Smok G-Priv 220W Review - A Well Rounded, Powerful Mod!
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Smok G-Priv Mod Review – A Powerful Mod With Well Rounded Features!
2016 saw a new trend in the vaping scene with the inception of touch screen mods. Who doesn't like a new trend, right? But with new trends, often there are some disappointments along the way, with some products which may look and sound fancy, just not cutting it in the real world. We have seen some good and some bad touch screen mods, however the path has been paved and Smok have come to the party with a new offering. Smok have been a busy company of late, putting out heaps of new products on the market. One of the most recent mods they have released is called is the G-PRIV, a dual battery 220w box mod featuring a 2.4-inch OLED touch screen display. The G-PRIV also features Temp Control with support for the popular non-resistance wires, TCR and a preheat option. This mod runs the same chip as the Smok Alien, however via a new method of control – the touch screen. I received the G-PRIV kit which teams this mod up with the TFV8 Big Baby Beast and it is most definitely a match made in heaven. Before we go too much further I would like to thank Heaven Gifts for supplying this kit for the purposes of this article.
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As the Big Baby Beast has already been reviewed on Vaping Cheap, we will predominantly be focusing at the mod itself. Let's jump in and take a look at this epic piece of kit.
The packaging on the GPRIV kit is very neat and appealing. Not cheap looking or over the top, by any means, just right. The first thing that is revealed when opening the box is the mod itself, sitting well protected in the middle of its housing. This package is very well secured for transit, so there is definitely no worries with it getting damaged on the way. The tank and accessories are safely tucked away underneath the surroundings that secure the mod in place.
The first thing that struck me, when the mod was revealed, was how big the screen was. Taking up pretty much the whole face of one side of the mod, this thing is huge. On the other side we are presented with a lovely looking carbon fiber finish that makes up the battery door. The fire button is red, which makes it stand out, accompanied by the other red highlights on the body of the mod. An absolutely stunning looking mod so far, I was getting excited to see how this thing would perform.
Picking up the mod it feels very solid and robust, a very satisfying experience. The zinc alloy construction feels good in the hand, and you can feel the weight of the touch screen. The fire button is made from plastic and is a replica of the fire button found on the H-PRIV. It takes up most of one side of the mod and is designed to use by squeezing your fist around the fire button. The only other button on the mod is above the fire button. This is a silver lock button and looks inconspicuous, designed to be used without altering your grip on the mod and fire button. The carbon fiber battery door looks stunning and the magnets that hold it together are quite strong and adequate. The battery door, while held on snug, is straight forward to remove and insert the dual batteries. There is a USB port located on the bottom of the device, which can be used for charging the batteries or upgrading firmware from the Smok website. The spring loaded 510 connection looks to be of high quality and does not feature a catch cup to speak of.
Smok have included a silicon protector for the mod, which is a nice touch in my view. It is easy to install and seems to provide adequate protection. The dimensions of the G-PRIV come in at 85mm tall by 58.5mm wide, and a depth of 28 mm. Coming in at roughly the same height as an RX200, all in all this is a fairly small mod for what it can deliver.
Now to the screen, as mentioned previously, it is huge. It ships with a screen protector installed, however this easily falls off within a few moments of handling the mod and is only really good for transit. The shatter-proof 2.4 inch screen is truly the most exciting feature of this offering. Almost the same size as a small smart phone screen, this thing will definitely attract finger prints. The glass is flush with the mod and looks to be of high quality. If you are prone to dropping your mod, then hopefully the shatter-proof feature holds up well – I'm not game to try it myself.
The colors available for the G-PRIV kits are Silver (with black trim), Black (with red trim), Gold (with black trim). The tanks are also colored to match the mod and all look like they were all meant for each other. I have just seen on the Smok website there is now purple and red option.
The Big Baby Beast did not come with an RBA section, which I believe to be a con. I have however seen that some of the newer G-PRIV kits are now shipping with the RBA section, so this is something to look out for if you are wanting to get into rebuilding this atty.
Installing the batteries was a dream, there is a ribbon included in the battery tray to fold underneath which assists when removing the cells. The carbon fiber battery door holds on nice and tight to the mod via a strong set of magnets. There is no rattle on this mod from either the batteries, door or the buttons. Five clicks of the fire button will turn it on and the Smok logo splashes onto the display to let you know it's alive. First up the mod will ask you to choose New Coil or Same Coil, a simple press on either button will make the selection. The home screen will display four icons TC Mode, VW Mode, Max Puff and Settings.
When you enter the VW mode you can adjust the wattage from 1W all the way up to the maximum of 220W. You can do this via a slider bar for fast adjustment or by hitting the + – icons for a finer control. You can choose your quasi preheat settings by choosing one of the five effects. These are Min, Max, Soft, Normal, Hard. Once you have made your selections, press the activate icon to start vaping. You will now see your main screen that displays the wattage, battery indicators, puff count, resistance and the time. You can also adjust your wattage on this screen by pressing either side of the circle. The puff counter resets each time you power the mod on.
When you select the TC mode icon, you will be presented with the 4 menu options. Firstly you can select your wire material from either Nickel, Stainless or Titanium. You can then set a preheat wattage from 10 watts up to 220 watts. You have the ability to adjust the TCR for the desired wire. And finally you can lock your resistance in to benefit from the true experience of temperature control. Press activate and you are ready to vape in TC mode. The only difference with the main screen is that instead of wattage adjustment, you are adjusting the degrees.
The Max Puff icon tells you how many puffs have currently been taken since power on. You can set the maximum puffs, where the device will not let you go over this amount. I'm not really sure what the mentality behind this feature is, however it may work for some. And you also have the ability to reset the puff counter if you desire.
The Settings icon will show you the ID or serial number of the device and the current firmware that is installed. You can adjust the screen timeout delay from 10 second to 240 seconds. You can adjust the time and the date or choose to reset the mod to its factory state.
If you hold down the lock button, a padlock will appear on the top of the screen disabling you from changing any settings. If you press the lock button once, it will turn off the screen but still allow you to vape freely. If you press the fire button three times, it will lock the fire button until you press it another three times. I found the touch screen system very easy and smooth to use. There is no lagging or glitching to note and it is very responsive to your finger presses. This is quite impressive from a vaping mod, almost the same experience as using a modern touch screen smart phone. Who would have thought?
Firmware upgrades are available from the Smok website, however they will only work if you have a PC. There is no support available, yet, for MAC users. Definitely another con for me here, but that again is subjective.
This mod definitely passes the pocket test. Although its wide, it's not too deep making it comfortable to slide into your pocket. It isn't too weighty either, which helps in making this device pocketable. When you do put this mod in your pocket, remember to turn it off or lock the fire button. You will also want to lock the screen to make sure your settings aren't changed by accident either. I find it is just easier to turn the mod off completely before putting it away, although when you do want to vape again, you have to wait for it to load up.
I have to say the performance of this mod holds true to most of the mods on the market today in the same price bracket. The power delivered from wattage mode is spot on and quick, this can also be customized using the effects presets to reach optimum performance. Temperature Control mode is also very accurate, I tested it with all of the different wires that are supported and I found the standard TCR values that are already set work really well. Up against an RX200S in TC mode, I felt that G-PRIV was a little more accurate and satisfying. Smok mods usually do perform well in the TC department and this mod is no let down.
I didn't get any mis-reading of my atomizers or ohm jumping by any means. The mod performed solidly and I have yet to find any glitches or features that are not working as they should. Sure, there are going to be times when you forget to lock the mod or the screen and you adjust your wattage or temperature by mistake. But once you get used to it and how it works, you will start to do these things by second nature. You will automatically lock the mod once you reach your desired settings or lock the fire button or turn it off before putting it in your pocket. It's a really easy mod to work with and incorporate into your vaping lifestyle. You'll also get looks and comments from everyone when they get a glimpse of that wonderful touch screen!
I found that the batteries continue to hold true output right up until the red low battery indicators have been shown for some time. Unlike some mods that drop off in power when the batteries get low, this mod does not and keeps performing right up to the end. Vaping at an average of 55 watts on the Big Baby Beast, I easily get two solid days of vaping out of a set of batteries before having to charge them again.
Vaping at lower or higher wattage, or in TC mode will have varying results. Your batteries mAh level will also play a big part in how long your batteries last. The handy thing about the G-PRIV is that if you run out of batteries when you are away from the house, you can plug it in to charge on the go and top up your cells. As for high output regulated mods, this mod also needs to have batteries that are rated at over 20A of continuous discharge. It is also recommended to use "married" batteries of the same age and brand. Remember to always keep battery safety in mind when using any type of mod for vaping, if you need a refresher on battery safety you can read our article on that here.
The fire button feels really nice to use and it has just the right amount of click to it. I have to say I like the oversized fire button as you don't have to be so precise in using the same finger on a smaller fire button each time. It's just big, ergonomic and hard to miss. You can use different fingers or all of them if you prefer. As I mentioned before this mod is very comfortable to hold and use. It does not get fatiguing to hold and it's not too weighty in your hand or your pocket. It fits in your hand nicely and is really just a pleasure to vape on.
All of the atomizers I screwed into the spring loaded 510 connector sat flush on the G-PRIV, including the Big Baby Beast. None of them sat up or created a gap, which I know is a sticking point for a lot of vapers out there. I did find the connector to be a little stiff and hard to screw down fully at the start, but it eased up and became much more fluid with some use. Attys up to 25mm all look good on this device, anything over this size protrudes over the edge and doesn't look quite right.
The USB port can be used to both recharge the batteries and for firmware upgrades. There are firmware upgrades available from the SMOK website, however they are only compatible with PC not MAC at this stage.
In conclusion, the Smok G-PRIV is a very well made piece of kit and holds true to the performance and reputation of Smok mods. This mod will provide you with an excellent vaping experience, to which you will not be disappointed with. The G-PRIV feels great, looks great and best of all it vapes great too. It has excellent TC performance and has the ability to customized as well. An added bonus is that if you forget your watch or phone, you can check the time and date on this mod with ease!
If your looking for a dual battery mod or kit, I have no hesitation recommending the Smok G-PRIV for the price point.
I hope you find this review helpful in finding the right device to fit all of your vaping needs! Feel free to leave any questions or comments down below and thanks for reading!


