($(this), window.chartName , '<%=datasets[i].label%>')\"><

For example fiddle

A: An update to @benallansmith answer, the link to the documentation is now :
https://www.chartjs.org/docs/latest/configuration/legend.html
My version of the example code, to have datasets 2 and 3 hidden while clicking on legend for dataset 1 (datasets 2 and 3 have their legends hidden with the filter function):
public static readonly myChart: Chart.ChartConfiguration = {
    type: 'line',
    data: {
        datasets: [
            {
                label: 'A',
                borderColor: 'red',
                fill: false,
                lineTension: 0
            },
            {
                label: 'B',
                borderColor: 'blue',
                fill: false,
                lineTension: 0,
                pointRadius: 0
            },
            {
                borderColor: 'blue',
                borderDash: [5, 10],
                borderWidth: 1,
                fill: false,
                lineTension: 0,
                pointRadius: 0
            },
            {
                borderColor: 'blue',
                borderDash: [5, 10],
                borderWidth: 1,
                fill: false,
                lineTension: 0,
                pointRadius: 0
            }
       ]
   },
   options: {
       legend: {
           labels: {
               filter: function(legendItem, chartData) {
                    if (legendItem.datasetIndex > 1) {
                        return false;
                    }
                    return true;
                }
            },
            onClick: function(e, legendItem) {
                const index = legendItem.datasetIndex;
                if (index === 1) {
                    const ci = this.chart;
                    [
                        ci.getDatasetMeta(1),
                        ci.getDatasetMeta(2),
                        ci.getDatasetMeta(3)
                    ].forEach(function(meta) {
                        meta.hidden = meta.hidden === null ? !ci.data.datasets[1].hidden : null;
                    });
                    ci.update();
                } else {
                    // Do the original logic
                    Chart.defaults.global.legend.onClick.call(this, e, legendItem);
                }
            }
        },
        responsive: false,
        animation: {
            duration: 0
        },
    }
...
};

A: my version is v2.8.0
I find a work way, try it.
add
legend : {

                }

into option
var donutOptions     = {
                maintainAspectRatio : false,
                responsive : true,
                animation: {
                    animateScale: true,
                    animateRotate: true
                },
                tooltips: {
                    intersect: false,
                    callbacks: {
                        label: function (tooltipItem, data) {
                            ...
                        }
                    },
                },
                plugins: {
                    datalabels: {
                        ...
                        },
                    },
                },
                legend : {

                }

            };

and use this

donutChart.chart.getDatasetMeta(0).data[index].hidden = true;

donutChart.update();

A: I've found no way to do this. It's easy to put some onclick behaviour on the legend template, and you can easily change the series stroke and colors alpha channel to 0 so that the area and stroke disappear but I've found no way to do this on points.
I've decided to use google charts for this particular chart, and chart.js whenever I do not need that behavior, hoping that the good creators of chart.js will add it in the future.

A: onLegendClick: function (e) {
var series = e.target;
                series.isVisible() ? series.hide() : series.show();
            },

dxcharts have a function called onLegendClick, a few others are onSeriesClick and onPointClick. I hope this helps.


text:
Google launches one stop smart home controller
The Home Hub uses Google Assistant, allowing users to access the company's YouTube, Search, Photos, Calendar and Maps app from its seven inch screen.
Consumers can control more than 10,000 products, such as lights, home heating, smart TVs, from more than 1,000 manufacturers via a single interface. Previously consumers had to control devices through their dedicated apps.
Google said it left off a camera on the device to take account of recent privacy concerns surrounding digital companies.
The Home Hub has been initially launched in the US priced $149 and the announcement coincides with Google revealing an updated version of its Pixel handset. The smartphone has a improved smartphone, screen and the ability to avoid spam calls by screening who is calling a device.
Rick Osterloh, SVP of Hardware at Google, said: "There's a clear line from the technology we were working on 20 years ago [when Google launched] to the technology we're developing today—and the big breakthroughs come at the intersection of AI, software and hardware, working together."
Smart home systems spend to double by 2019
Sony products now compatible with Google Home
Viaplay on board for Scandinavian launch of Google Home
Logitech's $300 Google TV controller
Google plans home entertainment system


This quotation is merely a good-faith estimate of a policy premium. The actual premium may vary based on additional information.
Please complete the four steps in this form and submit it. A staff member will contact you within 1-2 business days.


I like the soundscape here. Nice mood!
Man, that sound is so thick. Very powerful. Sounds like guitars buried deep in the reverb and delay. The throbbing modulation driven synth sounds are out of this world. I like the melodic aspects buried deep in the reverb.
Super intense and scary! Love the warble of death.
[quote=Mission Crossing]I like the soundscape here. Nice mood![/quote] thanks!


The Prism Supreme Air ™ Cushion was designed for users that require moderate postural support and similar to our original Supreme Cushion, offers excellent pressure distribution. Using inflatable air inserts allows the user to adjust the seat cushion in four different areas for proper weight distribution and comfort. Using our anatomically designed Supreme Air Cushion allows the user to keep superior pelvic stability and leg positioning, with air inserts for pressure relief. Supreme comfort, supreme positioning and supreme pressure relief – that's the Prism Supreme Air Cushion!