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redpajama_set_name: RedPajamaGithub


text:
DRUG DELIVERY MEETS AUTOMOTIVE ENGINEERING
Citation: Mayer T, "Drug Delivery Meets Automotive Engineering". ONdrugDelivery Magazine, Issue 90 (Sep 2018), pp 26-30.
Thomas Mayer discusses Sonceboz's activity in the world of wearable injectors and how the company's experiences in the automotive industry and its in-house development of high-quality motors provide significant advantages for the design and production of wearable devices.
Whilst at a first glance the pharma and automotive sectors have nothing obvious in common, a more detailed look under the hood reveals quite important shared requirements and challenges, such as a rigorous need for quality, reliability and safety of supply. Failing drive elements in patch-pumps can potentially cause life-threatening situations, just as failing brake systems in cars can.
"With biologics – often stored in a lyophilised form to enhance long-term stability – it is even more challenging for patients to carry out the complex steps required when preparing the drug for injection…"
To further the comparison, in both cases designs need to be user-friendly such that patient or driver errors are prevented in the first place. One way of achieving this goal is to reduce user steps and enable intuitive interaction. In addition, both industries are governed by strong norms and regulations which must be obeyed in order to maintain market access and customer trust. Last but not least, in both pharma and automotive there is strong pressure for cost efficiency. One possible avenue towards this is found in highly integrated platform designs. By reducing parts whenever and wherever possible and by utilising proven, identical design elements for different use-case specific devices, one can reduce cost while still maintaining the highest level of quality.
As a leading provider in mechatronic systems, with over 25 years of experience in medical technology and having the top 10 car makers among its customer base, Sonceboz adds value to pharmaceutical companies by enabling them to cover a broad range of injection-based therapies while leveraging a true device platform architecture. For each and every device Sonceboz designs, whether a motor with gearbox or a large volume injector, it stringently follows design-for-manufacture and design-to-cost principles, ensuring Swiss quality at world-market prices. Each year over 70 million mechatronic systems are manufactured at the company's sites in Switzerland and shipped across the globe, working reliably in cars, trucks, and dialysis machines alike.
A PLATFORM APPROACH FOR BIOLOGICS
Today's pharmaceutical landscape is characterised by an increasing number of biologic drugs being introduced into the marketplace.1,2 These often come with challenges not only regarding the fill and finish, but also administration to the most important stakeholder – the patient. High viscosity formulations for subcutaneous administration can be difficult to inject using traditional tools, such as prefilled syringes.3 In turn, formulations designed to mitigate increasing viscosities by diluting the same molecule payload over a higher volume of drug provide challenges as well – especially when using rapidly injecting delivery systems such as autoinjectors where the typical volume limit is 2.25 mL. This is mostly because of injection pain and discomfort due to either the compression caused by the injected volume or the drug's own characteristics.
Figure 1: Sonceboz 6 mL large volume injector.
Furthermore, ever increasing healthcare expenditures are a strong driver to at-home self-injection of medications previously administered in-clinic or at a doctor's office. Wearable systems enable the patient to inject the drug slowly and comfortably in a controlled fashion, thereby providing increased personal freedom and quality of life. Sonceboz's large volume injector (LVI), displayed in Figure 1 is designed to hold a prefilled and preloaded 6 mL glass cartridge with the ability to facilitate both bolus injection and complex delivery profiles that have been programmed into the device.
With biologics – often stored in a lyophilised form to enhance long-term stability – it is even more challenging for patients to carry out the complex steps required when preparing the drug for injection. The manual reconstitution of lyophilised drugs requires substantial training and care in order to avoid user errors, such as potential contamination of the drug product4 or incomplete mixing of the drug powder and its diluent. By creating a device which automatically reconstitutes from prefilled and preloaded containers, such as a vial and a glass cartridge, prior to placement on the body, one clearly reduces the risk for user error and enhances safety and simplicity.
Figure 2: Automatic reconstitution injector.
Furthermore, such technology enables pharma to achieve a faster time-to-market, due to avoidance of lengthy stability studies with, for example, novel drug containers or liquid formulations. For this reason, Sonceboz is working on an automatic reconstitution injector (ARI), which is designed to make drug reconstitution easy, and therefore safe, for a broad spectrum of patients (Figure 2).