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La famille d'Humières olim d'Olmeyras, d'Olmières, d'Umières est une famille subsistante de la noblesse française, originaire du Rouergue.

Elle compte parmi ses membres un archevêque d'Avignon, des généraux, des décorés de différents ordres.

Elle ne doit pas être confondue avec la famille d'Humières issue de Jean, seigneur de Humières en Artois, cité en 1340 comme servant le roi en tant que chevalier, laquelle s'est fondue en 1595 dans la famille de Crevant, devenue duc d'Humières.

Histoire
Les d'Humières sont issus d'une dynastie de marchands drapiers de Millau (Aveyron), dont les membres ont exercé des charges consulaires de 1356 à 1522.

Cette famille connue autrefois sous les noms d'Olmeyras, d'Olmières et d'Umières, est connue en Rouergue depuis 1543 selon Louis de La Roque.

On trouve des porteurs du nom « d'Olmières » consuls de Millau dès le .

La famille d'Olmières, dont plusieurs membres firent, au , des libéralités aux œuvres de bienfaisance, exerça longtemps le commerce à Millau où elle acquit une importance considérable. Plusieurs de ses membres y remplirent à de nombreuses reprises les fonctions consulaires.

Hippolyte de Barrau rapporte que selon les manuscrits (1723) du sieur Cabrol, généalogiste de Villefranche : « Olinières est une noble maison qui portait pour armes : D'or, au gryphon de gueules, de laquelle était sorti Georges d'Olmières, président au parlement de Tholose (...) noble Bernard d'Olmières, coseigneur de Conrodes près de la ville de Peyrusse, en Rouergue, épousa Hélix de Cardaillac (...) Il fut père de Jean d'Olmières, lequel vivait en 1420, d'où descendait sans doute le président d'Olmières. »

En 1670, Louis de Crevant, duc d'Humières et maréchal de France, leur fit un procès pour leur interdire de porter le nom « d'Humières ». Un arrêt du Conseil d'État de 1671, tout en maintenant cette famille dans sa noblesse d'extraction, lui enjoignit de s'appeler à l'avenir : « d'Umières d'Olmeyras », mais celle-ci reprit au  le nom « d'Humières » .

Henri Jougla de Morenas écrit que cette famille remonte sa filiation prouvée à Jean d'Olmières, seigneur de Bussac, vivant à la fin du , père d'Étienne, testant en 1536, allié à Isabeau de Montmejan, auteur d'une branche bientôt éteinte, et de Guy d'Olmeiras, seigneur de La Soucairie et de Bussac.

Régis Valette mentionne cette famille comme étant de noblesse d'extraction sur preuves de 1521.

Noblesse
Cette famille  prit la qualité de « noble » dès le .

 La famille d'Olmières obtint en 1716 une maintenue de noblesse sur preuves de 1559.

 Elle obtint des reconnaissances et maintenues de noblesse en 1646, 1667, 1716 et 1748.

 Comte héréditaire le 17 mars 1869, confirmé par lettres du .
 Membre de l'ANF en 1971.

Personnalités

Armes
Écartelé aux 1 et 4 d'or, à l'orme de sinople terrassé du même, à la levrette de gueules colletée d'argent, la tête contournée, passant devant le tronc; aux 2 et 3 d'argent à trois bandes de sable.

Alliances
Les principales alliances de la famille d'Humières sont : de Lajudie, Lasné du Colombier, de Mauroy, de Geuser, Chapelain de Séréville, de Meaux, Pasquier de Franclieu, Fauchon de Villeplée, Le Gal de Kerangal, de Lannoy, de Longueau Saint-Michel, van den Broek d'Obrenan, d'Anglejan, de Nas de Tourris, de Lambilly, Garnier de Labareyre, de Murard de Saint-Romain, Arnoulx de Pirey, de Longeaux, Chappot de La Chanonie, Orieulx de La Porte, Fisson-Jaubert d'Aubry de Puymorin, de Saint-Meleuc, Vallet de Villeneuve, de Saluces, etc.

Notes et références

Articles connexes
 Liste des familles subsistantes de la noblesse française (A à K)
 Liste des familles nobles du Rouergue

Famille noble française

redpajama_set_name: RedPajamaWikipedia


Want to build actions for a connector that Workato already supports? Custom actions enable you to use the existing connector framework to build new actions, instead of building something from scratch via the HTTP universal connector or the SDK. Custom actions allow you to easily build your action by telling Workato what the action's request and response should look like. This can be obtained from the API documentation.
Building a custom action is an accelerated way of building an action via the HTTP connector, as the custom action utilizes the connector's existing authorization framework and already understands the API for that app.
Most apps on Workato support custom actions. Custom actions can be found in the actions picklist of the connector.
If you build an action that requires additional scopes, the action will throw an error when it tries to make the request with the API. For example, this error is returned when we try to build a create reminder action in Slack, as we have no reminders:write permission.
If you'd like to see custom actions or additional scopes added to a connector on Workato, contact the Workato team to file an enhancement request.
This section details the configuration input fields in the custom action.
Action name Give the custom action you're building a name. This shows up in the action title.
Request type HTTP method of the API endpoint you're calling.
Path Relative URI will be appended to the end of the base URI. Do not prepend / in your relative URL unless you wish to override the default path of the base URI. For example, the base URI of the Slack connector is https://slack.com/api/. If you use the value channel.list here, the request will be sent to https://slack.com/api/channels.list.
However, if you use the value /channel.list, the request will be sent to https://slack.com/channels.list.
URL params (For GET and DELETE) If the API endpoint you're calling is a GET or a DELETE, you can pass in URL params. Values provided here will be URL encoded before being sent.
Input (For POST, PUT and PATCH) If the API endpoint you're calling is a POST, PUT or a PATCH, you can pass in a JSON request body.
Output Describe to Workato the output schema you expect the API to return. This will be used to generate the output datatree.
Let's build a custom action on the Slack connector to list channels. We can refer to the Slack API documentation.
First, select the custom action on the Slack connector.
Give this action a name. We'll name it "List channels" in this case. Notice that this changes the title of the action as well.
Select the HTTP method of the request, based on the API endpoint you're calling. The API documentation should tell you the HTTP method. Slack's API tells us that list channels uses a GET method.
Once selected, relevant input fields show up in the action for you to fill.
For the API path, put either channels.list or https://slack.com/api/channels.list.
Next, we'll define the request sent. For this API endpoint, there are no required arguments except for the authentication token, which is already handled by Workato via your established Slack connection.
We'll send in arguments anyway to optimize the response we get from the Slack API. Let's exclude archived channels, exclude member lists, and limit the number of chanels returned to 20. To do that, we'd need to define the params of the request, before actually providing any values. We're defining 3 params manually: exclude_archived, exclude_members, limit.
After defining the params, we need to provide the values we want for them. In this case, we're hardcoding the values, but you can also replace these values with datapills if you wish to pass in variables.
There's just one last thing to provide - the output schema. This can be typically copied from the API documentation and pasted into Workato. Here's the JSON response copied from the Slack API documentation.
We can copy this and paste it in Workato to generate the output datatree.
This tells Workato what response schema to expect, and the datapills generated can be used in subsequent steps of the recipe to move data into other apps.
However, if the actual response does not contain the data you have specified in this response sample, the datapills will not have a value.
For example, the above response body contains the member list, which we have excluded with the URL params exclude_members is true in our custom action. If we include the member list in our response sample, it will show up as datapills in the datatree, but will not have values until we change the value of exclude_members to false.
We now have our completed Slack custom action - we should now test it. If you want to quickly test a custom action without a trigger, you can use the Scheduler New scheduled event trigger.
When the above action was tested, we can see the input passed into the action in the detailed job history.
We can also see the detailed output returned by the Slack API and review if the API call was successful. As ok is true, it looks like this call was successful.


text:
<?php
$this->dispatch($this->dir->ACTION . 'listusers');
$this->title = 'LIST USERS';
$this->dispatch($this->dir->VIEW . 'site/header');
$this->dispatch($this->dir->VIEW . 'admin/listusers');
$this->dispatch($this->dir->VIEW . 'site/footer');
// EOF

redpajama_set_name: RedPajamaGithub


10 In the third 2 year of King Cyrus of Persia a message was revealed to Daniel (who was also called Belteshazzar). This message was true and concerned a great war. 3 He understood the message and gained insight by the vision.
2 In those days I, Daniel, was mourning for three whole weeks. 4 3 I ate no choice food; no meat or wine came to my lips, 5 nor did I anoint myself with oil 6 until the end of those three weeks.
4 On the twenty-fourth day of the first month 7 I was beside the great river, the Tigris. 8 5 I looked up 9 and saw a 10 man 11 clothed in linen; 12 around his waist was a belt made of gold from Upaz. 13 6 His body resembled yellow jasper, 14 and his face had an appearance like lightning. His eyes were like blazing torches; 15 his arms and feet had the gleam of polished bronze. His voice 16 thundered forth like the sound of a large crowd.
15 While he was saying this to me, 33 I was flat on 34 the ground and unable to speak. 16 Then 35 one who appeared to be a human being 36 was touching my lips. I opened my mouth and started to speak, saying to the one who was standing before me, "Sir, 37 due to the vision, anxiety has gripped me and I have no strength. 17 How, sir, am I able to speak with you? 38 My strength is gone, 39 and I am breathless." 18 Then the one who appeared to be a human being touched me again 40 and strengthened me. 19 He said to me, "Don't be afraid, you who are valued. 41 Peace be to you! Be strong! Be really strong!" When he spoke to me, I was strengthened. I said, "Sir, you may speak now, 42 for you have given me strength." 20 He said, "Do you know why I have come to you? 43 Now I am about to return to engage in battle with the prince of Persia. When I go, the prince of Greece is coming. 21 However, I will first tell you what is written in a dependable book. 44 (There is no one who strengthens me against these princes, 45 except Michael your 46 prince.


text:
Blues Arcadia at Lefty's Old Time Music Hall
Originally published in Scenestr.
Blues Arcadia guitarist Chris Harvey said before the gig, "At Lefty's, they're there to party, and we're there to help them. So that's what we do. Bang bang, it's quite electrifying. We're there to work the audience. Get them to that bar, get them on to the dance floor. So it's all gonna be real pumped, right?"
It sure was. Lefty's Old Time Music Hall has chandeliers, red upholstery, and moose heads draped with hanging bras. Everyone's got drinks and there isn't a wine glass in sight.
Blues Arcadia opened up with their own song, "Sort It Out", (think John Lee Hooker's "Boom Boom"). Patrons were on the dance floor in no time as the band played originals "Bullet", "This Ain't Love", "Rockin' Chair", "Big City Lights" and "Take The Money And Run".
Cath, a close friend of the musos said, "I call their music dirty, soul-infused blues". Blues Arcadia played dirty, played soul, played funky, played Latin, played Texas shuffle, played rock 'n' roll.
"We're mainly an originals band," said Harvey. "The more songs we write, the less covers we play. But our songs – it's like people almost know them; they're familiar. So we play gigs where people are dancing, and we say: By the way, you are dancing to our original song. And they go, Oh really!"
The drinks flowed, the people danced. Patrons upstairs leaned over the banister to get in on the party.
Blues Arcadia did dedications and covers too: "Hound Dog", Freddy King's "Big Legged Woman", The Fabulous Thunderbirds' "One's Too Many (And A Hundred Ain't Enough)". In BB King's "You Upsets Me, Baby", keyboard player Parmis Rose dealt out a mean hand of Monk-esque licks.
In a get-up-and-dance night, a rare concession was the band's sublime original ballad, "Corner Girls".
Vocalist Alan Boyle's voice held the pathos in the balance as he sang his minor key story. He was whimsical and liquid, and we swayed to his lyric. He raised the pain a little and we were gazing at him through the bottom of our apple whiskey glasses. We wanted more whiskey and more Al. Harvey's guitar held a long note, bending and suspended, like the strings of our aching hearts.
Oh it was SO the blues! Parmis played a perfect honky tonk piano, she took us to a place of sepia light, wooden shacks and dusty, dirt roads. We were feeling no pain.
More originals, "Shuffle Street" and "Miss Lonely". More rocking covers, "Big Bad Blues" (Carl Perkins), "She's Into Something" (Robert Cray), "Wish You Could See Me Now" (Ronnie Earl),
"Driving Wheel" (Al Green), "Lonely Avenue" (Ray Charles).
Blues Arcadia gave us a passionate performance and great music, and hammered home the argument that live bands are simply the best entertainment there is.
After much whooping and hollering, they closed out the Saturday night party at Lefty's. Next time they're playing, make sure you see them.
Blues Arcadia
Scenestr
Previous Chris Poulsen Trio at Brisbane Jazz Club
Next Iron Maiden Voyage, Valtozash EP review

redpajama_set_name: RedPajamaCommonCrawl


text:
Thomas Bradshaw
Assistant Professor, School of Communication
Thomas Bradshaw has received commissions from The Whitney Museum, Soho Theatre (London),The Goodman Theater, Soho Repertory Theater (New York), The Flea Theater, Theater Bielefeld (Germany), and Partial Comfort Productions. He is currently working on commissions from the Goodman Theater, Manhattan Theater Club, and the Foundry Theater as well as developing a TV series for HARPO(Oprah Winfrey) and HBO. He is also creating a Television series for the FX network with Brad Pitt's Plan B serving as Producer. He is the recipient of a 2009 Guggenheim Fellowship, the 2010 Prince Charitable Trust Prize, and the 2012 Award from the Foundation for Contemporary Arts.
Thomas Bradshaw's plays have been produced at regional theaters in NYC as as well as in Europe. In 2013 he presented his show Lecture on the Blues at The Whitney Museum. In 2012, the Flea Theater successfully produced his play Job and in 2011, his play Burning ran to rave reviews at the New Group/NYC and the Goodman Theater produced his play Mary, which they had previously commissioned. His play The Bereaved, produced by Partial Comfort, was named one of the Best Plays of 2009 in Time Out New York and was a New York Times Critic's Pick. The Bereaved was subsequently produced at The State Theater Of Bielefeld in Germany and presented in Berlin. In 2008, two of his plays premiered in NYC: Southern Promises, at Performance Space 122 in September, and Dawn, at The Flea Theater in November, and both were listed among the Best Performances of Stage and Screen for 2008 in The New Yorker. His plays Purity, Prophet and Strom Thurmond is Not a Racist and Cleansed were produced in NYC. A German translation of Dawn was presented at Theater Bielefeld in Germany in October 2008 and published by Theater Der Zeit in that same month.
Mr. Bradshaw received his M.F.A. from Mac Wellman's playwriting program and is an Assistant Professor at Northwestern University. He has been featured as one of Time Out New York's ten playwrights to watch, as one of Paper Magazine's Beautiful People, and Best Provocative Playwright by the Village Voice. He has received Fellowships from The Lark Play Development Center, Soho Rep. (Streslin Fellow), and New York Theater Workshop. He was the Playwright in Residence at The Soho Theatre in London in February 2009, where he wrote The Ashes.


text:
Organizations in the News
US: National potato group meets in ND
More in Organizations in the News:
USDA funds PAPAS research project: 'Potatoes and Pests – Actionable Science Against Nematodes' January 25, 2023
Potato wart report: PEI Potato Board calls on govt to listen to international panel of experts convened by CFIA January 23, 2023
Study finds American diners are willing to pay more for meals that include potatoes January 23, 2023
Potatoes are a big deal to Carl Hoverson. Promoting his home area is important to him, too. So the Larimore, N.D., potato grower is excited about the upcoming summer meeting of the U.S. Potato Board Aug. 11 to 13 at the Alerus Center in Grand Forks, N.D. Nearly 100 of the nation's leading potato growers and officials will gather to discuss potato research and domestic and international marketing efforts and to tour the region's potato industry. "I've always been passionate about potatoes," Hoverson says. "I still am. And I'm excited about the opportunity to show people what the Red River Valley is doing with potatoes." The Denver-based U.S. Potato Board, the nation's potato marketing and research organization, typically holds its summer meeting at or near the home of its chairman. More


In MOSS 2007 and SharePoint 2010 days, we could not control the user access based on the license assigned to them. If we even had a single enterprise license assigned, then all users were able to access enterprise features present in SharePoint (2007 and 2010). The only way to control this was to have a seperate farm for Standard and seperate farm for Enterprise license.
<yoursecuritygroup> = your Active Directory Security Group.