Also, recent trends in combining multiple biologic drugs, so called drug-combination therapies, are becoming increasingly important – especially in immuno-oncology.5 Although today these drugs are often injected intravenously in a hospital setting, novel formulation options and better tolerability in combination with modern devices could make subcutaneous administration possible. In addition, personalised medicine with individual and weight-based dosing and drug combination is becoming more prominently discussed in literature.6
Figure 3: Dual cartridge injector.
By utilising a small piston pump to apply a vacuum to the drugs' primary containers, Sonceboz is able to provide a device which is able to pump from two primary drug containers independently. This technology is called a dual cartridge injector (DCI) and will empower patients to administer complex combination therapies in their own home by conveniently injecting two drugs sequentially in a bolus or programmed fashion based on their individual needs. Also, this technology can be helpful when an injection site needs to be prepared using hyaluronidase in cases where a co-formulation of the enzyme and the drug aren't possible or such is undesirable for other reasons. Last but not least, a wearable device holding two containers can be an asset if a drug is already approved on the market in, for example, 3 mL cartridges and a new indication or lifecycle management update requires doubling the drug volume (Figure 3). In such cases, one could keep using the proven container and its filling equipment and place them into the Sonceboz DCI.
HUMAN FACTORS, STANDARD CONTAINERS AND A MOLECULE-FRIENDLY PUMP
"By utilising a small piston pump to apply a vacuum to the drugs' primary containers, Sonceboz is able to provide a device which is able to pump from two primary drug containers independently…"
The unique pump architecture allows for omnidirectional flow of the pumped liquid depending on the programmed parameters, for example from vial to cartridge or from cartridge to cartridge. The pump is made of three different parts:
a pump piston
a valve piston
a pump cylinder.
The valve piston has the function of selecting one of the three ports to enable pumping from one port and injecting from the other. Simply put, it creates a vacuum in the primary drug containers and is thereby actively drawing the liquid in a non-turbulent and gentle fashion, like filling and emptying a syringe. This is of particular importance when considering drug integrity with sensitive large molecule biologics. First data suggests the compatibility of this pump design with large molecule drugs. Test results with TNFα monoclonal antibodies revealed both molecule integrity as well as activity – showing no signs of shear damage. In addition, our material selection and manufacturing processes are designed to be compatible with biologic drugs.
The independent pump plungers are driven using proprietary low-noise slimline-stepper motors, which are placed directly on the circuit board in a solderless fashion, helping to reduce cost and potential weak points of the system. Patients prefer devices which seamlessly integrate into their daily routine, which is why low-noise emission is as important as a compact footprint. Due to the flat shape of the motors, the device thickness can be kept low.
Figure 4: Slimline Motor and gear train.
Using closed-loop controlled motors enables load monitoring and helps achieve extraordinary flow accuracy of about ±2%. Since Sonceboz is in the advantageous position of manufacturing its own quality motors (200,000 per day in case of the slimline-stepper), it is not required to build its platform around low-cost motors, often running at high revolutions per minute, contributing to noise (Figure 4).
The common brain of all the platform devices is found in the smart electronics on the circuit board, which helps patients in receiving their required dose of medication the way they need it. From bolus injection to patient-specific profiles, many different dosing regimens are possible thanks to a dedicated microprocessor. For data transfer and user feedback, Sonceboz integrated a Bluetooth Low-Energy chip on the board designed for digital health applications.
In order to enhance patient comfort and help prevent needlestick injuries, the dynamic needle-insertion system (DNIS) uses a solid needle in combination with a soft-cannula made from PTFE. Once the device is triggered by the user and satisfactory skin contact is established, the DNIS releases the needle and directly retracts leaving behind only the soft-cannula.
"From the very beginning, the platform was designed with user friendliness in mind, which means that user steps should be intuitive and reduced wherever possible…"
In order to minimise the burden of validating novel types of drug containers, Sonceboz focused on designing its device around existing and proven containers, such as glass cartridges of different sizes. In general, it was able to adapt its drug container interface to the container a pharma company intended to use. The only requirement is that the device needs to be able to actively draw liquid from the container using vacuum. If required, the platform integrates containers in a prefilled and preassembled fashion, which is important in avoiding potential user errors during drug handling, insertion and filling. In collaboration with its partners, Sonceboz will provide an assembly process that seamlessly integrates into current fill-finish infrastructure.
From the very beginning, the platform was designed with user friendliness in mind, which means that user steps should be intuitive and reduced wherever possible. This is one of the main drivers to enable a prefilled and preassembled device configuration. Also, size, weight and feedback are important to achieve patient acceptance. In order to have a platform which can be adapted to different use-cases, Sonceboz decided to design for one of the most challenging applications – self-injection in rheumatoid arthritis (RA). Patients suffering from RA often have difficulties with dexterity and extreme pain in their joints.7 The design is continuously tested and iterated upon with patients suffering from RA by performing formative studies. The use steps for the device are:
Take the device out of the package
Activate the patch-pump by pushing the activation button inwards
Remove the adhesive tape
Place the device on the skin
Start the injection by pushing the inject button on the top of the device (see Figure 5).
Figure 5: User steps to injection.
Sonceboz is working on a wearable device platform aimed to cover the most challenging applications for large volume self-injection systems, with the intention of empowering patients in self-injection applications that weren't possible before. Figure 6 illustrates the Sonceboz platform architecture with its different device arms and the associated stakeholders influencing and contributing to the design.
Sonceboz differentiates itself by its versatile platform built around a piston pump which provides omnidirectional, highly precise flow and connects multiple containers at once. This technology allows for novel device designs such the DCI and ARI. Thanks to a programmable microcontroller, Sonceboz offers a device platform that truly adapts to a drug's intended therapy profile. There is also the option to have a prefilled/preloaded device design without the need to change to a special container type, shape or material, which substantially reduces time to market, risk and ultimately cost. By using proven high-quality components and leveraging high-volume automotive production, Sonceboz provides the highly integrated, cost efficient and low noise drug delivery devices of tomorrow.
Figure 6: Sonceboz device platform architecture.
Davies N, "The future of biologics". The Pharma Letter, Apr 2017.
Otto R, Santagostino A, Schrader U, "Rapid growth in biopharma: Challenges and opportunities". McKinsey and Company, Dec 2014.
Mitragotri S, Burke PA, Langer R, "Overcoming the challenges in administering biopharmaceuticals: formulation and delivery strategies". Nat Rev Drug Discov, Sep 2014, Vol 13(9), pp 655–672.
Harvey C, "Reconstitution Devices: Mixing, Power, Packaging & Regulation". ONdrugDelivery Magazine, Issue 83 (Feb 2018), pp 32–35.
Webster RM, "Combination therapies in oncology". Nat Rev Drug Discov, Feb 2016, Vol 15(2), pp. 81-82.
Lewis LD, "Personalized drug therapy; the genome, the chip and the physician". Br J Clin Pharmacol, Jul 2005, Vol 60(1), pp 1–4.
"Chronic Rheumatic Conditions". World Health Organization. http://www.who.int/chp/topics/rheumatic/en/ (Accessed Jul 2018)
MOBILE DEVICES AND USE-RELATED RISK – TIME TO REINSTATE DETECTABILITY?
THE CHANGING LANDSCAPE OF WEARABLE DRUG CONTAINMENT AND DELIVERY
Sonceboz
Sonceboz designs, develops and produces mechatronic drive systems. In the medical/pharmaceutical sector, it provides motors for drug delivery systems such a wearable injectors, dual cartridge injection and automatic reconstitution, as well as developing a proprietary wearable injector platform.
You may also like reading...
NEXT-GENERATION WEARABLE DELIVERY DEVICES FOR LARGE-VOLUME BIOLOGICS
Thomas Mayer discusses Sonceboz's platform of wearable injection devices for large-volume biologics, which can follow drugs from clinical trials to commercial phase through lifecycle management, which reduces risk and speeds time to market.
REPOSITIONING FROM IV TO VIAL-BASED SC FOR LARGE-VOLUME BIOLOGICS
Tom Mayer discusses the growing trend of moving away from intravenous drugs administered in clinical and hospital settings to at-home, self-administered vial-based subcutaneous delivery for cost savings, better lifecycle management and improved care.
ALTERING PATIENT TREATMENT: HOW SC DELIVERY CAN HELP PATIENTS MANAGE CHRONIC CONDITIONS
Victoria Morgan looks at the benefits of combining an active pharmaceutical product with a novel subcutaneous delivery device, and highlights some of the partnerships West has with biopharmaceutical and other companies, which have led to market launches of products incorporating its on-body delivery system.