text:
← the sweat of toads
Acetylene snares →
Posted on July 31, 2017 by davidtoop
The late-19th century spiritualist and campaigner Louisa Lowe was unjustly, if legally, incarcerated because her husband claimed she was mad. Giving evidence against her, the proprietor of Brislington asylum – Dr Charles Henry Fox – had this to say: "She writes these revelations on leaves of trees, or any dirty scraps of paper she may casually find, and she liberally distributes them." There is something immediately familiar about this image of visions and so-called 'passive writing' (automatic writing, we might say) inscribed on leaves; maybe we should all be imprisoned for similar madness. As in the cases of spiritually inspired artworks by Hilma af Klint, Georgiana Houghton and Emma Kunz, it raises serious questions about the gender bias of art history and the progenitive nature of a canon that disallows rule breaking anomalies, because they are of the wrong type, have the wrong motivations, come from the wrong place or simply lack a particular style of self-awareness deemed indispensible to modernism.
All this is easier (if not straightforward) to dispute when there are extraordinary artworks to contemplate. Louisa Lowe's leaves and scraps are lost to an ineffable history of fragile and impermanent materials, along with those auditory manifestations of spiritualism that were so important to its efficacy as a spectacle of loss and empowerment. As scholars such as Alex Owen and Anne Braude have argued, spiritualism was a vital channel through which women, their voices otherwise suppressed, could 'speak' and establish agency, yet we have no documentation of what a séance sounded like, with its sonorous theatre of knockings and tappings, bells ringing and tambourines rustling in the dark, instruments played with no apparent human intervention and disembodied voices. According to Alex Owen in The Darkened Room, spirit writing would appear spontaneously on blank sheets of paper, "nobody actually witnessing its production but all able to hear the movement of pen on paper."
Georgiana Houghton, Glory Be To God, 5th July 1864
Spiritualism – hearing and transmitting messages from an invisible, largely unknowable spirit world – was a listening practice with a radical proposal: that the field of listening extends beyond what Karen Barad calls (in Meeting the Universe Halfway) ". . . a container model of space and a Euclidean geometric imaginary." In my experience this sensation of moving through extended listening fields is fairly common during improvised music performance. At Hundred Years Gallery last September, a Sunday afternoon quartet of Douglas Benford, Sylvia Hallett, Billy Steiger and myself, I was experimenting with bone conduction speakers, attaching them to small objects – a rusty cowbell, a small metal container for gramophone needles bought in Porto Alegre, books that have some significance in my long struggle to better understand listening and resonance – in order to amplify voices and archival musics to a level of ghostliness that matched their place in memory.
During a duo with Sylvia Hallett in the first half, she and I became aware of unidentifiable sounds, like another music, that was growing from within our soundfield but appearing to come from elsewhere. Neither of us found this surprising. Sylvia often uses a microphone and looping to sample and reconfigure real time playing; I was playing field recordings, interviews with subjects like Ornette Coleman and a cassette tape of Chinese religious processional music that I had copied in the early 1970s from BBC Sound Archive recordings, through my osophonic set-up. The potential for ambiguity was considerable, made more so when I learned that Sylvia's microphone wasn't in use. This was mystifying, though not particularly abnormal.
In the break, Douglas picked up a phone message to say that his father had been taken ill, though things were not so bad that he should leave immediately. In the second half I played a duo with Billy Steiger. At one point Billy went upstairs into the café. In the basement we could hear his footsteps crossing the ceiling, stomping around, hear his violin faintly, as if from another world. Back downstairs his violin was picked up and distorted by one of my vibration speakers, placed on a small tambourine on the floor to amplify the sound but suddenly acting as a receiver. All of these crossings between instruments, sources, materials, histories and places made it somehow irrelevant to maintain any identification with a sound or its point of origin. In the final quartet I felt the impulse to hold a bone conduction speaker to my skull. The music playing through the speaker came through clearly to me, like an inner voice, though I was aware that nobody else in the room could hear it. Differences between inside/outside, here/there, then/now seemed, not exactly to melt away, but to open up tiny glimpses into a radically changed sense of the world.
Calum Storrie, Hundred Years Gallery, 18 September 2016
Later that evening, Douglas sent an email. "Sounds like we were playing when my dad passed away at home," he wrote. "It was very sudden and painless they think . . . to be honest he went the way he would have wanted." The following day he sent links to a recording of the music, along with drawings of our various groupings by Calum Storrie, each one made in a continuous line, the drawing instrument not leaving the page until the end of the line. I felt a compulsion to write about this event; so many thoughts and emotions rising out of it. As I wrote to Douglas at the time, seeking his permission: "It's a gig we will all remember because of the circumstances . . . It's a question of what recordings can't absorb or retain, in this case a major life event that escapes the microphone entirely and yet the music sounds more dramatic, less ghostly than it did in the room, so perhaps our memory of the event is somehow imprinted despite the technical impossibility."
As it transpired I was unable to write, maybe because so many other implications were crowding out this more prosaic theme of recording and its limitations. Even now, the raw materials refuse to coalesce, swirling around each other like one of Georgiana Houghton's spirit drawings.
About davidtoop
Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes eight acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010), Into the Maelstrom (2016, a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize), Flutter Echo (2019) and Inflamed Invisible (2019). Briefly a member of David Cunningham's pop project The Flying Lizards (his guitar can be heard sampled on "Water" by The Roots), he has released fifteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno's Obscure label (1975) and Sound Body on David Sylvian's Samadhisound label (2006) to Entities Inertias Faint Beings (2016) and Apparition Paintings (2020) on Lawrence English's ROOM40 label. His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a "tsunami of weirdness" while Entities Inertias Faint Beings was described in Pitchfork as "an album about using sound to find one's own bearings . . . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album." In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. In recent years he has returned to collaborative performance, working with many artists and musicians including Rie Nakajima, Akio Suzuki, Max Eastley, Tania Caroline Chen, John Butcher, Ken Ikeda, Elaine Mitchener, Henry Grimes, Sharon Gal, Camille Norment, Sidsel Endresen, Alasdair Roberts, Thurston Moore, Jennifer Allum, Miya Masaoka, Extended Organ (with Paul McCarthy and Tom Recchion), Ryuichi Sakamoto and a revived Alterations, the iconoclastic improvising quartet with Steve Beresford, Peter Cusack and Terry Day first formed in 1977. He has also made many collaborative records, including Buried Dreams and Doll Creature with Max Eastley, Breath Taking with Akio Suzuki, Skin Tones with Ken Ikeda, Garden of Shadows and Light with Ryuichi Sakamoto and co-productions (with Steve Beresford) for Frank Chickens, the 49 Americans and Ivor Cutler. Major sound art exhibitions he has curated include Sonic Boom at the Hayward Gallery, London (2000) and Playing John Cage at the Arnolfini Gallery, Bristol (2005-6). In 2008, a DVD of the Belgian film – I Never Promised You a Rose Garden: A Portrait of David Toop Through His Records Collection – was released by Sub Rosa, and in 2017 his autobiography – Flutter Echo: Living Within Sound – was published by Du Books in Japan. His most recent records are Dirty Songs Play Dirty Songs (Audika, 2017), Suttle Sculpture (Paul Burwell and David Toop live, 1977, Sub Rosa, 2018), John Cage: Electronic Music for Piano with Tania Chen, Thurston Moore and Jon Leidecker (Omnivore, 2018), Apparition Paintings (ROOM40, 2020), Field Recordings and Fox Spirits (ROOM40, 2020), Until the Night Melts Away (with Sharon Gal and John Butcher, Shrike, 2021) and Garden of Shadows and Light (with Ryuichi Sakamoto, 33-33, 2021). He is Professor Emeritus at London College of Communication.
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This entry was posted in instrumentality, live sound and tagged Alex Owen, Billy Steiger, Calum Storrie, David Toop, Douglas Benford, Emma Kunz, Georgiana Houghton, Hilna af Klint, Hundred Years Gallery, improv, music, stream of consciousness, Sylvia Hallett. Bookmark the permalink.
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EYFS and Key Stage 1 Teddy Bear picnic slips to be returned by Friday 29th June.
Teddy Bears are invited into school week commencing 9th July.


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Q: IP's requesting long gone files I released an app almost a year ago that worked by requesting data from some php scripts on my server. That app no longer does this and the php files have been removed. Yet several people still have the app running and my server gets several hundred megabytes worth of bandwidth of 404 errors a day. I have the IP addresses of the people running the app. Is there any way I can block them so that they won't be wasting my bandwidth?
I know I can block them with apache, but will that stop them from wasting bandwidth?
Thanks for any help!

A: I am assuming you are running Apache on a Linux machine, you can use iptables to block the IPs.
Here is the command to block the selected IP.
iptables -A INPUT -s <IP ADDRESS> -j DROP
And here is the little bash script that will read the IP list from the txt file and will block all the IPs.
#!/bin/bash

while read IPADDR; do
    iptables -A INPUT -s $IPADDR -j DROP
done

save the above script in any file and then run it as following.
./scriptfile < /path/to/ip_address_list.txt

HTH.

redpajama_set_name: RedPajamaStackExchange


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Home Off the Beaten TracksBlue: The confessions of Joni Mitchell
By Alan Ashworth Posted on Mar 4, 2019 September 10, 2019
Blue: The confessions of Joni Mitchell
MY choice this week has frequently been described as one of the greatest albums of all time, and the best by a female artist (how long before records by males are put into a subsidiary category?) Joni Mitchell's Blue combines heartfelt, intensely confessional lyrics with music of great freshness and originality. For many it was the definitive soundtrack to the early 1970s and cemented Joni's reputation as being on Dylan's right hand at the summit of singer-songwriterdom.
Blue, released in 1971, is the fourth album by the musician born Roberta Joan Anderson on November 7, 1943 in Alberta, Canada. I won't go into any further biographical details; if you're interested they are here.
Leaving aside for now the first track, All I Want, the story behind Blue begins with the second, My Old Man.
In 1968 the British musician Graham Nash, formerly of the Hollies, moved into Joni's house in Laurel Canyon, the artistic enclave of Los Angeles. Describing their state of unmarried apparent bliss, she sings: 'We don't need no piece of paper from the city hall, keeping us tried and true.' How wrong can you be? Tension grew between the two when Joni repeatedly appeared on the same bill as Graham's band Crosby, Stills, Nash and Young. She was reportedly much miffed that they garnered a far stronger crowd reaction. Joni also believed (which Nash strongly disputes) that he wanted her to stay at home and be a traditional wife figure while he was out with his bandmates David, Stephen and Neil.
In the spring of 1970, about the time her third album Ladies of the Canyon was released to great acclaim, Joni left for a Mediterranean break with her friend Penelope, a Canadian poet. They rented an apartment on Crete, in the southern beach resort of Matala. The surrounding sandstone cliffs contained a number of caves which were home to a thriving hippie community. Nightlife centred around the Mermaid Café and a beachside taverna, Delphini, run by a 24-year-old American expat named Cary Raditz.
He was aware of Joni's success but, unlike the rest of the men in Matala, refused to fawn to her, thinking that playing hard to get might be the way to her heart. One night in the taverna there was a traditional Greek plate-smashing session after which Joni for some reason resolved to tidy up the mess. In Sheila Weller's book Girls Like Us, Raditz says: 'Joan sweeps up the stuff from the floor and brings it to me helpfully. "Here", she says. "Thanks", I say, looking her in the eye. And then I throw it all back on the floor.'
Bizarrely, she was impressed. One evening the folk diva arrived at Raditz's cave carrying her dulcimer. She stayed for five weeks.
During this time Graham Nash received a telegram from Crete. It read: 'If you hold sand too tightly it will run through your fingers.'
Rather than taking this to mean that Joni was having trouble with her bucket and spade on the beach, 28-year-old Nash rightly intuited that she was giving him the bum's rush. So he did what any red-blooded bloke from Blackpool would do – he wrote a song about it. In Simple Man, he says: 'Never been so much in love and hurt so bad at the same time.'
Meanwhile 26-year-old Joni was strumming her dulcimer and writing the misspelt Carey about her ginger-bearded younger lover – 'the bright red devil that keeps me in this tourist town'.
Life as a Cretan soon began to pall, however, and Joni made plans to scarper. She sings: 'It sure is hard to leave you, Carey, but it's really not my home. My fingernails are filthy, I've got beach tar on my feet. And I miss my clean white linen and my fancy French cologne.' Since there was no sanitation whatsoever in the cave, a more accurate lyric would have read: 'I miss my flushing lavvy and I need a damn good wash'. Slightly less poetic, though. Raditz is also referred to in California – 'I met a redneck on a Grecian isle' – in which Joni writes of her joy at returning to civilisation via Ibiza and Paris.
Back home, she started a relationship with another star singer-songwriter, James Taylor, and flew to New Mexico for a visit while he was acting in the movie Two-Lane Blacktop. Returning to California, she wrote the song This Flight Tonight about her regrets at leaving him there. The song would provide an unlikely hit for the Scottish rock band Nazareth.
At the end of the summer she and Taylor decamped to England, where she performed at the Isle of Wight festival and wrote the song Blue about him.
He was partly the subject of A Case Of You, although Joni confided to a friend many years later that she was also thinking about a former lover, Leonard Cohen. All I Want is again about Taylor – 'when I think of your kisses my mind seesaws' – but once more a relationship she saw as perfect was not to last. He dumped her and married Carly Simon soon afterwards. In the song River, Joni laments: 'I'm so hard to handle, I'm selfish and I'm sad, now I've gone and lost the best baby that I ever had.' This song was actually written while she was still with Graham Nash, so one would hope she didn't play it to him.
In March, 1971, Joni went into the studio to record the Blue album, in a state of great emotional fragility. The final track, The Last Time I Saw Richard, is about her ex-husband Chuck Mitchell, who Sheila Weller reports once made fun of his wife's prominent teeth, saying: 'When you don't wear makeup and you smile, you look like a rhesus monkey.' Serves him right that she left him.
The remaining song, Little Green, baffled critics and listeners because it dealt not like the rest with her tempestuous relationships but with the birth of a daughter – and Joni was officially childless. In fact, this turned out to be the album's most confessional track of all. It emerged some time afterwards that, in her early 20s, she had a baby out of wedlock without telling her parents and gave her up for adoption. 'Child with a child pretending, weary of lies you're sending home. So you sign all the papers in the family name; you're sad and you're sorry but you're not ashamed; Little Green – have a happy ending.' Mother and daughter were eventually reunited in the mid-1990s and Joni discovered that she was a granny.
When Blue came out there was delight at the music but surprise at the naked honesty of the lyrics. Kris Kristofferson was so taken aback by the songs' vulnerability that he protested: 'Joni, please leave something of yourself.'
Much later, she said it was 'probably the most emotional record that I will ever make in my life. There is not one false note. I love that record more than any of them'. Many would agree with her.
Blue was the first of five consecutive classic albums by Joni, and I hope to return to the others in future columns.
alanj126@yahoo.co.uk
Categories: Off the Beaten Tracks
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One Reply to "Blue: The confessions of Joni Mitchell"
Chris Hughes says: 2 years ago Reply
Nice post, full of laid-back information, wisdom and humour. Re All I Want, I've always (mis)heard: 'When I think of your kisses, my mind sees stars'. Her version is better! It must be hard to make such a brilliant album, and then be expected to live up to it. Good to hear she's said it's her favourite.