redpajama_set_name: RedPajamaCommonCrawl


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'Chernobyl' Scores 19 Emmy Noms Including Limited Series Nod As Brits Clean Up In Short-Run Categories
Sony International Thrills To David Victori's 'El Pacto'; Debut Feature Stars Belen Rueda
By Nancy Tartaglione
Nancy Tartaglione
@DeadlineNancy
More Stories By Nancy
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REX/Shutterstock
Sony Pictures International Productions, Ikiru Films and 4Cats Pictures are set to co-produce El Pacto, the feature directorial debut of David Victori whose digital series Zero was produced by Ridley Scott and Michael Fassbender. Belen Rueda is starring in the horror thriller with filming underway in Barcelona.
Rueda plays Monica, a woman faced with the unexpected and imminent death of her only daughter, who will have to descend into Hell itself in order to stop it from happening. Spanish filmmaker Victori, who emerged as one to watch when he won the first ever YouTube World Short Film Festival in 2012 with The Guilt, says El Pacto starts with an essential premise: "What would you be capable of doing to stop the death of a loved one and what happens to someone who tries to circumvent the natural course of life?"
Mireia Oriol and Darío Grandinetti also star. Edmon Roch and Jordi Gasull are producers; Victori wrote the script with Jordi Vallejo.
Iván Losada, General Manager of Sony Pictures Entertainment Iberia, says, "We spent some time talking to Jordi and Edmon to find an ambitious, impactful project to embark upon together and we're excited about having found it. Not only is Jordi an old friend of mine and the company's, but both Edmon and Jordi are first-rate producers. Furthermore, David Victori is a director with a unique personality and creative vision and it's an honor to be able to produce his first feature film. I hope it is the first of many."
El Pacto will be released theatrically in 2018 by Sony Pictures Entertainment Iberia.
Sony Pictures International Productions


Learning about fair trade and creating activities around Fairtrade certified products creates active involvement and engagement of students, helping them to be goal-oriented and understand new things.
It's important to create an interesting and challenging learning environment to encourage students as they work towards designating their school Fair Trade. With social activity and participation, students, staff and administration will establish fruitful collaboration and a co-operative atmosphere that is an essential part of learning.
We have promotional materials that you can use to support and encourage students, including posters, buttons, stickers and more!
Contact action@fairtrade.ca for any additional information you might require to help promote your activities and create visibility for fair trade within your school.


Issue 18 of Shimmer is now available for purchase.
It features my story, 'In the Broken City,' which is a brand new Red Sun story, if you are a fan of such things. It is about a man, the woman he meets, and a hospital beneath the ruins of a city run by doctors.
Four of the previous Red Sun stories have been reprinted in my collection, Dead Americans and Other Stories. The Red Sun stories – which have been reprinted here and there over the years – are the 'other stories' of the collection. So if you like 'In the Broken City' and haven't read any of the others, they're in a nice, easy place for you. For those of you who have been looking for a new one, well, here you go.
I should write more of them, really.


Do you see a peanut butter theme yet? I love peanut butter and really feel sorry for those who miss out by not enjoying this delicious treat. One of my favorite things is a scoop of peanut butter out of a freshly opened jar, it is the best.
1. Place the peanut butter and the 1/3 C water in the microwave and heat for 1 minute. Stir it until it's smooth and well combined.
2. Add all the ingredients together in a bowl except the chicken and skewers and stir until incorporated.
3. Place the chicken in a pan or freezer gallon ziploc baggie and add the marinade. Cover the pan, and refrigerate for at least 3 hours.
4. Place chicken on the skewers.
5. Grill the chicken skewers for about 7 minutes for medium heat (I suppose you could just cook the chicken on a George Foreman grill without the skewers). Turn and cook through out.
You can also make chicken kabobs by cutting the chicken into 1 1/2 inch pieces and alternate with onions, peppers, pineapple on the skewers. Cook the same. This is how we ate it and served it to the missionaries – we let every one design their own kabob.


I fancy myself a respectable baker, but pie is my Achilles heel. Cakes, cookies and breads are a breeze. Cheesecakes, even–a speciality of mine. But pie? Pie strikes fear in this baker's heart.
Most baking is chemistry. Dry and wet ingredients, precisely measured and weighed. Fat for a tender crumb, leavening for lightness. Eggs, yeast, baking powder or soda. A specific formula mixed together and then, heat and time. A bit of love and attention.
I love the process of baking.
And yet each November, I dread and struggle with my simple Thanksgiving pumpkin and pecan pies. Single crust, what could go wrong?
Pie dough that cracks and splits as I attempt to transfer it to the pie dish. Too thick, too tough, lousy flavor. I've tried every "no fail" pie crust recipe with every "secret" ingredient and failed every single time. I bought a fancy marble slab to roll dough on. A heavy-duty pastry blender. A stainless steel rolling pin, kept chilled in the freezer. Once or twice, I cheated and sheepishly used the pre-made pie crusts already rolled out between waxed paper in the refrigerated grocery store cases. The results were uniformly dreadful.
Enter "Pie & Whiskey: Writers Under the Influence of Butter & Booze". If there had ever been a book that spoke directly to my soul, it was this.
A Christmas gift from my son, "Pie & Whiskey" is a collection of writing about, well–pie and whiskey. Born in 2012 in Spokane, Washington, Pie & Whiskey began as a reading event where writers gathered to read and listen to each other's prose, accompanied by some good booze and freshly baked sweets. Five years later, a collection of essays and recipes was published into book form and landed in my floury hands.
I was immediately smitten. And inspired.
Paging through the essays, I learned an important point about pie: although making pie is baking, to do it well requires less precision and far more poetry. Making pie crust is a feel, a sense, an intuitive process. I had been going about it all wrong.
My dear friend and cooking comrade, Erin, turned me on to another resource, Art Of The Pie. Its founder, Kate McDermott, lives in Port Angeles and is the author of "Art Of The Pie" as well as another cookbook coming out in the fall of 2018. Her website is packed with reassuring instructions on pie making, including her recipe for pie crust. As I read through the recipe, I noticed a familiar theme. Simple, high-quality ingredients, no fancy equipment needed. Clean hands, warm heart and a whole lotta soul.
Pi Day came around last week and I was inspired to give my renewed pie hope a test drive. I chose rhubarb because it's my favorite. With no fresh rhubarb yet in the stores, I found a bag of frozen fruit that I figured would work just fine. I studied Kate's encouraging recipe. I chilled my ingredients. I gave myself a pep talk and got to work.
My pastry blender stayed in the drawer as I dove in with my bare hands, rubbing flour into butter until I had small bits of dough. I sprinkled ice water into the bowl and again, used my hands to mix until the dough just began to hold a shape. I wrapped two "chubby disks" of pie dough in plastic and tossed them in the fridge to rest. I exhaled.
An hour later, I began to roll. Kate assures me that pie dough wants to please me, so I kept a running banter with my dough, encouraging and coaxing, reassuring it of my belief in its success. It didn't crack, it didn't stick and I was able to drape the bottom crust gently in the plate and let it relax into its shape. I sprinkled flour and sugar over the crust, added the fruit, more flour and sugar and lightly blanketed it all with the top crust. I cooed soft, kind words and fluted the edges. The pie slid into the oven. I exhaled again.
The crust? Magnificent. The pie? A resounding flop.
Between the frozen fruit and my misbehaving oven, the filling was dotted with chunks of uncooked rhubarb. Biting into uncooked rhubarb is an unhappy surprise. Much of the fruit was still firm and hadn't been cooked down into its typical soft-tart-sweet-thick filling.The crust though! Beautiful and golden. Flaky and buttery. Almost perfect.
I decided to deem my efforts a success, even with its tough, partially baked, fruity flaws.
This year is Tracie's Year Of The Pie. I might even spring for one of Kate's Pie Day Camp Workshops. Armed with my Costco-sized jug of Bulleit Bourbon and a few reliable pie mentors, I can't wait to see what comes out of the oven.
If pie is the food of the heroic, let's all be heroes.
Every St. Patrick's Day, my mother made corned beef and cabbage. I'm not sure why, considering our Scandinavian DNA, but it showed up on the dinner table like clockwork each March. Stringy meat with weird globs of fat and a watery broth filled with limp cabbage and soft carrots. The only redeeming thing on my plate were the little red potatoes that sat beside the rest. The next day, I'd find a corned beef sandwich in my lunch, smeared with mayo and grainy mustard. Lifted out of the previous night's nondescript soup, the corned beef sandwich was my favorite part of our lackluster St. Patrick's Day observations.