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Peptide And Protein Synthesis Research References
Research paper on protein synthesis pdf, navigation...
In the present study, Li and Taggart aimed to make similar measurements in eukaryotes, starting with budding yeast. Developed inribosome profiling permits researchers to capture a snapshot of which mRNAs are being translated at a single moment in time. Figure 1 Download asset Open asset How translation can be stopped and started during protein synthesis.
DNA, Hot Pockets, & The Longest Word Ever: Crash Course Biology #11
Translation proceeds in four phases: E This phosphorylation has important consequences: They used the same technique as Li in —ribosome profiling—but with a few modifications. The current annotation count on this page is being calculated. The main internal factor is stress caused by the accumulation of unfolded proteins in the endoplasmic reticulum, and the external factors include viral infections and shortages of essay on oh these exams, amino acids or glucose.
Now, in eLife, Graham Pavitt of the University of Manchester and colleagues — including Martin Jennings as first author, Christopher Kershaw and Tomas Adomavicius — report that they have identified an 'emergency brake' for stopping protein synthesis when cells are experiencing stress Jennings et al. He ultimately curated a comprehensive list of roughly proteins in yeast, comprising about different protein complexes.
It was a clear case of proportional synthesis. Translational control thus allows cells to respond rapidly and flexibly to external signals and various forms of stress, and failures in this literature review ib have been linked to a number of diseases: The impetus of this study was to cover letter writing worksheet if proteins are made as precisely in eukaryotes as they are in bacteria, while also resolving ambiguities in existing write a essay on discipline in student life for measuring protein synthesis rates.
This uses an mRNA sequence as a template to guide the synthesis of a chain of amino acids that form a protein. To answer this question, the researchers refined an existing technique, known as ribosome profiling, to quantify the protein synthesis rates by tracking the ribosome footprints.
Bacteria appear to generate the exact levels needed to function—no more, no less.
Despite the fundamental differences between these organisms, they shared a basic strategy. We can think of this as the equivalent of the regular brakes on a car being used to slow it down.
Proteolysis may remove N-terminal, C-terminal or internal amino-acid residues or peptides from the polypeptide. This runs counter to what is observed in some bacteria. However, more complex organisms have different metabolic needs, means to control gene expression, and ways to eliminate unwanted proteins, perhaps engendering a different strategy to ensure correct protein levels. In translation, messenger RNA mRNA is decoded to produce a specific polypeptide according to the rules specified by the trinucleotide genetic code.
Many bacterial genes possess the negative feedback loops that yeast appear to lack. They examined the subunits of multi-protein complexes in Escherichia coli, and showed that the bacteria operated under laws of proportional synthesis—meaning they were generating proteins in the exact ratio needed for cellular function.
Diagram showing the process of translation Diagram showing the translation of mRNA and the synthesis of proteins by a ribosome Phenomena of amino acid assembly from RNA. While more common analytic approaches fail to accurately account for these ambiguous footprints, Taggart how to write a good cover letter for first job considered what he calls "meaningful" footprints that he could map to specific regions on the genome.
Eduardo Torres, an assistant professor of molecular, cell and cancer biology at the University of Massachusetts Medical School, says these requirements are conserved from bacteria to humans, "suggesting that the evolutionary pressure to produce protein amounts efficiently is a fundamental aspect of cell biology. Shutting down the process that transcribes DNA to form messenger RNA would also bring protein synthesis to a halt, but not as quickly as shutting down translation can stop it.
This signified that the requirements for proportional synthesis might vary over the course of an organism's lifetime, depending on age, nutrient availability, and stress. These modifications may be required for correct cellular localisation or the natural function of the protein. Now, among other findings, Jennings et al.
Here's where Taggart tweaked the approach slightly: During and after synthesis, polypeptide chains often fold to assume, so called, native secondary and tertiary structures. Under normal essay on oh these exams, when growth is permissible, the ternary complex binds the ribosome with help of other translation initiation factors, such as eIF5 and eIF3, to start scanning for the start codon.
The role of the ternary complex is to ensure that the initiator Met-tRNA is delivered to the P-site on the ribosome and that translation begins at the correct start codon on each mRNA molecule which involves scanning the mRNA to find the start codon, which is usually AUG. Although yeast normally only have 16 chromosomes, with the help of Angelika Amon's lab, the researchers duplicated each of them, one at a time, so the cell would have the capacity to build twice as many proteins using the genetic information from that extra chromosome.
Tracking the footprints of protein synthesis
In translation, messenger RNA mRNA is decoded to produce a specific polypeptide according to the rules specified by the trinucleotide genetic code.
The termini and side-chains of the polypeptide no homework pink slip be subjected to post-translational modification. Once researchers fully understand how cells fine-tune their protein production, he explains, they can apply that knowledge to designing their own molecules and pathways. In some ways eIF5 resembles the accelerator of a car Figure 1 in that it ensures that translation happens when the conditions are right for it: Do these eukaryotic cells generate precise amounts of protein, or do they make roughly the correct amount and rely on processes like degradation to trim the excess?
Bacteria appear to generate the exact levels needed to function—no more, no less. Abstract The integrated stress response is able to rapidly shut down the synthesis of proteins in eukaryotic cells. Essay on islam and the west this happens, no tRNA can recognize it, but releasing factor can recognize nonsense codons and causes the release of the polypeptide chain.
Translational Control: An emergency brake for protein synthesis | eLife
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Proteolysis may remove N-terminal, C-terminal or internal amino-acid residues or peptides from the polypeptide.
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However, more complex organisms have different metabolic needs, means to control gene expression, and ways to eliminate unwanted proteins, perhaps engendering a different strategy to ensure correct protein levels.
The capacity of disabling or inhibiting translation in protein biosynthesis is used by some antibiotics such as anisomycincycloheximidechloramphenicoltetracyclinestreptomycinerythromycinpuromycinetc. December 16, by Raleigh Mcelvery, Massachusetts Institute of Technology Cells have evolved to produce the components of their multi-protein complexes in precise ratios.
The emergency brake — which is part of the integrated stress response in cells — shuts down the process by which messenger RNA molecules are translated into primary chains of amino acids, which then fold to form active proteins.
A portion of one gene may have a sequence that's identical to another gene that encodes an entirely separate protein. References 1. A clear case of proportional synthesis Inwhen Li was still a postdoc at the University of California at San Francisco, he and his colleagues set out to measure protein synthesis rates in bacteria.
Rather than sensing the excess protein and subsequently reducing production, the yeast did not initiate any internal communication to shut down operations at the level of transcription or translation.
While this is not, in the technical sense, a step in translation, it is required for translation to proceed. Main text When driving a car it is usually best to brake gently when you want to stop. Massachusetts Institute of Technology To trace which proteins are produced and when, researchers say, just follow the ribosome "footprints.
Do eukaryotes have a widespread mechanism to regulate the amount of protein they produce? This way the translational vehicle is brought to a complete stop Figure 1F, 1G. Ribosomes term paper on pran group made of a small and large subunit that surround the mRNA.
As a result, his modifications generated more precise synthesis rates. Building too few might upset growth, metabolism, and maintenance, while too many might be wasteful and potentially toxic.
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Do eukaryotes have a widespread mechanism to regulate the amount of protein they produce?
Protein biosynthesis - Wikipedia
The synthesis of proteins from RNA is known as translation. Surprisingly, perhaps, similar considerations can apply in protein synthesis because it is sometimes creative writing courses mcgill for cells to stop the production of new proteins as quickly as possible. Developed inribosome profiling permits researchers to capture term paper on pran group opinion essay overweight of which mRNAs are sample internship application letter pdf translated at a single moment in time.
In humans, this kind of imbalance, known as aneuploidy, can lead to disorders like Down syndrome. Although ribosome profiling revolutionized our ability to gauge protein synthesis across the entire genome, it is sometimes difficult to map each mRNA fragment back to its original location within the genome and the protein product to which it corresponds.
Despite the clear physiological and genetic difference between organisms, the complexes were produced in just the right ratios. Protein overload Once they fine-tuned their method of quantifying protein production, the researchers wondered what would happen if they upset the cell's careful synthesis balance.
The density of such footprints reveals the synthesis rates of each protein relative to the others. The integrated stress response is centered on an initiation protein complex called eIF2, and it is activated when a particular amino acid serine 51 in its alpha subunit is phosphorylated by a protein kinase: F, G Jennings et al.
He then divided the number of ribosome footprints by the length of the gene, minus the ambiguous sequences and non-coding intron regions.
However, Jennings et al. Initiation involves the small subunit of the ribosome binding to 5' end of mRNA with the help of initiation factors IFother proteins that assist the process.
Figure 1 Download asset Open asset How translation can be stopped and started during protein synthesis. Occasionally, however, it is necessary to 'stand on the brakes' and perform an emergency stop. The fragments of mRNA—the ribosome footprints—can be sequenced to provide a barcode identifying which proteins were being made. They were intrigued to find that, for the proteins they studied, eukaryotes precisely tuned their protein production just like bacteria.
Using a combination of their own experiments and open access databases, a duo of scientists from the MIT Department of Biology aimed to establish how precisely cells from organisms like budding yeast, zebrafish, mice, and humans tune their protein production. In eukaryotes, translation occurs in the cytoplasmwhere the ribosomes are located.
When the tRNA has an amino acid linked to it, it is termed "charged". However, in order to understand how these three factors perform these different roles and control protein synthesis in cells, we first need to understand the nature of their mutual interactions for example, simultaneous versus mutually exclusiveas well as their varying affinities.
The only exception was during zebrafish embryonic development, when the researchers concluded that protein production may not be proportional.
Events during or following protein translation[ edit ] Main articles: In the present study, Li and Taggart aimed to make similar measurements in eukaryotes, starting with budding yeast. This phosphorylation causes a robust reduction in general protein synthesis by blocking the initiation of translation for most messenger RNAs, but allowing the translation of selected messenger RNAs for the production of proteins that can combat stress inside the cell.
This is known as protein cover letter rental application australia and is typically required for the natural function of the protein. As he monitored the yeast's protein output, it appeared they produced just the right amount of subunits to complete the complex—no more, no less.
If bacteria produce too much for some reason, a degradation pathway is activated to break down those subunits, but this process constitutes more of a failsafe than the primary means to regulate protein abundance.
By using drugs that literally stop ribosomes in their tracks, scientists can freeze these molecular machines in place and destroy any un-protected mRNA that is not occupied and thus shielded by a stagnant ribosome. ProteolysisPosttranslational modificationand Protein folding Events that occur during or following biosynthesis include proteolysispost-translational modification and protein folding.
Whether eukaryotic cells tune their gene expression to produce just enough of each protein remains a longstanding question.
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text:
Pozzo is an Italian surname. Notable people with the surname include:

Andrea Pozzo (1642–1709), an Italian Jesuit Brother, artist, architect and art theoretician
 Dario Pozzo, (1592–1652), Italian painter of the late-Renaissance
 Enrico Pozzo (born 1981), Italian male artistic gymnast
 Gabriel Pozzo (born 1979), Argentine rally driver
Giampaolo Pozzo (born 1941), an Italian businessman and football club owner
Gino Pozzo (born 1965), son of Giampaolo Pozzo, owner of Watford F.C.
Guido Pozzo (born 1951), a Catholic prelate and an official of the Roman Curia
Lilo Pozzo, American chemical engineer
 Mario Da Pozzo (born 1939), Italian former football goalkeeper
Mattia Pozzo (born 1989), Italian former professional racing cyclist
Tomás Pozzo (born 2000), Argentine professional footballer
Victor José Pozzo (born 1914), Argentine professional football player
Vittorio Pozzo (1886–1968), an Italian football coach

See also

 Pozzi (surname)
 Pozzo (disambiguation)

Italian-language surnames


text:
Petre monoplane
Perry Beadle - B.3 flying boat - 1914 - Великобритания <– –> Phillips - multiplane No.1 - 1893 - Великобритания
PETRE monoplane (Henry A. Petre and Edward Petre, Brooklands, Hangar No.ll)
The brothers designed and constructed this machine in 1909-1910 and it was shown in skeleton form on the stand of Leo Ripault Ltd. at Olympia in March 1910. The aircraft was taken to Brooklands for completion and testing and was housed in hangar No.11.
On the 26 July 1910 Henry Petre was airborne 23ft. above the ground, but, after flying about 100 yards, a gust of wind caused the machine to crash on the port wing. It was not rebuilt and the brothers went on to fly other people's aircraft. Edward was killed on a Martinsyde on 24 December 1912, but Henry went to Australia, that same month, to train the first military pilots at Point Cook and continued to serve in the Australian Flying Corps and its successor service, the RAAF.
The layout of the monoplane was unusual in that the propeller was behind the tail, driven by a long shaft from the engine mounted in the central position, with the pilot positioned ahead of the wing in the nose. The wing was built in two halves and could be rotated about the main spar to vary the angle of incidence in flight.
The fuselage, which was split at the center to assist transport, was built with four longerons, vertical members and diagonal cross bracing, mainly of laminated ash. The top longerons were set wider apart than the lower pair and tapered towards the tail. The aircraft rested almost horizontally on the ground by virtue of the tall tail wheel mounting, a consequence of the incidence changing feature.
The main undercarriage consisted of two A-frames with twin skids and sprung cross axle. The control surfaces consisted of ailerons with diagonal hinge lines, their outline extending behind the main trailing edge shape. The all moving tail surface was mounted above the fuselage on a structure braced to the tail wheel support and provided lift as well as control in pitch. A small rudder was positioned below the fuselage. The two radiators for cooling the NEC engine were located on the fuselage sides alongside the cockpit.
Power: 25-35hp NEC four-cylinder inline water-cooled two-stroke driving a 7ft diameter Handley Page propeller through a 15ft long 2in diameter shaft.
Span 30ft
Chord 7ft
Area 195 sq. ft
Area tailplane 36 sq. ft
Area rudder 7 sq. ft
Length 29ft
Weight allup 740 lb.
Speed 30mph
Price .800
The Petre Monoplane was built at the end of 1909 by the brothers Edward and Henry A. Petre, known to the flying fraternity of that time as Peter the Painter and Peter the Monk, respectively. It was at the 1910 Olympia Aero Show in its uncovered state, but was completed later at Brooklands. The machine was a single-seater, with the pilot's cockpit in front of the wing and with the four-cylinder 35 h.p. N.E.C. engine buried in the fuselage at the trailing-edge. A 16 ft. long, hollow, 2 ins. diameter steel extension shaft drove the 7 ft. propeller, which was at the extreme end of the fuselage behind the tail unit. Radiators for cooling the engine were mounted on each side of the nose, and the incidence of the wings was adjustable in flight. The fuselage, including its diagonal tie-pieces, was entirely of wood, with longerons of L-section and with spacers ofT-section, the whole being screwed together. Lateral control was by means of ailerons.
The Petre Monoplane was damaged on 23rd July, 1910, after taking-off at Brooklands and crashing with Henry Petre piloting. Span, 30 ft. Length, 29 ft. Wing area, 195 sq. ft. Weight empty, 540 lb. Weight loaded, 740 lb. Maximum speed, 30 m.p.h. Price, ?800.
Flight, March 12, 1910
THE SECOND OLYMPIA AERO SHOW.
AEROPLANES.
Petre.
MONOPLANE exhibited by Messrs. Leo Ripault and Co., and fitted with an N.E.C. engine.
Flight, April 16, 1910
FLYER SILHOUETTES FROM OLYMPIA.
THE PETRE MONOPLANE.
Leading Particulars of the Petre Monoplane.
General Dimensions.-Areas-Main planes, 195 sq. ft.; elevator, 35 sq. ft.; rudder, 6 sq. ft.
Lengths.-Span, 30 ft.; chord, 7 ft.; camber, 3 1/2 ins. situated about 28 ins. from leading edge; skid track, 5 ft.; overall length, 29 ft.
Angles.-Incidence, 10 degrees; dihedral, nil.
Materials.-Timber, ash; fabric, Dunlop.
Engine.-35-h.p. N.E.C.
Propeller.-Handley Page; diameter, 7 ft.; pitch, 3 ft. 4 ins.; material, pine.
Weight.-Machine, 385 lbs.; engine, 155 lbs.; driver, oil, petrol and water, 200 lbs.; total flying weight, 720 lbs.; loading (all weight supported on main planes), 3.7 lbs. per sq. ft.
Speed of Flight.-30 m.p.h.
System of control.-Hinged balancing flaps; rear elevator and rudder.
Price.-L8oo.
THE Petre monoplane is unique in having the propeller situated at the rear, behind the tail, where it is driven by a long hollow shaft from the engine. The engine is situated just behind the trailing edges of the main wings. The pilot's seat is in front of the leading edges of the main wings, being placed right up in the bows of the frame. The frame construction is also uncommon, being entirely of timber, even to the diagonal ties. The longitudinal spars are of L section and the struts of T section, both members being built up of strip wood. Another important characteristic of this machine is the pivoting of the main wings so that the angle of incidence can be altered in flight. Control is effected by a pair of hinged balancing flaps mounted diagonally on the trailing corners of the main wings by an elevating plane pivoted to a V frame at the rear of the machine and by a rudder mounted under the elevator. Experiments with a machine having the propeller at the rear ought to be extremely instructive. Although at first sight the position is one that looks impracticable, owing to the well-known difficulty of pushing any long object from behind, yet it does not necessarily follow that this arrangement of the propeller is out of the question on aeroplanes any more than it is on ships. It must be remembered that the propeller, being fixed relatively to the frame, is always thrusting through the centre of gravity. If, however, the thrust is applied from without - as, for instance, by a man pushing at the tail of the machine - such a force, although it would be of constant direction, would be variable in respect to the centre of gravity of the machine if the machine swerved from its original path.
General view of the framework of the Petre monoplane, exhibited by Leo Ripault and Co. A characteristic feature of this machine is the position of the propeller behind the tail.
M.Goodall, A.Tagg - British Aircraft before the Great War /Schiffer/
The Petre brothers' monoplane built by them in 1909-1910 at Brooklands.
WING SECTIONS. - The above diagrams afford an interesting comparison of the wing sections of aeroplanes exhibited at Olympia. They are all drawn to a common scale, but have been set at an arbitrary angle of incidence, which does not necessarily represent that of the aeroplane In actual flight.


We imbue our work with a full understanding of history and an aspiration to express our time.
Every client's site and mission provide abundant opportunities and challenges. We seek to develop a deep understanding of both place and institution that will lead to transcendent solutions. In our view, a building should respect the full context in which the project is built; it should reveal the client's mission; it should promote health in all the systems in which it participates; and it should elicit joy. In our work, aesthetics are primarily driven by a thoughtful response to the full context of the program, budget, local traditions, institutional values, time, place and the craft of assembling materials.