Once I had a couple of young kids of my own, I did the same thing. Without thinking much about it, I tossed a brisket in my shopping cart each March, added a head of green cabbage, a bag of red potatoes and a couple of carrots. My kitchen filled with the familiar fragrance of the corned beef, braising in a briny bath for hours in the oven, served with the same thin, pale broth. And every year, my reaction was the same. Meh. Sometimes I'd toss the leftovers out, pausing only briefly to wonder why I made this same uninspired, unenjoyable meal year after year.
It was only four years ago that I had the epiphany that I didn't have to ever make corned beef and cabbage again. Sometimes I am a slow learner.
Knowing that the Mister was built from some sturdy Irish stock and therefore my kids, too, I was still compelled to acknowledge St. Patrick's Day. For a few years, instead of corned beef, I brewed a pot of thick, Irish stew followed by a rich Guinness chocolate cake. Much better, I thought. Last week, I was strolling through Costco during sample time and tried a bite of the pre-cooked corned beef they were hawking for the holiday. And just like that, the familiar taste, the Marches of my youth, all that corned beef came flashing back into my memory.
I didn't buy the pre-cooked, microwaveable stuff I had sampled, but found the brisket just around the corner and stuck it in my cart. I chuckled at myself for doing it again, but decided this year, I'd do it differently.
A new recipe–one that doesn't immerse the meat in water for hours, but a roast cooked slow and low in just a wee bit of Guinness stout and vinegar. A lid of garlic, sugar and spices and slid under the broiler at the very end to create a crisp crust. Cabbage, sliced into steaks, brushed with olive oil and roasted until the edges darken and caramelize. A few potatoes, steamed and mashed with cauliflower to round things out. No watery broth, no lifeless cabbage in sight. It was the best St. Paddy's meal I've ever had.
Tradition. Reimagined and improved, mindfully.
Every once in awhile, I'll notice an interview with a young woman–perhaps the celebrity of the hour, maybe 30-ish or not quite. She'll talk confidently about self-discovery and how she is making strong, brave decisions now that she is an evolved, mature woman. She has finally come into her own, she'll announce.
And I'll think, well, good for you. And then I'll also think, but really?
All the women's magazines I was still reading in my twenties assured me that my thirties was where it was at. I'd come into my own and be flush with confidence. The reality was my thirties were spent raising two young humans and adjusting to life in the foreign world of a stay-at-home mom. There wasn't any part of me coming into my own. I couldn't have told you what my own was. I spent that decade scrambling to be a decent mom, a good partner and fit nicely into to my very suburban neighborhood. I played a role, of sorts. The truth was I hadn't found myself at all, but was getting lost much deeper in the woods.
In my forties, I tumbled into a heady love affair with yoga which began to reconnect me to myself. But even then, whatever rare free time I had was spent chanting kirtan with groups of yoga friends and draping myself in mala beads and om shantis. I wasn't sure why or really what I was doing. But I desperately wanted to fit in. I wanted a tribe. To belong. I spent money on the right yoga clothes, the right mat, workshops with yogalebrities and teacher trainings that wrung me out and left me as limp as a wet noodle.
I still made the damned corned beef and cabbage every March. And I couldn't tell you why.
Yoga began the journey back to myself but it also led me down the slippery slope of saying yes. "Be a yes!" was a familiar refrain throughout much of my teacher training. Even the now-despised Lululemon bags were emblazoned with pseudo-spiritual platitudes that encouraged (mostly) women to say yes to everything. Saying yes was the road to fulfillment. Enlightenment, even. When I began to question that philosophy, I was told I was growing cynical and closed-minded.
Just say yes! Really though?
It's only recently that I've discovered the power that comes from a well-placed no, thank you. Saying no doesn't make a person closed off. Saying no when something just isn't right creates healthy boundaries. Growing older gives us the gift of experience–we learn to trust what feels good and right and fulfilling rather than constantly questioning our instincts or worse, believing we don't deserve to feel good and right and fulfilled. We learn to identify what depletes us and how to say no without apology. I'll admit I'm a late bloomer, but I'm not sure most of us have that capacity at thirty. Maybe not even forty. This life stuff takes time and introspection.
Why do we do things we do? How much of our time is spent creating a life we think we should want rather than taking time to mindfully consider what it is that genuinely curls our toes?
How long are you going to keep making the same corned beef, year after year?
I'm happy to report I don't care so much about fitting in anymore. Sometimes my tribe is a party of one or two and that suits me fine. I make the corned beef because I took what I liked and made it into something much better. Kirtans don't really float my boat anymore–and maybe they never really did. A mindful, well-timed no, thank you opens up space for more honest and enthusiastic yes, pleases.
Like pie, life yields the best results when intuitive. Less precision, more poetry.
I don't know about you, but this is my Year Of The Pie.