Thank you for your interest Pitch Creator's online Foundation Course!
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How to use our Foundation Course in your college/university entrepreneurship class (or center) to prepare students for an investor pitch event (like Shark Tank) at the end of the semester.
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Nestled on a big block sits this solid four bedroom, one bathroom home with two living areas, dining and kitchen. Outside is an amazing retreat with aviaries and fish pond where you can sit and enjoy the summer nights. To top it all off a beautiful park across the road for the kids or family to enjoy.
With close proximity to Tonkin Highway and the Perth Airport, just minutes from the Swan Valley and world acclaimed wineries and restaurants and a "hop, skip and a jump" from the Morley Galleria and the Coventry Square Markets, this location has few rivals.


There were approximately 30,000 of this model built between 1908 and 1926. From 1908 until 1919 they were the only model built by Autocar and in 1919 they introduced a 4 cylinder model.
This truck was bought from Southwards Motor Museum at Paraparamu in 2001 where it had been in the basement for approximately 20 years. It may have come from a farm in the Wairarapa or Hawkes Bay. It took Ian Ridd and Bill Richardson 6 months to restore.


text:
Neonatal Adrenoleukodystrophy
NALD
Abstract In the present paper two siblings are presented with clinical manifestations very similar to those of patients affected by neonatal adrenoleukodystrophy. [ncbi.nlm.nih.gov]
Facial dysmorphism (50%) with hypertelorism, epicanthus, low nasal bridge, and low-set ears may be present. Some children have polydactyly and hepatomegaly. [rarediseases.info.nih.gov]
Hepatomegaly may be present. Progressive sensorineural hearing deficit and visual disturbances develop during the first years of life. Nystagmus is present and eventually bilateral optic atrophy. The psychomotor development is very slow. [link.springer.com]
Ocular pathology in a case of neonatal adrenoleukodystrophy (ALD) showed marked degeneration of photoreceptor cells throughout the retina including the macula. [ncbi.nlm.nih.gov]
Hearing aids are provided to those with hearing impairment, and cochlear implants considered when hearing loss is profound. [orpha.net]
Low Set Ears
Neurologic
These very-early-onset seizures may require unique diagnostic and therapeutic considerations, in contrast with the later onset of seizures in neonates. [ncbi.nlm.nih.gov]
Standard epileptic drugs are used for seizures. Lifelong follow up is needed to monitor changes in hearing, vision and liver function. Prognosis Prognosis is poor with most patients dying in infancy and early childhood. [orpha.net]
Clinical findings Onset at age 5 and 10 with reversal of neurologic milestones, seizures, ataxia, Addison's disease, degeneration of visual and auditory function. [medical-dictionary.thefreedictionary.com]
[…] with Central Nervous System Hypomyelination (CACH) Childhood Ataxia with Diffuse CNS Hypomyelination (CACH or Vanishing White Matter Disease) Craniometaphysical Dysplasia with Leukoencephalopathy Cystic Leukoencephalopathy (RNASET2 related) Elongation [huntershope.org]
Childhood ataxia with cerebral hypomyelination Childhood ataxia with cerebral hypomyelination (CACH), also known as vanishing white matter disease (VWMD), is an autosomal recessive leukodystrophy that is characterized by progressive deterioration in motor [rarediseases.org]
Visual loss, spasticity, and ataxia follow, and patients usually die a few years after the onset of neurologic symptoms. [neuropathology-web.org]
[…] mutation of genes involved in translation of factor EIF-2B Clinical features Varies depending on type and age at presentation In infancy: often includes motor disabilities, macrocephaly, seizures or spasticity and developmental failure In childhood: ataxia [pathologyoutlines.com]
Ataxia and Dementia Familial Leukodystrophy with Adult Onset Dementia and Abnormal Glycolipid Storage Fatty Acid 2-Hydroxylase Deficiency Fucosidosis Fukuyama Congential Muscular Dystrophy Galactosialidosis Globoid Cell Leukodystrophy (Krabbe Disease [huntershope.org]
A variant of X-ALD, adrenomyeloneuropathy (AMN), is characterized by adrenal insufficiency since childhood with progressive spastic paraparesis, peripheral neuropathy, cerebellar ataxia, and intellectual deterioration beginning in the third decade. [neuropathology-web.org]
Workup
Other Pathologies
Diffuse Encephalopathy
It is characterized by seizures at birth, a diffuse encephalopathy, impaired vision and hearing, peripheral neuropathy, facial dimorphism, growth impairment and a severely delayed psychomotor development. The neurological regression is progressive. [ela-asso.com]
It is characterized by hypotonia, seizures, diffuse encephalopathy, sensorineural hearing loss, peripheral neuropathy, mild facial dysmorphism (hypertelorism and a flat midface), failure to thrive and severely delayed psychomotor development. [orpha.net]
A liver biopsy revealed enlarged peroxisomes staining for catalase. Three similar cases have been reported previously; in two of these there was a deficiency of acyl-CoA oxidase. [ncbi.nlm.nih.gov]
Diagnosis It is based on the determination of plasma VLCFA, phytanic acid, bile and pipecolic acids intermediates Treatments Treatment of adrenal insufficiency The extremely simple treatment is based on prescription of hydrocortisone or fludrocortisone [ela-asso.com]
Management and treatment There is no cure for NALD and treatment is symptomatic. Cataracts should be removed in early infancy and glasses used to improve vision. [orpha.net]
Management and treatment No specific treatment is available. Multidisciplinary supportive care should be offered. Prognosis Prognosis is unfavorable; death usually occurs at around 5 years from respiratory issues. Last updated: 2/4/2010 [rarediseases.info.nih.gov]
Prognosis Prognosis is unfavorable; death usually occurs at around 5 years from respiratory issues. Last updated: 2/4/2010 [rarediseases.info.nih.gov]
Prognosis Prognosis for childhood and neonatal ALD patients is poor because of the progressive myelin degeneration. Death usually occurs between one and ten years after onset of symptoms. Prevention Resources Books Berkow, Robert. [medical-dictionary.thefreedictionary.com]
Prognosis Prognosis is poor with most patients dying in infancy and early childhood. Some have lived until their teenage years. The documents contained in this web site are presented for information purposes only. [orpha.net]
A review of the literature revealed that the main etiologies include severe brain malformations, multiple anomalies, and metabolic encephalopathy. A high incidence of early fatality and serious neurologic sequelae were noted. [ncbi.nlm.nih.gov]
Etiology Peroxisomal acyl-CoA oxidase deficiency is caused by mutations in the ACOX1 gene (17q25.1) encoding peroxisomal straight-chain acyl-CoA oxidase. [rarediseases.info.nih.gov]
Etiology PBD-ZSS is caused by mutations in one of 13 PEX genes encoding peroxins. Mutations in these genes lead to abnormal peroxisome biogenesis. [orpha.net]
Genetics OMIM Numbers 202370 Inheritance Autosomal recessive Gene/Gene Map Caused by mutations in PTS1 receptor gene ( PXR1, OMIM 600414), peroxin-1 gene ( PEX1, OMIM 602136), peroxin-10 gene ( PEX10, OMIM 602859), and peroxin-13 gene ( PEX13, OMIM 601789) Epidemiology [aao.org]
Epidemiology Acyl-CoA oxidase deficiency is a rare disease with only 30-40 patients identified world-wide so far. Clinical description The disease manifests in the neonatal period with hypotonia (92%) and seizures (91%) as dominant features. [rarediseases.info.nih.gov]
Summary Epidemiology The estimated birth prevalence for PBD-ZSS is 1/50,000 in North America and 1/500,000 in Japan. More than half of patients with PBD-ZSS have the NALD-IRD forms. [orpha.net]
[…] etiology: peroxisomal, lysosomal and other Peroxisomal: adrenoleukodystrophy and neonatal adrenoleukodystrophy Lysosomal: Krabbe disease and metachromatic leukodystrophy Other: Alexander disease, Canavan disease, vanishing white matter disease, others Pathophysiology [pathologyoutlines.com]
Report Scope The report covers detailed overview of Adrenoleukodystrophy explaining its causes, symptoms, classification, pathophysiology, diagnosis and treatment patterns The report provides the insight about the historical and forecasted patient pool [gii.co.jp]
The underlying pathophysiological mechanism in urea cycle defects (vasogenic edema) is different from that in MSUD (vacuolating myelinopathy), as demonstrated by the distinctly different presentations on diffusion-weighted images. [mrineonatalbrain.com]
Symptoms - Zellweger Spectrum Disorder Causes - Zellweger Spectrum Disorder Prevention - Zellweger Spectrum Disorder Zellweger spectrum disorder cannot be prevented. [checkorphan.org]
Prevention There are currently no known ways to prevent adrenoleukodystrophy (ALD). [healthprioritiesinc.com]


text:
From the Daily: Curriculum clash
Students in the College of Literature, Science, and the Arts may soon have to prepare themselves for a rendezvous with the women's studies department whether they like it or not. A group of students called the Gender and Sexuality Requirement Committee is pushing for the acceptance of a new LSA course requirement, mandating students take three credits concerning gender and sexuality. If LSA faculty adopts the committee's proposal, the new requirement would not substitute for the existing race and ethnicity requirement. LSA faculty should acknowledge the importance of studying gender and sexuality, but should do so by incorporating it into the race and ethnicity requirement so as not to further limit students.
The beneficial impact the University and LSA students can acquire from learning about gender and sexuality cannot be understated. An increasingly diverse society as well as hotly-debated issues such as abortion and gay marriage make an understanding of gender and sexuality an important part of a liberal arts education. There are, however, a number of practical reasons why an additional requirement is not the best approach to the study of gender and sexuality.
Some faculty members in the women's studies department are worried the proposed requirement would overload the small, intimate women's studies environment with students not as interested in the material. Faculty members feel an uninterested or hostile atmosphere could negatively impact the quality of education students receive from women's studies classes.
LSA faculty should also be aware that the passage of this proposal could encourage a proliferation of requests for targeted curriculum requirements. There are many socially relevant issues that are worthy of study, and it will be difficult for LSA faculty to draw a line between what should and should not be required. It is important to note that the existing race and ethnicity requirement was proposed in part to promote a tolerant environment on campus in light of incidents of racial violence. Supporters of a gender and sexuality requirement, however, have not cited such a motivation for their proposal.
Furthermore, adding another requirement would significantly impair students' ability to obtain an LSA degree in four years. LSA students already experience difficulties in managing current requirements. Many degree programs, such as biochemistry, require numerous prerequisites before work on the concentration can begin.
Another requirement would also further limit the freedom of students to choose courses they find interesting, which a liberal arts education should seek to enhance rather than limit. Though LSA academic requirements aim to promote a broader liberal arts education, students unfortunately often approach such requirements with hostility or apathy, reducing the requirement's desired benefit.
The proposal for a separate requirement seems inappropriate when many current classes for the race and ethnicity requirement already hold a gender and sexuality component. For example, Women's Studies 240, an introduction to women's' studies, currently meets the race and ethnicity requirement.
Though a gender and sexuality requirement is a noble idea, there are simply too many practical problems associated with the current proposal. LSA faculty should strike an appropriate compromise, giving students a broader range of options to fulfill the race and ethnicity requirement, including those specifically concerning gender and sexuality issues, without adding the stress of an additional requirement.