Paralegals can visit http://groups.google.com/group/nc-bankruptcy to sign in and apply for membership or contact the owner.
If assistance is needed, contact Kim Gilbert with John Orcutt's office.
Be on the lookout for future announcements utilizing this site and consider joining in order to benefit from this local paralegal communication tool.


Wash and brush the truffle with cool water.
Scrape off the harder rind (if unwelcome).
Grind ¾ of the truffle and cut the rest of it into thin slices (to slice the truffle use a truffle-slicer or a peeler).
Preparing parcels salting the slices of meat, spreading cream cheese on one half, add the truffle and close flouring the edges to seal.
Melt the butter in a non-stick pan, when hot lay out the parcels.
Sauté first one side then the other.
Cooked, add the fresh single cream.
Allow a few seconds to leave to gain flavour and serve.
If you are using fresh truffles start from Step 1, otherwise, in case of truffle already worked, skip to step 4.
The recipe can also be made with tomato sauce, in this case, prepare a sauce by heating the oil with a clove of garlic into the pan, then add the tomato puree, salt and pepper and, if appreciated, oregano or chilli.
As soon as the tomato is dry, lay out the parcels and cook for a few minutes.


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Q: How to write an absolute value in a LaTeX equation with a table in Markdown? I want to write an absolute value within a LaTeX equation in Markdown. But the code:
| Name | Equation |
|---|---|
| Absolute value | $|x|$ |

produces (when rendered e.g. with Obsidian):

which is wrong. I see that the pipe | character interacts wrongly with the pipe used to format the Markdown table, but I do not see how to fix this.

A: One possible trick is to use the \rvert and \lvert commands in LaTeX.
| Name | Equation |
|---|---|
| Absolute value | $\lvert x \rvert$ |

which produces:

I had this idea while looking at this message on how to write an equation including abs using rmarkdown.

A: An other option would be the following:
| Name | Equation |
|---|---|
| Absolute Value | $\|x\|$ |

By using \| the rendering is done correctly:

redpajama_set_name: RedPajamaStackExchange


Syfy's Channel Zero, a show based on the twisted and eerie tales from the most popular creepy pastas, has released the first trailer for The Dream Door.
Helmed by Nick Antosca, and starring Brandon Scott, Maria Sten, Steven Robertson, and Steven Weber, this upcoming 4th season is sure to be another hit. The original creepy pasta was titled 'Found a Hidden Door in My Cellar' by Charlotte Bywater and the new season follows newlyweds Tom and Jillian Hodgson, who move into a new house and find an odd door in their cellar. What they discover about the door and themselves, threatens to release their own inner demons and so much more!
The new season begins on Friday, October 26, and will run until Wednesday, October 31.