text:
#ifndef GCC_OPTS_H
#define GCC_OPTS_H

/* Specifies how a switch's VAR_VALUE relates to its FLAG_VAR.  */
enum cl_var_type {
  /* The switch is enabled when FLAG_VAR is nonzero.  */
  CLVC_BOOLEAN,

  /* The switch is enabled when FLAG_VAR == VAR_VALUE.  */
  CLVC_EQUAL,

  /* The switch is enabled when VAR_VALUE is not set in FLAG_VAR.  */
  CLVC_BIT_CLEAR,

  /* The switch is enabled when VAR_VALUE is set in FLAG_VAR.  */
  CLVC_BIT_SET,

  /* The switch takes a string argument and FLAG_VAR points to that
     argument.  */
  CLVC_STRING
};

struct cl_option
{
  const char *opt_text;
  const char *help;
  unsigned short back_chain;
  unsigned char opt_len;
  int neg_index;
  unsigned int flags;
  void *flag_var;
  enum cl_var_type var_type;
  int var_value;
};

/* Records that the state of an option consists of SIZE bytes starting
   at DATA.  DATA might point to CH in some cases.  */
struct cl_option_state {
  const void *data;
  size_t size;
  char ch;
};

extern const struct cl_option cl_options[];
extern const unsigned int cl_options_count;
extern const char *const lang_names[];
extern bool no_unit_at_a_time_default;

#define CL_DISABLED                (1 << 21) /* Disabled in this configuration.  */
#define CL_TARGET                (1 << 22) /* Target-specific option.  */
#define CL_REPORT                (1 << 23) /* Report argument with -fverbose-asm  */
#define CL_JOINED                (1 << 24) /* If takes joined argument.  */
#define CL_SEPARATE                (1 << 25) /* If takes a separate argument.  */
#define CL_REJECT_NEGATIVE        (1 << 26) /* Reject no- form.  */
#define CL_MISSING_OK                (1 << 27) /* Missing argument OK (joined).  */
#define CL_UINTEGER                (1 << 28) /* Argument is an integer >=0.  */
#define CL_COMMON                (1 << 29) /* Language-independent.  */
#define CL_UNDOCUMENTED                (1 << 30) /* Do not output with --help.  */

/* Input file names.  */

extern const char **in_fnames;

/* The count of input filenames.  */

extern unsigned num_in_fnames;

size_t find_opt (const char *input, int lang_mask);
extern void prune_options (int *argcp, char ***argvp);
extern void decode_options (unsigned int argc, const char **argv);
extern int option_enabled (int opt_idx);
extern bool get_option_state (int, struct cl_option_state *);

#endif


C506 Allerton Building, University of Salford, Frederick Road, Salford, M6 6PU.
Joy is a Lecturer in Social Policy with expertise in qualitative and mixed-methods research and a focus on patients' and health professionals' experiences of health, illness and health services. Previous research work has centered around living with chronic illness, patient education and self-management, paediatric end-of-life care and informed consent for surgery. Current research projects include job seekers' experiences of claiming benefits, mental wellbeing in the transition to motherhood and online edcation for teenagers with Type 1 diabetes. Joy studied BA (Hons) Sociology and PhD Health Sciences at the University of Liverpool, graduating in 2010. Following post-doctoral research positions at the Universities of Chester and Liverpool, Joy was a Research Fellow in the Nursing Directorate at the University of Salford in 2014 before joining the School of Society in 2016.
PhD Health Sciences (from University of Liverpool).
"Type 1 diabetes and adolescence: An exploration of lived experiences"
BA (Hons) Sociology (from University of Liverpool).
Probyn, J & Greenhalgh, J & Holt, J & Conway, D & Felicity, A 2017, 'Percutaneous coronary intervention patients' and cardiologists' experiences of the informed consent process in Northern England: a qualittaive study', BMJ Open.
Howarth, M & Probyn, J & Maz, J 2017, ' Project management techniques to maximise success with research', British Journal of Cardiac Nursing, 12(3), pp.1-4.
Probyn, J & Howarth, M & Maz, J 2016, ' Understanding the 'middle bit': How to appraise qualitative research. ', British Journal of Cardiac Nursing., 11(5), pp.248-252.
Cooper, H & Probyn, J & Lancaster, G & Johnson, M & Lwin, R & Wheeler, S 2014, 'Development and psychometric testing of the on-line Adolescent Diabetes Needs Assessment Tool', Journal of Advanced Nursing, 70(2), pp.454-468.
Probyn, J & Cooper, H & Milton, B 2013, 'Type 1 diabetes in young people: The impact of social environments on self-management issues from young people's and parents' perspectives', Diabetes Care for Children and Young People, 2(2), pp.48-57.
Probyn, J & Cooper, H & Milton, B 2012, 'The lived experiences of young people (13-16 years) with Type 1 diabetes and their parents - a qualitative phenomenological study', Diabetic Medicine, 30(1), pp.e17-e24.
Cooper, H & Probyn, J & Lancaster, G & Johnson, M & Lwin, R 2012, 'Perceptions of the clinical usefulness of the Adolescent Diabetes Needs Assessment Tool.', Diabetes Care for Children and Young People, 1(2), pp.55-61.
Probyn, J & Cooper, H 2011, 'A multidisciplinary paediatric diabetes care team: Perspectives on adolescent care.', Practical Diabetes International, 28(5), pp.212-215.
Probyn, J & Cooper, H & Milton, B 2010, 'Qualitative studies of Type 1 diabetes in adolescence: A systematic literature review.', Pediatric Diabetes, 11(5), pp.364-375.
Hassan, L & Probyn, J & Hogard, E 2006, 'Managing Sure Start in partnership', Community Practitioner, 79(8), pp.56-59.
Probyn, J & Astin, F 2015, Informed consent for percutaneous coronary intervention: A mixed methods study to optimise clinical practice - Stakeholder Report., University of Huddersfield, Huddersfield, UK.
Probyn, J & Spencer, E 2014, Models of support for people with dementia and their carers, Welsh Government Regional Collaboration Fund, Wrexham, United Kingdom.
Probyn, J & Deborah, M & Gambles, M 2013, Best Supportive Care for the Dying Child, Marie Curie Palliative Care Institute Liverpool, Liverpool, United Kingdom.
Probyn, J 2010, Type 1 diabetes and adolescence: An exploration of lived experiences, PhD, University of Liverpool, Liverpool, United Kingdom.
Joel, A (2018) 'Organisational support for academics returning to work after maternity leave'.
Alsomali, S (2018) 'An Investigation of Self-Care Practice and Social Support of Patients with Type 2 Diabetes in Saudi Arabia'.
Hefni, D (2017) 'Assessing the effectiveness of an obesity prevention program to improve healthy lifestyle among children aged 9-16 years'.
Alreshidi, T (2016) 'Nurses perceptions of medication errors in Saudi Arabia '.
Patients' and health professionals' experiences of percutaneous coronary intervention and informed consent (Improving Patient Care: Angioplasty Services, Leeds, United Kingdom, March 2016).
Informed consent for percutaneous coronary intervention: An interview study (Eurpoean Society of Cardiology Annual Congress, London, United Kingdom, August 2015).
Health professionals' experiences of using the Liverpool Care Pathway for the Dying Child in a hospice and community outreach team setting (European Association for Palliative Care Conference, Prague, Czech Republic, May 2013).
Development of the Adolescent Diabetes Needs Assessment Tool (World Diabetes Congress, Dubai, United Arab Emirates, December 2011).
Applying interpretive phenomenology to the study of human complex systems: Type 1 diabetes management as an exemplar (British Sociological Association Annual Conference, London, United Kingdom, April 2011).
Type 1 diabetes and adolescence: An exploration of lived experiences (Royal College of Nursing International Research Conference, Newcastle, United Kingdom, October 2010).
Negotiating adolescence with Type 1 diabetes: Individual meanings and motivations for self-management behaviour (NHS Confederation Delivering Better Health Services Conference, Birmingham, United Kingdom, May 2010).
Type 1 diabetes and adolescence: An exploration of lived experiences / Development of an Adolescent Diabetes Needs Assessment Tool (Diabetes UK Annual Professional Conference, Liverpool, United Kingdom, March 2010).
Parent-child relationships and adolescent independence for the self-management if Type 1 diabetes (Diabetes UK Annual Professional Conference, Glasgow, United Kingdom, March 2009).
Uncovering the complexities of adolescent diabetes management: An interpretive phenomenological approach (British Sociological Association Medical Sociology Conference, Brighton, United Kingdom, September 2008).
Higher Education Academy (United Kingdom, June 2014).
Full Member of British Sociological Association (United Kingdom, January 2007).
Peer review of grant applications (United Kingdom, January 2016).
Review panel member: British Council Newton Fund Grant Award Scheme (United Kingdom, November 2016).
Full Member of School of Nursing, Midwifery, Social Science & Socfial Work Research Ethics Committee (June 2015).